Vibrant and iconic, this framed Gucci silk scarf features a fierce jungle tiger prowling through lush foliage in a vivid botanical setting, bordered by a bamboo motif. The rich coloration and dynamic composition showcase the high design standards of Gucci textiles. The scarf is framed under glass with a sleek silver-tone frame, preserving the textile and its bold imagery. Visible Gucci branding is featured on two corners of the scarf, and the original Gucci fabric label is affixed to the back, confirming it is 100 percent silk and made in Italy. The piece is personalized on the backing paper with a handwritten note reading Merry Christmas 80, and includes a framer's stamp from Henrys Picture Framing in Birmingham, Alabama. Artwork can be unframed and rolled for shipment.Issued: c.1980Dimensions: 32.75"L x 32.75"HCountry of Origin: ItalyCondition: Age related wear.
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A printed cotton quilted throw, late 19th/early 20th century, constructed using French fabric, the central field decorated with flowers on a black ground, with an applied border,223 x 210cmProvenance: The Hildegard Heygate Textiles Collection.Condition ReportGeneral wear and fading to colours. Some moisture marks to the reverse. Overall in good condition and ready for use.
A Kanduri shrine cloth, 20th century, Indian, with appliqué decoration depicting figures, animals and buildings, four suns to the corners and a chevron border,96 x 93cmProvenance: The Hildegard Heygate Textiles Collection.Condition ReportMusty smell from long storage. Discolouration. Some small holes and frays.
A group of wool shawls, comprising: a Kashmir dochalla shawl, 19th century, Indian, the cream wool ground woven with pallas borders composed of floral boteh arranged in graduated rows, 305 x 159cm, together with a pashmina shawl, 300 x 148cm, and another cream pashmina with embroidered border, 341 x 170cm (3) Provenance: The Hildegard Heygate Textiles Collection. Condition ReportDochalla - Slight musty smell. Light traces of age to be expectected. Pashmina - Some old moth holes, nothing that appears active. Small darned repairs. A couple of stains. Cream pashmina - Several holes and stains. Musty smell.further images added,
A group of three paisley shawls, comprising: a 19th century example, probably Scottish, woven with repeating boteh motifs, in reds, pinks and greens, 178 x 182cm, and two others (3) Provenance: The Hildegard Heygate Textiles Collection. Condition ReportTwo areas of fraying/holes to one. One with noticeable holes and frays. Musty smell.further images added,
A Qashqai double saddle bag, 20th century, with repeating geometric motifs to a dark blue ground, the interior with monochrome chequerboard pattern,57cm wide 100cm long when openProvenance: The Hildegard Heygate Textiles Collection.Condition ReportSlight musty smell. Age related wear and distress but stable.
Textiles - lace and linen - a small sample of Irish lace; needle lace sections; a white cupwork tea cosy, table cloth and six napkins; an Irish crochet purse, table mat and a collar; tape lace section; a child's woollen bed jacket; table cloths and napkins; night dresses; an apron with lace trim; a nightdress case; other white crochet and lace, some machine made; qty
