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Preisdatenbank abonnierenMid 19th century English school - The white horse, oil on canvas, 40 x 55cm (a/f)Small tear to canvas on horse’s head, approx. 10mm.Small tear at 4 o’clock and dent at 3 o’clock.Some light crazing all over, but paint good and stable, no breaking out.Grubby to margins.Traces of light varnish all over.
A late 19th century French lacquered brass and champleve enamel four-glass mantel clock, having unsigned circular Arabic dial, twin winding holes for a Japy Freres eight-day brass cylinder movement striking on a gong, with mercury compensated pendulum, h.36cmClock runs.With non-original key.Strike works.Major tarnishing to brass all over.Glass all good.Enamel 99% complete.Some light staining/marks throughout.Chapter ring worn, especially near winding holes.
Edward Martindale Richardson (1810-1874) - Pair; Coastal scenes, watercolours, one heightened in white, one signed and dated 1864(?) lower right, 19 x 45.5cmPaper good, no creases or tears.Some light browning evident to sky on both.Some light and consistent fading throughout.Harbour scene with light blue mark to lower right.
Elgin and J. Karr's & Sons of Washington - a gent's silver cased half hunter pocket watch, having a white enamel Arabic dial with subsidiary seconds dial, keyless movement, signed backplate and numbered 6975724, 119g, dia.5.1cm, case with silver import marks for London 1917In running order.Fine hairline from outer edge to bottom of subsidiary dial between 5 and 6 o'clock.Light handling wear, otherwise no faults.
James McCabe of London - a George III silver-gilt gent's pair cased open face pocket watch, having convex white enamel Roman dial, keywind chain driven verge fusee movement under dust cover, with pierced balance cock having diamond end stone, the backplate signed and numbered 2693, the outer case with engraved leaf and flower trailing bands, with plain inner case, cases assayed London 1810, 114.4g, dia.5.2cmWatch runs for a few seconds only.Glass good, with some light surface scuffs only and worn to edges.Dial good, no hairlines.Outer case with some small dents, gilding good and heavy throughout.Inner case with modest age wear only.
A rattan garden suite to include a circular table, four chairs, a coffee table, a parasol and base120w x 74h cmOverall complete and usable, with some signs of use. Slightly green from being outside over winter. One chair was in the summer house, so is noticeably cleaner. Cushions show light signs of use, but were also stored inside - one seat cushion missing. Removed from a house clearance, where they were in use.
A Royal Doulton flambe glazed limited edition egg on stand, no3438, 15cm high, together with Royal Doulton flambe bowl, 8102, 21cm diameter, a cat and a fox (4)Bowl is heavily marked with limescale. All pieces are marked Royal Doulton and are dirty, with very light surface marks as expected with handling.
A Victorian glass double ended scent bottle, 13cm wide, together with an early 20th century silver mounted glass rest, Chester 1923, 31cm wide, an RAF enamelled compact, an Art Deco enamelled compact and other itemsRAF compact has a worn area tro one side, visible in the image. White compact has some light surface scratches. Scent bottle scratched and dented. Otherwise generally dirty with light wear as expected.
A 19th century Royal Worcester blush ivory porcelain jug, shape 1094, decorated with flowers, 18cm high, together with a collection of Royal Worcester decorative porcelain (6)Mid sized 1094 jug has a tiny chip to the lip. All are dirty, with light wear, most noticeably to the gilt. Bowl is a modern limited edition no.240/250. Removed from a local house clearance.
A set of six 1960's Danish teak Model 75 dining chairs by Neils Otto Moller, for J W Moller, with woven seats, together with a Swedish teak extending dining, by Troeds, with two additional leaves (7)265w x 100d x 74h cm Overall condition of the chairs is complete and usable. No visible breaks or repairs. There are some light marks to the surfaces, having come straight from a house. Some wear to the edges of the seats, but they are strong and stable to sit in. The table pulls out and extends ok. It does have a large dark stain to the underside which looks recent and is sticky and the surface is dry with light signs of use/age.
