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Preisdatenbank abonnierenA Late 19th Century Deep-Seated Three-Seater Sofa, in the manner of Howard & Sons, recovered in light grey linen, with rounded arms and three squab cushions above a plain seat rail, on mahogany tapering forelegs with castors176cm by 67cm by 73cmThe framework and legs are structurally sound. The fabric is also in good condition. Cushion with some slight creasing, we assume that this will flatten out OK (see further images).maximum width 176cm
A Sèvres Porcelain Etrusque Tea Service, 1827, painted with a band of flowers within formal gilt foliate borders, stencilled mark in blue with date cypher for 1827, comprising:1 teapot and cover1 twin-handled sucrier and cover2 helmet-shaped milk jugs12 cups17 saucers2 pedestal dishes (35)A similar Dejeuner service is recorded in the factory records as decorated á guirlandes de fleurs frise d'or and delivered to M Baudouin on 22nd December 1828Teapot with some light internal staining and wide crazing not visible on the outside. Sucrier with two large flat chips to rim of cover and with further chip to flange of cover, rim crack to the side of one handle travelling half way down the base. One cup with two long hair cracks to the rim. One with a crack across the lower handle terminal. One with a short crack to the rim near the upper handle terminal. One with slight flakes to the foot. One saucer with a broken section to the rim professionaly restored. Another with a star crack in the base. Two saucers with a large rim chip. One pedestal dish with firing crack to foot. Some typical minor enamel, gilt and glaze wear.Teapot 12.5cm high and the same handle to spout. Sucrier 16cm handle to handle 12cm high. Jugs 13.5cm high. Pedestal dishes 21cm diameter. Saucers 15cm diameter.
A Champagne or Sweetmeat Glass, circa 1750, the ogee bowl on a pedestal stem and domed base with folded foot16cm highA Similar Glass13.5cm high (2)Largest - no chips or cracks. Bowl striated. Foot rocks slightly. Light wear and surface scratches.Smallest - no chips or cracks. Some manufacturing blemishes to foot and bowl. Bowl with a long scratch. Some other general wear and scraches.
A Cordial Glass, circa 1760, the semi-fluted rounded funnel bowl on an opaque twist stem16.5cm highA Similar Ale Glass, the pan-topped bowl engraved with a band of hops on an air twist stem with swelling knop19.5cm high (2)Cordial glass - bowl free from chips and cracks. Foot with slight flakes to the side. General wear and scratches.Ale glass - no chips or cracks. Some very minor flakes to the foot. Light wear and scratches.
A Wine Glass, circa 1730, the bell-shaped bowl on inverted baluster stem with air tear and basal knop with folded foot16.5cm highNo chips or cracks, some slight flakes to the rim of the bowl. Some bubble inclusions to the bowl and foot. General light wear and scratches. The glass rocks very slightly on the foot.
A Gilt Metal-Mounted Cut Glass Chandelier, 20th century, the crown hung with pendant drops and with strings of button drops over an oval collar cast with anthemion and with six scroll branches over a bag shade and pendant dropapproximately 105cm highAppears to be in good condition throughout. However, five of the drop lustres are missing from the candle hand supports. Two-core cable fitted to the fitment. We have tested and the chandelier does light up. It may need to be re-wired in order to comply with current regulations (three-core cable). One string of lustres missing? to the coronet section of the base.small bayonet cap fittingwidth approx 95cmcurrently wired with 10 bayonet capsFrame approx 60cm at the widest - 93cm including the branches.
A Wine Glass, probably German, circa 1750, the rounded funnel bowl with engraved foliate and strapwork border and basal faceting on a facetted knopped baluster stem and domed foot19cm highA Similar English Cordial Glass, circa 177014cm high (2)Tallest - No chips, cracks or polishing. Some bubble imperfections to the bowl. Light wear and scratches.Shortest - slight flakes to the facets of stem, some minor notches to the side of the bowl. Foot slightly trimmed.