A FINE AND RARE QUEEN ANNE NEEDLEWORK WALNUT AND BEECHWOOD WING ARMCHAIR CIRCA 1710-1715 The serpentine crest rail flanked by wings continuing to out-scrolling arms, the seat cushion resting on an ogival shaped seat rail on squared cabriole supports, covered overall in 18th century needlework worked in gros and petit point polychrome wool with silk highlights depicting the Baptism of the Eunuch of Ethiopia by Philip (Acts VIII.26-39); details including the chariot, attendants and open Scriptures on the seat derive from an illustration by Matthew Merian of Basel in the 1627 New Testament published in Frankfurt (M. Swain, pp. 77-78) 138.5cm high, 82.5cm wide, 80cm deep Provenance: With Frank Partridge Ltd, London, circa 1928 Mr. Robert Tritton, Godmersham Park, Canterbury, Kent Collection of Irwin Untermyer, 1964 Sold Christie's New York, Living With Art: Property of the Metropolitan Museum of Art (3797); 14th & 15th December 2015, Lot 113 ($47,500 incl. BP) Private Collection Literature: Exhibition of Art Treasures under the Auspices of The British Antique Dealers' Association, Grafton Galleries, London, 1928, no. 31, p. 9 C. Hussey, 'Godmersham Park, Kent, III', Country Life, 2 March 1945, p. 377 (shown in the Library at Godmersham). Y. Hackenbroch, English Furniture with some furniture from other countries in the Irwin Untermyer Collection, Cambridge, Massachusetts, 1958, pl. 47-48, figs. 70-71 Y. Hackenbroch, English and Other Needlework, Tapestries and Textiles in the Irwin Untermyer Collection, Cambridge, Massachusetts, 1960, pl. 100-101, figs. 138-139. M. Swain, 'Pictorial Chair Covers: Some Engraved Sources', Furniture History, 1975, pp. 77-78, figs. 164-166, 168. Highlights of the Untermyer Collection of English and Continental Decorative Arts, New York, 1977, p. 71, no. 121.Exhibited: London, Grafton Galleries, Exhibition of Art Treasures under the Auspices of The British Antique Dealers Association, 1928, no. 31 (with Frank Partridge) Condition Report: Condition Report Disclaimer
David K. Stone (American, 1922 - 2001)"Trading in Santa Fe"Signed lower right. Original Oil painting on Canvas.Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting originally appeared in the Fleetwood Trails West Collection of Fine Art Prints as "Trading in Santa Fe" published in 1983.Founded in 1609, Santa Fe served as a northern outpost of New Spain for more than two centuries. It remained isolated from the United States until 1821, when a handful of merchants moving westward forged the Santa Fe Trail. Sharing unknown risks, these few courageous men loaded their merchandise on pack animals and successfully completed the trip to Santa Fe in four months. After selling their merchandise at a handsome profit, they quickly returned home to prepare for a return trip. Encouraged by the reports of success, more merchants headed west to Santa Fe to profit from the newly discovered trade center. In Sante Fe, the cargoes of textiles, lead, hardware, cutlery, glassware and many other items were traded for silver, mules, pelts and hides, blankets and other items that were in demand in the East. This "commerce of the prairies" thrived in spite of the hostile Indian tribes of the Southwest, burdensome duties, wagon tolls and official graft, in addition to the normal problems of trade. Indeed, from 1822 a Santa Fe trade existed that changed the history of the Southwest. Trappers and fur traders now worked out of Santa Fe to gain access to the southern Rockies -- rich in beaver and other wildlife. These mountain men, too, became an integral part of the trading business in Santa Fe.Overall Size: 18 x 21 in.Unframed.(B07277)
Two boxes of assorted vinatge textiles including linen tablecloths, napkins and a Thomas Goode quilted bedspread (266cm x 237cm approx.) and two other bedspreads (2 boxes) Condition ReportSome stains, loose threads and damge throughout. Please see additonal photos. Please note given the volume of items in this lot we cannot guarantee all damages or condition issues have been picked up on.
