Kamila Sipika Yellow Elder, 2025 Aquarelle on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Visual artist currently working in The Netherlands and Poland. Nature is rooted at the core of Kamila's creative inspiration as she works with subjects such as ephemerality, decay, tranquillity, folk traditions and timeless plants' symbolism. Her materials of choice are linens and cotton that serve perfectly the natural pigments, oil paints and dying the textiles. Her work encourages viewers to re-consider the relationship between nature and the painting medium. Her practice is founded on the curiosity in the surroundings. She collects a range of objects, primarily from nature, such as stones, seeds, shells, plants, and flowers to dry as a starting point of the creative process. Kamila strongly believes epiphanies can appear hidden in the most ordinary moments, textures, colours, and fragrances. Education Royal Academy of Art, The Hague, Netherlands, 2019 - 2021 Academy of Fine Arts, Warsaw, Poland, 2015-2019, 2021-2022 Group Exhibitions 2024 On Physiognomy of Nature, de Bouwput, Amsterdam (NL), duo show Sidewalk Hussle, collaboration, exhibition event of Orisun Studio, Den Haag (NL) Art Rotterdam Fair (with Rademakers Gallery) (NL) Wandler x Hotel l'Europe, Amsterdam (NL) 2023 Homebound exhibition, Den Haag (NL) Enter Art Fair (with Rademakers Gallery), Copenhagen (DK) Popłyniemy napięci w prąd radosnej energii, Galeria Nanazenit, Warsaw (PL) Springboard Art Fair, Utrecht (NL) Tiny Gallery x Fig, Sofia, Bulgaria 2022 Image Desires, Mysia 3, Warsaw (PL), solo show DAGLICHT, The Grey Space in The Middle, The Hague (NL) 2021 Fata Morgana (digital exhibition, NL) ART The Hague (NL) Graduation Festival, Royal Academy of Art, The Hague (NL) Awards 2024 Mondriaan Artist Start Fund 2023 Piket Prijs Nominatie Stroom PRO Invest 2022 Nominatie Buning Brongers Prijzen Statement about AOAP Submitted Artwork Discovering hidden in the daylight flowers blooming in the soil full of treasures and life, calms the mind of the one who wondered this way. The tactility and the fragrance are easily recognisable and recalled. Each flower carries a different meaning and perhaps a treasure of one's own memories. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
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Denise Zygadlo Cloth Bound, 2024 Paper-cut collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Denise Zygadlo is a visual artist/performance exploring cloth in all its forms and the memories and associations it holds. Working mainly with photocopied images transferred onto cloth and paper-cut collages and detailed drawings. Education 1973-1976 BA in Printed Textiles, Winchester Art School Solo Exhibitions 2012 Involutus Memet, Gatehouse of Fleet Museum, Galloway, Scotland 2014 Wrap, Gracefield Arts Centre, Dumfries, Scotland 2020 Kept Cloth, Arusha Gallery, Edinburgh, Scotland Group Exhibitions 2025 Upland, Kirkcudbright Galleries, Kirkcudbright, Scotland 2024 SSA Annual, Royal Scottish Academy, Edinburgh, Scotland Threads, Old Gala House, Galashiels, Scotland Awards 2012 Development, VACMA 2014 Performance, Creative Scotland Gallery Representation Arusha Gallery, Edinburgh Statement about AOAP Submitted Artwork A series of four paper-cut collages on the theme of 'bound' in its various forms. Using colour and ties to connect each to the other. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Hae-jin Yoo Woman in the Bath 'b', 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Haejin Yoo is a contemporary artist whose work explores themes of identity, persona, and introspection. Working primarily with oil and acrylic paints, she incorporates mixed media such as textiles, carpentry, and spray paint to push the boundaries of traditional canvas art and create immersive, surrealistic expressions. Her celebrated Woman in the Bath series reflects on private thoughts and the fluid nature of identity, drawing inspiration from the intimate setting of the bathroom. Haejin's art has earned numerous accolades, including 2nd prize in the 2024 Beautiful Bizarre Art Prize: RAYMAR Traditional Art Award, being named one of Saatchi Art's Rising Stars for 2024, and winning the First Prize Abstract Award at FIRA International Art Fair Barcelona (2022). After nearly eight years living and exhibiting in Germany, Haejin has returned to Sydney, Australia, where she continues to explore new mediums and themes, further expanding her artistic practice. Education Self-taught Solo Exhibitions 2021 Artland Online Solo Exhibition, represented by Azaro Artspaces Group Exhibitions 2025 BFF Modern Portraits, 33 Contemporary Gallery, USA Corey Helford Gallery, Los Angeles, USA Nanny Goat Gallery, Petaluma, CA, USA Daughters of Eve, Quirky Fox Gallery, New Zealand Gems, Quirky Fox Gallery, New Zealand 2024 Woman in the Bath VI exhibited during HUGFest 2024, Canvas 3.0 Gallery, Oculus, New York City, USA The Other Art Fair, London, UK Beautiful Bizarre Magazine Exhibition, Modern Eden Gallery, San Francisco, USA 2023 The Other Art Fair, Los Angeles, USA The Other Art Fair, London, UK 2022 Impronte d'Arte, Bergamo, Italy (WINNER: Artist Expert Award, presented by Prof. Vittorio Sgarbi) Fira Internacional d'Art, Barcelona, Spain (WINNER: First Prize Abstract Award) Awards 2024 2nd Prize, Beautiful Bizarre Art Prize: RAYMAR Traditional Art Award Saatchi Art Rising Star, Saatchi Art HUG100 Artists to Watch, HUG Finalist, Boynes Artist Award: 