John Piper Chiesa Della Salute Venice Screenprint Textile 1959 Sanderson

John Piper (British,1903-1992) : Stones of bath, blue screenprinted fabric, by Sandersons, London, 1962 In the late 1950's to the early 60's there was interest in painterly textiles...

The gilded, stylised scrolling foliage design is embossed into the grey leather enhancing the effect of the relief. The eighteen panels were pressed from moulding blocks which were m...

Incorporating 'Stones of Bath' into this settee is inspired the pipers use of one of the five designs commissioned for their centenary, ‘The Glyders’, as loose covers for the chairs at their home Fawley bottom which John Betjeman called ‘Fawley Bum’. 'Stones of Bath' is one of five John Piper (1903-1992) designs commissioned by Arthur Sanderson & Sons in 1959 for their 1960 centenary celebrations. In 1962 Sanderson's screen printed ‘Stones of Bath’ on their Sanderlin fabric, a satinised linen which gave the design a shimmering, restless texture. This was ideally suited to the play of light depicted on the stone in the architectural repeat of buildings in the city of Bath. A piece of this fabric which is in the collection of the V&A was exhibited at the John Piper retrospective held at the Tate Gallery, London, 1983. Reference: 'Artists’ Textiles in Britain 1945-1970', Cat. No. 74. From the late 1950s-early 1960s there was interest in painterly textiles that demonstrated the unique potential of screen printing, with its ability to capture the quality of brush-stroked color. 'The monumental grandeur of many artists' textiles in the early 1960s was necessary if they were to work in the large scale architectural interiors of the era which witnessed a rapid growth in new public buildings, all which required furnishing with suitably prestigious fabrics'. Artists' Textiles in Britain 1945-1970 by Geoffrey Rayner, Richard Chamberlain...

JOHN PIPER CH (BRITISH,1903-1992) : 16. EASTON, PORTLAND, DORSET: ST GEORGE REFORNE, AN 18TH CENTURY CHURCH AMONG THE QUARRIES, NUMBERED 2/70 LOWER...

- Exceptionally rare pair of large, Rococo Chinoiserie blue & white cotton bed curtains. Measures: 4ftwide 7ft9"hig. - Chinoiserie was the height of fashion during the Rococo and these hangings would have been a luxury item, making a exotic statement in the bedroom. They have been used as wall hangings for the last 35 years. - From a private collection, purchased 35 years ago from a set of six removed from a Chateau in France. One was purchased by Nina Campbell...

An exceptional, museum quality, ottoman, baroque, gold velvet bedspread, hanging, bedcover or table cloth embroidered with gold threadwork and embelli...

Large vintage Textile wall Art. Circa 1970s Features a stretched canvas with a forest inspired design printed in vibrant earth tone colors. ...

"Splotchy" textile by Alexander Calder for Laverne Originals. Hand printed on linen. 26 ft. available The innovative husband-and-wife team Erwin and Estelle Laverne, specialized...

A collection of three antique textile fragments displayed in various frames. It consists of a blue on white woven panel presented in a metal frame. The panel depicts dancing human fi...

19th century ancient Egyptian cloth fragment.

Elie Grekoff printed Cotton and Wool Tapestry and signed, figured zodiac symbol LIBRA. Made in France, circa 1950 Mid-Century Modern Era.

An antique pre-Columbia textile panel from Chancay culture in Central coast of nowadays Peru. Chancay culture thrived in the late Intermediate period/ late Horizon circa AD. 1000-1470. The panel appears to be an intact shawl or head scarf, indicated by the overall integrity with the finished edges. It is a gauze-like linen/cotton open-square woven panel with supplemental embroidered horizontal bands that alternate between hooked diamond motifs and silhouettes of perched seabirds, one of the most favored animal forms in Chancay art. The color is quite vibrant with red contrasted by two shades of yellow on a darker brown background. The scarf such as this is thought to be associated with ceremonies and magic realm of death and burial practice. The textile is displayed on a dark line background under a newly made acrylic shadow box. Reference: For reading on the bird motifs in Chancay textile art, see page 141-183 of the book "Ancient...