Antique Wall Tapestries, Panels & Paintings from Westland London

Stock: 16687

A rare 17th century crewelwork wall hanging of superb quality. This panel is meticulously hand embroidered in worsted 'crewl' wool with the 'tree of life' decoration, which was enormously popular in this period.

This hanging still has its original backing, which has been professionally conserved, lined, and fitted with a hanging rod. It is likely that it once part of a set of bed hangings.

A brief history of crewel work:

The Bayeaux Tapestry is the earliest extant example of this embroidery technique, which was at the time of its manufacture - the 11th century - peculiar to Britain. The scene spans over 230 feet in length and was intended to be viewed as a continuous narrative. It is certainly one of the grandest works of embroidery of the medieval period.
However, it was centuries later that crewelwork gained great popularity in the domestic sphere, popularised by Elizabeth I, who was a great patron of the arts. It was also under her rule that the British East India Company was founded in 1600, and it saw the arrival of colourful palampores and chintzes from India, which hugely influenced the designs for crewelwork, with stylised leaves and exotic flowers being used more frequently after this period.

In the Jacobean period, this passion for crewelwork of this style was evident in almost every affluent home, where panels were used as bed hangings, curtains and door drapes.

The popularity for crewelwork endured until the early 19th century, when machine made embroideries emerged.

	Width	Height	Depth
	59 13⁄16" 152 cms	80 1⁄4" 204 cms	0 3⁄8" 1 cms

Stock: 16634

A charming set of four ornithological engravings by Francois Nicolas Martinet (French 1731-1800), titled the,"Grand Pie-grieche verdatre, de Madagascar", "La Petite Hirondelle de Mer", "Troupiale male du Senegal" and "Pie-grieche jaune de Cayenne", in original hand-colour. Small ebonised frames.

French, c.1770.

Notes: These engravings were taken from Comte de Buffon's superb work, the Histoire Naturelle des Oiseaux, published in Paris from 1770 to 1786. This is one of the most important ornithological publications of the 18th century, Darwin being a great admirer.

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	Width	Height	Depth
	8 7⁄8" 22.6 cms	10 5⁄8" 26.9 cms	0 1⁄2" 1.3 cms

Stock: 16064

A large early 20th century Chinese watercolour painting of birds and flowers on paper. A kingfisher, a finch and a wasp are depicted in the floral landscape of blooming peonies.

Chinese, probably c.1900

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	Width	Height	Depth
	25" 63.6 cms	48" 122 cms	1" 2.5 cms

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: 16489

A fine and large Italian oil on canvas en grisaille depiciting Volumnia and Veturia with their retinue pleading with Coriolanus to make peace with Rome.
The later frame is silver gilt but the painting was perhaps at one time, part of a larger architectural scheme. In cities such as Venice, where damp was a risk, large oil on canvases were used as they resisted the damp and humidity, and could be moved during periods of flooding.

Italian, 19th century.

This scene was immortalised by Shakespeare's play Coriolanus, believed to have been based on the life of the Roman leader, Caius Marcius Coriolanus.

Provenance: The Collection of Sir Rod Stewart

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	Width	Height
	84 5⁄8" 215 cms	45 1⁄4" 115 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: 15503

A grisaille oil on canvas study of cherries on a cut stem. This carefully rendered picture creates a trompe l'oeil effect, reminiscent of decorative plasterwork, or a carved marble tablet.

Unsigned but certainly by a very competent hand. Original silver gilt frame. Possibly French, c.1880.

	Width	Height	Depth
	17 1⁄2" 44.5 cms	12 3⁄8" 31.5 cms	1 3⁄8" 3.5 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: 14901

Highly detailed and decorative copper-engraved city maps of six fortified cities comprising Bruges, Brussels, Lisle (Lille), Ghent, Mechlin (Mechelen) and Béthune.

The maps are embellished with numbered tables of explanation indicating churches, monasteries, palaces, city gates & numerous markets, including those dedicated to corn, hogs, cheese, herbs, veal, milk, flax, & wood. The maps also depict roads, waterways, bridges, city walls & gates, & showing trees, boats on the waterways & houses in outline.

These maps were published to illustrate Mr. Tindal's translation of Mr. Rapin's History of England, which was considered one of the few comprehensive histories written during the period. Tindal then wrote a three-volume 'Continuation', including the reigns of James II to George II. They were engraved by Isaac Basire.

Isaac Basire (1704-68) was an renowned map engraver. He is often remembered for a great number of maps he engraved for Tindall's continuation of Rapin de Thoyras' History of England. He also contributed maps to the Gentleman's magazine. He was the first of his generation in a line of engravers, but was arguably the most successful.

Paul de Rapin (25 March 1661[1] – 25 April 1725), sieur of Thoyras (and therefore styled Thoyras de Rapin), was a French historian writing under English patronage. His History of England, written and first published in French in 1724–27, was an influential exposition of the Whig view of history on both sides of the English Channel.