10th Edition 2023 Merit Prize Award, Teravarna International Juried Art Competition You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Julie Cassels Looking Back - Rewoven Series - After Vuillard - Blue Grey, 2023 Composite Photograph Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Cassels is a multidisciplinary artist whose work often has historical references, with a particular interest in the aesthetics of textiles and clothing, as they occur in all aspects of daily life. Her work is inspired by the depiction of fabric in all art forms, throughout art history, along with its interpretation and relevance. As a perpetual analyst, she reflects on the individuality of seeing and visual perception, illuminating them with work that encompasses video installation, photographic collage, digitally reconstructed objects, and low-relief mixed media canvasses. Education 2004 - 2005 MA at Manchester Metropolitan University in Textiles/Fashion 2001 - 2004 BA Visual Arts (Hons) Degree at Salford University. (First) 2000 - 2001 BTEC Arts Foundation Course, South Trafford College, (Dist) Solo Exhibitions 2021 We View Things Differently Now, Rogue Studios Project Space, Manchester, UK Group Exhibitions 2025 Return to the Sea, Seafront Gallery, Worthing Women in Art Prize, Roundhouse, Chalk Farm Rd, London NW1 8EH Ventriloquism, The Whitaker, Haslingden Rd, Rossendale, BB4 6RE Rogue Women 3, Rogue Studios Project Space, Manchester Air Gallery Open, Rogue Studios, 4 Barrass St, Manchester, M11 1WP Shutter Hub Yearbook 2024, online exhibition A Small Space World Tour, multiple venues A Room of One's Own, Irving Gallery, 28 Essex St, Oxford, OX4 3AW A Small Space, Square Feet Architects, 95 Bell St, London, NW1 6TL 2024 To the Sea, St Gilles Croix de Vie, France Bury Open, Bury Art Museum, Moss Street, Bury, BL9 0DR Spark Philosophy Retreat, Crawfordsburn Inn, Northern Ireland Live With It, Mura MA Art Space, 15 Stockport Rd, Marple, SK6 6BD A Small Space, Dezrez Projects, 285 Deansgate, M3 4EW A Small Space, Old Town General Store, Stockport, SK1 1NE Shape Exhibition, Gallery of Photography, Glasgow G1 1UG Comme Ca Art X Awol Studios Exhibition, Comme Ca Gallery, Manchester Rogue Women 2, Rogue Studios Project Space, Manchester Warrington Contemporary Open Exhibition, Warrington Museum and Art Gallery 2022 Shutter Hub Everyday Delight 2022, online exhibition Shutter Hub Yearbook 2022, online exhibition Bodfa Continuum, Plas Bodfa, Llangoed, Anglesey, Wales Manchester Open 2022, Home, Manchester, M15 4FN Postcards from Europe, Art at Arb, University of Cambridge, CB3 9DT 2021 Starting Space, Virtual Gallery Space, Artsteps and @ThePhotoEdge We View Things Differently Now, Rogue Studios Project Space, Manchester Shutter Hub Yearbook 2021, online exhibition Auckland Festival of Photography, Auckland, New Zealand In Manchester, Saul Hay Gallery, Manchester Awards 2024 Finalist Women in Art Prize 2021 Arts Council England DYCP Grant 2019 Greater Manchester Arts Prize runner-up 2015 Waterside 1-0 micro commission Statement about AOAP Submitted Artwork The two Looking Back - Rewoven works are composite photographs in a new series looking at the history of tapestry used as a backdrop for decoration and warmth. They reference works by the painter Edouard Vuillard who created complex layers and collages of textiles, reminding critics of the woolly reverse side of a tapestry. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Siobhan McLaughlin Run Off From the Mine, 2024 Earth pigment and oil paint on sewn remnant materials and thread Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Siobhan McLaughlin is an artist and freelance curator based between Glasgow and Penzance. Working with remnant textiles and gathered earth pigments, her practice connects experiences of the landscape, layered with memories and connections to people, the body, and time. Exploring themes of place, memory, and sustainability, she considers how past activities leave impressions on our ecologies. Education 2014-2019 MA Fine Art, Painting and History of Art at Edinburgh College of Art and the University of Edinburgh, Scotland. 2013-2014 Portfolio Preparation, Tramway Visual Art Studio, Glasgow, Scotland. Solo Exhibitions 2024 Pilgrimages, Hweg Gallery, Penzance, Cornwall Group Exhibitions Selected Group Exhibitions: 2024 British Art Fair, Wilhelmina Barns-Graham Trust, Saatchi Gallery, London, England Make Yourself at Home, Hweg Gallery, Penzance, England Residency Room, VAS Centenary, Royal Scottish Academy, Edinburgh, Scotland London Art Fair with Ruup & Form, Islington Business Centre, London, England 2023 Elemental, Royal Scottish Academy, Edinburgh, Scotland Scottish Landscapes: A New Generation, Dovecot Studios, Edinburgh, Scotland Coast to Coast, 108 Fine Art, Harrogate, England 2022 HERE: Between you and the World, POP Griffiths Gallery, Brisbane, Australia 50 X 50, The Auction Collective, London, England Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London, England On Paper, PAPER Gallery, Manchester, England 2021 Abstract Zeitgeist, Rafiki Gallery at the Biscuit Factory, Edinburgh, Scotland 2019 OPEN SSA+VAS, Royal Scottish Academy, Edinburgh, Scotland July Exhibition, Arusha Gallery, Edinburgh, Scotland All, Entire, Whole, New Glasgow Society, Glasgow, Scotland 2018 Guest Room in Sightseers, G39 Gallery, Cardiff, Wales THE SALON, EMBASSY Gallery, Edinburgh, Scotland Awards 2023 Stephen Palmer Bursary Award, Engage