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534297 Los(e)/Seite
Los 1362
A large modern silver labradorite and diamond wildlife pendant, depicting diamond set badger beneath tree roots with nesting birds and crescent moon, maker's marks RSS, hallmarks Sheffield 2021, pendant height 83.1mm, 30.5gNo damage or repairs, all stones present, light wear to high points, hallmarks clear
Los 1526
An Edwardian circular silver box, with raised foliate border and gilt interior, by Deakin & Francis Ltd, hallmarks London 1909, diameter 6cm, 1.8ozNo damage or repair, only general surface wear mainly to high points, a couple of very light dents on base, hinge working perfectly, gilding still bright, hallmarks clear
Los 1
JAMES SHAW (BRITISH FL. 1769-1784)SELF PORTRAIT WITH A PALETTEOil on canvas59 x 43cm (23 x 16¾ in.)Provenance:The Wodehouse, Wombourne, StaffordshireCondition Report: The canvas has been relined and has a later erroneous inscription `Portrait of W Delse/Painted by H. Barron/Aug 30th 1768' (on the relined reverse). There is some fine surface cracking but the paint layer seems to be stable. Under UV light some broad areas of retouching are visible in background areas, particularly in the upper right corner, to the left of the sitters chin and along the left edge. There are also fine spots of retouching on his face. Old varnish is visible in places. Condition Report Disclaimer
Los 100
λ CHARLES SPENCELAYH (BRITISH 1865-1958)ANCIENT LIGHTSOil on panelSigned (lower right) and signed and inscribed as titled (on a label on the reverse)34.5 x 26.5cm (13½ x 10¼ in.)Provenance:M. Newman, Ltd., LondonCondition Report: The panel appears to be in excellent original condition with no signs of distortion or cracks. The paint layer is very well preserved and in stable condition. There are some very minor surface cracks and under UV light some of these have been retouched with a very fine brush. They are mostly in background areas and on the shadows on the man's back. They are very minor and not visible to the naked eye. The varnish layer is uneven and matt and discoloured in places. It would benefit from a light clean and new varnish. Condition Report Disclaimer
Los 102
ADOLPHUS KNELL (BRITISH FL. CA. 1860-1890)A PAIR OF ESTUARY SCENES AT SUNSETOil on panel Both signed (lower right)11 x 30cm (4¼ x 11¾ in.) (2)Condition Report: Hay barge: some light surface dirt and isolated spots of surface scratching to the panel. Light rubbing and abrasions to the framing edges. Inspection under UV light reveals minimal spots of retouching to the sky, and a large patch of repainting along the left framing edge.Pair of hay barges: In a similar condition to its companion. There is a large scratch running parallel to the upper left framing edge (approx. 8cm), which has been lightly restored and is visible in natural light. Scattered retouching visible under UV light, which the majority being around the right framing edge.Condition Report Disclaimer
Los 104
JAMES WEBB (BRITISH 1825-1895)SHIPPING OFF A JETTYOil on canvasSigned and dated 1858 (lower right)44.5 x 74.5cm (17½ x 29¼ in.)Condition Report: The canvas has been relined. Visible stretcher marks as well as craquelure throughout the composition. Light surface dirt and discolouration of the varnish. Abrasions around the edges from contact with the frame. Condition Report Disclaimer
Los 116
HERBERT ARNOULD OLIVIER (BRITISH 1861-1952)FIGURES IN A ROSE GARDENOil on canvas50 x 60cm (19½ x 23½ in.)Provenance:The artist and by descent through his familyCondition Report: The canvas is unlined, but paint layers appear stable. A small hole of approx. 0.5 cm in the circular hedge lower right. A small repair in the grass in the lower left corner, as well as one centrally between the roses in the foreground. A small abrasion with corresponding paint loss in the foliage approximately 5 cm from the upper edge in the centre. Stretcher marks slightly visible. Some light surface dirt and discolouration of the varnish. Condition Report Disclaimer
Los 120