Nicolas Tindal (1687-1774) was Rector of Alverstoke in Hampshire, Vicar of Great Waltham, Essex, Chaplain of Greenwich Hospital and a Fellow of Trinity College, Oxford. He translated Frenchman Paul de Rapin's History of England, one of the few comprehensive histories written at that time. Tindal then wrote a three-volume 'Continuation', including the reigns of James II to George II.

Strong and dark impression, margins narrow, with original folds, as issued. Original colour. Published by Nicholas Tindal, c.1737.

Framed with acid-free materials and non-reflective UV protective glass.

	Width	Height	Depth
	27 5⁄8" 70 cms	24 3⁄8" 62 cms	1 1⁄4" 3.3 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: 15505

A fine late 19th century framed oil on canvas by Joseph Horlor (British, 1809-1887). The pastoral scene depicts fishfolk with their boats moored and their meagre catch in wicker baskets. They work under the looming ruin of a castle, a romantic vision of crumbling turrets built in to the rocky crag. In the distance there is a glimpse of a village nestled in the trees, completing the vision of a pastoral idyll. Scenes of this type were immensely popular in 19th century Britain, as they both conveyed the romance of the British countryside and the moral virtue of manual labour. This scene was possibly set in Wales, where Horlor found the landscape immensely inspiring .

Signed and dated 1836. Framed in 19th century gilt frame. In fine condition, professionally relined recently.

Notes: Not a great deal is known about Joseph Horlor, but he exhibited from 1834-1866 at the British Institute and Suffolk Street (Later to become the Royal Society of British Artists) in London. He lived in Bristol and Bath and specialised in landscapes, coastal scenes and seascape subjects, mainly painting in Wales, Devon and Cornwall. There are 8 paintings by Horlor in the British National Art Collection, predominantly in Bristol.

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	Width	Height
	37 3⁄8" 95 cms	28 11⁄16" 73 cms

Stock: 4841

A pair of small and rare Pietra Dura panels. Each finely made panel is a depiction of a flamboyant cavaliere in 16th century dress on green, white and black marble backgrounds. Pietra Dura is a term for the technique of using cut and fitted, highly polished coloured stones to create images. Lapis Lazuli was frequently used as seen here in the sleeves, cloak and feathers worn by the cavaliere. The art was developed during the Florentine Renaissance and was often called ‘painting in stone’. It is a most difficult skill to do well and requires expertise in the arts of sculpture, inlay, and mosaic.
Italian, circa 1910.

The panels are in their original gilded, wooden frames but unfortunately the gilding has been painted over in such a way as to make it very difficult to remove. Please see the last image, One solution would be to cover the paint with lacquer which would greatly improve their appearance. Photographs before restoration.

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	Width	Height
	7 7⁄8" 20 cms	12 5⁄8" 32 cms

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: 15214

A large and rather unusual leather on wood panel depicting a mid Victorian equestrian scene of a horse with his rider, a companion and a stable boy. The panel, in the naïve style, is made of wood overlaid with hand painted leather and pinned together to form the three dimensional images. The scene would have perhaps graced a fine country pub, the home or stables of a racing enthusiast, or even a racecourse club house. English, circa 1930.

Provenance: A private country house.

Link to: antique wall tapestries, panels and paintings Needs full description and price – any info about origin – how it would have been displayed – was it part of something – was it a pub sign etc .................A decorative leather panel.

	Width	Height	Depth
	71 1⁄8" 180.5 cms	46 11⁄16" 118.5 cms	3 1⁄2" 9 cms

Stock: 11458

One of a pair, with SNo 11457, of small oil on canvas paintings. This one depicting a mythological procession led by a tall maiden with her attendants, accompanied by a camel and an elephant both with putti riders, possibly a representation of the three continents of Europe, Africa and Asia. English, early 20th century.

Interesting Provenance: By repute they were removed in the 1930s from an early 20th century retired transatlantic passenger liner with connections to the Cammel Laird shipbuilders in Liverpool together with other items including the carved oak panelling Stock No 11432 now sold.

Photos before any restoration if required.

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	width	height	depth
	29 5⁄8" 75.2 cms	9 7⁄8" 25.2 cms

Stock: 11457

One of a pair, with SNo 11458, of small oil on canvas paintings. This one depicting two 16th century explorers in a mythological landscape leading winged beasts one in the form of a winged dragon the other a winged goat.
English, early 20th century.

Interesting Provenance: By repute the paintings were removed in the 1930's from an early 20th century retired transatlantic passenger liner with connections to the Cammel Laird shipbuilders in Liverpool, together with other items including the carved oak panelling Stock No 11432 now sold.

Photos before any restoration if required.

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	width	height	depth
	29 5⁄8" 75.2 cms	9 13⁄16" 25 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: 9936

A set of three large Arts & Crafts pictorial, leather panels depicting a Medieval scene of a knight mounted on his charger returning to a walled city of towers, possibly Camelot, watched by maidens and figures in a rural landscape. Probably originally part of a room screen. We have had these leather panels restored and preserved. English, late 19th century.