Assorted Costume, Textiles comprising three pairs of Colefax and Fowler Brook collection, Lymington pattern cotton curtains, printed with peach coloured roses,150cm by 127cm, 118cm by 94cm, 148cm by 80cm a part roll of blue floral damask, Waverly Fabrics, Songbirds pattern remnant, Waverly Hatfield pattern, two Libertry skirts, a Hudsons Bay Point blanket in red wool with black stripes, various hats, patchwork cushions, shoe lasts etc, (three boxes)lymington pattern all lined, in good condition no staining, stains, or holes
EIGHT COMPANY SCHOOL WATERCOLOUR PORTRAITS OF INDIAN TRADESMEN Possibly Kolkata (Calcutta), West Bengal, Eastern India, ca. 1860s – 1880sOpaque pigments on paper, each circular portrait depicting an Indian tradesman engaged in his profession, the trades represented including a farmer ploughing with an ox, a cotton carder, a potter at his wheel, a man scrubbing and washing textiles in the river, a textile wood block printer preparing a kalamkari, a merchant or grocer at his stall, a metalworker or smith at his bench, and another enjoying a moment of relax, smoking a huqqa in front of his working tools, the scenes set in delicate landscape or workshop backgrounds, the series exemplifying the topographical and documentary qualities characteristic of Company School paintings, a tradition which flourished in the 18th and 19th centuries as Indian artists responded to European patronage under the East India Company, mostly produced for British patrons, offering a valuable visual record of traditional Indian occupations, attire, caste system, and material culture of the late East India Company and early British Raj period, each set of four mounted, glazed and framed.Each approx. 84cm x 28cm including the frame For a similar series with further sellers and Indian subjects, please see the next lot 40. Each approx. 84cm x 28cm including the frame Qty: 2
209 ISLAMIC, INDIAN AND SOUTHEAST ASIAN ART AUCTION CATALOGUES Reference libraryAn extensive and valuable reference library of approximately 209 auction catalogues from Christie’s, Sotheby’s, and Bonhams, covering a wide range of Islamic, Indian, Himalayan, and Southeast Asian art. Includes important single-owner sales, themed collections, and major annual auctions from London and New York. Subjects include manuscripts, miniature painting, sculpture, jewellery, ceramics, textiles, and ethnographic objects. An indispensable resource for scholars, dealers, collectors, and specialists in non-Western art.
237 ISLAMIC, INDIAN, SOUTHEAST ASIAN, EAST ASIAN ART & RUG CATALOGUES Reference libraryAn extensive and scholarly group of approximately 237 auction catalogues and gallery publications relating to Islamic, Indian, Himalayan, Southeast Asian, and East Asian art. Includes a complete or near-complete run of Simon Ray and Finch & Co. publications, as well as important rug and carpet sales from Sotheby’s, Christie’s, and Bonhams. Subjects covered include sculpture, ceramics, manuscripts, textiles, and ethnographic objects, offering invaluable reference for collectors, curators, and researchers. Qty: 237
Elegant and timeless, this Yves Saint Laurent Rive Gauche women's jacket is crafted in France from fine laine wool and features a richly detailed red and black paisley motif with hints of green. The jacket is fully lined and tailored in a classic silhouette with a rounded neckline and long sleeves, finished with a front closure of five ornate gold-tone textured buttons. Marked size 40, this striking piece showcases the designer's signature flair for luxurious textiles and bold pattern work, making it ideal for collectors or connoisseurs of vintage high fashion.Issued: c. 1980sDimensions: 26.5"LCountry of Origin: FranceCondition: Age related wear.
A Morris & Co Bird jacquard-woven wool panel designed by William Morris, designed by William Morris in 1878, rectangular on a red ground, framed, 58.5 x 44cm.LiteratureLinda Parry William Morris Textiles, Crescent Books, page 65 for a comparable example illustrated. Morris designed Bird in 1878 for the drawing room at Kelmscott House, Hammersmith.Charlotte Gere & Michael Whiteway, 19th Century Design, Thames & Hudson, page 210 plate 261 for a comparable example.
