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
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LOUIS VUITTON Umhängetasche "NOÉ BB". Koll. 2020. Monogram Canvas Serie mit naturbelassenem Leder und goldfarbener Hardware. Textiles Innenfutter in Braun. Box anbei. Sehr guter Erhalt, leichte Patina vorhanden. 13x9x15cm.| LOUIS VUITTON shoulder bag "NOÉ BB". Coll. 2020. Monogram canvas series with natural leather and gold-colored hardware. Textile lining in brown. Box enclosed. Very good condition, slight patina present. 13x9x15cm.
LOUIS VUITTON Umhängetasche "RENDEZ VOUS". Koll. 2021. Letzter NP. 3.500,-€. Fein genarbtes Glattleder in Schwarz mit goldfarbener Hardware und goldfarbenem Monogram Muster in Nietenform. Überschlag mit magnetischem Verschluss, textiles Innenfutter mit diversen Innenfächern. Ein langer, längenverstellbarer Trageriemen und ein kurzer Gliederkettenriemen. Staubbeutel und Kopie der Rechnung anbei. Sehr guter Erhalt. | LOUIS VUITTON shoulder bag "RENDEZ VOUS". Coll. 2021. last NP. 3.500,-€. Finely grained smooth leather in black with gold-coloured hardware and gold-coloured Monogram pattern in the shape of rivets. Flap with magnetic fastening, textile lining with various inner compartments. One long, adjustable shoulder strap and one short link chain strap. Dust bag and copy of the invoice enclosed. In very good condition.
A LARGE AFRICAN KUBA-KASAI CLOTH CUSHION MODERN approximately 170 x 65cmTOGETHER WITH OTHER TEXTILES; A geometric pattern cushion; sections of printed scarlet floral silk; a cream and black printed quilted bed cover with a label for 'Raag AHMEDABAD INDIA'; two machine made rugs; a section of machine woven indigo, cream and iron red fabric; and a machine made verdure tapestry fabric curtain by repute from Robert Kime Ltd.
Hand-woven wool tapestry. Dimensions: 195 x 170 cm. Signed with the woven monogram. From an edition of 20 copies. Delaunay began her career as a painter, associated with the Orphism movement, which sought to express the dynamic and harmonious qualities of colour through abstract art. One of the most notable aspects of her career was her exploration of the synergy between art and design. She believed that art should not be limited to canvases but should be a part of everyday life, which led her to experiment with various forms of applied art, such as textiles and fashion. Together with her husband, Robert Delaunay, she developed the concept of "Simultaneism", which sought to capture the dynamic interplay of colour and form in motion. Tapestries were an ideal medium for her artistic vision, allowing her to expand her designs into large-scale works that could decorate spaces with their vibrant and dynamic patterns. Delaunay's tapestries are characterised by their use of contrasting colours and intricate compositions, as seen in this work, which employs geometric shapes and abstract motifs to convey a sense of movement and energy. Provenance: French private collection.
Brass Leeuwenhoek-type Simple Microscope, in the manner of the microscopes built by Maitland/Artis in the 19th century, the lens-plates 47.07mm x 27.6mm x 1.56mm with 3 rivets and hammer marks around lens aperture, with spherical lens, the long-screw adjuster with flattened handle, the shaped bridge-piece with vertical adjustment screw and focusing screw, with angle bracket and securing screw, good uniform patination, in a card case marked 'PERSONAL PROPERTY OF B. BRACEGIRDLE'Antonie van Leeuwenhoek (1632–1723), was a Dutch scientist and tradesman widely regarded as the "father of microbiology." His groundbreaking work with microscopes enabled him to explore a previously invisible world, revolutionizing the fields of biology and microbiology. Van Leeuwenhoek's life and scientific contributions were marked by curiosity, keen observational skills, and a commitment to scientific inquiry that led to some of the most significant discoveries in natural history. Born in Delft, Netherlands, Van Leeuwenhoek initially pursued a career in textile commerce. He worked as a draper, a profession that involved the inspection of cloth quality. His interest in lenses and magnification arose from his need to observe the threads of textiles more closely, a practice common in the industry. Van Leeuwenhoek’s advancements in microscopy were not the result of formal scientific training but rather the outcome of self-taught experimentation and dedication. While simple magnifying glasses had been in use for centuries, Van Leeuwenhoek’s microscopes were far more advanced. He did not invent the microscope, as early forms had been created by figures like Zacharias Janssen and Galileo Galilei. Instead, Van Leeuwenhoek’s unique contribution lay in his ability to improve the quality of lenses, enabling far greater magnification. Using small lenses, Van Leeuwenhoek built simple single-lens microscopes that could magnify objects up to 275 