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	width overall	height	depth
	61 3⁄8" 156 cms	68 1⁄8" 173 cms

Stock: 12257

A set of three large engraved prints attributed to the artist Walter Dendy Sadler (1854-1923) the etcher William Henry Boucher (1842- 1906) and the artist and engraver James Dobie (1849-1923), featuring early Victorian gentlefolk each framed within gilt mounts under glass and all published by H Lebebvre, King Street, London 1895, 1898, 1908 & 1915 .

One depicting an elderly lady and her young female attendant quilting beside a fireplace, signed to the margin Walter Dendy Sadler and the engraver W.H.Bouchet with a vignette of a four-poster bed.

Another depicting three gentlemen seated around a table, attended by a manservant, reliving the Battle of Waterloo signed to the margin Walter Dendy Sadler and the engraver James Dobie with a vignette of Wellington with the Battle of Waterloo in the backgroud.

The third with three further gentlemen seated around a table 'Passing the Port' in front of a neoclassical chimneypiece, signed to the margin Walter Dendy Sadler and the engraver James Dobie with a vignette of the three staggering home at the end of a happy evening.
English, late 19th century.

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	width	height	depth
	32 7⁄8" 83.5 cms	27 13⁄16" 70.5 cms	2" 5 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: 13363

A set of six small richly embossed & painted antique leather panels decorated with red convolvulos or 'morning glory' flowers and leaves.
English late 19th century.

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	Width	Height	Depth
	25 3⁄16" 64 cms	22 13⁄16" 58 cms	0 3⁄16" 0.5 cms

Stock: 4296

A fine late 17th early 18th century oil on canvas portrait of a young gentleman set in a carved giltwood frame painted in the manner of John Michael Wright (1617-1694) which has been tentatively attributed to him in the past.

The young gentleman is wearing a blue velvet coat decorated with gold wire brocade in scrolled floral and cockade patterns, with two clasps set with semi-precious stones. The chiffon choker or cravat is very restrained and unpretentious. He is possibly French but his modest and sensible appearance, his attire and his peaches and cream complexion suggest he is more likely to be English or Scottish and was probably a young country gentleman.

Notes: John Michael Wright was an English portrait painter who was apprenticed to George Jamesone in Edinburgh from 1636–41, then spent a long period abroad, chiefly in Rome, where in 1648 he became a member of the Accademia di S. Luca, the only British painter of the 17th century to have this distinction.

Further Notes of Interest: The frame is carved giltwood late 18th century, a little too big for the painting but has been adequately packed out behind. Part of torn label on the back is that of an art packer and shipper Andre Chenue, still in existence in Paris , but in the 1960/70s they had a small warehouse in St Martins Lane in London run by two elderly Parisian ladies. There is a torn second label on the back with the Continental figure 9 not the usual English 9 along with numerous auctioneers chalk marks indistinctly visible on the frame. There is also a stencilled inventory number on the back of the stretcher crossbar - JE 677. The 7’s are not Continental crossed so this may be an English inventory number from a gallery or collection. The painting is still in very sound condition and has been restretched and relined with linen on the back in the distant past. It has also been re-laquered many years ago, probably during the 19th century.

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	width	height
	33 1⁄2" 85 cms	39 3⁄8" 100 cms

Stock: 9266

A set of four leather laid panels, polychrome painted with flowers,parrots and cockatoos within a rococo foliate surround. It has been relined and laid on metal backing plates.
Flemish, 19th century.

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	each width	height
	17 11⁄16" 45 cms	68 1⁄8" 173 cms

Stock: 7082

Johann Heinrich Tischbein the elder, a studio portrait of a lady, half-length, wearing a green and pink lace-trimmed dress, seated at a table holding a music score.
German, mid 18th century.

Notes: Johann Heinrich Tischbein the Elder, called the Kasseler, (October 3, 1722 in Haina – August 22, 1789 in Kassel), was one of the most respected European painters in the 18th century and an important member of the Tischbein dynasty of German painters, which spanned four generations. His work consisted primarily of portraits of the nobility, mythology scenes, and historical paintings. For his mythology paintings he mostly resorted to models from the highest aristocracy.

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	Width	Height	Depth
Painting	31 11⁄16" 80.6 cms	38 1⁄2" 97.8 cms	3" 7.5 cms
Frame	40" 101.5 cms	47" 119.5 cms

Stock: 4970

An oil on canvas painting depicting the Lamentation of Christ after Charles Le Brun (1619-1690) first painter to Louis XIV. Un-restored and in it's original carved frame. French, circa 1760.

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	Width	Height
	47 3⁄16" 120 cms	46 1⁄4" 117.5 cms

Stock: 4177

A Spanish Baroque oil painting in grisaille of the Madonna and Child in Glory, the lower part of the canvas with a centred composition of numerous figures of Jesuits adoring the Virgin (Virgo inter Virgins) flanked by oval capriccios held by angels.
Oil on canvas, circa 1680.

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	WIDTH	HEIGHT
	42 1⁄2" 108 cms	72" 182.9 cms