HERBERT ARNOULD OLIVIER (BRITISH 1861-1952)THE ARTIST'S WIFE IN A ROSE GARDENOil on board23 x 34.5cm (9 x 13½ in.)Provenance:The artist and by descent through his familyCondition Report: Some surface dirt, would benefit from a light clean. A few small abrasions around the edges, including in the lower right corner. UV reveals no signs of restorations. Condition Report Disclaimer
Los 14
FOLLOWER OF SIR PETER PAUL RUBENSTHREE PUTTI DISPORTINGOil on canvas87 x 128cm (34¼ x 50¼ in.)Provenance:The Wodehouse, Wombourne, StaffordshireCondition Report: The canvas has been relined, paint layers appear stable but the reline has flattened the surface impasto. An area of paint shrinkage in the lower right quadrant which has been filled in, this infilling is visible under UV light. Some small abrasions. Small patch of paint loss to the lower centre edge has also been repainted and also visible under UV light, however, throughout the whole of the canvas there is a very uneven masking varnish and dirt and while it is presumed there is further restoration this is not visible under UV. One small dent with corresponding paint loss to the right of the middle cherub's right hand. Condition Report Disclaimer
Los 147
ALEJANDRO CHRISTOPHERSEN (ARGENTINIAN 1866-1945)PORTRAIT OF A LADY HOLDING A PINK ROSEOil on canvasSigned (lower right)60 x 79cm (23½ x 31 in.)Provenance: From the Estate of the late Jean-Claude Ciancimino Condition Report: The canvas is unlined. A tear of approximately 3 cm in width in the blue flower right above the woman's right shoulder and another hole tear of approximately 1 cm in the black of the woman's gown about 20 cm from the lower edge below the woman's right bracelet. Two patches on the reverse covering restorations which are well executed and visible under UV light, one above the woman's right shoulder and another in one of the lowest roses on the left side of the canvas. UV reveals other scattered retouching. Abrasions mainly concentrated around the edges as well as some surface scratches mainly concentrated in the lower left quadrant in the blacks of the gown. Some surface dirt, would benefit from a light clean. Condition Report Disclaimer
Los 148
ALEJANDRO CHRISTOPHERSEN (ARGENTINIAN 1866-1945)PORTRAIT OF A LADY IN A GREEN HAT HOLDING A FOLIOOil on canvasSigned (lower left)60 x 80cm (23½ x 31¼ in.)Provenance: From the Estate of the late Jean-Claude Ciancimino Condition Report: The canvas has been relined, but the surface impasto appears well preserved. Some light surface dirt and discolouration of the varnish, would benefit from a clean. UV light reveals a restoration of approximately 3 cm above the brown of the dress at the height of the seam as well as a restoration of approx. 10 cm in the woman's right shoulder, where there also is a visible area of light craquelure. Otherwise UV reveals minor scattered retouching. Condition Report Disclaimer
Los 149
ORIENTALIST SCHOOL (CIRCA 1900)PORTRAIT OF A NUBIAN BOYOil on canvas54 x 41.5cm (21¼ x 16¼ in.)Provenance: From the Estate of the late Jean-Claude Ciancimino Condition Report: The canvas has been relined and is on a later stretcher which is providing good support. Under UV light there are some scattered spots of retouching in background areas and several vertical lines on the red wrap. There may also be some retouching on his chin, although this is obscured by old varnish and may just be pentimenti. It has been cleaned and re-varnished. Condition Report Disclaimer
Los 150
CHARLES NICHANIAN (FRENCH B. 1861)A NUBIAN SERVANTOil on canvasSigned, inscribed and dated `Cairo/1893' (upper right)64 x 45cm (25 x 17½ in.)Provenance:Barnwell Manor, Northamptonshire, Windsor House AntiquesCondition Report: The canvas is unlined and on its original stretcher. There is some fine surface cracking and stretcher marks, but the paint layer appears stable. It has a small patch on the reverse with corresponds with some retouching in the shadows on the sitters right shoulder. There are some scattered areas of retouching in the background. Under UV light there are some spots in the shadows on the right side of the face which is most probably old and uneven varnish. Condition Report Disclaimer
Los 152