Scotland Art Trade Forum Bursary, Paul Mellon Centre for British Art, London Henderson Bursary Award, Pittenweem 2022 VAS From One to Another: Cornwall x Scotland Exchange Residency, Wilhelmina Barns-Graham Trust and Borlase Smart John Wells Trust RSA Residencies for Scotland- Cromarty Arts Trust, Royal Scottish Academy 2021 Hospitalfield Graduate Residency Programme, Arbroath Shortlisted for the Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London Selected Member of PLACE Collective, UK's Centre for National Parks, Cumbria 2020 Selected member of Emerging Curators Group, British Art Network, Tate, London 2019 SSA Wilhelmina Barns-Graham Award, Wilhelmina Barns-Graham Trust, RSA Huntley MacDonald Sinclair Prize for Best Dissertation, Edinburgh University Helen A Rose, Bequest for distinguished artwork, Edinburgh College of Art 2018 Research Grant, Conservation dept. at the Pompidou Centre, Paris, Edinburgh University Astaire Art Prize, 2nd Place, Edinburgh College of Art Statement about AOAP Submitted Artwork My practice starts by walking: slowing down to encounter the nuances of landscape, gathering spectrums of site-specific colours affected by light, weather and time. I prioritise care while gathering earth to grind into pigment, connecting to an ancient form of paint-making. Remnant materials - an old fisherman's smock, childhood bedroom curtains - are gathered and sewn to create a patchwork canvas for painting. The gathering of these materials is important, from the landscapes I walk in and communities I meet, sewing the stories and histories of these textiles into the landscape of the painting. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Bellamy Jean The Star, 2025 Textile Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bellamy Jean is a contemporary textile artist and designer specialising in original and bespoke embroidery. She started sewing in the back of her mother's lingerie shop and has spent years developing her skills and style. Focused mainly on textiles, Bellamy creates meaningful pieces using fabric and thread. Through her work, she studies the art of alchemy and the symbolism surrounding world religions past and present, as well as colour compositions through the work of Hilma af Klint, Joseph Albers, and Alexander Calder. Each of her pieces is hand-drawn and embroidered freehand using an Industrial freehand embroidery machine. Education Art Foundation, City and Guilds school of fine art 2006 Freehand machine embroidery course, London Embroidery Studio 2017 Digital embroidery course, London Embroidery Studio, 2018 Group Exhibitions Babes in Arms, The De La Warr Pavilion, Bexhill, UK, September 2022 Babes in Arms, Big Yin Gallery, St Leonards on Sea, UK, November 2021 Statement about AOAP Submitted Artwork The two pieces that I have created are symbolic portrayals of femininity, with a star being the focal point of both embroideries. I used a star as an independent symbol within the pieces to show a life-giving source, the most common perception of being female. My aim is to further the conversation on the way women are perceived and portrayed in today's society. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Bellamy Jean Finding the Light, 2025 Textile Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bellamy Jean is a contemporary textile artist and designer specialising in original and bespoke embroidery. She started sewing in the back of her mother's lingerie shop and has spent years developing her skills and style. Focused mainly on textiles, Bellamy creates meaningful pieces using fabric and thread. Through her work, she studies the art of alchemy and the symbolism surrounding world religions past and present, as well as colour compositions through the work of Hilma af Klint, Joseph Albers, and Alexander Calder. Each of her pieces is hand-drawn and embroidered freehand using an Industrial freehand embroidery machine. Education Art Foundation, City and Guilds school of fine art 2006 Freehand machine embroidery course, London Embroidery Studio 2017 Digital embroidery course, London Embroidery Studio, 2018 Group Exhibitions Babes in Arms, The De La Warr Pavilion, Bexhill, UK, September 2022 Babes in Arms, Big Yin Gallery, St Leonards on Sea, UK, November 2021 Statement about AOAP Submitted Artwork The two pieces that I have created are symbolic portrayals of femininity, with a star being the focal point of both embroideries. I used a star as an independent symbol within the pieces to show a life-giving source, the most common perception of being female. My aim is to further the conversation on the way women are perceived and portrayed in today's society. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
* Ottoman. An Algerian embroidered sash, 18th century, embroidered in brick stitch, using coloured silks in reds and blues, with smaller blocks of cream, purple, and green, and outline stitch in black, depicting repeated groups of large foliate palmettes, within a border of the same, on a buff fine muslin ground, occasional small holes (mostly at edges), some losses to needlework (mainly to black outlines), central join across short width and one end with 33 cm long repair at corner (pattern not continuous in both cases), 41 x 264 cm (16 x 104 ins) QTY: (1)NOTE:Algerian embroideries such as this were stitched by professional needlewomen, and were typically worked in this style and palette. The textiles produced were used for a number of purposes including sashes, head coverings, scarves, shawls and curtains. The finely woven ground is somewhat delicate and therefore such pieces are scarce at auction. See Philadelphia Museum of Art for similar: accession number 1922-29-2.