A miniature brass cased carriage clock, the dial signed Chambers, Colchester, 12cm high overall, together with an automaton clock, under a glass dome (2)Carriage clock looks to be complete. It will wind but not tick. Adjusts ok. Glass is bevelled with a chip to one corner. Some light marks to the case. Automaion clock looks complete, winds ok but does not run.
A large collection of mainly 19th century English teacups and saucers, to include triosDresden trio has some chips. Pedestal cup and saucer with pink roses and blue flowers has a cracked saucer. Otherwise condition appears to be ok, with wear to gilt, general dirt and signs of age as expected. Pink butterfly set has crazing and some light scratches to the decoration.
Attributed to Howard & Sons: A Late 19th Century Bridgewater Type Upholstered Armchair, recovered in light brown linen, the rear leg stamped 8338 5127, on brass castors stamped Howard & Sons69cm by 69cm by 85cmRecently recovered so fabric in excellent condition. Numerous scuffs to legs consistent with age. All brass castors are stamped Howard & Sons
~ An Early Victorian Cut-Glass Twelve-Light Chandelier, attributed to Perry & Co, mid 19th century, the tapering vasiform shaft with a corona hung with drops above ten twisted branches terminating in glass nozzles and drip pans, all joined by faceted pendant drops and spears centred by a suspended ball pendant 80cm diameter, 130cm highFor a similar example see Mortimer (Martin) The English Glass Chandelier, pg.154, pl.92 and Christie's, 10 February 2022, lot 229
~ An Early Victorian Cut-Glass Twelve-Light Chandelier, attributed to Perry & Co, mid 19th century, the moulded baluster stem with cut canopy hung with graduated tiers of prismatic cut beads and drops, the cut-glass bowl issuing short and long S-shape ropetwist moulded arms joined by hanging chains, the cut-glass beads with large drops and faceted pendant drops below 80cm diameter, 120cm highFor a similar example see Mortimer (Martin) The English Glass Chandelier, pg.154, pl.92 and Christie's, 16 November 2021, lot 584
Nejafabad Isfahan CarpetCentral Iran, circa 1970The blood red field of scrolling vines around a pistachio green flowerhead medallion, framed by spandrels and sky blue borders of meandering vines, flanked by ivory guard stripes409cm by 292cm Both ends complete. Selvedges almost complete but with slight fraying to the binding cords in several areas. Pile is close clipped and generally in fair condition, one area of light wear.
~ A Chelsea Porcelain Pot Pourri Vase and Cover, circa 1765, of scroll moulded and pierced beaker form with foliate knop and entwined scroll handles, painted with a profusion of flowers on a gilt ground within blue Mazarin borders, anchor mark in gilt35cm highFor a related pair of pot pourri vases painted with flowers on a gilt ground within blue Mazarin borders see Severne Mackenna (F) Chelsea Porcelain, The Gold Anchor Wares, pl.63Cover with losses to the applied work on the top. Flat chip to the rim of the inner flange.Main body with a section of the pierced rim lacking and the edge re gilded to hide the loss, a short crack to the pierced rim and a firing crack opposite. A V-shaped chip to the inner rim with a small associated crack. Long stained firing crack under the base, viewable inside and out. Some other minor flakes and losses. Generally with some minor wide crazing. Gilding in overall good condition with some light expected wear.
A Pair of Gilt-Metal-Mounted Green and White Variegated Marble Lamp Bases, in Louis XV style, of baluster form with fruiting vine cast handles, on circular socle and square base, fitted for electricity60cm highGood overall condition. Some minor chips to edges, light scratches and wear. Mounts good and all firmly fixed. Wiring needs to be tested before use.
~ Kirman CarpetSouth East Iran, circa 1950The ivory field with a one-way design of cypress trees, birds and plants in flower enclosed by raspberry borders of further plants flanked by triple floral guard stripes366cm by 293cmBoth ends are complete. Selvedges both complete with slight fraying to binding cords. Pile is close clipped and in good/fair condition, one area of light wear. Would benefit from washing. No stains detected but carpet is dirty.
Afghan Ziegler Carpet, circa 1990The ivory field of large scrolling vines centred by a small cusped flowerhead medallion, enclosed by wide borders of palmettes and serrated leaves, flanked by double guard stripes484cm by 365cmBoth ends and both selvedges original and complete. Pile is full and thick, a number of tiny light spots (stains), might benefit from washing.
