Antique Wall Tapestries, Panels & Paintings from Westland London

Stock: 9390

A set of six early 18th century Botanical Prints attributed to the artist Elizabeth Blackwell, from the book 'A Curious Herbal' in original colour & published by Hans Sloane Publishers, in 1737. Framed in oak and double mounted.

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	width	height	depth
	17 11⁄16" 45 cms	22" 56 cms	0 13⁄16" 2 cms

Stock: 16349

A set of eight framed steel engravings after Thorvaldsen's monumental marble frieze, depicting the "Entrance of Alexander the Great into Babylon". Completed in 1812, this subject was chosen by the marble sculptor to decorate the Palazzo Quirinale in Rome, before a visit from Napoleon. The emperor was so taken with the masterpiece, that he commissioned a replica for the Louvre in Paris, over thirty three metres in length. The sculptor created another version for the Christiansborg Palace in Copenhagen also.

This set of eight engravings faithfully reproduces the quality of this great work of sculpture, which includes a couple of single figures, later conceived by Thorvaldsen, to increase the scale of the subject for the later commissions. Samuel Amsler (1791-1848) after drawings by Johann Friedrich Overbeck (1789-1869) Published by J.H. Felsing, Darmstadt,1835.

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	Width	Height	Depth
	26 1⁄2" 67.2 cms	17 13⁄16" 45.3 cms	0 13⁄16" 2 cms

Stock: 16260

A set of four framed hand-coloured copper engravings depicting English country houses and their estates by Johannes Kip, from his Nouveau Theatre de la Grande Bretagne. Published London by J Smith, c.1720.

Notes: Johannes Kip was a Dutch born engraver who settled in London c.1680, his Nouveau Theatre de la Grande Bretagne is considered one of the most important 18th century English topographical works as it meticulously documented buildings, gardens and other such features lost to the march of time.

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	Width	Height
	26" 66 cms	23 5⁄8" 60 cms

Stock: 16102

A set of six ornithological copper engravings, depicting five birds drawn and painted by Peter Brown, recorded from specimens collected during Captain Cook's voyages with Joseph Banks. In his publication, Peter Brown asserted that these birds hadn't been recorded before, so these were the first commercially available depictions and descriptions of these birds.
Peter Brown was a leading zoological artist of his day but the ornithologist George Edwards was also a prominent figure in eighteenth-centruy Britain, and this set includes one engraving by him, of a Great Bustard. The set is a beautiful and fascinating record of the great discoveries of their age.

Peter Brown, published by B White, 1775, George Edwards, published c. 1751. Copper-engravings, original hand colour.

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	Width	Height
	8 1⁄8" 20.5 cms	10" 25.5 cms

Stock: 15613

A large eighteenth century neoclassical painting depicting female worshippers bringing offerings to an altar dedicated to the Goddess Minerva; identified by her shield and the owl at her side.

Italian, 18th century with some restorations and slight craquelure to the surface. Christie's stencil on the stretcher.

Notes: The canvas is likely to have been designed within an architectural scheme, and may have been set into the wall to form part of an overmantel. Canvases of this type were first installed in Venetian palazzi, as frescoes were not practical with regular flooding, and such canvases could be removed if necessary.

	Width	Height	Depth
Frame	69 11⁄16" 177 cms	49 13⁄16" 126.5 cms	1 3⁄16" 3 cms
Canvas only	63 3⁄16" 160.5 cms	43 1⁄4" 110 cms

Stock: 15506

A set of four framed 18th century copper-engravings of exotic birds with original hand colour. This set comprises three engravings from George Edwards', Gleanings of Natural History Containing Figures of Quadrupeds, Birds, Insects, Plants, published by G. Sidney for George Edwards, London, 1758-1764. One engraving from Francois Nicholas Martinet's engraving from the Comte de Buffon's superb work, the Histoire Naturelle des Oiseaux, published in Paris from 1770 to 1786. These are two of the most important ornithological publications of the 18th century, Darwin being a great admirer of both.