times, an unprecedented level at the time. His methods produced lenses of superior quality, allowing him to observe objects in finer detail than any other scientist of his era. Through his microscopic investigations, Van Leeuwenhoek became the first person to document and describe the existence of microorganisms, which he referred to as "animalcules." His observations included bacteria, protists, sperm cells, and red blood cells. In 1674, he reported his discovery of single-celled organisms living in water, and in subsequent years, he provided detailed descriptions of various forms of life, such as protozoa and algae. Van Leeuwenhoek’s observations of bacteria in dental plaque and other substances were particularly groundbreaking. His detailed descriptions of the minute organisms helped establish the foundation for microbiology. He meticulously recorded his findings in correspondence with the Royal Society of London, where his work was met with both skepticism and admiration. The impact of Van Leeuwenhoek’s work cannot be overstated. His discoveries transformed scientific understanding of life at a microscopic level and challenged prevailing notions of biology. Until his work, the existence of a microbial world was entirely unknown. His findings laid the groundwork for future scientists, such as Louis Pasteur and Robert Koch, whose work on germ theory and microbiology expanded upon Van Leeuwenhoek’s early observations. Although Van Leeuwenhoek did not publish formal scientific papers, he communicated his findings extensively through letters to the Royal Society, which translated and published them in *Philosophical Transactions*. His documentation and sketches of microorganisms were essential for validating his discoveries and spreading his influence across Europe. Additionally, his improvements to lens-making influenced the design of microscopes in subsequent centuries, establishing standards that would be refined in later technological advancements. Van Leeuwenhoek's contributions to science were widely recognized during his lifetime, and he continued his work well into old age. He was visited by notable figures such as Peter the Great of Russia, who was intrigued by his research. Despite his lack of formal education, Van Leeuwenhoek was elected a Fellow of the Royal Society in 1680. Brian Bracegirdle (1933–2019) was a well known figure in the fields of microscopy and the history of scientific instruments. His career began in the study of biology, where he earned a PhD in fungal spore dispersal from the University of London. However, his interests soon expanded into the history and development of microscopy, leading him to become a leading expert in the field. Bracegirdle had a long-standing association with the Science Museum in London, where he made significant contributions to its collections of historic microscopes. One of his key achievements was his work on cataloging and documenting historical microscopes, which helped preserve the legacy of this important scientific tool. His deep knowledge and passion for the subject were shared with a wider audience through his extensive writing. Bracegirdle was also a popular lecturer, and his engaging teaching style left a lasting impact on students and colleagues alike. Brian Bracegirdle authored numerous books on microscopy and related topics, many of which became essential reading for historians and scientists. His publications include A History of Microtechnique* (1978) Microscopes: A Short History* (1978) Beads of Glass: Leeuwenhoek and the Early Microscope (1983) Microscopical Mounts and Mounters* (1995), The Quekett Microscopical Club 1865–2015* (2016), and several volumes in the *An Atlas of Microscopy* series. These works have cemented his legacy as an authority in the history of scientific instruments. His contributions remain vital to our understanding of the development of microscopy and its role in advancing scientific knowledge.
Baron Armand Van Zuylen, interior scene with a wealthy lady in a belle epoque dress. Armand van Zuylen, barely 18 years old, studied painting at the Academy of Fine Arts in Antwerp. His passion for art history and his father's legacy led him in 1867 to build his own collection around four disciplines: weapons, musical instruments, textiles and costumes, watches and clocks. Later, he also focused on painting, sculpture, medieval art, porcelain and ceramics, which allowed his collection to develop and become one of the most important in Belgium in terms of quality, number and diversity of the works collected. As a painter and collector at the same time, he devoted his life to the promotion of the arts, in particular by lending part of his collection to renowned exhibitions (for example, the National Exhibition of Belgium in 1883). Signed lower right. Oil on canvas, circa 1880. | 69 x 59 cm. (zonder kader)93 x 82 cm. (met kader) | Condition: relined.