ATTRIBUTED TO EDWARD ANGELO GOODALL (BRITISH 1819-1908)THE MOSQUE OF SULTAN HASSAN, CAIROOil on canvasIndistinctly signed (lower left)78 x 115.5cm (30½ x 45¼ in.)Provenance:Barnwell Manor, Northamptonshire, Windsor House AntiquesCondition Report: Canvas is relined. Paint layer appears to be stable with surface impasto well preserved. Under UV light there are three areas of restoration in the lower left corner which may cover old tears. Some much smaller scattered spots in the centre of the image and to the right hand side. These are all well executed and not visible to the naked eye. The picture has been cleaned and revarnished. Spots of mould on the reverse of the canvas.Condition Report Disclaimer
Los 161
FRENCH SCHOOL (19TH CENTURY)DAVID AND SAULOil on canvas144 x 113cm (56½ x 44¼ in.)Provenance:Barnwell Manor, Northamptonshire, Windsor House AntiquesCondition Report: The canvas has been relined. Some fine surface cracking but the paint surface appears to be stable. Some fine lines of paint shrinkage in a few places along lower edge and in the figure upper left. Minor abrasions and a line of paint loss one the nude figure's right heel. UV light reveals some fine areas of retouching on the figures as well as broader scattered areas of retouching, most of which is in background areas. Old varnish is visible and it would benefit from a clean and some minor restoration. Condition Report Disclaimer
Los 165
ALBERTO FABBI (ITALIAN 1858-1906)A RECLINING NUDEOil on canvas Signed 'A. Fabbi' (lower right)93 x 141cm (36½ x 55½ in.)Provenance:Sale, Christie's London, 17th November 2005, lot 8, where purchased by the present owner as Fabio Fabbi (1861-1946)We kindly thank the Archivio Fabio Fabbi for their help in the cataloguing of this lot, which will be included in the forthcoming publication by F. Sinigaglia, Alberto Fabbi (1858-1906): Orientalismo e Ritrattistica tra Bologna, Firenze ed Alessandria d'Egitto, in "Strenna Storica Bolognese", Ed. Patron, Bologna 2023. Please note new description: ALBERTO FABBI (ITALIAN 1858-1906)A RECLINING NUDEOil on canvasSigned 'A. Fabbi' (lower right)93 x 141cm (36½ x 55½ in.) Provenance:Sale, Christie's London, 17th November 2005, lot 8, where purchased by the present owner as Fabio Fabbi (1861-1946) We kindly thank the Archivio Fabio Fabbi for their help in the cataloguing of this lot, which will be included in the forthcoming publication by F. Sinigaglia,Alberto Fabbi (1858-1906): Orientalismo e Ritrattistica tra Bologna, Firenze ed Alessandria d'Egitto, in "Strenna Storica Bolognese", Ed. Patron, Bologna 2023.Condition Report: The canvas has been relined, which has been done well as paint layers appear stable while the surface impasto has been well preserved. Some scratches and abrasions, particularly in the upper right and lower right corner and in the brown background above the figure's upper legs. The picture appears to have been recently cleaned and revarnished, which is slightly uneven in places. UV light shows scattered retouching, particularly in the corner upper right, as well as several restored tears, the largest of which (approx. 30 cm) running from above the white flowers on the left down through the neck of the vase, as well as one of approx. 10 cm to the right of the figure's cheek running underneath her arm to her left breast. Condition Report Disclaimer
Los 173
ALFRED BANNER (EARLY 20TH CENTURY)MORNING BATHOil on canvasSigned and dated `1907' (lower right); signed, inscribed as titled and dated on the reverse40 x 60cm (15½ x 23½ in.)Provenance:Barnwell Manor, Northamptonshire, Windsor House AntiquesCondition Report: The canvas is unlined, but paint layers appear stable. Some paint shrinkage in the darker pigments centre right and in the foliage of the trees, as well as areas of very fine surface cracking in the water. A light layer of surface dirt and discoloured varnish. UV light reveals fine lines of scattered retouching to cover some of these areas, particularly in the sky upper left and along a stretcher mark along the upper edge.Condition Report Disclaimer
Los 175