Mashhad CarpetNorth East Iran, circa 1920The strawberry field of scrolling vines and a pink medallion framed by blue spandrels and flanked by ivory guard stripes and blue vine borders483cm by 340cmBoth ends complete, selvidges original and complete, pile generally fair condition several small areas of localised light wear.
A Composite Stem Wine Glass, circa 1750, the bell-shaped bowl on a air twist stem with basal air teared knop and domed foot17.5cm highA Similar Wine Glass, the drawn trumpet bowl on an air twist stem and domed foot17.5cm high (2)Composite stem glass - no chips or cracks. Foot very slightly trimmed. Small repaired chip to the side of the foot. Light wear and scratches.Second glass - no chips or cracks. Slight wear and scratches.
A Set of Six Wilkinson Pottery First World War Allied Commanders Toby Jugs, circa 1915-1919, designed by Sir Francis Carruthers-Gould, comprising General John French, Field Marshal Douglas Haig, David Lloyd-George, Admiral Beatty, Marshal Foch, and Field Marshal Joffre, printed and incised marks24.5-31cm highFrom the Estate of Stephen Hamilton Rawlings, Scarborough.Lord French - with a repaired section to the front brim of his hat showing mostle over spray to the coloured underside. Crazed and with some minor enamel flaking.Marshall Joffre - crazed.Lloyd George - some light crazing.Admiral Beatty - good condition.Marshall Foch - top of bottle lacking, enamel flaking to the cuff next to the bottle. Crazed. Field Marshall Haig - some enamel flaking, most notably to the union flag jug. Some crazing.
A Gilt and Patinated Bronze Lamp Base, in Louis XIV style, with foliate sconce on a fluted column with stiff leaf base, on a tripodium support and shaped triangular plinth, fitted for electricity50cm highMetal components all attached, slightly loose. Some light wear and with dry patination. Wiring needs some attention.
TO BE SOLD ON BEHALF OF THE UKRAINE HUMANITARIAN APPEALA pair of curtains in a heavy woven material with a soft sheen in a light terracotta/salmon, gold and cream pattern; pencil pleat heading, thick thermal lining under cotton top lining with extravagant swagged pelmet in three sections with watered silk effect trim, and a pair of matching tiebacks (each curtain approx. 350 hem width x 275 cm drop). Good condition apart from marks/spots to some areas of lining and trim.
Thirteen mostly late 19th century tunic buttons and War Office document 'Medals 16' (02/01/1899) relating to the Rhodesia Medal awarded to the late Capt. J. Kershaw, York and Lancaster Regiment. The buttons (mostly 19th century militia by Jennens) to include:Renfrew Militia Deputy Lord Lieutenant Royal Sussex3rd Royal Surrey1st Royal Lanark (tunic and cuff)19th Middlesex Rifle Volunteers Corps27th Lancashire Rifle Volunteers3 x 3rd West York (Light Infantry) Militia4th West York Militia (cuff)60th Rifles (cuff)
The Beatles - Second Album. Rare Original UK Export only 1966 2nd press Stereo vinyl record Issue on the Yellow and Black Parlophone Records labels, Parlophone / EMI Records, CPCS 102. Vinyl is in VG- / VG condition with only light unfeelable marks, Sleeve is in VG condition (small name written on back).
Pink Floyd - The Piper At The Gates Of Dawn. Original UK 1967 1st pressing Mono Vinyl Record, on the Blue and black Columbia Records labels, Sleeve has NO “File Under” text, 2/1 ,matrices and 1 H / 1 H mother matrices. Columbia Records, SX 6157. Vinyl is in Very Good Plus condition (with only light scuffs and marks), Sleeve is in Excellent Condition.
The Beatles - Yellow Submarine. Original UK 1969 1st Pressing Vinyl record, dark apple labels, and red lines on back of sleeve. Apple Records, PCS 7070. Vinyl is Very Good plus to Excellent condition (with only very light sleeve marks). Sleeve is Excellent condition, comes with original black inner.
