Follower of Carlo Bonavia (c.1751–1788) Italian Rustic figure at rest with goat and sheep before a waterfall and a distant tower Oil on canvas, 144.5cm by 114cm A mid-late 20th century lining and associated stretcher, slighly slack but all keys present. There is a slight bulge in the centre of the face of the painting where the lining is possibly delaminating. The impasto is slighly pressed. There have been four canvas inserts, one to each corner (see images), with the extra pieces later painted. The joins are now prominent and slightly cracked/flaking.There is a fine network of cracks associated with the very open weave canvas throughout, with some more prominent horizontal, deeper cracks/flaking mostly concentrated in the thicker areas of paint particularly the water in the foreground (see images). Possibly bent/rolled? All currently stable. Old small retouched and unretouched losses throughout, with bigger losses including a 1 inch loss unretouched to the large rock to the right of the picture, which has a yellow halo of material surrounding; large brushstrokes of a gritty brown retouching to two losses to the large rock to the left, and a deepter old loss to the impasto above the head of the figure. A futher 1.5 inch approx. loss exposing canvas and associated old flaking to the gap in the trees in the middle of the painting. There is a band of overpaint all along the top edge.There has been abrasion to some of the thinner areas of paint, for example the dark trailing greenery over the sky, and to the sky itself revealing the reddish ground. The abrasion looks largely unretouched. Possibly older retouchings in the darks.There are small white scuffs, spots and scratches scattered throughout, and one larger scuff with some minor flaking to the top right in the pillar. There is patchy white mould (?) spots noticable in the bottom right of the picture (see images), a lot of old dirt and varnish ingrained in the deep canvas weave and texture of the paint. There is a cloudy old varnish, slightly matt and breaking up in patches giving a slighly uneven surface gloss, and a layer of surface dirt and dust.Examined in frame, not examined under ultraviolet light.
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Robert Henry Roe (1822-1905) In Full Cry The Huntsman Return The latter signed and dated (18)89, oil on canvas, 44.5cm by 80cm (2) A) The Huntsman ReturnOne key missing, good tension to the canvas.Prominent stretcher bar marks in places, with some associated cracking. Widespread brittle age and impact cracquelure throughout, with some lifting and flaking in patches, much of which appears to have been treated previously. Some active lifting and flaking in the sky above the horse's withers, to the right of the hind leg, in the shadow of the same hoof, and there are a few scattered small unrestored losses, for example to the rear leg of the horse. Old minor restored losses to top edge.Some abrasion/wear to the upper paint layers especially in the horse's far foreleg, hind haunch and leg of the left hand hound and behind the fence on the left in the woods, and to the tops of the trees. Parts of the surface/paint layers appear slightly broken up/crizzled, with cotton wool embedded in places. These scatter the light and appear more matte.There is some old ingrained old dirt and varnishe, particularly evindent in the troughts of the impasted paint. Some minor transfer of gold from frame at to edge. The old varnish has been partially removed, and an even upper varnish applied. There is a light layer of surface dirt/debris. B) In Full CryAll keys, present and the canvas has good tension. Slight stretcher bar marks and associated cracking. Patches of finescale brittle age and impact craquelure, currently secure but there has been a history of finescale flaking which has been consolidated and some of which has been retouched. This gives the surface a broken up/crizzled appearance that is matt in patches. Several larger lines of cracking and flaking from impacts, notably to the middle of the sky, and a long line through the back of the right hound towards the outer edge. This has cracked and flaked and been retouched but is raised (see images in raking light). Possibly some paint from paint flaking in the head of the huntsman.Scattered unrestored small losees, and some further small restored losses, for example in a line through the left hand hounds leg and flank, to the horse's hoof and coat.There are patches of abrasion/wear to the upper paint layers in patches, such as the top right corner of the sky, top left of sky, horse's muzzle, and to the signature.Both examined in frame.There is scattered white debris in the surface, and old ingrained dirt and varnish, which has been partially cleaned.
Owen Bowen ROI, PRCamA (1873-1967) A view of a North Yorkshire coastal village, probably Runswick Bay Signed and dated 1909, oil on canvas, 49cm by 74.5cm Unlined, one key snapped off in the stretcher, but fair tension.There is a slight distortion to the bottom left corner from material behind the stretcher bar. Large-scape brittle age craquelure through the thicker paint of the sky and the water, slighly cupped and pulling at the canvas causing a quilted appearance to the canvas at the reverse (see images in reflected light). No sharp lifting points evident at present and secure. Some slight stretcher bar marks.Old ingrained dirt and slighly yellowed varnish in troughts of paint.A few tiny scuffs and losses bottom right corner and bottom edge.
Attributed to Benjamin Cam Norton (1835-1900)Portrait of a gentleman seated in his library, wearing a black suit, with his attendant dogsOil on canvas, 140cm by 111cmAn unusual partial / supporting lining, with the original canvas restretched over a thin white cotton material but not adhered. There is an old repaired split to the centre of the cross members. All keys present, slighly slack tension on the canvas.There are raised stretcher bar marks in passages, particularly at the top horizontal member, the top of the vertical cross member, and the bottom of the horizontal cross member (see images in reflected light). There is some minor brittle age craquelure, particularly associated with the corners and some minor impact cracks in places. Some slighly cupped/raised but all stable and not history of flaking. A few minor passages of drying cracks/aligatoring in the black of the dog's head.There are scattered tiny unrestored losses, and a few scattered retouched and partially retouched tiny losses particularly at the top of the painting.There is a patch of abrasion revealing white underpaint above the spaniel's left paw (see images), and some further light abrasion to the it's paw.The picture has been partially cleaned to remove old yellowed varnish in the face, and lighter passages of the drapery and fur. The thick old yellowed and slighly opaque varnish has been left on in the rest of the painting, now visible in certain lights as slighly streaky in the background (see images). There is a fairly even upper varnish and surface gloss, with slighly shiny pools of varnish in the top right edge. There are minor scuffs/abrasion/gold residue from frame at the left edge, and a layer of surface dirt/dust.Examined in frame.There are scattered tiny white drips/spots, small yellow patches.
Christian Meyer-Ross (1843-1904) Norwegian Portrait of an elegant lady, three-quarter length standing, wearing a fine pink evening dress, an ermine stole, and holding an ostrich feather fan Signed, inscribed "Roma" and dated (19)03, pastel, 134cm by 75.5cm A good flat even picture plane, one very small bump in the top right corner visible in raking light. An approx 1cm band of disturbed/smudged pastel along the bottom edge likely from movement in the slip (see images). Scattered lumps of dust and fibres, with larger ones towards the bottom of the picture, with futher scattered fibres. An incised squiggle to fur sleeve - part of artist's technique? A futher scratch like mark below the highlight on the neck near the jaw line.A dark stain to the top edge emerging from under the slip (see images), and a possible patch of timestaining to top left corner where the pastel is slighly disturbed in places?There is a slighly bumpy surface to the pastel in places, appearing to be under the pastel layers (see images).
William Oliver (1823-1901) The Love Letter Signed and dated 1881, oil on canvas, 44cm by 35cmProvenance: Sutcliffe Galleries, HarrogateSold together with a copy of the 2009 insurance valuation provided by the above Lined, with two keys missing. Fairly stiff but good tension.Slight stretcher bar marks, and brittle age and impact cracks throughout, slightly raised/cupped but mostly secure with the exception of one slightly lifted point in the top right corner (see image in raking light).Scattered retouched losses, including four approx 1cm losses in the background to the left of the sitter and a 2cm loss to her right. All the retouchings appear matt (see images in reflected light). Futher matt patches to the top edge and top left corner. Further minor scattered retouchings and a few tiny pinpoint unrestored losses.A few matt splash marks including to the top right, and slight abrasion around the rebate.There has been some abrasion/wear to the dark paint of the bonnet, which has some associated retouching, and a little abrasion in the black shawl. Possibly some very minor wear to the flesh tones around the features in the face.An uneven surface gloss over the retouchings, and a layer of surface dirt and dust.Examined in frame.