* Mezzaro. A 19th century Italian panel, cotton panel, one machine-stitched vertical join, lavishly block-printed in shades of pink, purple, green, yellow, and brown, on a cream ground, depicting large floral branches with exotic birds amongst them, and animals on a rocky mound below, wide border of palm trees and birds perched in pomegranate trees, between narrow borders, lightly toned, several vertical closed tears strengthened on verso, longest (39 cm) machine-stitched, 2 patched holes measuring 10 x 11 cm and 8.5 x 6 cm, latter with 3 associated closed tears (approximately 5 cm) crudely stitched, 263 x 139 cm (103.5 x 54.5 ins), together with a small quantity of other textiles, comprising an assortment of printed and woven fabric pieces, and an embroidered beetle wing and goldwork cream silk cloth, silk perishing in places, 12.25 x 11.75 cm (31 x 30 ins)QTY: (9)
John Knox Ferguson, Scottish fl.1884-1894- Portrait of a young black man wearing an earring; oil on canvas, signed and dated 'J. Knox-Ferguson 1884' (upper right), 50.8 x 39.6 cm. Provenance: Private Collection, UK. Note: In the present work, we see a portrait of a young black man with a delicate earring in their left ear, at three quarters pose to the viewer. The rich red garment, worn like a wrap, is adorned with panels of grey bearing white and gold oval shaped shield-like motifs. The inclusion of the motifs and the garment indicate an intention to affiliate the subject with a specific region of Africa or tribe. Knox Ferguson was born in Edinburgh, but made his career painting in England, in St Ives and mostly in and around Worcestershire, specifically Kidderminster. As such, it is likely that the subject was painted with a model, and is intended to be an imagining of a wealthy African dressed in fine traditional garments in the late 19th century, rather than the subject being a portrait of a specific person of note. Ferguson was active between 1884 and 1894. The Victoria & Albert Museum hold two works, a pencil sketch and print, by Ferguson, both suggestions for the Church of St Mary and All Saints in Kidderminster. However, Ferguson’s masterpiece is considered to be his 1885 painting 'The Last Interview', which sold at Christie’s New York in 2003 for $15,535. Further works have appeared in auctions and for sale online, including several paintings of rural scenes, still lifes and portraits of women. In Kidderminster, Ferguson produced a number of pencil sketches of the town, as well as paintings, for the carpet manufacturer Peter Adam, who seems to be the closest thing to a patron that can be identified. Therefore, it is possible that the painting was made for Peter Adam, or another patron in Kidderminster. Research into African textiles contained in online collections of major museums struggled to find any useful similarities to the sitter's dress. In the first instance, the deep red of the garment suggests it to be made of silk, which would be appropriate given the gold highlighting. Furthermore, Ferguson has captured well the iridescence of the gold, suggesting silk rather than gold cotton or other such material. Silk garments appear rarely in the African collections of major museums, and those that do appear were manufactured outside Africa, for example in India. The traditional textiles of Western Africa, where gold was available and used in traditional arts, are predominantly cotton covered entirely in geometric, repeating patterns. Examples include Kente cloth, from Ghana, and Yoruba cloth, from Nigeria. These traditional garments do not fit with the garment in the painting which looks as if it would have been a solid red central panel and the grey with the shield-motif being in bands at either end.An examination of thousands of items in the collections of the Brooklyn Museum, Metropolitan Museum of Art, Victoria & Albert Museum, Smithsonian, George Washington Museum, British Museum, and National Museum of Liverpool yielded no similar shield motifs to those in the painting. In fact, the grey panels with the motifs are somewhat messy in appearance and not of rigid geometric form that would be expected of a traditional African design. A leading expert in the field of African textiles suggested that the design was almost impressionist, making the garment difficult to evaluate. He further pointed out that in the 19th century many fabrics were designed and manufactured in England for the African market. The form of the motif may have been inspired by the artist’s or manufacturer’s ideas of African art and could be said to be close in form to Zulu shields, which would have been familiar to an English audience around this time. Given the lack of similarity to a specific artistic tradition, the idea that the textile was created in England, or imagined by the painter, supports the hypothesis that the subject is an imagining of traditional dress rather than a specific portrait of a named individual. We may even speculate that the fabric was produced by the carpet maker Peter Adam, Ferguson’s patron in Kidderminster. In light of the research above, the portrait may well have been produced for an English museum or gallery in the manner of global ethnographic portraits that were popular in the 19th century.