The birds are as follows:

Francois Nicholas Martinet bird engraving, plate 289, of the "Tyran hupè, de Cayenne" which is Crested Tyrant Flycatcher from Cayenne.

Frame: 28cm x 32.5cm Engraving: 19.5cm x 24cm

George Edwards engraving, of "Huming [sic] Birds from Surinam, Published according to act of Parliament 1742 by Geo Edwards".

Frame: 27.3cm x 31.2cm Engraving: 18.5cm x 22.4cm

George Edwards engraving, of "The Chinese Teal", published circa 1740.

Frame: 27.4cm x 31.2cm Engraving: 18.4cm x 22cm

George Edwards engraving, of "The Alpestris, or Larkof North America" titled ALAUDA. Published circa 1740.

Frame: 27.4cm x 31.9cm Engraving: 18.5cm x 23cm


These engravings can be sold individually or as a set.

Stock: 15504

A large framed and well painted 19th Century oil on canvas still life, by Charles Stuart 1838-1907, of a selection of exotic fruit and flowers in two wicker baskets set upon a rustic wooden table. Signed Charlie Stuart on the left hand corner of the table, it's presented in a good period gilt wood and composition frame. This well composed and executed painting has a craquelure throughout commensurate with its age and a small well done old repair to the upper left corner.
English, Circa 1865.

Charles Stuart was born in 1838 to William and Amelia Stuart, who were both artists. He was a prolific painter first exhibiting at the British Institution at the age of 16 focusing on still-life painting in his early years before switching solely to landscapes in 1871. Successful, he exhibited widely including more than forty works at the Royal Academy. Today his works can be found in public collections among them the Manchester and the Southampton City art galleries.

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	Width	Height
Canvas	36" 91.5 cms	28 1⁄8" 71.5 cms
frame	46 7⁄8" 119 cms	39" 99 cms

Stock: 14811

An enchanting, romantic 'Tangled by Roses', oil on board Victorian painting of a maiden wandering in a garden in the manner of John Everett Millais. It bears the monogram J.E.M. and the date 1869 to the bottom right hand corner. English, circa 1860.

Notes: The handling of the foliage and flowers is extremely fine, with an enormous amount of detail. The image is infused with symbolism, the purity of the girl's white dress and the roses which symbolise love are studded with thorns, to warn of the dangers of love. Ivy is a symbol of eternity and fidelity.

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	width without frame	height without frame	depth
	15" 38 cms	18 1⁄2" 47 cms

Stock: 14877

A wonderfully detailed early Victorian antique folding map of London and its environs in vibrant original hand-colour with original slipcase as pictured.
Published by G. F. Crutchley, 81 Fleet St London, 1st January 1841.

The map spans the River Thames from Windsor to Gravesend incorporating all of modern day London including, to name but a few, Fulham and Chelsea, Hampstead, Richmond and The City of London. It clearly shows the great parks of London and is also annotated with fascinating historical references, such as the Millbank Prison at Pimlico designed by Jeremy Bentham as a Panopticon. Also shown are a number of central London farms still in use in the mid-19th century as the city expanded around them. Take a step back in time and let the mind's eye wander through a byegone age.
English, published in 1841.

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	Width	Height
	27 13⁄16" 70.5 cms	27 13⁄16" 70.5 cms

Stock: 14779

A large 18th century Verdure Aubusson Tapestry depicting a forest glade setting with a pool encircled by trees, reeds and irises. This antique tapestry is enclosed within an ornate Louis XV border decorated with bowls of fruits nestling in an abundance of flowers, berries and foliage. French, circa 1720.

Notes: This type of Verdure Tapestry, also known as garden tapestries, is always distinguished by it's decorative design based on plant forms.

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	Width	Height	Depth
	65" 165 cms	86" 218.5 cms	3 1⁄8" 8 cms

Stock: 14709

18th century portrait of a lady in the typical dress of the early Georgian period; chemise, modesty piece, vee décolletage, criss-cross bodice, full sleeves and hair arranged in a long straight coiffure. There is evidence of a pentiment about the shoulders and there is loose, confident brushwork; especially in the drapery. The painting exudes the sparse elegance of the period; there is intelligence in the assertive gaze of the sitter.