Theodor Alexander Weber (1838-1907) GermanLeaving Harbour, BologneSigned, oil on canvas, 31.5cm by 53cmLined, all keys present, good tension, some possibly very slight pressing of impasto from lining. A few patches of brittle age and impact cracks, mostly to the sky, which have associated tiny losses of paint. Most are unretouched and are covered by the upper varnish layer. All currently stable and not lifting. There is some drying craquelure in the boats and figures (see images). There are a few small dark grey touches of overpaint in the sky. Possibly some minor thining of paint in the rigging.Some tiny pools of old yellowed varnish visible in troughs of brushstrokes in the sky, and a touch of a yellowish substance in the sky between gulls. A good even surface gloss with the exception of one matte scuff through the second highest gull visible in reflected light.
William Mellor (1851-1931)"On the Wharfe, Bolton Woods"Signed, oil on canvas, 44.5cm by 75.5cmWax lined with a secondary loose canvas at the reverse. Fairly ridgid. Two keys missing but fair tension. Original edge of painting visible at left edge in places. A very small amound of finescale brittle age craquelure in the rocks in the river, no elevation or flaking. There is a minor linear disturbance in the paint 1cm in from the left edge in the trees and bank - appears to have been when the painting was wet. Retouched/suppressed in places with brown paint. A little old grey ingrained dirt/varnish visible in the troughs of paint in the sky, and three small brown surface accretions and one small grey drip all in the sky (see images). One very minor scratch in the river rocks visible with a torch. A tiny old loss to a rock in the river. A slighly uneven surface gloss associated with the artist's technique/materials - i.e. glossier in the thicker, more medium rich paint. Varnish possibly very slightly yellowed. A light layer of surface dirt/dust.
Richard Henry Brock (exh.1897-1915) Penning the Turkeys Signed and dated 1901, oil on canvas, 54cm by 90cm Provenance: John Noott, Broadway Sold together with a copy of the sales invoice from John Noott, Broadway, dated 3/9/84 Unlined, all keys present, fairly slack tension to the canvas. The canvas appears quilted at the reverse, where the thick paint layers have cracked and pulled the canvas out of plane, and varnish has seeped through.One lump of paint on the reverse of the canvas associated with an impact and small loss of paint and ground at the face (unrestored) at the boy's left shoulder. The impact cracks are slightly elevated (see image in normal and raking light).Largescale and finescale brittle age and impact craquelure throughout. This is cupped and elevated (see images in normal, raking and reflected light), but appears secure with no history of flaking and loss. There are just a very few slightly more raised sharp points mostly associated with impact cracks. One small 0.5cm long paint-from-paint flake from trees at the top middle edge (see image), and a couple of tiny pinpint unrestored losses.There is a small patch of white residue to the right of the man's head (see image), and two small losses at the bottom edge from contact with the frame, and a further slighly larger loss top left corner by the frame rebate.A good glossy even varnish, a light layer of surface dirt and a thicker band of dust down the left edge.No overpaint apparent in normal or UV light. Likely an early to mid 20th century frame.
Italian School (17th Century) Santa Dorothea Inscribed verso, "Re Lined by H W Holder, Portland Place, Hull", oil on canvas, 98cm by 92.5cmExhibited: National Exhibition, Leeds, 1868, according to label reverse Provenance: Private Collection, East Riding of Yorkshire The painting has an old lining, which is painted red at the reverse with black drips/staining. On an old stretcher with keys missing, and the stretcher bar inscribed 'Sir Godfery Kneller 1760'. Fair tension, but loss of impasto associated with the lining.The canvas is distorted and slightly lumpy in the top corners (see images).There is a fine brittle age craquelure throughout, slightly elevated and cupped in places but mostly secure at present.It is difficult to see quite what is going on in the darker passages of the painting due to the opaque old varnish and cracking. However, there is likely several old campaigns of restoration across the painting with some reddish retouching and thick opaque brown restoration visible in strong torchlight. There are scattered old filled losses at the corners, centre top edge, in the top of the palm where the fillings are slightly lumpy and lifting. There has been some history of flaking, now overpainted, leaving the surface with an uneven appearance. Notably this can be seen in the dark cloak over the Saint's shoulder (see images in raking and reflected light). There are small scattered newer losses including in the top left quadrant. There are larger filled and retouched damages including an L-shaped filling and retouching possibly to an old tear through the white drapery of the Saint's left sleeve. There is a long line of old losses and associated restoration running ten centimeters in from the right edge, extending through the hair and shoulder of the boy to the bottom edge with discoloured overpaint. Not all the losses have been filled. Further larger losses/patches of overpaint include those to the upper lip of the boy, the hand of the Saint holding the palm.There have been successive campaigns of restoration, some partially removed, for example the opaque green leaves that extend over the lower hand of the Saint.Much of the paint surface of the flesh tones and red drapery has a pockmarked/pitted appearance with paint from paint flaking. This is usually associated with heat or chemical burning. Some of the larger losses have been overpainted (see images). There are futher passages of overpaint throughout, including to the hair, the black necklace, and the hand.There is a thick old yellowed varnish, partially removed in the face. Old ingrained dirt. Splashes and wipe marks across the surface and white powdery residue, thick surface dirt.Examined in frame.
George Morrison Reid Henry (1891-1983) "Accipiter nisus" - Studies of a Eurasian Sparrow Hawk Signed, inscribed and dated 2-IX-60, gouache, 22.5cm by 21.5cm There is staining and marking to the bottom and right of the mount.There is some minor distortions to the paper visible in raking light (see images in raking light). There are two spots of paper fibres/fluff to the left edge opposite the beak. There is a small brown accretion bottom edge to the right of the signature. The yellow retains a vivid hue.
Follower of Francesco de Mura (1696–1782) Italian Allegory of WinterOil on canvas, 152cm by 181cmThe canvas has been lined, and wooden battens attached to all the tacking margins. The canvas has fair tension. There is widespread brittle age craquelure and impact craquelure throughout, and it has had a history of flaking. Much of the cracking, particularly in the dark area are lifting and cupping and there are several areas of active flaking (see images), particularly in the right hand dark area to the right of the boy's head and in the bottom left corner. In the lighter areas flaking to cracks is unretouched, and they may have been opened slighly with cleaning in the past. There have been several extensive campaigns of restoration. There are several larger losses which have been filled and retouched but remain visible for example an approx. 10cm circular network of losses to the top edge where the sky meets wall, and an approx. 10cm x 6cm loss to the sky above the mountain. There has been extensive overpainting in areas, including to passages of the sky, to the darks at the right hand side and along the bottom edge, the fire, the hands and face of the boy, to parts of the drapery of the man and to the nape of his neck, and the darker passages of his left leg, and in the bundle of sticks. The overpaint is more opaque and solid than the original. There has been some abrasion of the original dark areas and to the trees. There is old dirt and varnish ingrained in the original paint, an uneven upper varnish and white scuffs to the varnish in places. Examined in frame, not examined in UV light.