LOUIS VUITTON Schultertasche "ALLSTON". Koll. 2002. Monogram Mat Burgundy mit silberfarbener Hardware. Längenverstellbarer Trageriemen mit Detail aus naturbelassenem Leder. Ein Außenfach mit Magnetverschluss, Hauptfach mit Reißverschluss, textiles Innenfutter. Dezente Gebrauchsspuren vorhanden. 30x8x18,5cm.| LOUIS VUITTON shoulder bag "ALLSTON". Coll. 2002. Monogram Mat Burgundy with silver-colored hardware. Adjustable shoulder strap with natural leather detail. One outer compartment with magnetic closure, main compartment with zipper, textile lining. Subtle signs of wear. 30x8x18.5 cm.
LOUIS VUITTON Rucksack "JOSH". Koll. 2018. Monogram Macassar mit Details aus schwarzem Glattleder und silberfarbener Hardware. Hauptfach mit umlaufendem Reißverschluss, ein kleines Außenfach, textiles Innenfutter. Längenverstellbare Trageriemen. Staubbeutel und Rechnung anbei. Sehr guter Erhalt.| LOUIS VUITTON backpack "JOSH". Coll. 2018. Monogram Macassar with details in smooth black leather and silver-colored hardware. Main compartment with all-round zipper, one small outer compartment, textile lining. Length-adjustable shoulder straps. Dust bag and invoice enclosed. In very good condition.
![Textiles.- Die Neue Deutsche Kunstspinn-Faser [The New German Synthetic Spinning-Fibre], various samples of fibres, cloth etc](https://cdn.globalauctionplatform.com/4114ac53-cefd-49ab-8026-b28b00b69633/42286692-d202-4fa8-be9f-b28e0119dad0/468x382.jpg)
Textiles.- Die Neue Deutsche Kunstspinn-Faser [The New German Synthetic Spinning-Fibre], various samples of fibres, cloth etc with explanatory text, most samples removable, one lacking, tear affecting some text to inside upper cover, some light soiling, housed in original wooden presentation box, paper label to spine with "Zellwolle" in ink manuscript, some loss to spine, quite worn, box c.500 x 400 x 35mm., Wuppertal-Elberfeld, Lehrmittelwerkstätte Otto Simmer, n.d. [20th century].
A PAIR OF FRAMED TEXTILES PERUVIAN hermetically sealed inside the mounted frames PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW. Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW The larger measures approximately 29.5cm x14cm, the smaller measures approximately 12cm x 18cm both measurements are of the fabric samples only Including frames they measure 49cm x 32cm, and 29cm x 37cm respectivelyADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot.Condition Report Disclaimer
STAN MORTENSEN/FOOTBALL INTEREST; an historic red colour change jersey first used by England in the match vs Argentina at Wembley Stadium 1951. This number 8 shirt was worn by Blackpool's Stan Mortensen (1921-1991), the long sleeved shirt made by Hope Brothers Ltd, the white embroidered cloth patch with the Three Lions crest inscribed Argentina 1950-51. This match was originally organised as part of the Festival of Britain celebrations. Argentina were the second international team to play at Wembley Stadium after Scotland. This shirt was used in the England vs Argentina match as England's white jersey resembled Argentina's pale blue and white striped jersey, and Argentina travelled without an alternate jersey. The red colour change shirt was most notably worn at Wembley fifteen years later in the World Cup Final. Stan Mortensen (1921-1991) most notably played for Blackpool, Preston and England where he scored 25 goals in 23 appearances. Mortensen is the only player to score a hat trick in the 1953 FA Cup Final, later known as the Stanley Matthews final. Provenance: This iconic shirt was given to the vendor by Stan Mortensen circa 1975. The vendor knew Stan through his father who worked for Berisfords Textiles in Congleton. After retiring from football Stan become a wholesaler in haberdashery, as a result of which he began to buy and build a relationship with Berisfords. The vendor's father dealt with Stan from the early 1970s to mid 1980s. Stan would generally visit Congleton every six to eight weeks normally on a Saturday to do business with the vendor's father and they became friends over time. In circa 1975 when the vendor was around fourteen years of age he asked Stan for a football shirt, and on his next visit he gifted this iconic jersey to the vendor, together with an England Cap commemorating the 90th year anniversary of the FA, which is also included in this auction.