AFTER COCHRAN "Victoria", study of the young Queen, inscribed "Victoria at the age of 18", together with various other 19th Century fashion plates, two engravings of flowers and a box containing a small collection of textiles to include leather gloves, ermine tippet, Victorian cotton nightdress, etc. (2 boxes plus 2 pictures)
Zebrowski (Mark). Gold, Silver & Bronze from Mughal India, Alexandria Press, 1997, numerous colour and monochrome illustrations, original cloth gilt, 4to, together with Jaffer (Amin). Luxury Goods from India, The Art of the Indian Cabinet-Maker, 1st edition, V & A Publications, 2002, numerous colour illustrations, original dark blue cloth gilt in dustwrapper, 4to, plus Groddio (Franck, and Evelyne Jay Guyote de Saint Michel). Griffin on the Route of an Indiaman, London: Periplus Publishing, 1999, numerous colour and monochrome illustrations, original blue cloth gilt in dustwrapper, folio, and others on Indian art, including Hastividyarnava, edited by Dr. Pratap Chandra Chowdhury, Assam Publication Board, 1976, W. G. Archer, Visions of Courtly India, The Archer Collection of Pahari Miniatures, 1976, Veronica Murphy and Rosemanry Crill, Tie-dyed Textiles of India, Traditon and Trade, Victoria & Albert Museum, 1991, Krishna Lal, Bidri Ware, National Museum Collection, New Delhi, 1990, etc., mostly orignal cloth in dustwrappers, but including some paperbound editions, mainly 4toQTY: (41)
Rodeo Annie from Katherine's Collection at Silver Lake stands out with her flamboyant Western-inspired ensemble and whimsical expression. This 30-inch handcrafted collector doll is adorned in layers of vividly colored fabrics, from hot pink glittery boots and sequined ribbons to a bright teal skirt and rainbow-accented bodice. Her personality beams through her expressive hand-painted face, framed by bright blue hair and a pink netted hat with star applique. Annie wears beaded jewelry, striped stockings, and holds a red lasso - adding a playful rodeo flair. Her high-quality materials, mixed textiles, and imaginative design reflect the artistry and humor for which Katherine's Collection is known.Issued: 20th centuryDimensions: 30"HCountry of Origin: United StatesCondition: Age related wear.
The Warner ‘Gresham Grasshopper’ Seal Ring An important 16th century gold signet ring, circa 1560-1575, the oval crystal bezel intaglio carved with the coat of arms of Warner, with tinted foil behind to colour: Or a chevron between three boars’ heads couped sable, in a closed gold mount with tapered shoulders, the underside of the bezel engraved with a grasshopper in green enamel, weight 14.8gm, ring size Q. £10,000-£15,000 --- Provenance: This, until now unrecorded ring, is one of a series of ‘Gresham Grasshopper’ seal rings, gifted by the great Tudor financier Sir Thomas Gresham between the years 1560-1575. This ring was inherited through a private family from the 19th century, thence by descent, until circa 2010. Sir Thomas Gresham (1519-1579) The Gresham family were an old Norfolk family, merchants and financiers by trade. Sir John Gresham (1495-1556) worked for Henry VIII, Cardinal Wolsey and Thomas Cromwell. The young Thomas Gresham, following in his family’s footsteps, served his apprenticeship as a merchant under his uncle Sir John Gresham, dealing principally in woollen cloth and other luxury textiles such as silks and velvets. However his true talents lay elsewhere, like his father Sir Richard Gresham, in making deals in foreign exchange and arranging finance. His father “taught him some of the secrets of exchange dealing in Lombard Street and Antwerp” (Guy, J., p.13). By the 1530s Thomas began working and training within the family business, by this time the Gresham family firm were the largest shippers trading out of London. In 1543, at the age of just 24, Thomas was, again following family tradition, admitted as a liveryman of the Mercers’ Company, leaving England later that year to pursue business in the Low Countries. Quickly earning respect for his adept and skilful play of the financial markets, his trade took him regularly to Antwerp, the principal trading port for cloth in the European markets, and by the 15th century the “commercial capital of Northern Europe” (Guy. J., p.19). Here he began to undertake financial arrangements on behalf of Henry VIII, including smuggling over £30,000 of gold and silver coins into Bologne to pay the king’s mercenaries based in Antwerp. A shrewd and astute businessman, Thomas Gresham skilfully kept out of the religious fever sweeping back and forth across 16th century Europe and this determined neutrality allowed him to maintain his role as financial agent to the Crown, not only to Henry VIII, but Edward IV, Mary and finally Elizabeth I, negotiating foreign and domestic loans, advising on financial matters, and manipulating the exchange rates