William Woodhouse (1857-1939) Partridge shooting Signed, oil on canvas, 49.5cm by 60cm The canvas is unlined with original tacking margins stuck down with adhesive tape to the stretcher. One key is missing, but there is fair tension. There is a line of old wax impregnated into the back of the canvas at the reverse. There is a significant distortion to the canvas over the largest partridge in flight, and a futher convex horizontal distortion from a blow from the reverse (see images in raking light). There is a patch of active flaking above the head of the partridge and to the horizontal distortion (see images).There is a brittle age craquelure throughout, especially associated with the stretcher bar, and diagonal cracks across the corners. Most of the cracking is secure, except a patch of tight raised, slighly flaking paint approx. 2.5inches below the dog (see images in raking light).There has been a series of losses along the bottom edge, now filled and retouched and associated with the wax on the reverse. The filling has since cracked and is flaking (see images). The losses are located just above the frame sight in the centre, centre right, and further retouched losses below the signature and to the right edge just above the signature. There are some minor drying cracks in the white cloud, and very minor micro-flaking in the dark of the dead bird's tail.There is some old ingrained varnish, and some light abrasion to the surface layers along the top edge with some small unretouched losses to the top right corner and around the sight.A good even surface gloss, with scattered flyspotting and accretions and a light layer of surface dirt.Examined in frame
Peter de Wint OWS (1784-1849) "Old Cottages, Lincoln" With inscribed label verso, watercolour with scratching out, 40.5cm by 51.5cmFor a comparable work see "Old Houses on the High Bridge, Lincoln" in the V&A Collection, Accession No. 179-1598, which is also referenced in Lord, John, "Peter de Wint for the Common Observer of Life and Nature", Lund Humphries, 2007.Provenance: Thomas Agnew and Sons, Manchester. Dutton Manor, Lancashire The paper is undulating in vertical curves across the whole sheet.There are tiny pin holes along bottom edge from being held whilst painting.Three scuffs to the paper in the sky around the tallest chimney (see images in raking light).A few dark grey spots in the sky and a dark mark in the top right corner.There is a small amound of a shiny yellow material in the bottom right corner just above the mount.Possible blue retouching to lines in water?Some timestaining and possible muting of colour.
Myles Birket Foster RWS (1825-1899) Fruit Market, Venice (1879) Monogrammed, various inscribed labels verso, watercolour heightened with white, 12.5cm by 17.5 cmProvenance: Dutton Manor, Lancashire Provenance: Richard Haworth, Blackburn Exhibited: Royal Society of Painters and Watercolours, February 1900 Japan = British Exhibition (presumed 1910), according to fragments of label verso A good flat, even picture plane.Some of the bodied white highlights are flaking slightly, see images in raking light particularly of the blouse of the woman carrying a basket.Possibly some very light timestaining to the paper.Colours have altered/faded slightly, most apparent where the foliage of the green veg and plants in pots in the foreground have faded to blue.
George Weatherill (1810-1890)Aerial view of the bridge at WhitbySigned, mixed media, 11.5cm by 20cmIn a broadly good state of preservation. Relatively light time staining to the sheet, which is more evident in the sky, especially upper right hand corner. Some likely general tempering of the overall colour colour depth as a result of this. No evidence of cockelling, not examined out of the frame.
Frederick Daniel Hardy (1826-1911)The LetterSigned and dated 1890, oil on panel, 19cm by 14cm Provenance: Rowles Fine Art, PowysPrivate Collection, North YorkshirePanel mostly covered at reverse, but no splits evident at face. A couple of small holes to the reverse of the panel, which is held flat in frame. Paint and ground layers stable, no cracking or lifting. There has been minor fresh abrasion/transfer to the upper layers down the right hand side from contact with the rebate. There is what seems to be the imprint of canvas to the sky in the window (see images), highlighted by dirt in the hollows. No major losses apparent, but a line of dark brown opaque retouching to the mid & lower right edge through the fireplace and teapot (see images), and to the bottom two inches of the left edge and a small patch to the top left corner. Slight abrasion, unretouched to the darkest area of the fireplace, and possibly to the wall which may have some slight reinforcing. An even surface and varnish layer, with a slighly milky wipe mark bottom left visible in reflected light. A layer of surface dust.
Attributed Richard Buckner (1812-1883) Portrait of General Sir Patrick Grant of Tullochgorm, three-quarter length standing in a landscape, in his full military attire and regalia Oil on canvas, 141cm by 110cmSir Patrick Grant was Governor of Malta 1867-1872 Lined, original tacking margins removed. All keys present, slightly lacking in tension. A slight lumpy surface to the canvas visible in reflected light (see images) possibly from the lining process. The painting is loose in the frame, and all original edges are visible, revealing scuffs and losses (both restored and unrestored) at all edges.There is a largescale brittle age craquelure in passages, mostly present as long diagonal cracks particularly to the sky either side of the head, and in the red sash. These are only slightly raised, and all appear secure (see images in reflected light).One indentation approx 3cm diameter from an impact to the left of the shoulder, which has cracked the varnish. There are a few scattered larger losses in the sky, with filling and slightly discoloured overpaint, and scattered small, minor unrestored losses (see images). Possibly some minor abrasion/wear in the beard with associated retouching. Due to the opaque varnish, it is difficult to see the darker passages of the sky.The paint layers of the bottom of the red sash have sustained some damage possibly from liquid. Darker disrupted spots sit above the belt, and flaking of the upper paint layers in vertical bands below the belt. There are futher white drip marks in the varnish that run to the bottom of the painting (see images). This damage has not been restored.There is a patch, uneven surface gloss (see images in reflected light), with the upper varnish layer partially broken up becoming opaque and whitish in places, following largescale brushstrokes presumeably from the application of the varnish by brush.There are scattered further drip marks particularly to the bottom portion of the painting, tiny white flecks to a patch of the sky top left, tiny black deposits on the face (see images), and a layer of surface dust and dirt and a scattering of cobwebs.
George Weatherill (1810-1890)"Whitby Harbour" Signed, watercolour, together with a further work by the same hand "Shipping by Moonlight, East Cliff, Whitby", 9cm by 13.5cm & 11.5cm by 21cm respectively, framed as a group of twoSmaller example: In a broadly clean and bright state of preservation. Some very light time staining to sheet, with possible very subtle and tiny clusters of foxing spots beginning to form within the sky on the left hand side. Larger example: Painted on a gentle and subtle palette with a slightly yellow hue, probably mostly by design. Light time staining to sheet. Both broadly in a good and presentable state of presentation. No evidence of cockelling. Not examined out of the frame.
Follower of Jacob van Walscapelle (1644-1727) Dutch An abundant still life with silver plate and spoon, a cut lemon, oysters, wild strawberries, a vine and grapes, pink Roses, cherries, and glassware, with butterflies and insects Oil on panel, 40cm by 33cm Frame size: 54cm by 47.5cm The panel is one single board, with a horizontal batten in the middle of the back, minor old knocks to all sides, and canvas stuck to the back of the panel. There are no splits visible, and the panel is held flat in the frame.There is a fine brittle age craquelure throughout, all stable with no elevation or history of flaking. In passages the cracks are wider, and these have been suppressed in a campaign of retouching, slightly discoloured (see images). The cracks are most evident in raking light and a higher concentration through the table top and plate. Small scattered retouchings to suppress the cracks in the background, and small retouched losses to the right of the righthand glass, further retouched losses in the left hand glass, and above this near the top edge. A small newer unretouched loss to the left of the lefthand glass. There is a diagonal line of retouching running towards the top left corner from the top of the vineleaf, a retouched loss to the end of the vineleafe above the grapes and further small scattered minor retouched losses. Some retouching to cracks in strawberrys, lemon, and a small filling and retouching to the right end of the cherry stem. There is a larger brown retouching above the oyster.Possibly some minor losses to the delicate glazes, but mostly intact.There is what appears to be a retouched or removed? signature or inscription above the butterfly on the left. Visible clearly in UV (see images) and as a pale milky patch in normal light. Wipe marks in the varnish bottom left and right. An old varnish layer, slighly opaque in places.Examined in frame.