STAN MORTENSEN/FOOTBALL INTEREST; a rare England cap awarded to Stan Mortensen (1921-1991) for England vs Rest of Europe 1953, the match was held to commemorate the 90th year anniversary of the FA, played at Wembley in front of 97,000 spectators, the match ended 4-4.Provenance: This England cap was given to the vendor by Stan Mortensen circa 1975. The vendor knew Stan through his father who worked for Berisfords Textiles in Congleton. After retiring from football, Stan become a wholesaler in haberdashery, as a result of which he began to buy and build a relationship with Berisfords. The vendor's father dealt with Stan from the early 1970s to mid 1980s. Stan would generally visit Congleton every six to eight weeks, normally on a Saturday to do business with the vendor's father and they became friends over time. In circa 1975 when the vendor was around fourteen years of age he asked Stan for a football shirt, and on his next visit he gifted this cap to the vendor, and also the red iconic jersey which is also included in this auction.
Art. A large collection of modern art reference & related, including Italian Frescoes..., 5 volumes, by Steffi Roettgen et al, New York: Abbeville Press, circa 1997, all original cloth in dust jackets, square folio, The Cambridge History of Western Textiles, 2 volumes, edited by David Jenkins, 1st edition, Cambridge: University Press, 2003, original cloth in dust jackets & slipcase, 8vo, The Buildings on England..., By Nikolaus Pevsner et al, 21 volumes, mixed editions, London: Penguin, circa 1990s, all original cloth in dust jackets, 8vo, together with others similar, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (6 shelves)
Textiles - Lace Making - a 20th century turned treen floor standing tripod lacemaker's tripod pillow stand, 78cm, with various pillows and accessories; a 20th century turned treen table top bobbin winder, 20cm wide; other lace making accessories, including bobbins, books, patterns, cottons and threads, pins, lace samples, a Victorian rosewood mother-of-pearl inlaid workbox, 20cm wide; a good comprehensive starter kit; large qty
Circa 2018Including examples in black faux fur and printed textiles, each in original packaging.Box height 13 inches (33 cm), width 7 1/8 inches (18.1 cm), depth 2 1/2 inches (6.4 cm). Please note this lot is offered AS IS.Please note this lot is offered AS IS.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
![Original bindings with dust jackets, topics on art, textiles, jewelry, etc., approximately [35] volumes. Please note, this lo](https://cdn.globalauctionplatform.com/874dfeda-af57-4fef-bba4-b28301731dcf/6aa9cc79-0d6a-435d-b161-b28400f8a174/468x382.jpg)
Original bindings with dust jackets, topics on art, textiles, jewelry, etc., approximately [35] volumes. Please note, this lot is offered AS IS.Please note, this lot is offered AS IS.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
1981-2007 A.D. Aga Khan Trust for Culture - Spirit & Life - Masterpieces of Islamic Art from the Aga Khan Museum Collection - London, 2007, hardback with dustwrapper, 211 pp, colour; Sara Kuehn - Central Asian and Islamic Textiles and Works of Art Volume 2 - London, 2001, card covers, 39 pp, colour; Museum of Islamic Art - From Cordoba to Samarqand - Paris, 2006, hardback, 216 pp colour; Sophie Makariou - Chefs-d'oeuvre Islamiques de l'Aga Khan Museum - Paris, 2007, card covers, 223 pp, colour, foldout map; P.R.S. Moorey et al. - Ancient Bronzes, Ceramic and Seals: The Nasli M. Heeramanck Collection - Los Angeles, 1981, card covers, 271 pp, monochrome; Collection of calligraphic text photos in a card cover. 5.9 kg total, 18.5 x 25.5 - 25 x 29 cm (7 1/4 x 10 - 9 7/8 x 11 3/8 in.). [6, No Reserve] Property of a North West London gentleman.
1938 A.D. Asia Institute, Tehran: I Pre-Achaemenid, Achaemenid and Parthian Periods; II Sasanian Periods; III Architecture; IV The Ceramic Arts, Calligraphy and Epigraphy; V The Art of the Book and Textiles; VI Carpets, Metalwork and Minor Arts; VII XII - plates - hardback in quarter-calf binding gold block titling, monochrome plates. 26 kg total, 31 x 23 cm each (12 1/4 x 9 in.). [12, No Reserve] Property of a North West London gentleman.