TO BE SOLD ON BEHALF OF THE UKRAINE HUMANITARIAN APPEALA pair of curtains in a heavy woven material with a soft sheen in a light terracotta/salmon, gold and cream pattern; pencil pleat heading, thick thermal lining under cotton top lining with extravagant swagged pelmet in three sections with watered silk effect trim, and a pair of matching tiebacks (each curtain approx. 220 hem width x 270 cm drop). Good condition apart from marks/spots to some areas of lining and trim.
An early 20th century oak dresser of large proportions; outset cornice above three leaded-light glazed doors with fielded panels below, the lower section with three drawers with brass swan-neck handles and flanked by fluted uprights, raised on short moulded base (186 x 53 x 189 cm high)Condition Report: There are watermarks on the piece of wood showing on the base above the drawers. It has probably been stripped at one point in it's life as the grain is fairly 'open'. At the top of the LH side of the superstructure there is a 15cm split along the grain could probably be restored. The two middle drawers are slightly different colours against the others. Some of the beading is missing to the lower left drawer. The escutcheon has been replaced on the RH door and holes filled in. The doors now locate on internal magnets. There are some splits to the backboards running vertically, approx. 20cms. There are further filled smaller splits. A sympathetic minimal restoration would make a notable difference.
An extensive Herend porcelain dinner service, in the 'Printemps' pattern, decorated with flowers within a basketweave and gilt heightened border10” plates – 18 in total, all appear to be in good order, some light cutlery marks only.7.25” side plates – 35 in total, twelve of these have either been in regular use of through the dishwasher as the decoration is quite faded, one of these 12 is also cracked.8.25” dessert plates – 12 in total, two are slightly faded and one is cracked.19.5 x 7” serving dishes – all three are intact.Teapot – good.Double-ended sauceboat and saucer – good.Three 4” milks – good.3.5” milk – good.16” meat plate – good.14” meat plate – good.Two coffee pots – both have minor nibbles to the rose finials, one has a small chip to the rim.10” round serving bowl – good.13” round serving plates – both good.Tureen with lemon handle – minor nibbles to the flowers, otherwise good.Pair of candlesticks (different pattern) – one has a few small chips to the foot.Nine teacups – two are smashed and repaired.Twelve tea saucers – all appear good.Nine coffee cups – two are smashed and repaired.Ten coffee saucers – all appear good.
Charles Edward Dixon RI (1872-1934)"Blackwall Reach"Signed, inscribed and dated (19)02, watercolour heightened with white, 26.5cm by 76cmProvenance: Walker Galleries, HarrogateIn an overall fairly good state of preservation. Some relatively light to moderate staining across sheet with some possible reduction to the overall colour. Emergence of odd foxing spots beginning to sky but not fully formed. Superficial diagonal surface scuff towards upper right-hand corner. No obvious evidence of cockling. Not examined out of the frame.
Adelsteen Normann (1848-1918) NorwegianA Norwegian FjordSigned, oil on canvas, 62.5cm by 95cmFairly siffly relined, cleaned and revarnished. The paint is slightly thinned and somewhat flattened as a result of the restoration process. Various medium to large sized essentailly stable craquelure throughout which is more evident across the sky and mountains. Some surface dirt and discoloured varnish now in evidence. There is little to easily discern under a UV light but it would seem likely that there has been some fairly consistent strengthening throughout the sky with likely some infilling to old craquelure. Some of the darker tones of pigment to denote the dappled light on the expanse of water may be additions. Likely retouches to edges and corners. For further information please contact the department.