Silvio Giulio Rotta (1853–1913) Italian Street urchins playing cards Signed and inscribed “Venezia”, watercolour, 18.5cm by 28cmProvenance: The Estate of the late David Middleton A good flat even picture plane. Top edge, particularly above the fence, there are patches of a yellowish brown shiny adhesive, with remnants of paper stuck to it (see images). Further small traces of the adhesive visible in places along the rest of the top edge.There are patches of brown staining and light coloured associated mould growth/accretions. The largest is approx. 2cm long, surrounded by smaller blobs, to the right of the head of the lefthand boy. Futher larger patches of staining/mould include one above the cards on the ground, and a patch top right of the jug. Smaller scattered further brown stains/growths.Light timestaining, and possibly some minld fading particularly in the greens that appear to have a blueish hue.
Joseph Richard Bagshawe (1870-1909)Rescuing a ship from a storm Signed and dated 1907, watercolour and gouache, 24.5cm by 34cmThe paper is flat and even. There are remnants of white paper adhered to the surface in three places along the very bottom edge, with residue of adhesive visible below the signature and bottom left corner. A feint dark line in places down the left edge (see images). There is a slight pale diagonal in the sky ? Some light time-staining, and possibly some fading to the transparent washes?
William Mellor (1851-1931) "On the Derwent, Derbyshire" Signed, inscribed verso, oil on canvas, 38.5cm by 74cm Unlined. Two squares of impregnated wax on the back of the canvas, likely associated with consolidation of flaking. Fair tension, all keys present, but stretcher keyed quite far out and there is a split to the top left stretcher member. The picture plane is good and even.Minor brittle age craquelure throughout. Mostly secure but there is some minor microflaking to the bottom centre (see images), and the sky has had a history of micro-flaking which has been retouched/overpainted throughout (see images in UV and raking light). The white impasto appears fairly flat, possibly associated with consolidation. There is one patch of more active impact flaking/cracking top left in the sky, and stable cracks through thicker areas of impasto. There are minor patches of drying craquelure to the horizon of the water (retouched), and on some of the rocks. There are scattered minor retouched but unfilled losses, and possibly some thinning to the dark, glaze-rich brown passages in the water.There is some very minor abrasion associated with the rebate in places along the bottom edge. There is a light layer of dirt and debris and an even glossy varnish.
Raymond Booth (1929-2015) “Iris Spuria” (2002) Signed and dated 2002, pencil and oil on paper, 71.5cm by 47.5cm The paper is flat generally, but there is one approx 2.5inch curved crease at the middle of the right edge, and there are two patches of indented marks, one to left and upper left of lefthand flowering iris, and one in the middle left of the picture (see images in raking and normal light).There are scattered artist's pencil marks and artist's corrections in white.Two tiny brown accretions mid left edge, and a few very feint smudges of original paint.The frame is in good condition with just two very small damages at the back edge (see images). The white slip appears grubby and marked.
Frederick William Jackson RBA (1859-1918)A fishing pot makerSigned, watercolour, 39cm by 51.5cmThe paper on support has slipped slightly in the frame to reveal the top edge, which also exposes a ragged edge of old paper (see images). The paper has a slighlty concave curvature, with a very slight convex 2-inch convex distortion sitting vertically in the bottom right corner visible in raking light. There are minor old abrasions and tiny nicks to the paper and scuffs along the top edge. There is minor cracking to some bodied opaque paint strokes. There are a few scattered pinpoint damages showing white, and imbedded white particles in the surface, for example bottom centre. Some light timestaining but colour remains fairly bright.
Thomas Daniell RA (1749-1840) "On the Bridge, Juanpur, (7th Dec 1789)" Numbered in pencil 131 to margin, and 77/33 to mount, pencil and watercolour engrisaille, together with a further inscribed example "Jumma Musjid Rajmahal", and numbered 117/33, monochromatic pencil and watercolour by William Daniell RA, 33cm by 42cm and 32cm by 46.5cm respectively (2) Provenance: Thomas Agnew & Sons Ltd, London "On the Bridge, Juanpur, (7th Dec 1789)"Light patchy time staining and foxing in places (see images), debris trapped between glass and paper. Laid down on backing paper, all edges exposed."Jumma Musjid Rajmahal",Laid down on backing paper, all edges exposed. Light foxing top right (see images), and very light time staining. Tiny possible flaking in the dark grey bank below trees, and dark blotches in the same dark grey lower left and centre bottom. Unclear what this is. Minor debris on paper.
Peter de Wint OWS (1784-1849) "On the Yare" Watercolour, 26.5cm by 38cmProvenance: Dutton Manor, Lancashire Good even picture plane. Scattered dark flecks are natural inclusions in the paper.Some possible fading/muting of colours and light timestaining.One dark mark centre of top edge.A small damage/retouching to the sky just above the gable to the right of the mill, and to the right of this a tiny dot of material on the surface.A further tiny white accretion at the bottom edge (see images).
Raymond Booth (1929-2015) “A Denophora Species” Signed, oil on paper, 98cm by 27.5cm There is a slight uneveness/undulations to the paper, just visible with the naked eye (see images taken in raking light). There is one small sharp indentation to the middle right of the plant.There are a couple of pencil marks at the top either side of the paper, a few further artist's drawing marks, and scattered small brown inclusions in the paper.There are few tiny brown spots below the second bottom leaf on the right, and a further brown smudge to the right of this at the very edge ,and a few further tiny accretions bottom left corner. There is a small flake of debris between the slip and glass in the bottom left corner.The frame has a very small damage to the back of the top edge, a loss of laminate approx. 1.5inches log at the bottom right edge/corner towards the back edge, a tiny rub bottom left corner join, a small scuff to the left back edge, and a loss to the back edge of the top corner.
Samuel Bough RSA, RSW (1822-1878) Scottish "Yauwath Mill, On the Lowther, Westmorland" Signed and dated 1848, oil on canvas, 61.5cm by 74cmProvenance: Purchased from the artist by a member of the seller's family and thence by descent (by repute) Unlined, with an unusual stretcher. Fair tension. See images in normal, raking and reflected light. Brittle age, impact and stretcher bar cracking throughout. Some cupping and elevation in the dark passages, but more pronounced in the very thick paint of the sky which is elevated and has had a history of flaking and attempted consolidation to treat this (old adhesive and varnish has seeped through to the canvas at the rear). There is still some active unsecured flaking in places. The surface has a lumpy plane in places, particularly top left, associated with the very thick layers of paint pulling at the canvas. Some of the flakes appear to have been crushed slightly. There has been some minor retouching to flaked areas. There are fairly open drying cracks, too, in the darker passages of the painting which appear to have been suppressed by retouching. There are scattered minor retouched losses, plus a larger unfilled retouching to a damage in the middle of the trees top left of cottage. Possible minor abrasion to the dark brown layers to the left bank. There is a thick old varnish layer, yellowed and pooled thick in places. INgrained dirt, and dark flake of paint stuck in the paint surfact top left, and surface dust and accretions. Examined in frame.