HERBERT WILLIAM WEEKES (BRITISH 1841-1914)A HARBINGER OF WOE (WHOA !)Oil on boardSigned (lower right)37 x 30cm (14½ x 11¾ in.)Provenance:Eugene Haigh, Fine Art Dealer, LondonBarnwell Manor, Northamptonshire, Windsor House AntiquesCondition Report: Under glass and unexamined out of frame. In overall good condition commensurate with age. Some light surface dirt and discolouration of the varnish as well as some minor abrasions around the edges. Condition Report Disclaimer
Los 18
ATTRIBUTED TO GIOVANNI BATTISTA LANGETTI (ITALIAN 1625-1676)DIOGENESOil on canvasSigned with erroneous monogram (lower right)84 x 75cm (33 x 29½ in.)Provenance:The Wodehouse, Wombourne, StaffordshirePossibly a part of a larger composition depicting Diogenes and Alexander the Great. Condition Report: The canvas is relined and on a later stretcher which is providing good support. Fine surface cracking is visible across the image but the paint layer is stable. Under UV light scattered retouching is visible is small areas across the image and to the edges. These are mostly cosmetic, although a small vertical line approx 4 cm long (on the sitters ear) may be an old puncture in the canvas. It has a thick layer of discoloured and uneven varnish which appear opaque under UV light. Condition Report Disclaimer
Los 180
HENRY FREDERICK LUCAS LUCAS (BRITISH 1848-1943)SWISS BOY AND STIRLING WISDOMOil on canvasSigned and dated 1912 (lower right) and inscribed as titled (lower left), further signed, inscribed and dated on the reverse26.5 x 35.5cm (10¼ x 13¾ in.) (2)Condition Report: The canvases are unlined. Fine surface cracking but the paint layer is stable. Under UV light one picture has a small diagonal line of inpainting (approx 6 cm long) in the background in the lower left quarter. Cleaned and re-varnished. Condition Report Disclaimer
Los 19
CIRCLE OF JEAN-BAPTISTE VANMOUR (FLEMISH 1671-1737)PORTRAIT OF A LADY IN OTTOMAN DRESSOil on canvas104 x 85cm (40¾ x 33¼ in.)Provenance:The Wodehouse, Wombourne, StaffordshireCondition Report: The canvas has been relined and is lifting in the lower right corner. There is an extensive and very fine pattern of surface cracking across the whole image. There are minor losses and abrasions but the paint layer appears to be quite stable. It has a thick layer of discoloured varnish making it quite difficult to read under UV light, but there appears to be scattered areas of retouching across the picture. It has a thick layer of surface dirt. Condition Report Disclaimer
Los 23
FOLLOWER OF SIR PETER LELYPORTRAIT OF A LADY, SEATED IN A LANDSCAPE, THREE-QUARTER LENGTH, IN A BROWN DRESS Oil on canvas133 x 101cm (52¼ x 39¾ in.)Provenance:The Wodehouse, Wombourne, StaffordshireCondition Report: The canvas has been lined, but is now a little slack. Craquelure and surface dirt throughout. Stretcher marks visible. Light surface dirt and superficial scratches throughout. There are one or two isolated spots of flaking which have been re-painted. These are slight and barely noticeable. Light rubbing and abrasions to the framing edges. Inspection under UV reveals retouching and infilling throughout, together with a heavy, green masking varnish which is preventing inspection of further restoration.Condition Report Disclaimer
Los 41
JOHANNES GLAUBER (GERMAN 1646-1726)FIGURES IN AN ITALIANATE LANDSCAPEOil on canvasSigned and dated 1688 (lower right)35 x 44.5cm (13¾ x 17½ in.)Condition Report: The canvas has been lined and lightly restored. Fine craquelure throughout, but this is heavier to the framing edges. Stretcher marks visible. Inspection under UV light reveals scattered retouching and in-filling throughout the canvas, but this is concentrated mostly to the centre of the sky.Condition Report Disclaimer
Los 43
FOLLOWER OF SIR ANTHONY VAN DYCKPORTRAIT OF WILLIAM VILLIERS, 2ND VISCOUNT GRANDISON, QUARTER-LENGTH, IN A SLASHED DOUBLET WITH A LACE COLLAR Oil on canvas 73 x 61cm (28½ x 24 in.)In a Lely panel frame. The original portrait resides in the collection of Lydiard House. Please note the amendments to the cataloguing: FOLLOWER OF SIR ANTHONY VAN DYCKPORTRAIT OF WILLIAM VILLIERS, 2ND VISCOUNT GRANDISON, QUARTER-LENGTH, IN A SLASHED DOUBLET WITH A LACE COLLAR Oil on canvas 73 x 61cm (28½ x 24 in.)In a Lely panel frame. The original portrait resides in the collection of Lydiard House.Condition Report: The canvas has been lined, restored, and re-varnished. Light craquelure throughout. There is a large area of previously repaired damage to the sitter's lower chest where scaring and overpaint are both visible in natural light. There is a very small area of flaking (approx. 2mm) to the sitter's right arm. Inspection under UV light reveals scattered retouching, predominantly to the sitter's chin and around his head, as well as to the chest area as previously mentioned. There is also a cloudy green masking varnish.Condition Report Disclaimer