James Humbert Craig RHA (1877-1944) Irish "Innaglush, Cushendun, Co. Antrim"Signed, inscribed to artist's label verso, oil on board, 37cm by 49.5cm Exhibited: Royal Glasgow Institute of Fine Arts, 1929, no.420 (according to label verso) Glazed and concealed to reverse. In an overall good and original state of preservation. Some light surface dirt. Odd area of mostly horizontal fine craquelure. The paint has been diluted and very thinly applied in places, bringing a chalky characteristic, with some areas of the ochre coloured board showing through.
Bernard Ninnes RBA, ROI (1899-1971)"Evening Glow, St Ives" Signed, with inscribed artist's label, oil on canvas, 50cm by 60.5cmExhibited: Saint Ives Society of Artist's, New Gallery Norway Square, Summer Collection 1950 no. 71, priced £25.0.0Sold together with a copy of the above exhibition catalogue and a copy of the original purchase receipt of 1950 for present lot and lot 1048In an overall good and original state of preservation. Light surface dirt and discoloured varnish, if varnished. Canvas slightly adrift in frame. Fine, slightly incongruous vertical dark coloured line from approx centre of the tower and approx 6 cms in length. Canvas is showing through in places by execution and odd brush bristle encapsulated in the paint. Not examined with a UV light.
John Steven Dews (b.1949)“White Heather II battling it out with Britannia off Fishburne Cowes” Signed, oil on canvas, 59cm by 90cmProvenance: purchased directly from the artist circa 30 years goIn an overall good original state of preservation, some light surface dirt and discoloured varnish.
Abraham Hulk Snr. (1813-1897) Dutch "On the Zuider Zee"Signed, oil on canvas, 29.5cm by 45cm In fully restored condition. Re-lined, cleaned and re-vanished. Some general and fairly consistent re-touching throughout the sky. Sporadic and minor re-touches elsewhere. Some flattening to the surface as a result of the restoration process and thinning of paint in areas. Relatively light surafce dirt and discoloured varnish now in evidence. Otherwise in a stable and preseantable state of preservation.
George Dunlop Leslie RA (1835-1921)"Cowslips"Initialled, oil on canvas, 140cm by 104.5cmProvenance: The Rt. Hon. William George Armstrong C.B., F.R.S. of Cragside, Rothbury until 1900 and thence to his executors, by whom sold Christie's, 24 June 1910, lot 72 bought 'Sampson'Exhibited: The Royal Academy 1877, no. 101Literature: Academy Notes, 1877, p.17; Art Journal, 1877, p.197Estate of Denton Hall in Ilkley, Yorkshire which has been part of the NG Bailey group of companies for over 40 years. NG Bailey is the UK’s leading independent engineering and services business and is owned by the Bailey family. George Dunlop Leslie was born in London to a deeply artistic family. His father was the genre painter Charles Robert Leslie, his uncle was the marine artist Robert Leslie and his sister Mary was also an artist.Leslie was an influential member of the St John's Wood Clique which included Henry Stacy Marks and William Frederick Yeames (see lot 1090) - highly successful painters of literary and historical genre scenes. It was an affluent age in which artists acquired large fortunes and a growing social status. Leslie was among several artists who commissioned architect Richard Norman Shaw to design houses for them in smart areas like Holland Park St John's Wood.Early works betray the influence of the Pre-Raphaelites but as his career developed he began to paint in a more academic and uniform manner to portray gentle and pleasing scenes of everyday life. The critic John Ruskin praised his depictions of the “sweet quality of English girlhood”. Leslie exhibited at the Royal Academy annually from 1857 to 1920.Framed dimensions: approx.165cm by approx.131cmCondition - In an overall good and stable state of preservation. Fully encased to the reverse with flat panel stretcher. Cleaned and revarnished but retaining a good amount of surface and impasto in general. There may be some areas of remaining older varnish? Inspection under a UV light does not indicate any obvious areas of damage to the canvas. The assumed original madder pigment is emitting a pronounced light back and can be seen in various areas as indicated in the additional photographs. Some possible limited and linear strengthening to some of the darker shadows within the branches and vegetation to upper left hand corner. Again some possible strengthening to the darker pigment denoting the more pronounced qualities of timber mostly vertical left hand side post. Some minor retouches to lower edge and the definition of the grassy area immediately below the style and the area in an around the ankles of the left hand child. The darker and upper parts of the shoes worn by the central seated figure may have received some minor strengthening in addition to the letters denoting the artist's name/signature. The face of the centrally placed seated figure does show some mild surface abrasion. Isolated areas of mild craquelure. General surface and discoloured varnish. For more information please contact the deparment.