Circle of Michael Dahl (1659-1743). Oil on canvas with 19th century re-lining and frame.
English school, c.1710

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	width	height	depth
With frame	30 1⁄8" 76.5 cms	35 3⁄16" 89.5 cms	1 5⁄8" 4 cms
Without frame	24 13⁄16" 63 cms	29 11⁄16" 75.5 cms

Stock: 13362

A set of eight embossed & painted leather panels, decorated with spear carrying mermen in combat with mythical sea monsters.
Late 19th century.

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	Width	Height	Depth
	24 3⁄16" 61.5 cms	10 3⁄8" 26.5 cms	0 3⁄16" 0.5 cms

Stock: 11628

A series of five somewhat distressed 18th century Italian possibly Portuguese,embossed and painted antique leather panels, depicting Fete Champetre scenes, within later red lacquer surrounds.
18th century.

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	width	height
Each Panel	20 1⁄2" 52 cms	63" 160 cms

Stock: 12550

A well painted antique Victorian armorial hatchment, within a gilt and ebonised frame, from the19th century with the letters OBHT and the date 1 FEBRII 1852 surrounding a knights helmet set above a shield, with three cross pattee beneath a crown, and a crowned rampant lion dexter. Wear commensurate with age.
English dated 1852.

Notes: A hatchment is a large coat of arms, usually painted on a wood and canvas frame, and were carried at the front of the funeral procession after which they were erected over the door of a deceased person's house. Diamond in shaped the hatchment stayed in place for one year, after which it was moved to the parish church where it was usually hung on a wall. Hatchments were used in Britain from the 17th century, and the last recorded use was in 1942 at Over Kellet church in Lancashire. Some churches display numerous hatchments spanning centuries of local gentry families and thus are a good source of information about local history. Look for hatchments over nave arcades or on the walls of transepts.

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	width	height
	39 3⁄8" 100 cms	39 3⁄8" 100 cms

Stock: 9747

A large antique armorial hatchment, oil on canvas from the 18th century. Of diamond form, showing a crown under which is draped an ermine-edged robe set within which are a lion and dragon rampant holding a diamond panel embellished with heraldic motifs. Wear commensurate with age.
English 18th century.

Provenance: By repute "The arms on this hatchment are those of John Baker-Holroyd (1735-1821), 1st earl of Sheffield. The arms quarter Holroyd, Elwood and Baker, all impaling North." Holroyd entered the House of Commons in 1780, where he was prominent against Lord George Gordon and the rioters but he is chiefly remembered as the friend and literary executor of Edward Gibbon (author of The History of the Decline and Fall of the Roman Empire), whose memoirs and other works he edited and published. He was created a Peer of Ireland as Baron Sheffield in 1871 and in 1802 he also became a Peer of the United Kingdom, again as Baron Sheffield. In 1816, he was created Viscount Pevensey and Earl of Sheffield in the Peerage of Ireland.

Notes: A hatchment is a large coat of arms, usually painted on a wood and canvas frame, which was carried at the front of a funeral procession after which they were erected over the door of a deceased person's house. Diamond in shape the hatchment stayed in place for one year, after which it was moved to the parish church where it was usually hung on a wall. Hatchments were used in Britain from the 17th century, and the last recorded use was in 1942 at Over Kellet church in Lancashire. Some churches display numerous hatchments spanning centuries of local gentry families and thus are a good source of information about local history. Look for hatchments over nave arcades or on the walls of transepts.

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	width	height
	56" 142.2 cms	56" 142.2 cms

Stock: 12040

A set of six glazed humorous prints in two oak frames. Titled "The Scorcher's Progress" , depicting the 19th century depredations of a rogue cyclist shown in silhouette upsetting the traditional horse drawn traffic of London in six different locations including
St James Palace - "The Guards at Him";
The Marble Arch - "The Wheel went very well then";
Trafalgar Square - "Twas in Trafalgar Square ";
&
The Stock Exchange - "A rise in the Market";
English circa 1900.