Emilie Preyer (1849-1930) German Still life of a peach, black grapes and cobnuts on a marble shelf Signed, oil on canvas, 15cm by 19cm The unlined canvas is on what appears to be the original stretcher, with tacking margins. One key missing, but canvas retains good tension. One slight linear diagonal distortion to the picture plane running from top right towards the middle of the painting only noticable in reflected light. Old brittle age craquelure throughout - barely noticeable.Two diagonal parallel scratches with minor small unfilled but retouched losses to the ledge below the peach. There are a series of small scratches and losses to paint along bottom of the ledge, which are retouched, and a small unretouched white scratch (2mm). Further minor small rouched losses/scratches to bottom left corner and lower right edge. One very small rouching to the background. Very minor abrasion along the bottom edge from movement within the frame rebate, and to end of signature.A fairly recent glossy varnish, not noticably discoloured, and minor surface dust. Overall, in good condition.Examined in Frame, not examined under ultra violet light.
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)Staithes Fisher LadyPencil, 21.5 cm by 16cmProvenance: Walker Galleries, HarrogateThere is a crease and distortion to the top right corner, and cockling along the top edge and a slight bulge through the face and a slight distortion to the bottom edge visible in raking light (see images in raking and normal light). There is light timestaining, and one brown spot to the top left, and tiny black debris to the left edge, and minor light old marks to the right.
Ernest Dade (1864-1934)Scotch Herring fleet leaving ScarboroughSigned, inscribed and dated 1907, watercolour heightened with white, 48.5cm by 74.5cmThere is some cockling to the top left edge and a smaller distortion to the top right corner (see images in raking and normal light). The rest of the paper is even. There are scattered small foxing spots (see images), one dark spot in the centre of the sky, and four tiny white nicks/scratches (see images). Some light time staining ?, and possibly slight fading.
Circle of Jacopo Negretti, called Palma Il Giovane (1548/50-1628) Italian Madonna and Child flanked by angels with attendant saintsOil on canvas, 176cm by 163cm, with arched topLined on a solid stretcher, all keys present and fair tension but the stretcher and canvas sits lightly away from the frame rebate at the top. The original canvas has a seam running vertically just to the right of the Christ child's head, which has been filled and retouched and flaking slightly.There has been an extensive history of flaking, loss and restoration, likely in several campaigns. Much of the later overpaint is very apparent, particularly to the face of the Madonna (see images). Much of the old flaking of paint and ground is historic and stable, but there are patches of lifting and flaking original paint and restoration. There are losses of paint and ground both filled and unfilled, retouched and unretouched throughout, with worse passages of broken up paint to the right hand side. This has left the surface rather lumpy and disturbed, particularly at the top.There are some passages of better preserved paint, notably in the face of the left cherub, and the two right hand figures in the left figure group.There is much old ingrained dirt and old varnish layers, and a lean and dry surface. The old opaque varnish makes it difficult to see what is happening in the dark passages.Examined in frame, not examined in ultraviolet light.
Vincent Balfour Browne (1880-1963) "Only that wretched 6 pointer" Initialled, watercolour, 9.5cm by 15cm Provenance: Rowland Ward's, London A very slight convex distortion bottom right corner, only visible in raking light otherwise the picture plane is even. One tiny white/brown surface accrestion or nick top left (see images) to the sky one inche above the deer on the horizon. There is a feint line going from the horizon at the left edge towards the top right corner, with feint dark spots below and a feint dark spot in the sky towards the top right corner.Likely some fading/muting of colours.
John Atkinson (1863-1924)The Artist’s DaughterSigned, watercolour, 45cm by 59cmThere are two small horizontal convex distortions to the paper, an approx 3-inch one above left of the hat, and a smaller 1.5inch above the horse's hind quarters (see images in raking light). There is some tiny microflaking to one brushstroke of thicker paint in the lead rein over the pink dress, and some very minor cracking of thicker bodied paint strokes in the sky. There is one small loss, retouched, to the highlight at the top of the horse's hind quarters (see image). Possibly some light time staining and light surface debris. Colours appear fairly vivid.
Richard Ansdell RA (1815-1885) A Spanish Encounter Signed and indistinctly dated 1856/8?, oil on canvas, 60.5cm by 53.5cmProvenance: Dutton Manor, Lancashire This painting is probably a collaboration between Ansdell and John Phillip. Phillip and Ansdell travelled to Spain together in 1856 and Ansdell travelled to Spain alone in 1857. Ansdell also produced paintings from sketches in his studio after his second trip to Spain.Our thanks to Sarah Dean (formerly Kellam, nee Ansdell) – great, great granddaughter to the artist for her assistance in cataloguing this lot (www.richardansdell.co.uk) Unlined, one key has dropped out and is stuck between canvas and stretcher at reverse. Slighly slack tension.There is an old tear to the canvas, which has a piece of tape stuck over it at the reverse. At the face you can see two punctures to the canvas, the largest 1cm approx, and there is a surrounding area of loss of paint and ground (see images).There is a network of brittle age craquelure and impact cracks, fairly largescale, including those associated with stretcher bars, diagonal ones across the corner. Slightly cupped and raised mostly in areas of thicker paint such as the sky (see image in raking light). Here there are a few sharp raised points where the paint and ground are lifting from the canvas, but mostly secure. There are a few further patches of sharp, raised and actively flaking paint, with tiny associated losses. There are three such patches in the blue trousers and a patch to the house on the right.There are a few minor scattered unrestored losses: one to the bottom right corner below signature, and two in the group of birds to the left of the tower. There is one small sharp flaked loss in the flowers in the girl's hair.Possibly some minor thinning/abrasion of the paint in the blue trousers? See images.There is an old yellowed, slighly opaque varnish, with yellow varnish visible pooled in the troughs of the paint (see image of Donkey's nose). There is further old ingrained varnish/dirt visible in the blue of the sky.There has been some minor rubbing in frame rebate and a loss by the rebate in the top right corner.There are scattered dark surface accretions and fly spotting, including one brown/white one in the cheek of the man (see images).The varnish is slighly opaque and a slighly matte/uneven varnish, and likely a layer of surface dirt.
Attributed to John Sargent Noble (1848–1896) “A Mothers Care” Signed, signed and inscribed verso, oil on canvas, 29cm by 44cmProvenance: The Estate of the late David Middleton Unlined, original tacking margins slighly damaged at reverse. Five keys missing, slighly slack tension.Very slight, barely noticeable bulge top right corner, possibly from pulling of thicker paint. Some very slight cracking to the thicker passages of paint, secure and not elevated.One small area of flaking from a blow on the wooden post below the rope, and two further small losses of paint and ground on the post (see images).Slight scuffs and transfer of gold from rebate at the top edge.Slightly uneven surface gloss associated with painting technique/materials. Tiny shiny drip to bottom right corner.There is a big greyish wipe mark across the middle of the wall, where the surface dirt has been partially wiped.A light layer of surface cdirt and some light dust and debrisExamined in frame
Alexander Mark Rossi (1840-1916) "On Trust" Signed and dated 1892, with original artist's inscribed label verso, watercolour, 64cm by 36.5cmProvenance: Dutton Manor, Lancashire Exhibited: Crystal Palace Picture Gallery, competition for prizes 1893, number 654 Slight undulations in the top corners visible in raking light, but the rest of the picture plane looks even and flat.Very small lumps of dark debris in paint in the top right corner, and two tiny white flakes of material in the paint surface (see images).There are touches of thicker more bodied opaque paint (probably retouching) in the top terrier's nose, the girl's extended wrist, and scattered spots and one larger brushstroke in her pinnafore.Scattered minor brown drips - a blob in the shoulder of the left hand terrier, a thin drip below the right hand terrier's front right paw, and a larger brown spot on the upper terrier's back (see images).Light timestaining, and possibly some muting of colours.Examined in frame
Manner of Canaletto (1697-1768) Italian Venetian canal with gondolas and a view of the Campanile Tower Oil on canvas, 70cm by 91cmAn old glue-paste lining over an old stretcher. All keys present and good tension, despite some splitting to lining canvas at the corners and joints of the stretcher. Original tacking margins removed, and a slightly uneven and lumpy lining with some minor distortions, and further minor distortions from blows. There are some passages of lumpy paint/ground? It is not clear if this is from the materials/techniques of the artist or a result of the lining process (see images taken in raking light).There is a fine network of brittle age craquelure throughout, all stable. There is a futher network of more apparent drying cracks, some 1mm wide, with the greatest concentration in the sky and the water. There has been a widespread campaign of retouching to the cracks. The drying cracks in the water are filled with brown residue possibly of old varnish.There has been extensive abrasion to the sky and a widespread campaign of overpainting/retouching. An in places the underlayers of the painting are visible. The paintlayers in the buildings and canal are in much better condition, although there is a little abrasion to the boats and some halftones in the buildings. There is thick brown reinforcing retouching to the shadows and peaked roof of the campanile.There are remnants of an old varnish partially left on in the lower half of the painting visible in ultraviolet light. A fairly even upper varnish, and a layer of surface dirt and debris.Examined in Frame
Myles Birket Foster RWS (1825-1899) "The Lay of the Labourer" Watercolour, 9.5cm by 13cm Illustrated: "Hood's Poems", 1872 An even picture plane. A watermark/stain top edge approx. 1cm (see images). Light time staining to the sky, top edge, and more prominently at the bottom edge.There has been some flaking/loss to the more bodied opaque paint of the figures (see images).A few tiny pitted indentation to the sky (see image in raking light).Possibly some slight fading/muting of colours.