A group of four African textiles, 20th century, likely Kuba or Bakuba, present-day Democratic Republic of the Congo, all woven with vegetable fibre in geometric motifs, one example with a rafia edge, two examples woven with pom poms to the edges, 62cm square125 x 51cm402 x 71cmand 461 x 57cmCondition ReportThe larger panels with burst seams joining the panels. All with discolouration and patina commensurate with age. Some staining occurs in places. All smelling of damp.
A group of three scatter cushions, 19th century, comprising two with verdure tapestry panels, with velvet backing and tasselled edges, together with a large Chelsea Textiles needlework example, with a large flower head worked in gros and petit point to a blue/green ground,largest 57cm wide50cm high (3)Condition ReportOverall the cushions are in very good condition and ready for use. There are a few small pulls and splits to the tapestry panels but they are stable. Smell okay. Please see additional images for reference.
Eric William Ravilious (1903-1942): A Child's Handkerchief, lithographically printed on cotton, inscribed to verso Silk Handkechief: Purchased by Mary Monck Algiers May 1943 N.Africa whilst serving with F.A.N.Y (First Aid Nursing Yeomanry) Manufactured by mess rs Deans England, labelled for Miss Alma Taylor The Vicarage Froxfield Wilts, 43.5cm square (framed)Early in February 1941, while Eric Ravilious was working as a War Artist, he wrote to E.M.O'Rourke Dickey at the Ministry of Information, 'I've just had a long visit from a Mr. Gerald Holtom who seems very much to want designs for textiles for some Cotton Board. It would make a change to do this for a bit, and he assures me the whole thing is urgent and necessary'.The Cotton Board had been founded to raise standards of design and improve exports. As Helen Binyon relates in Eric Ravlious 1983, Gerald Holtom had found a firm in Lancashire which produced handkerchiefs printed by lithography, an unusual printing process for textiles, but one in which Ravilious was becoming increasingly interested. Holtom explained that he proposed displaying 'appropriate decorative handkerchiefs and scarves ... at the travelling exhibitions of War Artists' and A.F.S Artists' work in the U.S.A' Ravilious wrote to Helen Binyon on 1st April 1941, 'The cotton prints are being tried out (by lithography) and the first experiment is a child's handkerchief - you shall have one if it comes off well.'The Child's Handkerchief by Eric Ravilious exists in two forms. A proof on paper, printed in two blues with trial workings for pattern designs in the margin, is presumaly the first version of the design, possibly done as a trial to test the capacity of the fabric printing process. Ravilious then apears to have reworked and simplified the design, using dark grey and dark green for the detailed work, with bands of yellow for the tape measures and across the numbers, somewhat in the style of the Wedgwood Alphabet mug. This second version is only found printed on cotton, with unhemmed edges. The small number of known copies (less than five) suggests that it was carried to proof stage but never issued commercially.The handkerchief is inscribed 'To John' in the tiny oval between the figures 11 and 12. This is John Ravilious, eldest child of Eric and Tirzah Ravilious, born 1935. Eric Ravilious was lost on a flight from Iceland in September 1942, while serving as a War Artist.
Textiles - Indian panel of silver metalwork embroidery on silk; a very long panel of 19th century floral beadwork, embroidered with roses and daises grasses and corn with a border of glass beads 400cm x 16cm; Smaller 19th century embroidery panel with roses and auriculas; Two 19th century bell pulls with rose petitpoint needlework and gilt brass end pulls; quantity of watered silk ribbon, quantity rose printed cotton border; quantity metal woven braids; quantity metal woven 15cm fringe; worked gilt metal pelmet; blue and gold altar cloth; (qty)
⊕ Bernard Myers (lots 139-158) Work and travel in the Middle East and India introduced me to a world of colour. Under the influence of Islamic tiles and textiles, and Indian and Tibetan painting I set out to teach myself colour. My work at this time was mainly abstract and loosely based on astronomical and optical diagrams. Gradually I turned to realism via still life, working very precisely... (Bernard Myers) Introduction Trained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art, Camberwell and the Royal College of Art. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. He returned to the RCA to teach for the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85). Students at the RCA treasured Myers’ good advice. James Dyson remembered him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a Fellow, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’ The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels (lots 209-213), the still-lifes he worked on in his studio (lots 194,197,,200 & 203), the nudes he painted in weekly life-classes (195, 198, 201, 204), and his not infrequent forays into abstraction, precipitated in part by his fascination with space (lots 196, 199, 202, 205). He married Pamela Fildes, grand-daughter of the painter Sir Luke Fildes in the early 1950s; they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 206-208). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art (1979). He also penned articles for The Artist (May 1988) on his highly original approach to pastel (lots 139-142 & 147-150), and Artists and Illustrators (1995) on his Venice views (lot 209).STILL LIFE WITH FLOWERS AND PEARS ON A PLATTER signed B Myers lower right; inscribed New Grafton 7 upper left margin oil pastel on paper 52.5 x 72cm; 20 3/4 x 28 1/4in (image) unframed In good original condition.