20th century A.D. F. Spuhler - Islamic Carpets and Textiles in the Keir Collection - London, 1978, hardback with dustwrapper, 251 pp, colour and monochrome; Hadji Baba Ancient Art, Art of the Eastern World, London, 1996, hardback with dustwrapper, 210 pp, colour; Wilfried Seipel - 7000 Jahre Persische Kunst - Kunsthistoriches Museum Wien, 2000, card covers, 342 pp, colour. 4.8 kg total, 22.5 x 28 - 24.5 x 28 cm (8 7/8 x 11 - 9 5/8 x 11 in.). [3, No Reserve] Property of a North West London gentleman.
1973-2001 A.D. Julian Raby - Qajar Portraits - London, 1999, card covers, 104 pp, colour and monochrome; Sara Kuehn - Central Asian and Islamic Textiles and Works of Art Volume 2 - London, 2001, card covers, 39 pp, colour; Cyrus Parham - The Bolvardi carpet - Tehran, 1973, hardback with dustwrapper, 56 pp, colour; David Black - Embroidered Flowers from Thrace to Tartary - London, 1981, card covers, 52 pp, colour and monochrome, signed by the author. 1.7 kg total, 22.5 x 22.5 - 22.5 x 29.5 cm (8 7/8 x 8 7/8 - 8 7/8 x 11 5/8 in.). [4, No Reserve] Property of a North West London gentleman.
A QUANTITY OF ART AND TEXTILES IN FOLIOS, FRAMED AND MOUNTED, all of the work appears to be by an amateur artist called Sue Fawcett and covers circa 1990s -2000s, to include watercolour and pencil landscapes, portraits, still life studies, and textile samples etc, some are signed but the majority are not (13 folios plus loose)
FOUR BOXES AND LOOSE SEWING, EMBROIDERY, AND CHRISTMAS SUPPLIES to include a box of packaged and loose wool of various kinds to include Mohair, Acrylic-Cotton blends in a variety of colours, various reels of ribbons, assorted knitting needles and vintage designs, a suitcase containing assorted textiles, a hat box, two boxes of Christmas decorations to include tinsel, decorations, and artificial flowers, etc (4 boxes and loose) (s.d)
This antique Korean Tansu cabinet, constructed from solid elmwood, features a traditional design that embodies the elegance of Korean craftsmanship. The cabinet is adorned with three upper drawers fitted with brass handles and two lower compartments secured by butterfly-shaped brass hardware, a design often symbolizing love and happiness in Asian culture. The paneled wood construction showcases natural woodgrain patterns, while the intricate brass fittings add a decorative and functional touch. Resting on elegantly shaped bracket feet, this piece combines practicality with timeless beauty. The top surface bears signs of age and use, adding character and authenticity to the piece. Korean cabinetry reflects a harmonious blend of functionality and artistry, often emphasizing clean lines and symbolic motifs. Butterfly brass hardware is a hallmark of traditional Korean furniture, symbolizing transformation and joy. Cabinets like this were commonly used for storage, including clothing, textiles, or household goods, and were an essential part of Asian interiors. The use of elmwood, known for its durability and beautiful grain, highlights the exceptional quality of materials favored by Asian artisans. Today, such cabinets are highly valued for their craftsmanship and historical significance. The inside includes Japanese newspaper clippings on the side parts. Dimensions: 36.50"L x 15.25"W x 31"HCountry of Origin: JapanCondition: Age related wear. Minimal traces of wood repair on top insert.
A CEREMONIAL CLOTH (TAMPAN), LAMPUNG, SUMATRA, INDONESIA, 19TH CENTURY woven russet and indigo cotton, with traces of gilt metal foil, with an intricate design of stylised ships amongst semi-abstract figures and animals, surrounded by bands of geometric and scroll motifs, mounted on stretcher, 56 x 60cm Tampans were produced mostly by the women of Lampung, a region rich from the cultivation of pepper. Almost all families would have possessed a few of these cloths which were used for display at family ceremonies such as marriage and had a variety of functions including being used to cover food. For other Sumatran ceremonial textiles with stylised ship designs, see Gittinger 1985, pp.89-93. See also lot xxxxxxxSlightly frayed in places, some losses
Preußischer Degen für Offizieregemarkt CLEMEN & JUNG/SOLINGEN, gerade Klinge, einschneidig (nicht geschliffen), beidseitig mit Ätzdekor und doppelter Hohlkehle, vergoldetes Messinggefäß mit preußischem Adler auf dem Bügel, der Griff mit Fischhaut und Draht umwickelt, dazu orig. textiles Gehänge, L: 80/95cm. Min. Kratzspuren am Knauf.