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	width	height
	36 5⁄8" 93 cms	14 5⁄8" 37 cms

Stock: 11740

A set of five framed original pastel portrait drawings each a depiction of a Chinese person.
Each bears the signature E. Young. Circa 1933.

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	width	height	depth
	14 3⁄8" 36.5 cms	19" 48.2 cms	4 11⁄16" 12 cms

Stock: 9848

A large oil on canvas armorial Heraldic hatchment. The crescent symbols usually represent either Crusader adventures of the family or a second son. The animal could be a Panther and the gilt foliate decoration is in the Rococo manner indicating a probable date of around 1750. English, mid 18th century.

Notes: Hatchments were commemorative plaques or canvas panels representing the Heraldic Coats of Arms of prominent noble families placed in public buildings and churches of a locality around the 17th century and later, and were preceded by actual armour, arms and colours..pennants or flags in Medieval times. Many are still to be seen particularly in prestigious country houses and churches in England.

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	Width	Height	Depth
Maximum	50" 127 cms	50" 127 cms	1" 2.5 cms

Stock: 11563

One of a three printed canvas wall tapestries the Medieval style, this one depicting figures thronging a quayside, loading a sailing ship with baggage & supplies, including a fruit tree, and possibly preparing to migrate to The Americas. See also 11561 & 2.
Late 19th early 20th century.

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	width	height
	35 3⁄8" 90 cms	39" 99 cms

Stock: 11562

One of three printed canvas wall tapestries in the Medieval style, this one depicting Medieval figures gatherering grapes and tending the vines in a walled vineyard with a garlanded donkey in attendance.See also 11561 & 3.
Late 19th early 20th century.

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	width	height	depth
	54 1⁄4" 138 cms	60 3⁄16" 153 cms

Stock: 11561

One of three printed canvas wall tapestries in the Medieval style, this one depicting Medieval musicians and servants around a naked female bather in a bath decorated with a lions mask spurting water into a pond in a field of flowers with trees and birds. See also 11562 & 3.
Late 19th early 20th century.

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	width	height
	62 3⁄16" 158 cms	55 7⁄8" 142 cms

Stock: 11354

An 18th century, possibly much earlier, gros and petit point needlepoint tapestry in the Flemish medieval style, of a lady and courtier flanked by a unicorn and lion bearing standards, in the millefleur tradition of the original, from which it is inspired. The original collection, known as " The Lady and the Unicorn " a series depicting the six senses, this one representing " Hearing ", are displayed in the Musee de Cluny in Paris.

COMMENTS : Needlepoint tapestry dates from Ancient Egypt, 1600 BC, and was practised by 15th century Flemish craftsmen in this case from designs for the French Court. In this tapestry the lady plays a portative organ on top of a table covered with a Turkish rug. Her maidservant stands to the opposite side and operates the bellows. The lion and unicorn once again frame the scene holding up the pennants. Just as on all the other original tapestries, the unicorn is to the lady's left and the lion to her right - a common denominator to all the tapestries. In our example the positions are reversed. The Lady and the Unicorn: "Hearing" one of the famous series of Hearing, Smell, Sight, Taste, Touch...and Desire. Research continues.

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	width	height
	55 1⁄2" 141 cms	81 1⁄8" 206 cms

Stock: 9868

A demi lune study of figures upon a terrace. Oil on canvas by Francis Fairfax Ivimey, (1867 - 1946) the landscape painter born in St. Austell who lived most of his life in Newquay, Cornwall. Signed.
English, 1900's

Notes: Fairfax Ivimey's wife Julia Beatrice Ivimey was a self-taught painter in watercolours who exhibited in London and Paris from 1893.