Bernard Ninnes RBA, ROI (1899-1971) Cornish Harbour Signed, oil on canvas, 39cm by 49.5cmSold together with a copy of the original purchase reciept of 1950 for present lot and lot 1049In an overall good and original state of preservation. Layer of surface dirt and discoloured varnish ? Couple of superficial dark coloured horizontal scuffs within the sky approx centre and to the left of this. The canvas is showing through in places, but this is by execution. Not examined with a UV light.
William Edward Webb (1862-1903)Unloading the Oban fish boatsSigned, oil on canvas, 40cm by 50cmProvenance: Walker Galleries, HarrogateIn fully restored condition. Fairly stiffly relined, cleaned and revarnished. The surface is slightly flattened and the paint is thin in places owing to the restoration process. Stretcher shadow to upper edge. Areas of fine stable craquelure. Light surface dirt and discoloured varnish. Fine and sporadic retouching and infilling to old craquelure, mostly within the sky. Retouching to upper left hand corner. Otherwise in a broadly good and stable state of preservation.
Stanley Royle RCA, RBA (1888-1961) "Newark Street"Oil on canvas, 88cm by 68.5cmProvenance: Christie’s, South Kensington, Sale of the Artist's Studio, 28.10.87, Lot 198 Fairly stiffly relined. Retains a reasonably good level of surface and impasto. Surface dirt and discoloured varnish. No obvious indication of restoration under a UV light but this does not preclude the possibility.
After Domenico Zampieri called 'Domenichino'(1581-1641) Bolognese"The Cumean Sibyl"Oil on canvas, 63cm by 54cm within arched frameIn fully restored condition. Fairly stiffly relined, cleaned and revarnished. Surface is slightly flattened and the paint is thin in places becasue of thre restoration process, most notable in terms of the latter across the background. Slight stretcher shadow. Consistent small sized stable craquelure most notably through the background and to a lesser extent elsewhere. Light surface dirt and discoloured varnish. Some fairly sporadic and mostly small sized retouching throughout background and elsewhere on the left hand side of the upright book page, lower left hand side edge, and within the lower central parts of the masonry. Also within the fabric and drapery below her left arm, right hand side edge and to a lesser extent within the drapery of her left arm, likely to face and upper parts of the curved top of the instrument. This is not readily indentifiable under a UV light. Very minor rubbing to lower right hand corner. The odd tiny loss to surface in general.Picture is likely later 19th Century.
John Steven Dews (b.1949)“Shamrock Racing, Velsheda & Britannia Thames Estuary, c.1930”Signed, inscribed verso, oil on canvas, 75cm by 101cmProvenance: purchased directly from the artist circa 30 years ago In an overall good original state of preservation, light surface dirt and discolored varnish, extremely minor diagonal crack to the upper right corner which is so superficial it cannot be easily photographed.
Attributed to William Edward Webb (1862-1903)"Unloading a Collier" Oil on canvas, 39.5cm by 59.5cm Provenance: John Noott Galleries, BroadwayOriginal canvas. Some relatively light dirt and discoloured varnish. Relatively pronounced small sized craquelure throughout the lower billowing clouds which is more notable in and around the rigging and masts on the beached vessel. Other areas of craquelure present but not as visible. Slight stretcher shadow. Under UV inspection the painting would appear to have been systematically and comprehensively retouched and overpainted throughout the entire composition. This might be the result of a historical clean that abraided the surface, resulting in a high degree of retouching and restoration. For more information please contact the department.