A Royal Worcester Porcelain Coffee Service, by Harry Stinton, 1933, painted with highland cattle in misty landscapes within gilt line borders, signed, printed marks in blue and retailer's mark for Maple comprising:1 coffee pot and cover1 milk jug1 sugar bowl6 cups and saucersSome glaze crazing, the coffee pot main body particularly heavy crazed. Some minor gilt wear. Very light wear and scratches to the decoration. No damage or restoration.
A George III Barrel-Shaped Wing-Back Chair, early 19th century, recovered in light green floral silk damask, the flared sides and overstuffed seat on square tapering forelegs with brass-capped feet and castors86cm by 57cm by 111cmUpholstery good and clean. Framewook structurally sound. Legs scuffed. Front left foot needs attention - loose pin - and poor colour.
A Pair of Chinese Porcelain Baluster Vases, mid 19th century, the trumpet necks with mythical beast handles, painted in famille rose enamels with dignitaries in interiors on a foliate ground within formal borders46.5cm highGood overall condition. No chips, cracks or repair. Some glaze pitting and light wear. Need cleaning.
An Edwardian Carved Mahogany Adam-Style Serving Table, early 20th century, of breakfront form, the moulded top with guilloche-carved border above a central frieze drawer decorated with an urn issuing trailing flowers and leaves flanked by carved panels, on stop-fluted tapering legs with spade feet214cm by 68cm by 92cmGenerally good condition throughout. General light scratches throughout, mainly around the top, consistent with age. Minor ring marks. General scuffs around the legs.
William Woodhouse (1857-1939) Sportsman and dog walking up grouse Signed, oil on canvas, 33cm by 45.5cm Good tension, all keys present. There is a fairly large scale brittle age craquelure and impact cracquelure throughout, with fewer cracks over the stretcher bars. Some cracks associated with the stretcher bars. The cracks are elevated in places but appear secure at present. There has been some minor wear over the elevated edges of the cracks, particularly in the sky (see images). There is a tighter diagonal pattern of cracking in the hills, and these and the cracks in the birds and foreground appear slightly dark. There has been some minor wear/abrasion in the sky and to the opaque scumbled glazes in the fathers. There is a tiny retouched losses in the sky top right. There is a passage of grey overpaint in the sky visible under ultraviolet light, leaving this area with a slightly uneven surface gloss.There is a layer of dirt and debris, wipe marks to bottom edge, and minor orange loss above signature.Examined in Frame
Follower of Sir Anthony Van Dyck (1599-1641) Flemish Family portraitOil on canvas, 147.5cm by 206cmUnlined canvas, stretcher missing keys. Slack tension. A small 1.25 inch split to canvas at the top edge to the right of the curtain. Partially repaired (?) and surrounded by a swathe of restoration (see images). The canvas and stretcher are slighly distorted and bend away from the frame rebate at the two top corners. The slack canvas is distorted and undulating in places, most prominently at the top right corner (see image) and bottom right edge. Further small bulges from blows from face and reverse for example the top left corner, through the dress of the right hand girl and to bottom right of lute.Stretcher bar marks on all sides and associated with cross-members, and a network of brittle age craquelure throughout, and impact cracks. Paint and ground secure, but the cracks have elevated slighly. There are also passages of drying cracks (unretouched), most prominently in the red of the curtain and in the darker passages of drapery of the father. There is a more noticeable impact crack to the hand of the little girl, where the varnish has powdered and is now white, and there further minor white cracks to the right hand side of this. Two further scuffs to the varnish to left hand edge and scattered minor spots to top left.There are scattered small retouched losses and retouched cracks throughout, the restoration now discoloured. There has been a further campaign of retouching to the flesh tones of the mother/girls, baby, and hand of the father, and to the hair of the mother. This is opaque and is apparent in bright light (see images in torchlight). It appears that the painting has been selectively and partially cleaned in these areas leaving an uneven appearance. The same varnish has been partially removed from the paler passages of drapery too, which has caused some abrasion particularly evident in the green of the mother's skirt. It has been left on in most of the painting. It is difficult to see through the discoloured varnish layers if there is further wear in the dark areas.There are thick surface layers of discoloured varnish and ingrained dirt, but a fairly even glossy upper varnish layer.Not examined in UV, examined in frame.