Attributed to Eugène Boudin (1824-1898) French Beach Scene Signed verso, pencil, 9.5cm by 17.5cm (unframed) Provenance: Purchased in Paris, 1965, according to typed information to reverse Slight distortion to paper associated with the cut out on the mount on the reverse (see images in raking light). One small diagonal indentation to the left edge (see image in raking light). Some timestaining, particularly to the edges, and a few small brown foxing spots (see images).
Circle of Gaspard Dughet (1615-1675) French An extensive Classical landscape with figures and exercising horses Oil on canvas, 111cm by 152cm Provenance: Stephen, 5th Baron Deramore (by repute) An old lining, with seam 6 inches from bottom. Two big blobs of wax (?) on back of canvas associated with tears (see main images). The lining canvas has split at the stretcher joins. The stretcher is missing keys and there are worm holes along the bottom member. The canvas is lacking tension and there is slight undulation to the canvas associated with this. The canvas weave is more evident, perhaps as a result of the lining, with some light pressing of the impasto.There is old brittle age and impact craquelure throughout, which is lifting/cupping in places most visible in raking and reflected light (see images), for example in patches to the left tree, the water, passages in the foliage in the middle and bottom of the painting. Doesn't appear to be actively flaking, but has flaked in the past and there are a myriad of tiny unretouched losses of flakes under the current varnish.There are two tears, associated with wax on the back of the canvas, so likely through the canvas. These have been filled and retouched. One 2 inch tear runs vertically in the mountain to the left of the building, and the second is a compound tear approx 4in x 2in in the foliage to the left of the water an figures. There are slight distortions to the canvas in these areas. There are futher scattered minor small losses, including three flaked damages to the sky exposing the lower layers of paint/ground and a paint-from-paint flake at the peak of the mountains, unretouched. A few minor retouched losses in the foliage at the bottom, with a larger retouching to losses four inches below white patch of water and to old flaking to the centre stretch of the bottom edge. These are darker than the surrounding areas.Much of the foliage has a greyish hue, possibly a combination of pigment degradation and loss of upper glazing layers. There are glossier patches of warmer coloured material, possibly remaining glazes and/or old varnish layers. These result in a slightly mottled appearance.There are several matt drips/splashes including a larger one through the mountain buildings, brown spotty accretions throughout but most evident in the sky. A fairly uneven surface gloss and old ingrained dirt and varnish.There has been slight movment in frame causing minor rubbing to the varnish visible at the top edge.Examined in frame.
George Weatherill (1810-1890)Whitby pool by Moonlight Signed and dated 1877, pencil and watercolour heightened with white, 49cm by 69.5cm A good even picture plane. Tiny brown dots - one to left of right hand tower on skyline, and one to left of lefthand boat. Possibly some slight fading to rays of lighthouse and fine rigging, and red/brown colours. Blue remains vivid. One small loss to the left of the righthand man on the biggest boat (see images). Possibly some light timestaining.
Albert George Stevens (1863-1925)A Whitby Jet worker Signed, watercolour, 21.5cm by 18.5cmA good even picture plane. Possibly some light timestaining, but colours remain fairly vivid. There are a couple of tiny shiny spots, one to the left of the hands in the dark paint, and a second to the curved brown object to the left edge.
Adolphe Valette (1861-1942) French A lively beach scene, possibly Wales Signed, dated 1916 to label verso, oil on canvas, 38cm by 53.5cm Provenance: The Perera collection Purchased from Mr. Lamming in Jersey (who was the executor of Andre Valette's Estate.) The canvas tacking margins all present with some minor rips and damages to the turnovers. Canvas slightly lacking in tension, all keys loose in stretcher. There is a network of cracks throughout the central portion of the canvas possibly from movement/damage where it has not been protected by the stretcher bars; these cracks are lifting slightly pulling the canvas. In places they have lifted to create sharp lifting points not adhered to the canvas (most visible in raking light) although there have not been any losses of paint yet, for example below right of the two left most swimmers, below the feet of the little girl in pink (see images), and top left corner. There are futher stable drying cracks in places, such as the arm of the little girl in white and the mother's pink dress. Small cracked bumps to each corner, presumably from the stretcher. There is one minor unretouched loss below the top right swimmer in black, a tiny loss to the sand bottom left, and a further small loss to the foot of the gent in top hat - all stable and unretouched. An even surface layer with light surface dirt and minor dust/accretions. No apparent restoration, in fair condition. Examined in frame
Henk Helmantel (b.1945) DutchStill life with canistersSigned and dated 2008, signed and dated verso, oil on masonite, 50cm by 68.5cmVery minor old knocks to he corners of the composition board at the back, not extending to the picture plane which is flat and even. Paint and ground layers in excellent condition. Slightly uneven natural surface gloss associated with the materials and technique of the artist. A light layer of surface dust, and scattered fibre/debris caught in the surface layer.
Follower of Melchior de Hondecoeter (1636–1695) Dutch Cocks Fighting With extensively inscribed, indistinct label verso, oil on panel, 85cm by 117.5cm The panel, which has dropped in the frame to leave a gap at the top, comprises pieces of wood; three roughly equal sized boards, the outer two chamfered top and bottom, with a later 1.5inch batten along the bottom edge and a 3 inch piece of wood at the top possibly a later addition. Both the top and bottom pieces of wood have a square insert/peg, with the one on the top protruding through cracked paint at the face. Evidence of old instability and splitting. All joins likely to have been opened and reglued, and there is a split running 1/4 of the width of the panel from the left edge when looking from the reverse, repaired with a canvas strip but slightly open at the end and likely mobile. Seven old fixed battens at the reverse, both with and across the grain, with the panel thinned in places to accommodate them (see image). No other splits noticable with panel in frame. The plane of the panel is distorted and undulates with the splits/joins (see images). From the face, the top join is filled and retouched but has opened slightly across the whole length with tiny pinpoint losses to the restoration. The second join has been opened 2/3rds of the ledge, filled and retouched and now slightly open. Bottom join has been filled and retouched across whole length with some minor cracking to the filling. The split has cracked through the restoration, and appears raised but stable.The narrow board at the top has some larger scale stable cracking to paint and ground, but the rest of the painting largely has minor cracking associated with the panel grain - some slighly opened through cleaning in the past but all stable and not elevated. Minor losses to joins likely, now covered in filling and retouching. Scattered minor losses from past flaking, all stable. There are likely successive campaigns of restoration, with more extensive overpainting in the sky and foliage in the tres, as well as to joins/split and the scattered losses. There has been abrasion to the sky, and to the trees/landscape as well as the more delicate glazes of the birds - for example see image of bird's head. Large patches of reinforcing and thin overpaint to the ground, for example the reddish patch below the hen on the right. The bottom batten has a thick line of overpaint across the width of the painting. There is less retouching on the birds themselves. Most of the retouching/overpaint is under a thick old varnish layer, with remnants of a thick yellowed varnish left on which gives the painting a mottled appearance and is slightly shiny in reflected light. A light layer of dust and debris.Not examined in UV. Examined in frame.