ITEM: Weight loom with mark depicting a headMATERIAL: PotteryCULTURE: GreekPERIOD: 3rd - 1st Century B.CDIMENSIONS: 20 mm x 67 mm diameterCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1960 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Greek weight loom, or lomentum, was an essential tool in ancient textile production, particularly during the classical and Hellenistic periods. This device was used to create woven fabrics and was integral to the textile industry in ancient Greece. The weight loom consisted of a series of weights and cords that were used to maintain tension on the warp threads while the weaver worked on the weft. This system allowed for the production of various types of textiles, from simple garments to intricate patterned fabrics, demonstrating the sophistication and skill of ancient Greek weavers.Loom weights from this period often bear distinct markings or inscriptions, which can provide valuable insights into the social and economic aspects of textile production. These marks might include symbols, initials, or even small inscriptions that could indicate the ownership of the weights or their place of origin. In some cases, the weights were stamped with the names of manufacturers or patrons, serving both practical and administrative purposes. Such inscriptions can help historians and archaeologists trace the trade and distribution of textiles and loom weights across different regions of ancient Greece.The use of marked loom weights also reflects the broader context of textile production in Greek society. Weaving was an important economic activity, often carried out in domestic settings or by specialized artisans. The marked weights indicate a level of standardization and organization in the textile industry, suggesting that loom weights were not just functional tools but also components of a regulated trade system. Archaeological finds of these weights, along with other weaving tools and remains of textile workshops, offer insights into the technical aspects of weaving, as well as the economic and social organization surrounding textile production in ancient Greece.
A quantity of traditional Japanese textiles and fashion, including: a small red and yellow handbag, decorated with kiku-no-mon; an elegant pink-ground Tsukesage [or other Kimono] with sleeve length of about 50 cm; a silver-white obi decorated with floral and geometric designs; a colourful kimono decorated with a variety of floral and other motifs on a lemon-yellow ground, and with sleeve length of about 64cm; a purple ground haori [or other short jacket]; a pink hair bow; and a pair of sandals [lot]
A small unframed sampler worked on fine linen. Often referered to as 'Spot Samplers' as the motifs are arranged across the fabric in a random fashion, thestylised plants and flowers are worked in colourful threads which have kepy their vibrant colours. Width 26cms by 32cms *This has been stored within an album of lace and other textiles (see lots). *CR This has been kept within an album, so the colours have remained strong. It has been kept folded so has a crease, pin holes to the top corners, a little discolouration along the bottom edge, but generally has survived well.
An interesting small paper album or book, containing a collection of lace and needlework samples. Most are mounted on coloured card and stitched into place on the pages. There are also examples of beadwork, some woven textiles and plaited braids, some of the items have the intials 'DW' (probably for Dorothy Ward). There is also a hand written letter in the book which gives a little of the history and a possible date of the contents to the late 17thc. *We are also selling a sampler that came out of this book in a seperate lot (lot), made by Dorothy Ward in 1691. *CR See online images.
A rare double sided religious sampler by Dorothy Ward, 1691, one side embroidered with various religious psalm's in a variety of colours, a section including her name and the date, and also with birds, numbers and other motifs. The other side (mounted the other way up) with further religious prose, stitched within a black silk frame on a black silk border. Sampler 34cms by 22cms, overall 42cms by 29cms *This has been kept within an album of lace and other textiles (see lot ), which has kept the colours strong over that time. It has been kept folded inside the album until now. *CR The sampler is in remarkably good condition for it's age, with colours still strong and no noticeable holes or discolouration. It has been kept folded within an album so has some crease lines, the black silk has some tears on each side, but they don't go near the sampler itself.