Los 44
FOLLOWER OF GERARD VAN HONTHORSTPORTRAIT OF A LADY, TRADITIONALLY IDENTIFIED AS LADY ELEANOR TEMPLE, WIFE OF SIR PETER TEMPLEOil on panel Dated 1636 (upper left) and inscribed on a label (on the reverse)71.5 x 57cm (28 x 22¼ in.)Condition Report: The panel has two vertical splits running the full length of the portrait. These splits have been in-filled and this is visible in natural light. Wooden supports have been added verso to the corresponding areas (see images online). There is an uneven layer of varnish which has caused the paint surface to appear matt and discoloured in some parts of the background. There is also retouching here which is visible in natural light. Some of this pigment has also been scrubbed and is wearing thin. Retouching to the sitter's dress has discoloured and is therefore visible in natural light. Rubbing and abrasions to the framing edges. Inspection under UV reveals retouching scattered throughout and traces of a green masking varnish. Measurements with frame: 86 x 71.5cmCondition Report Disclaimer
Los 45
DUTCH SCHOOL (17TH CENTURY)PORTRAIT OF A LADY, BUST-LENGTH, WEARING A BLACK DRESS IN A FEIGNED OVAL STONE CARTOUCHEOil on panel15.8 x 13.3cm (6 x 5 in.)Provenance:Sale, Christie's, London, 17 July 1986, lot 194Condition Report: Surface dirt, scratching, and scuffs to the panel which has also been re-varnished. The paint is wearing thin in some isolated areas, predominantly in the background and framing edges. There are several small areas of retouching, again predominantly to the background, which can be seen in a natural light, including a horizontal line (approx. 10cm) running parallel to the lower framing edge. Inspection under UV light reveals scattered retouching as mentioned above, and a green cloudy masking varnish, which may be obscuring further retouching.Measurements including frame 37 x 34 cm.Condition Report Disclaimer
Los 47
ENGLISH SCHOOL (CIRCA 1630)FULL-LENGTH PORTRAIT OF A YOUNG MAN, POSSIBLY JEFFREY HUDSON, SERVANT OF QUEEN HENRIETTA MARIAOil on canvas124 x 88cm (48¾ x 34½ in.)Condition Report: The canvas has been relined. Fine surface cracking throughout, and signs of old repairs in the canvas making the surface uneven in places. A thick layer of surface dirt and discoloured varnish, making it difficult to read under UV light though there are signs of retouching across the image including in the sitter's face. Also scattered areas along the lower edge and on his shoes and a diagonal line across his waste. The frame is modern but in 17th century style, burr walnut veneer. Some cracks and joints to the veneer. Condition Report Disclaimer
Los 48
ATTRIBUTED TO SIR GODFREY KNELLER (BRITISH 1646-1723)PORTRAIT OF A GENTLEMAN TRADITIONALLY IDENTIFIED AS SAMUEL PEPYS, THREE-QUARTER LENGTH, STANDING BY A COLUMN, WEARING A RED FUR-LINED CLOAKOil on canvas121.9 x 98.4cm (47 x 38½ in.)Provenance:By direct descent through the family of the sitterSale, Christie's, British and Continental Pictures of the 18th, 19th & 20th Centuries, 19 January 1979, lot 7 (as Samuel Pepys by Sir Godfrey Kneller, unsold)Samuel Pepys (1633-1703) was a diarist and administrator of the Navy. In 1660 he began his service under the patronage of Lord Sandwich, his cousin. He was initially Clerk of the Acts, and from 1686 to 1688 was Secretary to the Admiralty.Sir Godfrey Kneller is known to have painted him and other members of the Pepys family on several other occasions. Kneller painted Samuel Pepys in 1684 for the Royal Society, while another portrait dated 1689 resides in the National Maritime Museum (acquired from the Pepys family