to allow him to restructure and reduce the crown debt. Under Elizabeth he was also appointed as ambassador to the Court of Margaret of Parma, Governor of Netherlands. In 1565 Thomas Gresham agreed to finance and oversee the construction of the Royal Exchange, largely modelled on the Antwerp Bourse, on a site between Lombard Street and Cornhill, a grand and appropriate venue for him and his fellow merchants to conduct their business. After his death in 1579, in his will Thomas Gresham left the Royal Exchange in trust, to be split between the Corporation of London and the Mercers’ Company but both parties being thereafter required to fund Gresham College, the first institution of higher education in London. Mark Warner (d.1583/1584) This ring bears the arms of the family of Warner. A potential candidate for these arms was Sir Edward Warner (1511-1565) of Polstead Hall and Little Plumstead in the County of Norfolk, but as Sir Edward bore for his arms: ‘Per bend indented sable and argent’, this cannot be the case. It is therefore believed that this ring belonged to Mark Warner, of All Hallows, Lombard Street. (Ref: Beacon Genealogical and Heraldic Research). Mark Warner is recorded as a cloth merchant and a member of the parish of All Hallows, Lombard Street, in the City of London. He was twice married at the church, first to Elizabeth Farthing in 1554 and then Judith Grymson in 1579, and was buried there in January 1583/4. His will (National Archives ref: PROB 11/66/333) lists two daughters, Cicelye and Elizabeth, and a son, John. The Warner family owned property at Stroud Green in Middlesex but had long been associated with Lombard Street. Mark’s grandfather John and his father Richard both contributed to the building of All Hallows church. Mark Warner was a member of the Worshipful Company of Drapers, being apprenticed in 1543 and called to the livery in 1552. By 1554 he had become a freeman, in this year he took his first apprentice, William Bocher, followed by a second apprentice James Cranfyld, prior to 1558. Like Gresham, Warner was not just involved in the cloth trade but also in finance. His name is included in a list of known insurers in London, in business between 1559-1573. (National Archives ref: HCA 24/39). At this time, high risks were associated with the safe passage of goods by sea. Marine insurance was provided by ‘Lombard Street’ custom (although not yet legislated for). Collectively groups of merchants based around Lombard Street would each loan against part of the cargo of a ship, the loan being dismissed if the vessel floundered, thus insuring the vessel and spreading the risk of overseas trade amongst the merchant community. When, in 1575, the Chamber of Assurances was set up to register insurance contacts, it was Gresham’s long time agent Richard Chandler who was given the position and an office inside the Royal Exchange. The quantity and value of overseas deals negotiated by Gresham must surely have necessitated elaborate insurance deals. Both being cloth merchants, involved in finance and insurance, and both residing and working in Lombard Street, Warner and Gresham’s paths would undoubtedly have crossed. The Grasshopper Rings This form of signet ring, with an intaglio carved rock crystal bezel, foiled behind to tint the colours of the coat of arms (allowing impressions to be taken without exposing the colours to hot wax), first appeared in Germany in the early 16th century (Princely Magnificence, cat no. 4 and 7). By the second half of the 16th century this style of ring had made its way to England where it became “the status symbol ‘par excellence’”. (D. Scarisbrick, 1993, p.48). Through the third quarter of the 16th century Thomas Gresham gifted a series of these rings to acquaintances/business associates, each with a foiled crystal bezel displaying their coat of arms, with an enamelled grasshopper to the underside of the bezel. The grasshopper was the family crest of the Gresham family, probably derived from their Norman ancestry, being descended from the De Gresses. After becoming citizens of England, the French prefix ‘DE;’ was dropped, and to distinguish them as landowners, the word ‘HAM may have been added, and under this modified name, the family coat of arms granted prior to 1460. The Gresham family coat of arms are: ‘Argent a chevron ermine between three mullets pierced sable’, with a crest: ‘On a mound a grasshopper vert’. These arms are recorded in the Heralds Visitations for the County of Norfolk, 1563 and for the City of London, 1568; these pedigrees indicate the arms were granted to John Gresham (died 1460), the 2x great grandfather of Thomas. Nine such ‘Gresham grasshopper’ rings are recorded. The Warner ring, until now undiscovered, brings this total to ten. The recorded examples are: The Sir William Fleetwood ring, in the British ...