John Cyril Harrison (1898-1985) Peregrine Falcon Signed, watercolour, 44cm by 29cmSold together with five letters from the artist to the vendor's father dated 1947 Relatively light to more moderate time staining which is more evident towards the outer edges of the sheet towards the mount. Colour depth broadly good with some slight tempering as a result of the time staining, and possibly very light overall reduction. The picture plane is flat and even. Possibly minor flaking to the sky and a tiny white scratch (see images). Three possibly retouched spots to the sky (see images).Examined in frame
Follower of Sir Thomas Gainsborough RA, FRSA (1727-1788) Portrait of a lady, three-quarter length seated, wearing a brimmed hat, a pink dress and a fur stole and muff, a veiw of a landscape at sunset beyond Oil on canvas, 110cm by 85.5cm Lined, original tacking margins removed as can be seen where exposed at the top, right and bottom edge from the face. One key missing, lacking in tension, minor splits to corners of lining canvas. Some slight pressing of impasto from lining process.A finescale brittle age craquelure throughout, all stable and no elevation. Most apparent in the paler passages, flesh, drapery, hair. Some passages of cracking slighly opened, possibly drying cracks. One minor unrestored loss to the original edge a the upper right edge, an approx. 3inch scuff to the bottom of the fur stole, a small white loss to the bottom edge, a 1cm loss to the back of the neck and a tiny loss in the hair (all unrestored).There ia very thick old very discoloured varnish layer, which has degraded and broken up. It has flaked off in small patches throughout, and scatters the light making it very difficult to see what condition the original paint is in underneath, particularly in the darkest passages. The flaking yellowed varnish has left the paler passages with a mottled appearance, and the darks fairly obscured. It is likely that there are some further minor losses and possibly some abrasion in the dark areas. There has been some abrasion in the lighter passages, particularly to the curls of the hair, and the hand. There is no restoration visible on top of the thick old varnish, and it is not possible to see if it lies over an older campaign of restoration. However, the surface doesn't suggest that there has been a history of flaking or loss. Possibly some minor reinforcing in the hair.The surface has an fairly uneven surface gloss, and there might be an upper varnish layer on top of the broken up one, and a layer of dirt, dust and cobwebs.
Frederick Richard Say (c.1827-1860) Lady Elizabeth Buteel, half length seated before a landscapeBears later inscription to the reverse, oil on canvas, 75cm by 62cm Provenance: Sothebys "Royal and Noble", January 20th, 2002, Lot 27 (Property Removed from Fenton House to be sold on behalf of the 7th Earl of Durham) A fairly old lining with asociated stretcher, fair tension with two keys missing. Original tacking margins removed which are visible at the top of the picture from the front. A fine network of brittle age cracquelure most noticable in between the stretcher bars, and a series of diagonal cracks in top right corner and associated with the stretcher bars. Larger scale brittle age craquelureand impack cracks more visible in the thicker, paler paint. Mostly currently stable and not elevated, with only a couple of minor slightly raised areas. Scattered tiny pinpoint losses associated with the cracking, mostly unfilled and unretouched. Fairly wide drying cracks are also evident, most prominently in the dark background and red drapery, mostly suppressed by retouching. Resulting in a slightly lumpy surface. There is what appears to be an old lumpy filling and retouching to the top of the sitter's forearm 2 inches long, and a wider passage of restoration above the back of the chair but this is difficult to see the extent of. Further small scattered unretouched and retouched minor losses, with slightly bigger filled and retouched losses at the bottom of the landscape and in the hand. There has been some minor flaking of the upper paintlayers in the red passages, particularly the flowers. There is a brown patch of overpaint here too. It is likely that there are several campaigns of restoration (although it is difficult to see i nthe darker areas), with the retouchings in the paler areas now noticably lightened in the flesh and sky. There has been some abrasion to the thinner paint layers, for example the hair, which has been reinforced, along with the sky. There is old dirt and varnish ingrained in the canvas weave and brushstrokes, and remnents of old discoloured varnish. One more recent white loss to arm, 1.5mm long, and a layer of dust and surface debris. Mostly stable condition, with visible discoloured retouching.Examined in frame, not examined under ultraviolet light.