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	width	height
	90 5⁄8" 230 cms	48 3⁄8" 123 cms

Stock: 11259

A late 19th century framed picture showing the gathering of the hunt. Print on canvas. Signed E.F.Holt 1891. ( Edwin Frederick Holt, British, active1864-1897 ) . He specialised in paintings of dogs, horses and country scenes. Small damages and needs cleaning. English, circa 1891.

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	width	height	depth
	35 3⁄8" 90 cms	27 3⁄16" 69 cms	1 13⁄16" 4.5 cms

Stock: 9422

A suite of eight embossed polychrome leather panels decorated with exotic birds within floral sprays in the Renaissance manner. These have been backed onto metal liners but not restored retaining their original age patination.
Flemish 19th century.

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	width	height
	17 11⁄16" 45 cms	31 1⁄4" 79.5 cms

Stock: 9866

One of two early 19th century reverse glass prints depicting one of the continents 'Africa' the lady in traditional costume. Printed by P Stampa, 74 Leather Lane, London.

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	width	height	depth
	10" 25.5 cms	14 3⁄16" 36 cms

Stock: 9757

A late 18th century reverse print on glass 'Hope', gilt frame. Printed by P. Stampa, No.30, Leather Lane, Holborn, London, Nov 1799.

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	width	height	depth
	10 3⁄16" 26 cms	14 3⁄16" 36 cms

Stock: 9753

A small painted ceramic Wall Plaque In Relief, with inspiration from the Bayeux Tapestry....showing King Harold at his coronation with his soldiers and The Archbishop Stigand only months before William of Normandy & his army defeated him at the Battle of Hastings where Harold was killed. The Plaque is in Latin: "Hic Residet Harold Rex Anglorum Stigant Archieps" & translates as "Here Harold Resides King Of England Stigand Archbishop".

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	width	height	depth
	13" 33 cms	9" 22.8 cms

Stock: 3829

3829 HENRY V. A large oil on canvas portrait in the original Regency gilt frame of Henry V King of England (1413-1422) wearing a medallion with the cross of St George hanging from a chain around his neck.
He was one of the great warrior kings of medieval England, famous for his victory against the French at the Battle of Agincourt. Born in Monmouth 9th August 1387 the son of the then future Henry IV he died suddenly in Bois de Vincennes near Paris on 31st August 1422 aged 35.
Provenance: Painted by Benjamin Bernard R.A. it was exhibited at the Royal Academy in 1818, was given to Queens College Oxford by Dr Smith & hung in the Great Hall there. Listed in Vol II of Mrs R L Poole's Catalogue of Oxford Portraits nos 8 & 13.
English School early 19th century circa 1815.
Ensuite with Stock No 3828 The Black Prince.

	width	height
with frame	52 3⁄16" 132.5 cms	67 1⁄4" 171 cms
without frame	39 3⁄8" 100 cms	49 3⁄8" 125.5 cms

Stock: 3828

3828. THE BLACK PRINCE . A large gilt framed oil on canvas portrait, in the original Regency gilt frame, of Edward Plantagenet, Prince of Wales, Prince of Aquitaine , aka The Black Prince, born Woodstock Palace 1330, died Palace of Westminster 1376. He was the son of Edward III one of the most successful English Monarchs, in an age of Medieval Heroism and English military supremacy against France, inflicting the ruinous defeats at the Battles of Crecy, and Poitiers. English, early 19th century.

PROVENANCE : Painted by BENJAMIN BURNELL R.A 1790-1826, exhibited at Royal Academy in 1818, hung at Queens College, Oxford in the Great Hall. Given to the college by Dr Smith, Catalogued " Paintings in Oxford Colleges ".
Ensuite with Stock No 3829, Henry V.

	width	height
with frame	53 11⁄16" 136.5 cms	67 1⁄4" 171 cms
without frame	41 7⁄8" 106.5 cms	51 5⁄8" 131 cms

Stock: 3691

THE GREAT FIRE OF LONDON.

An oil on leather four panel screen depicting The Great Fire of London from across the river Thames.
19th century, circa 1890.

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	WIDTH	HEIGHT
	88" 223.5 cms	72 3⁄16" 183.5 cms