White linen square tablecloth, embroidered at each corner with a vase of flowers, 120cm approx.; and a large quantity of linen and other textiles, almost all with embroidered floral decoration, including tablecloths, runners, napkins, tray and cushion covers, pillowcases, huckabuck towel, and a napkin for Queen Elizabeth II's Coronation, 1953, etc. (a lot)
White linen square tablecloth, the lace spandrels and border with teacup and saucer, jug, sugar bowl, and teapot decoration, 117cm approx.; a large quantity of linen and other household textiles with lace borders including tablecloths, runners, tray cloths, napkins, antimacassars, pillowcases; circular crochet lace table cover, Dia.118cm, coasters, and other lace items, etc. (some pieces with stains). (a lot)
White linen damask tablecloth, with a central floral wreath, within a multiple banded border, 133 x 133cm approx.; 6 other damask table cloths, varying sizes; embroidered tablecloths, and a quantity of linen and other white textiles, including napkins, tray covers, runners, etc., (most pieces with stains). (a lot)
This finely carved and polychromed wood sculpture of the Madonna and Child is attributed to the Austrian (East Tyrol) School, a distinguished regional tradition of woodcarving that flourished from the late Renaissance into the Baroque period. Likely dating from the mid-17th to early 18th century, the composition presents the crowned Madonna seated in majesty, holding a scepter as the Christ Child balances on her lap, grasping an orb-a traditional symbol of his divine authority as Salvator Mundi (Savior of the World).The East Tyrol School was part of a broader Alpine tradition of master woodcarving, which thrived in Austria, Southern Germany, and Northern Italy during the 16th to 18th centuries. Rooted in the Gothic tradition, these workshops evolved under the influence of the Italian and Bavarian Baroque styles, blending dramatic expression with naturalistic details. The region's skilled artisans, often trained in monastic workshops, created religious sculptures that adorned churches, chapels, and private devotional spaces.Sculptures from the East Tyrol School are known for their graceful yet expressive figures, finely carved drapery, and polychrome decoration that enhances realism. Unlike the more theatrical compositions of the Italian Baroque, East Tyrol artisans emphasized piety and human tenderness, often portraying the Virgin Mary and Christ with soft, contemplative expressions rather than exaggerated movement.The influence of South German Rococo and Bavarian Baroque can be seen in the delicate rendering of facial features and intricate folds of drapery, while the use of gilding and rich color palettes reflects the influence of Venetian polychrome techniques. The present example exhibits these hallmarks, particularly in the lifelike facial expressions and the detailed treatment of textiles.Likely commissioned for a church or private chapel, this sculpture would have served as an object of veneration, reinforcing Catholic teachings on the divine role of the Virgin Mary and Christ. During the Counter-Reformation period, which saw a revival of religious imagery in Catholic Europe, such sculptures played an essential role in inspiring devotion and reinforcing doctrinal themes.The back of the sculpture bears an inscription, "1646 MB," though it is uncertain whether this marks the actual date of creation or a later addition the date is consistent with the style and artistic elements presented. Artist: Austrian (East Tyrol) SchoolIssued: Mid 17th- Early 18th centuryDimensions: 34"L x 18"W x 61"HCountry of Origin: AustriaProvenance: Chapel near Lienz, Austria; John and Johanna Bass Collection, New York, NY; Bass Museum of Art, Miami Beach, FL, 1963. Condition: Age related wear. Sporadic areas of chipped wood. The cross is missing on the orb.
Dr Christopher Dresser (1834-1904) attributed silver 'Komai' bachelor tea set, comprising tea pot, sugar bowl, milk jug, six matching spoons, sugar nips together with a silver heart-shaped serving tray. This tea set has a Japanese influence with its irregular patchwork fragments contrasting with neat geometrical motifs, in silver and silver gilt, assay marked for Birmingham, dated 1879, mm Frederick Elkington. The tray measures 48 x 40 cms, the teapot 16.5 x 11.5 x 8 cms, milk jug 9.5 x 6 x 4.5 cms, sugar bowl 13.5 x 7.5 x 6.5 cms, teaspoon 11 cms, sugar nips 10.5 cms. Weight approx. 2350 gms. Note: Born in Glasgow in 1834, Dresser began his training at Somerset House's Government School of Design, a natural talent, Dresser was accomplished in all aspects of industrial design including furniture, carpets, ceramics and textiles. Japanese artists began to display their artistic wares in the International Exhibitions of London in 1862 and Paris in 1867, this sparked an imitative movement by designers working around this time who encountered Japanese art after their long self-imposed isolation. Dresser was both fascinated and inspired by Japanese design and aesthetic principals. According to Durant, Dresser visited Japan in the first three months of 1877 described in his book Japan, its Architecture, Art and Art Manufactures, published in 1882, Dresser states "I merely wish that we avail ourselves of those methods which are in advance of our own; not minding where they originated. Art, to be of value, must be national....we may borrow what is good from all peoples; but we must distil all that we borrow through our own work". Dresser was associated with Elkington from 1865-1890, his designs for the firm were inspired by the Japanese teapots he so admired on that visit. Cites reference R3P3VUD4. Literature: Stuart Durant, Christopher Dresser, London, 1993, (pg. 89, similar design illustrated). Widar Halén, Christopher Dresser, London 1990, (pg 151, similar design illustrated). Fine Art Society, The Aesthetic Movement and the Cult of Japan, October 1972, no. 234 (similar design exhibited) Provenance: Property of gentleman. Condition Report Each piece is in very good condition.
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