Charles Euphrasie Kuwasseg (1838-1904) FrenchFishermen hauling in nets on a Continental river with market stalls on the banks and a view of a city beyondSigned and dated 1871, oil on canvas, 54cm by 98.5cmIn fully restored condition, stiffly relined, cleaned and re-varnished. The surface is flattened and the paint is thin in places as a result of the restoration process. Now with discoloured varnish and light surface dirt in evidence. The grey of the clouds throughout the sky has been generally strengthened with some reinforcement through some of the white paint denoting the outer edges and extremities of the clouds. Further delicate retouching and infilling to old fairly wide-spaced cracquelure across picture but more notably to sky centre. The trunk and foliage of the far right tree beside the buildings nestled at the left side of the bridge has been delicately retouched and strengthened as has the far left of the bridge itself. Some minor retouching to the reflections beneath the second left-hand side bridge arch. Fairly delicate retouching and strengthening throughout the dark tones of the figure group and rowing boat ores. Further retouches to some of the darker tones to denote shadows and ripples in water centre and lower right. Slightly more concentrated strengthening within the darker vegetation of the banks of the river right-hand side and right-hand side towards the lower right-hand corner. Other sporadic retouches of less note within the buildings and elsewhere.
Johannes Frederik Hulk the Elder (1829-1911) DutchPreparing ships in a harbour, possibly Amsterdam Signed, oil on canvas, 73cm by 105cmProvenance: MacConnal-Mason & Son Limited, LondonIn fully restored condition, relined, cleaned and re-varnished. The paint surface is somewhat flattened and abraded due to the restoration process with light surface dirt and discoloured varnish now in evidence. General strengthening throughout the sky mostly through the lighter / white pigment. Sporadic linear and fairly fine reinforcement to some of the darkest tones witjhin the masonry of the buildings left-hand side. With further sporadic retouching throughout the foreground and delicate retouching and infilling to the mast of the ship. More concentrated area of strengthening again to the darkest shadows at the edge of the left-hand side mast. A similar light degree of retouching to old cracquelure and strengthening of darker shadows and definition to elements of the left-hand side of the composition, lower right-hand side edge etc.
Paul Jean Clays (1819-1900) BelgianAnchored boats and rowing boats off a pierSigned and dated 1875, oil on canvas, 73.5cm by 109cmIn fully restored condition, relined, cleaned and re-varnished. The surface is somewhat flattened and the paint is thin in places. Some surface dirt and discoloured varnish now in evidence. There is not a great deal of obvious restoration to discern under a UV light but it is likely the sky has undergone general strengthening and it does not preclude the possibility of other areas. Isolated of minor cracquelure.
Alexandre Jacob (1876-1972) French"Belle Matinee"Signed, oil on board, 24.5cm by 22.5cm In a broadly good and stable state of preservation. Inspection under UV light indicates whispy retouches within upper corners and further fine scattered retouches elsewhere. Some surface dirt and discoloured varnish. Areas of fine stable craquelure. The reverse of the board has not been inspected.
William Mellor (1851-1931)"Bolton Abbey from the Wharfe, Yorkshire""On the Wharfe, Bolton Woods, Yorkshire" Each signed, inscribed verso, oil on canvas, 39cm by 59.5cm (2)Bolton Abbey from the Wharfe - In an overall good and original state of preservation. Very slight buckle to canvas upper right hand corner. Relatively light surface dirt and discoloured varnish. Some possible sporadic strengthing through the foliage of the trees, foreground, lowlights of the cattle and possible signature? On the Wharfe, Bolton Woods - Small patch repair to reverse of canvas (see images). Areas of widely spaced craquelure most notably in the sky above the hillside centre. Light surface dirt and discoloured varnish. Possible minor retouching/strengthening to parts of the foliage, and lowlights of the rocks, cattle and reflections.
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