A large collection of books on furniture, works of art, textiles and clocks, to include N Goodison, 'Matthew Boulton: Ormolu', The Connoisseur 'Thomas Chippendale', 1957, E Lennox-Boyd (ed.), 'Masterpieces of English Furniture: The Gerstenfeld Collection', and A Morrall and M Watt (ed.), 'English Embroidery from the Metropolitan Museum of Art, 1580-1700' (in a large and smaller box)Provenance: A private collection, Upper East Side, New York, and a London apartment.Condition ReportThe large cardboard box measures approx. 70 x 70 x 65cm. Given its size and contents, it is incredibly heavy and difficult to move. We strongly advise the purchaser to arrange to have the lot transferred into several smaller boxes for collection. General wear, some knocks, marks and tears to the covers consistent with age and use. For further detail of some of the books included in this lot, please see additional photographs.
John Egerton Christmas Piper CH (1903-1992) "Northern Cathedral" (1960) Screen printed cotton for Arthur Sanderson & Sons Ltd, commissioned for Sanderson's centenary, 38cm by 58cmLiterature: ''Artists' Textiles in Britain 1945-1970'', The Antique Collectors' Club in association with The Fine Art Society/Target Gallery, 2003, p.75-76
Mitzi Solomon Cunliffe - Pilkington's Royal Lancastrian - A freeform bowl, circa 1950, of asymmetrical form, eggshell black exterior, white rim and celadon interior, impressed marks to base, width 25cm, together with a C H Brannum Barum ware bright orange glazed jug, of shouldered form with high drawn ribbed moulded collar and side loop handle, impressed marks to base, height 17cm. (2) NB - Mitzi Solomon Cunliffe (1918-2006) was an American sculptor. She was most famous for designing the golden trophy in the shape of a theatrical mask that would go on to represent the British Academy of Film and Television Arts and be presented as the BAFTA award. She also designed textiles, ceramics and jewellery.
(The Wool Trade and Textiles) Thirty three works Roberts Beaumont. 'Woollen and Worsted. The Theory and Technology of the Manufacture of Woollen, Worsted, and Union Yarns and Fabrics,' two volumes, quarter burgundy calf with cloth boards, gilt tooled lettering to spines, gilt top edge, ex libris Courtney Library, profuse with illustrations many being colour fold outs, vg, The Library Press, London, 1916; Alfred Plummer. 'The Witney Blanket Industry. The Records of the Witney Blanket Weavers,' first edition, clipped dj, ex libris, frontis, vg, George Routledge and Sons, London, 1934; 'I. C. S. Reference Library.....Wool, Wool Washing, Wool Drying, Burring and Carbonising....,' half textured calf, gilt lettering to spine, ex libris, engravings throughout, vg, International Correspondence Schools Ltd, London, [1905]; Edmund Knecht and James Best Fothergill. 'The Principles and Practice of Textile Printing,' fourth edition, original cloth debound from text block, cloth samples pasted in throughout, Charles Griffin & Company, London, 1952; With twenty eight other works on textiles and the wool industry. (33)
SCOTTIE WILSON (BRITISH 1891-1972) FOR ASCHER ⊕ UNDER WATER GARDEN - FISHsigned Scottie in the silk and numbered 75/300 lower rightscreenprint on silk twill 71.5 x 68.5cm; 28 1/4 x 27in109 x 109cm; 43 x 43in (framed)Executed in 1955.LiteratureValerie D. Mendes and Frances Hinchcliffe, Asher: Fabric, Art, Fashion, London, 1987, p. 34, illustration of another example from the same edition, p. 57Konstantina Hlaváčková, The Mad Silkman: Zika & Lida Ascher, Textiles and Fashion, Prague, 2019, p. 104, illustration of another example from the same editionsee note to lot 78
BARBARA HEPWORTH (BRITISH 1903-1975) FOR ASCHER ⊕ LANDSCAPE SCULPTUREsigned Barbara / Hepworth lower left in the silk; titled upside-down Landscape Sculpture upper right; signed by ascher lower rightscreenprint on silk twill 99 x 99cm; 39 x 39in119 x 115cm; 46 3/4 x 45 1/4in (framed)Executed in 1947. LiteratureValerie D. Mendes and Frances Hinchcliffe, Asher: Fabric, Art, Fashion, London, 1987, p. 60, illustration of another example from the same editionKonstantina Hlaváčková, The Mad Silkman: Zika & Lida Ascher, Textiles and Fashion, Prague, 2019, pp. 100-101, illustration of another example from the same editionsee note to lot 78