A large quantity of fabric samples including Laura Ashley, Zoffany, Lennox Morey Antiques, 'Fig Leaf' by Ariadne Designs, Mulberry 'Floral Bouquet', Beaumont & Fletcher 'Aubusson Rose', Archive Collection 'Classical Garden', Chelsea Textiles 'Faded Red Wild Flowers' hand embroidered on linen, Bennison Fabrics 'English Toile', Designers Guild swatches, Warners of Devonshire Collection swatches (5 boxes).
Hazina. Artist: Alison Couchman.Artist Info: Alison is an artist working mainly in painted textiles. She is an Essex girl by birth but has lived in Suffolk for over 30 years. Alison works from photographs, paints onto fabric then machine quilts and embroiders to create texture. Alison is drawn to exploring textures and surfaces in her work in both 2D and 3D.Artist website: www.alisoncouchman.co.ukArtist Facebook: www.facebook.com/alisoncouchmanoriginalsArtist Instagram: @acoriginals Sponsor: Exemplifire Ltd.Specialists in fire safety management, providing a full range of services to keep people safe. They work tirelessly to provide their clients with the best service and solutions.Sponsor website: https://www.exemplifire.co.uk/Sponsor Facebook: https://www.facebook.com/exemplifireSponsor Instagram: https://www.instagram.com/ExempliFireLtd/ Approx animal weight (Kg): 1.4.Approx animal size (cm): 55 x 30 x 46.
Benny The baby Chimp. Artist: Hannah Gaulton.Artist Info: Hannah Goulton began her career in childhood education, working in a nursery and as a Teaching Assistant for Key Stage One, before transitioning to her husband's business. She has always had a passion for the creative arts, incorporating paint and textiles into educational settings, and crafting wall displays, school props, and leading art lessons. Inspired by Scotland's rugged landscapes, Hannah has recently focused more on painting. For the art trail, she chose to present "Baby Chimp," inspired by the innocent and playful nature of young chimpanzees, embodying themes of nurturing and childhood joy. Sponsor: Blackbrook Interiors.Selling a curated collection of home and lifestyle products.Sponsor website: www.blackbrookinteriors.co.ukSponsor Facebook: blackbrookinteriorsSponsor Instagram: blackbrookinteriors Approx animal weight (Kg): 2.Approx animal size (cm): 30 x 20 x 24.
Not so Dum-Bo. Artist: Joy Evitt.Artist Info: Joy lives in Eye and is passionate about all aspects of costume and textiles. Teaching for nearly 40 years enabled her to build up a diverse knowledge base that includes historical events that have affected peoples lives and are now woven into the history of costume and designs. Sponsor: Jungle Cubs and Jungle Giants.Jungle Cubs and Jungle Giants CIC is a community interest company providing high quality childcare to the local community. Founded in 2008 at Kerrison in Thorndon, and since moved to a purpose built provision in Wetheringsett. Together with a small, dedicated team of educators, Jungle Cubs provides a vibrant and stimulating approach to early years education and child care. Jungle Cubs is inspired by loose parts play and a child led approach to the Early Years Foundation Stage (EYFS).Sponsor website: N/A - we need a new oneSponsor Facebook: https://www.facebook.com/junglecubswetheringsett Approx animal weight (Kg): 1.4.Approx animal size (cm): 30 x 29 x 17.