in 1931). Kneller also painted Pepys's nephew John. In 1702, Pepys commissioned Kneller to paint a portrait of the mathematician John Wallis as a gift to the university of Oxford. Condition Report: The canvas has been relined and fine surface cracking is visible across the image, but the impasto is well preserved and the paint layer is stable. Under UV light there are some smaller areas of retouching along the lower edge. There are three broader areas on the column to the left of the sitter. The varnish is discoloured and uneven and the surface is quite dry and has some dirt and discolouration. It should respond well to a light clean. It is presented in an early 18th Century carved and gilded frame which has minor chips, losses and abrasions. Condition Report Disclaimer
Los 50
FRENCH SCHOOL (EARLY 18TH CENTURY)PORTRAIT OF VICTOR AMADEUS OF SAVOY, PRINCE OF PIEDMONT (1699-1715), FULL-LENGTH, STANDING BY A COLUMNOil on canvas223 x 143cm (87¾ x 56¼ in.)Victor Amadeus of Savoy, Prince of Piedmont (1699-1715) was the son of Victor Amadeus II, Duke of Savoy and King of Sardinia. The sitter died young at the age of fifteen and this portrait can be dated around that period. He is shown wearing the robes of the Most Holy Order of the Annunciation. Condition Report: Canvas is relined. The paint layer is unstable in quite a few places and there are areas of lifting and flaking paint, these are mostly in background areas however. Stretcher marks are visible and there is a join in the canvas approx. 10 cm from the lower edge. This may be a later extension. Inspection under UV light shows there are scattered areas of retouching, but these are mainly in background areas and seem to be covering areas of old flaking. It also has a thick layer of discoloured varnish, which may be hiding earlier restoration. A thick layer of dirt and some abrasions. The face appears completely untouched.Condition Report Disclaimer
Los 62
MICHAEL ANGELO ROOKER (BRITISH 1743-1801)BUILDWAS ABBEY, SHROPSHIRE Inscribed `Buildwas Abbey/M.Rooker,/Jno. Newington Hughes Esqr./No.36' (on the reverse)Oil on canvas50 x 65cm (19½ x 25½ in.)Condition Report: The canvas has been relined and is providing good support. It has a thick layer of surface dirt and discoloured varnish. Under UV light there are some small areas of retouching to the edges, but more may be hidden under the discoloured varnish. Presented in a 19th century frame which has numerous chips and losses.Condition Report Disclaimer
Los 64
PHILIP MERCIER (GERMAN 1689-1760)THE GARDEN PARTYOil on canvas60 x 88cm (23½ x 34½ in.)Provenance:Bond Street Galleries, LondonCondition Report: The canvas has been lined and re-varnished. Some light surface dirt and craquelure scattered throughout. The paint surface is wearing thin in some areas. Some light rubbing and abrasions to the framing edges. Inspection under UV reveals a green cloudy varnish, and scattered retouching throughout, some of which is visible in a raking light. Overall the work appears to be in good restored condition commensurate with age.Condition Report Disclaimer
Los 66
WILLIAM DANIELL (BRITISH 1767-1837)A VIEW OF THE ISLE OF EIGG WITH THE SCURR OF EIGG IN THE DISTANCE Oil on canvas31 x 40.7cm (12 x 16 in.)William Daniell produced a large number Scottish landscapes, many of which were exhibited at the Royal Academy. Another version of this view of The Isle of Eigg was sold at Christie's on the 9th July 2014, lot 211 (£7,500). Condition Report: The canvas has not been lined. Stretcher marks visible. Some light surface dirt, and craquelure throughout. The impasto is generally good. Inspection under UV light reveals scattered retouching throughout.Condition Report Disclaimer
Los 75
WILFRED JENKINS (BRITISH 1857-1936)A DOCK SCENE, THOUGHT TO BE GREENOCK, GLASGOWOil on cardSigned and dated '87' (lower left)15.5 x 38cm (6 x 14¾ in.)Provenance:Barnwell Manor, Northamptonshire, Windsor House AntiquesCondition Report: The board is stable and providing good support. There are some shallow surface scratches in the lower right corner. Under UV light there are some small areas of retouching on the rigging of the boats, one of the shop fronts and in the sly. These are all very minor. It has been cleaned and re-varnished. Condition Report Disclaimer