After Thomas Gainsborough RA (1727-1788) Portrait of Lord Frederick Campbell (1729-1816), half length, in a feigned oval Oil on canvas, 66cm by 62.5cmChristies stencil to reverse: IS0RWThe sitter was Lord Chief Registrar of Scotland, 1768-1816 Member of Parliament, Glasgow, 1761-1780 Member of Parliament, Argyllshire, 1780-1799A biography of the sitter can be found in the Oxford Dictionary of National Biography. Literature: "Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters", New Haven and London 2019, p.144, no. 144h The original portrait was a full length portrait commissioned in 1785 by the sitter's brother, John, 5th Duke of Argyll and it hung at Inverarey Castle until it was destroyed in a fire on 5 November 1975. The literature (as referenced above) lists ten copies of the original. Some are preparatory drawings for an enamel by Henry Bone that is now in the Mead Art Museum, Amherst College, Mass (92003.78) others are head and shoulder copies as shown here. One of the recorded copies held in the Drummond Collection at Cadland, Hampshire was engraved and probably painted by Gainsborough Dupont, although confusingly it bears the date 1769, which may actually record the date of the sitters marriage. It is assumed that the present work is a copy taken from Dupont's Cadland canvas that was first recorded at Inverarey in 1817. Sold together with a cache of letters & documents relating to the picture.We are grateful to Hugh Belsey for his assistance in cataloguing this lot. Appears unlined, but there is a line of thick restoration around the edge. All keys present, slighly slack.Large and finescale brittle age craquelure and impact cracks throughout, plus slight stretcher bar marks with associated cracking. In places lifting slightly with some sharp raised points (see images in raking and normal light). One more prominent curved series of cracks from a blow from the reverse running approx. 15cm in the left background just inside the oval.A few minor scattered retouched losses in the background, with a few further tiny unrestored losses. There has been some abrasion to the darker paint layers and mid-tones, especially see in the background top right of head, hair, jawline, around eyes, nose and mouth, shadows of hand, black lapel and around tassle. There are passages of retouching/reinforcing, slightly discoloured and opaque, to suppress cracks, to reinforce abrasion in places, and larger patches to the bent middle finger and surrounding drapery, to a patch in the shirt, to the collar, to the cheek, around the features, to the hair, and to a rectangular area across the bridge of the nose (see images in UV).Scuffs to varnish top right of head, middle right edge, and matt patches down right hand side (see images). A thick old varnish, likely discoloured, remains in background and darker drapery, removed over paler passages. Old ingrained dirt, a slighly patchy upper varnish layer, and a light layer of surface dirt.Examined in frame.There are several knocks and losses to the frame, with a chunk of composition lost from top right corner decoration. The corner decorations have a thick painted surface (see images).
Charles Hodge Mackie RSA, RSW, PSSA (1862-1920) Scottish "Pastures..." (In the Esk Valley) Signed, signed and inscribed to stretcher verso, oil on canvas, 48cm by 55cmProvenance: Phillips and Sons Fine Art, Marlow All keys present, and canvas has good tension.The very coarse canvas and thick paint and ground have cracked at the turnover edges, which are visible from the face all around. There are a few scattered small losses associated with this, particularly to the top right corner, middle left top edge, bottom left edge some of which have been retouched. Mostly secure. There is a larger patch of retouching to the top right corner, which is matt in reflected light. There is some further minor, secure cracking to the bottom right corner associated with the coarse canvas.There are some larger scale cracks in the thick paint of the sky, the bottom of the sea, and in the far land on the right hand side. These are very slightly raised with some sharp edges but mostly secure and no flaking evident. There is a diagonal scratch top right, possibly retouched or likely done during the painting process?.Some old ingrained dirt, and a good fairly even surface gloss.Examined in frame.
Attributed to Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)Time changes all things, with bird study versoPencil, 16.5cm by 21.5cmThere is slight distortions to the paper, only obvious in raking light (see images in raking and normal light). There is a 5mm long piece of dark debris pressed into the surface of the paper top left with a feint brown associated staining to the left of this (see images). Possibly some light timestaining, and tiny black fragments along the top edge.
Jan Jacob Coenraad Spohler (1837-1894) Dutch "Winter" "Summer" Signed, oil on panel, 20.5cm by 15.5cm (2)Provenance: MacConnal-Mason, London Winter: The edge of the panel are concealed at the rear by no splits, damages or movement visible. Only fine vertical stable cracks inline with the wood grain evident. Scattered careful retouching to small losses inluding one above the tower, and one above the right hand skaters. Some abraision/wear to the brown tones and thin upper glazes and the sky. A careful campaign of retouching to the abrasion, (see images under UV), all of which are slightly matt in reflected light. Slighly uneven surface gloss where there is abrasion/retouching, with a light layer of surface dirt.Summer: The edge of the panel are concealed at the rear by no splits, damages or movement visible. Only fine vertical stable cracks inline with the wood grain evident. Scattered careful retouching to small losses. Some abraision/wear to the brown tones and thin upper glazes and the sky. A careful campaign of retouching to the abrasion, (see images under UV), all of which are slightly matt in reflected light. And slighly heavier reinforcing to the top of the righ hand windmill and in tops of buildings. Slightly uneven surface gloss where there is abrasion/retouching, with a light layer of surface dirt.
Frederick William Jackson RBA (1859-1918)Figures looking out to seaWatercolour heightened with white, 36cm by 47cmA good even picture plane. Small damages to the edges of the paper - a crease bottom left corner, four old rucks from pins two at each side, a further small ruck to paper right edge. Slight finescale cracking to thicker opaque brushstrokes. White accretion to the surface bottom right corner, and two shiny drips above this with several shiny spots across the sheet. Some timestaining, and light surface debris, with a few small foxing spots visible in the lighter passages (see images). There are slighly mottled passages (see images) possibly associated with technique?
Eugene Joseph Verboeckhoven (1799–1881) Belgian Sheep and lambs in a stable, with a veiw of an extensive landscape beyond Signed and dated 1878, extensively inscribed verso, oil on canvas, 67cm by 54.5cmProvenance: Dutton Manor, Lancashire Unlined, all keys present (one split), fairly good tension. A good even picture plane. Slightly raised stretcher bar marks with associated stable cracking in places at the top, bottom and feintly in the middle. Further passages of stable brittle age craquelure, with very slight cupping in the thicker passages of paint (see image in raking light). The cracks are concentrated in the sky, at the turnover at the top edge, a few in the dark brown background, and in a more finescale band across the bottom 3 inches of the painting. There is a band of drying cracks from the right of the lefthand lamb's head through to behind the adult sheeps' hocks. These are slightly opened and appear white in places (see images). There has been some very minor abrasion in the rebate visible at lower left edge, bottom right corner and upper right edge. No losses of paint/ground, or any restoration apparent. There is an old yellowed varnish, now going slightly opaque (visible in the darker passages), with a slighly dull uneven surface gloss as expected in an old varnish. Likely a fairly substantial layer of surface dirt, and there are a fair number of old flyspots/accretions which appear matt in reflected light, scattered across the picture.