ANDRE DERAIN (FRENCH 1880-1954) FOR ASCHER THE LOVERS - BOY AND GIRL signed a derain / ascher in the silk lower right; numbered 389/500 lower right screenprint on silk twill 90 x 90cm; 35 1/2 x 35 1/2in 119 x 116cm; 56 3/4 x 45 3/4in (framed) Executed in 1947. Literature Konstantina Hlaváčková, The Mad Silkman: Zika & Lida Ascher, Textiles and Fashion, Prague, 2019, p. 88, illustration of another example from the same edition see note to lot 78
ALEXANDER CALDER (AMERICAN 1898-1976) FOR ASCHER ZIKA ASCHER & ARTISTS' SQUARES (lots 78-82)Introduction Zika Ascher (1910-1992) emerged as a trailblazing figure in British textiles, art and fashion during the mid-twentieth century. Born into a prosperous Jewish family in Czechoslovakia his familial deep roots in the textile industry shaped his early interest in and knowledge of fabric and design.In February 1939, Ascher married Lida Tydlitatova. Their honeymoon coincided with the Nazi invasion of Czechoslovakia, forcing the couple to abandon plans and return home. Later that year they relocated to London. In 1942 Ascher and Lida founded Ascher London Ltd, a textile company that would become renowned for its innovation and artistic collaborations. During the war, Ascher conceived the idea for his iconic 'Artists' Squares' project, a collection of scarves to be designed by contemporary artists. During the war, bright and cheerful head scarves had become popular, a fashion which Ascher embraced as a way to combine industry and fine art making the latter less elitist and more accessible to the general public. The idea was intertwined with increasingly Socialist ideals about culture in Britain. In 1944, he began his collaboration with Henry Moore and Feliks Topolski, primarily screenprinting their designs onto rayon due to rationing. After the war he travelled to Paris and at the Cafe du Rond Point des Champs-Élysées, Ascher made a series of bold phone calls to leading modern artists proposing to collaborate, including Henri Matisse, André Derain and Alexander Calder. All responded with enthusiasm. He allowed each artist full creative freedom whilst he ensured high standards of production to retain quality, working closely with the artists to ensure the scarves maintained as close a likeness as possible to their designs. Between 1946 and 1955 fifty-one artists produced designs for Ascher. Among the first to be produced was Barbara Hepworth’s Landscape Sculpture in 1947 (lot 81), and Scottie Wilson’s Under Water Garden - Fish (lot 82) was one of the last. The scarves were issued in limited editions and proved extremely popular, bridging the gap between fine and applied arts and promoting the leading artists of the day in a uniquely wearable way. ALEXANDER CALDER (AMERICAN 1898-1976) FOR ASCHER LA MERsigned ascher lower left and calder lower right in the silkscreenprint on silk twill 93 x 95cm; 36 1/2 x 37 1/2in116 x 118cm; 45 1/2 x 46 1/2in (framed)Executed in 1947. ProvenanceThe Ascher Family CollectionLiteratureValerie D. Mendes and Frances Hinchcliffe, Asher: Fabric, Art, Fashion, London, 1987, p. 65, illustration of another impression illustratedKonstantina Hlaváčková, The Mad Silkman: Zika & Lida Ascher, Textiles and Fashion, Prague, 2019, p. 92, illustration of another impression
A PICCHAVAI PAINTED IN GOLD LEAF DEPICTING KRISHNA PLAYING THE FLUTE TO THE GOPIS INDIA, RAJASTHAN, 19TH CENTURY of pointed-arch form, the brown satin ground painted in gold leaf depicting Krishna in the centre playing the flute, flanked by pairs of gopis holding fans, the border with a repeat design of nandi, backed, hoops on the upper edge 79cm x 91cm Christie's, Art & Textiles of the Islamic & Indian Worlds including works from the collection of the late Simon Digby, 7 October 2011, lot 416.