Samuel Prout OWS (1783-1852) "Cafe de la Place, Rouen" Signed, watercolour, 70.5cm by 52.5cmSold together with the loose original artist's inscribed label Provenance: Colnaghi, London The top edge and lower right edge are visible inside the mount, with mounting fixtures exposed (see images). There is a very slight distortion/cockling at the edges, and possibly a slight convex curvature across the sheet but the picture plane is relatively even. There is a slight stain/mark at the right hand edge half behind the mount above the top of the roof. Scattered tiny marks/spots in the sky, with a couple of tiny pinpoint losses. Light timestaining particularly to top edge but no major fading apparent. Fitted with low relective glass. Examined in frame.
Benjamin Cam Norton (1835-1900) Adam and Amy Agnes Dugdale in Griffin Park, Blackburn, Lancashire, with St. Philip's church in the background Signed and dated 1874, oil on canvas, 82.5cm by 110cmProvenance: Dutton Manor, Lancashire Unlined canvas, with minor damage to the tacking margins at the reverse. Two keys missing, and rather lacking in tension. There are distortions/draws at all corners, most notably the top, extending towards the centre of the painting and further smaller scale undulations to the canvas (see images in reflected light).There is brittle age craquelure throughout, with the larger scale cracking only very slightly raised and all appears stable. There is also finer scale craquelure in small passages, which is slightly tighter and sharper and in places the varnish has cracked an whitened. These too, appear to be largely stable. There are some slightly wider cracks, some of which have been suppressed by a little retouching, most notably in the top left corner (see images). The are less visable. Some impact cracks in places, which have slightly whitened varnish.Scattered small white losses, including some minor losses associated with the frame rebate. There has been some paint from paint flaking in the red jacket of the groom at the right (see image). The faces of the lady and gent have small dark dots, it is unclear of their origins.There are dark, spotty small matt acretions throughout, two white splashes to the sky at the left and possibly larger drip mark under the gentleman (see image)Overall a fairly dark tonality, with old dirt and discoloured varnish which has a slighly uneven surface gloss in reflected light. The slip is loose in the frame, with a gap to the right.Examined in frame.
Circle of Giovanni Costa (1826-1903) ItalianMending the netsOil on canvas laid on board, 15.5cm by 24cmOil on canvas, laid on board. A slightly lumpy surface at the middle right side, from just behind the prow of the boat to the edge of the painting in a cone shape (see image in raking light). This, and slight flattening of impasto in places and a long linear series of cracks running diagonally from the seated boy's foot to the left edge suggest that the canvas was laid on the board after painting? No further cracks are apparent.There is a small shallow loss to the sky at the middle of the top edge (unrestored), one tiny flake of blue paint stuck in the varnish at the bottom edge, one 1cm long scuff with transfer of gold paint approx 1 cm left of the left point of the net, and a futher blob of gold paint at the bottom right corner which has been glazed over in dark brown.The sky and water is a little thin/abraded in places, and has likely had some suppressing restoration particularly to the far promentary of coast at the left side (see image in UV). Retouching not really evident in normal light.There is old ingrained dirt and varnish, less in the sky, and scattered points of dark surface accretions.A good even surface gloss.
George Edward Lodge (1860-1954) ''The Raid in the Snow'' - Sparrowhawk and Bramblings Signed, gouache, 36cm by 50.5cm Exhibited/Provenance: Robert Dunthorne, London, No. 38, Exhibition, 1920 A good even picture plane.Light marking approx. 0.5cm inside sight at top and left edge from contact with the slip (see images).Some finescale flaking of the thicker passages of paint in the hawk's near wing and in the wings of the left hand brambling (see images in raking and normal light).Possibly some slight timestaining and fading, but colours appear pretty good.
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