JULIAN SCHNABEL (AMERICAN B. 1951) UNTITLED (MONJAS DE CALLE CON BUEN OJO) Oil and resin on rubberised fabric 213.5 x 152.5cm (84 x 60 in.)Painted in 1993. Provenance: Waddington Galleries Ltd., London Acquired from the above in 1996Painter-director Julian Schnabel has enjoyed international renown for his powerful aesthetic vision. Among the first artists represented by Mary Boone, Schnabel has since exhibited at Pace Gallery, the Art Gallery of Ontario, and Museo Correr. His large-scale works tend to incorporate an element of collage, as the traditional marriage of oil and canvas is adulterated with an admixture of resin, textiles, and even ceramic shards. The present picture, which reads 'Monjas de calle con buen ojo', or 'Street nuns with a keen eye', belongs to a series by the same title. A typically obscure juxtaposition of concepts, this imposing canvas reflects Schnabel's preoccupation with religion and literature. His decisive mark-making allows for striking visual effects: the calligraphy of 'ojo' for example, resembles a face, while the sinuous dividing line suggests the form of an amphora. Schnabel treats his thematic concerns with parity: the holy and the profane, tradition and modernity, abstraction and figuration. Condition Report: The rubberised fabric surface is slack with associated creases most notable to the extreme edges. There is some puckering to the right edge possibly caused by the thick pigment applied in that area. There is some rubbing to the extreme framing edges with some associated loss to the point of the lower left corner. There is a hole to the lower left corner approx. 20cm up from the lower edge, this is likely part of the artist's intent. Condition Report Disclaimer
λ BITA GHEZELAYAGH (ITALIAN B. 1966) FELT MEMORIES IX, THE KING EMBRACING THE NATION 1001 Brass crowns on top, 3 stages of keys, tulips and wire mesh mounted in an acrylic box 128 x 128cm (50¼ x 50¼ in.)Provenance: Rose Issa Projects, London Drawing on the artistic traditions of Iran, Bita Ghezelayagh works primarily in embroidery. Ghezelayagh has exhibited at the V&A and the San Antonio Museum of Art; her work can be found in the collections of the British Museum and the Farjam Foundation. Her series of felt garments are a musing on and a monument to the cultural heritage often overlooked in the face of modernisation. Ghezelayagh's creations share a visual language: the tulip motif references traditional Turkmen textiles, while the layered metal panels recall the scale armour of asbaran in their structured, regular arrangement. The ambiguity of this work's title, Felt Memories, reflects the complex materiality of an object bound up with nostalgia and a sense of identity. Felted by hand in local workshops, the tunic recalls those of Iranian shepherds, marrying practical and creative functions in a similar manner to the textiles of Ghezelayagh's inspiration Joseph Beuys. The artist's work is marked by a profound sense of respect for indigenous cultures, paying tribute to the methods and materials in which her practice is grounded. Condition Report: Work is mounted within a perspex box frame. Work appears to be in good original condition. The work has been structured with a piece of card within the robe which is maintaining the shape. The work has been attached to a piece of foam board which has either been attached with Velcro or clips to another piece of foam board attached to the mounting board. Please contact housesales@dreweatts.com with any further queries. Condition Report Disclaimer
Anna Gordon. A pair of 18ct gold earrings and a silver brooch, attributed to Anna Gordon, the earrings hallmarked Edinburgh 1998, Edinburgh Assay Office mark; the silver brooch of square form, unmarked, width 7.0cm, in Anna Gordon box (2) Anna Gordon has worked as a prominent contemporary jeweller and goldsmith since studying at Edinburgh College Art between 1989-1994, where she learnt under the preeminent Scottish jeweller Dorothy Hogg. Her career has seen her work exhibited consistently since 1993, and she has held the position of department head of Jewellery and Silversmithing at Glasgow School of Arts since 2008. Her work is held permanently in notable collections including the Victoria and Albert Museum, the Royal Museum of Scotland, the Goldsmith's Company collection, and the Crafts Council Collection, and in 2020 she won the Goldsmiths’ Craftsmanship and Design Award: Gold and Silver Wyre Drawers Gold Award. Her jewellery is self-proclaimed to be influenced by her surroundings, blending natural and architectural cues to produce geometric shapes fashioned by hand. Most recently she has been exploring textiles, particularly Japanese silks and origami papers. Her oeuvre boasts a palette of precious metals, alongside natural materials, gemstones and enamel.Condition Report: Vendor states that the brooch is an early piece, from Gordon's degree show from Edinburgh College of Art.
A group of Ottoman and other textiles Consisting of an Ottoman applique panel decorated with a stylised tree, flower and bird motifs, within a pierced arch; together with a floral densely patterned panel; two further pieces of cloth; and two Egyptian applique panels.The Ottoman panel 132cm x 90cm.Qty: 6From the estate of Sir John Elliott FBA, an eminent British historian and Hispanist who was Regius Professor at the University of Oxford and honorary fellow of Oriel College, Oxford, and Trinity College, Cambridge.In reasonable condition considering age and use. Stains and marks to the Ottoman and Egyptian panels.
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