Group of nine Native American and Mexican textiles, 20th century. Including saddle blankets, serapes, rugs or carpets, and a blanket.Length ranges from 1 ft 6 in to 5 ft; width ranges from 1 ft to 2 ft 5 in. Condition: The colors are bold and bright. Some areas of soiling to several of the textiles. Evidence of moth grazing throughout.
Group of three Dine Navajo Native American woven wool rugs, double saddle blankets, or wall-hanging textiles. Including Southwestern Ganado and Klagetoh style weaving.Length ranges from 3 ft to 7 ft 7 in; width ranges from 1 ft 10 in to 4 ft 9 in. Condition: There are areas of soiling, dye transfer, and color bleeding, possibly from water exposure, throughout. Wear along the extreme edges. Some repairs and holes. Some signs of mothing or insect activity, primarily to the largest rug.
Group of two Dine (Navajo) Native American wool rug textiles, 20th century. Including:One Germantown yarn saddle blanket with diamond medallion against a vibrant red ground.One double saddle blanket with serrated geometric motifs executed in red and grey against a cream ground.Small; length: 1 ft 8 in x width: 1 ft 6 in. Large; length: 3 ft x 1 ft 5 in. Condition: The colors are bold and bright. Evidence of moth grazing resulting in some small losses, particularly to the smaller textile. Light wear along the extreme edges.
Group of five vintage Mexican serape, sarape or jorongo blanket, shawl, or cloak textiles, early 20th century. All with vibrant strip motifs and delicate fringe along either side; two blankets with Zacateca figural motifs.Length ranges from 10 in to 46 1/2 in; width ranges from 7 1/2 in to 22 in. Condition: General wear throughout commensurate with age and use. General fading and discoloration. There is a small stain on the largest textile and one of the medium-sized textiles.
Group of three Dine Navajo Native American woven wool rugs, saddle blankets, or wall-hanging textiles. The largest possibly a Mexican serape wearving.(Saddle blankets, each) Length: 2 ft 5 in x width: 2 ft 3 in. (Serape) Length: 7 ft 1 in x width: 4 ft 3 in. Condition: There is a large hole in one of the saddle blankets. Some fading to the colors. Signs of mothing, insect exposure, and holes throughout the serape.
A group of Peruvian Nazca textiles, including a plangi tie-dyed camelid fragment c.400-600 CE,with loop stitch border, on a later cotton backing,41 x 50cm, approximately 100cm long total,a child's poncho, c.200-600 CE,26 x 30cm,a cross knit loop stitch camelid border fragment,c.100-200 CE, with thirteen human figures and hair fringe, mounted on cotton,40 x 10 cm,a coca bag (manta), c.400-600 CE,Coloured border on one side with four draw strings on each corner to wrap small bundles of coca leaves.Good condition and complete - width 28 x 21cm (4)Condition ReportPlangi good condition but fragile. A few areas where the weave is a little loose.Poncho overall good condition.Manta overall good condition.Figural border quite good condition but fragile.
FDC postcard collection. Over 20 in collection appx. British Theatre, British Textiles and more May yield good value. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
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