Circle of Philips Wouwerman (1619-1688) Dutch Travellers tending the horses at ruins Oil on canvas, 90cm by 73.5cm Provenance: Earl of Morton, Conaglen Lodge, West Coast of Scotland Private Collection, Scottish Borders An old 19th century lining, original tacking margins removed (visible top right corner from face), and lining canvas damaged and split at turnovers. 19th century stretcher which has been keyed quite far out, all keys present bt the canvas is lacking in tension and is undulating slightly over the picture. The back of the lining canvas is covered in an old grey ground (?) layer. The stretcher and canvas are slighly loose in the frame, and there are old remnants of brown paper tape visible at the edges from the face.There is old brittle age and impact craquelure throughout, some very slighly lifting but all appears stable and there doesn't appear to have been a history of flaking and loss. Scattered minor filled and retouched losses throughout, including a 1/2 loss at the bottom of the sky on the right hand side, one in the top left corner, and a series of small losses down the right and edge.There has been fairly widespread abrasion to the upper layers of paint to expose ground throughout, most evident in the dark cloud at the top of the painting and in all the darker areas of the painting, particularly around the figures and in the foliage at the top of the arch. In the sky there has been a comparitively recent, sensitive, and relatively minimal campaign of retouching to suppress the worst of the abrasion. This can be seen as small, careful brushstrokes (see images). There has been less retouching in the darker areas, largely the same small brushstrokes around the figures to define them and make sense of the painting.There is a fairly even varnish layer, dirt and debris, and white drips through the middle of the painting over the large arch. Slight rubbing in frame has whitened the varnish layer, and there is some light mattness over the retouchings.Examined in frame
A Pair of Victorian Silver Five-Light Candelabra, by Elkington and Co Ltd., Birmingham, The Bases 1894 and 1895, The Branches 1899 and 1900, The Nozzles Various Dates each on square base with beaded border and stamped with classical vases and husk swags, the stems fluted and terminating in Corinthian capital socket, the detachable branches with four foliage-cast branches, each with Corinthian capital socket, with detachable gadrooned nozzles, one lacking, filled52cm high, weighable silver 101oz 11dwt, 3,159gr (2)Provenance:Sold by Order of the Royal Regiment of Fusiliers to Benefit the Fusiliers' Aid Society.Each is marked on base and further part marked on branches and nozzles. There is some wear to the marks. There is some overall surface scratching and wear, consistent with age and use as well as some bruising. There have been some repairs to the branches, with one pair of each having been recently repaired which has left them in a bright condition. The rest of each could use a professional polish. There are bruises to the branches overall.
Bulgari: A Stainless Steel Automatic Calendar Centre Seconds Wristwatch, signed Bulgari, model: Diagono, ref:BB38SL Auto, circa 2003, lever movement, black dial with Arabic and baton markers, date aperture, case bezel with Bulgari signature, snap-on back signed and numbered BB38SLAUTO L2220, Bulgari strap and steel buckle, with Bulgari boxes, International guarantee booklet and other booklets38mm wideCase with light surface scratches, bezel outer edge with very minor dents visible under an eyeglass, glass is clean, strap is clean, dial is clean, hand setting correctly and date changing correctly, movement in going order.
Rolex: A Lady's Stainless Steel Automatic Centre Seconds Wristwatch, signed Rolex, Superlative Chronometer Officially Certified, model: Oyster Perpetual, ref: 176200, 2007, (calibre 2231) lever movement signed and numbered 2465520, adjusted to five positions and temperature, light pink coloured sunburst dial with Arabic and baton markers, case with screw down crown, screw back stamped inside Rolex Geneva Switzerland and numbered 2320, case serial number M501292, Rolex stainless steel oyster bracelet with a deployant clasp and date letter code PJ01 for 2008, with Rolex box, International guarantee card, booklets, two swing tags, and purchase receipt from Berry's Jewellers Leeds in 201026mm wideCase and bracelet with surface scratches, crown is screwing down correctly on the threaded tube, glass is clean, dial is clean, hand setting correctly, movement in going order. Bracelet length including the watch case is 18.5cm approximately.
Vacheron & Constantin: A Rare and Interesting Silver Open Faced Keyless Naval Deck Watch, Recorded in Service in the 1940's on Board HMS Upright, HMS Elfin and HMS Lingay, signed Vacheron & Constantin, Geneve, Chronometer Royal, Numbered 1566, circa 1940, manual wound lever movement signed and numbered 371566, split bimetallic balance with a blued overcoil hairspring, micrometer regulation, wolf's tooth winding, enamel dial with Arabic numerals signed and numbered, seconds dial, case back with engraved H.S (Hydrographic Service) military broad arrow 2, inside back cover stamped Vacheron & Constantin and numbered 271321, silver convention mark 0.925, with outer wooden fitted box, inside lid with instrument makers stamp label "B.Cooke & Son Ltd, Hull, sold with a photocopy of the original ledger for this chronometer number 156658mm wideFrom research at the Royal Observatory the ledger confirms this Naval Deck watch by Vacheron & Constantin was purchased by the Royal Navy in February 1942 for a sum of £16, and sold in August 1961 to B.Cooke & Son. The ledger confirms this deck watch was on board HMS Upright (U Class Submarine), HMS Elfin (Torpedo recovery vessel) and HMS Lingay (Trawler/Minesweeper).Case with surface scratches, case with very minor dents in parts visible under an eyeglass, case covers are nice an tight when closed, case hinges are in good condition, pendant bow is missing, glass with scratches, dial is clean and with no cracks and no chips, dial with broad arrow rubbed and still visible beneath the number 1566 and can be seen under an eyeglass when tilting the watch towards the light, minute hand is stained, hand setting correctly and winding smoothly, movement is clean and in going order. Outer wooden fitted box is faded and with dents and scratches in parts.
A Victorian Silver Oil-Lamp, by James Dixon and Sons Ltd., Sheffield, 1896 on square base, chased with foliage and husk swags and with beaded border, the tapering stem fluted and terminating in a Corinthian capital sconce, with cut-glass font and metal mounts, later fitted for electricity, filled62cm high to top of electric fittingFully marked on base. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points. The stem leans slightly. The glass font seems to be intact with only some minor surface scratching and wear. The original mounts for the oil lamp are lacking and the top has been replaced with a light socket. The electrical wire has been cut and so not in working order as a lamp. The height to the top of the Corinthian capital is approximately 42cm. The diameter of the font is approximately 18cm.
A Pair of Portuguese Silver-Gilt Seven-Light Candelabra, by Mergulhão, Lisbon, 20th Century after a pair supplied by François-Thomas Germain in 1757-58 to King José I of Portugal, the bases modelled after a design traditionally attributed to Thomas Germain and often made by Louis Lenhendrick, each on shaped circular base cast with foliage, shells and rocaille, the baluster stems cast with foliage and flowers and with further foliage swags, the six branches each lavishly cast with foliage and applied with flowers, terminating in foliage and flower-cast sockets and with detachable fluted wax-pans, with similar central branch60cm high, 46.5cm wide, 375oz 2dwt, 11,667gr (2)Provenance: with Asprey, New Bond Street, London, December 1979.Each marked on base, socket, wax pan and nozzle. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The gilding was probably refreshed when sold by Asprey. The central nozzle on has a striped thread so it does not tighten properly. Some bruising to the branches.
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