Los 78
JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893)SUNDAY NIGHT KNOSTROP CUT, AIRE & CALDER, LEEDSOil on canvasSigned and dated 1893 (lower right) and inscribed as titled (on the reverse)20.2 x 30.2cm (7¾ x 11¾ in.)Provenance:Barnwell Manor, Northamptonshire, Windsor House AntiquesIn the late 1860's, Grimshaw experienced a steady rise in popularity fuelled by the support of prominent local businessmen in Leeds. With his increased fortune, Grimshaw moved to Knostrop OId Hall in 1870, a Jacobean mansion just outside Leeds on the river Aire, where he would live until his death in 1893. From there, Grimshaw would depict his hometown on many occasions. Another similar composition sold at Christie's, London, 25 November 2003, lot 176.Condition Report: The canvas is unlined. There is a small patch near the right hand edge above the boats. There is some wax in this area on the reverse, as well as a small area of wax to the right of the inscription on the reverse. Due to the artist's technique it is quite difficult to read under UV light, but there is certainly some retouching which corresponds with the area with the patch. There are also some retouches to the edges and in the centre of the foreground. There are some abrasions and losses to the edges and a small piece of canvas to the top overlap is missing. There is some fine surface cracking and the canvas is a little loose on its stretcher. The varnish is discoloured and uneven, would benefit from a clean. Presented behind glass, the frame has chips and losses. Condition Report Disclaimer
Los 84
GEORGE HOUSTON (SCOTTISH 1869-1947)THE VILLAGE POSTMAN, LOCH GOILOil on canvasSigned (lower right)101 x 125cm (39¾ x 49 in.)Provenance:Sale, Lyon & Turnbull, 1 December 2011, lot 21 Condition Report: Slight discolouration of the varnish. Inspection under UV light reveals small areas of scattered retouching. Visible stretcher marks. Condition Report Disclaimer
Los 90
MARY ELLEN STAPLES NEE EDWARDS (BRITISH FL. 1862-1908)BABY'S BETTEROil on canvasSigned M. E. Edwards (lower right) and signed, inscribed and dated 1879 (on the relined reverse)96 x 70cm (37¾ x 27½ in.)Condition Report: The canvas has been relined. Some specks of surface dirt, would benefit from a clean. Areas of light craquelure in the darker pigments around the figures. UV reveals scattered retouching in the foliage and bench as well as in the child's face. Condition Report Disclaimer
Los 119
oil on canvas, signed, titled versoframedimage size 51cm x 101cm, overall size 78cm x 128cmNote: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).Condition is good overall
Los 125
oil on canvas, signed and dated '05framedimage size 39cm x 90cm, overall size 53cm x 103cm Note: Born in 1947, Philip studied at the Glasgow School of Art in the 1960s. However, due to his father's untimely death, he had to postpone his career in art and left art school to enter the business world where he stayed for the next 30 years. For 20 of those years, he was the well known proprietor of The Inn on the Green, a celebrated jazz restaurant, in Glasgow. During this time, he maintained his contact with the world of art however, by running a schedule of art exhibitions and openings within the venue. Upon leaving the restaurant in the 1990s, Philip returned to his easel and brushes and since then has become a successful full time artist with broad appeal. He now lives and works from his studio just outside Glasgow. Philip's unique style is instantly recognisable combining a heavy impasto application of the paint alongside more delicate and sensitive brush strokes. Focussing mainly on landscape painting, his inspiration comes from the islands of the west coast of Scotland with Barra, Islay, Jura and Arran being some of his favourite locations. He deftly captures the essence and light of the landscapes through his work, the rugged shorelines, dramatic seascapes and ever changing skies. "I tend to paint very private places for the viewer to own and enjoy. No people, no houses, no telegraph poles; just expansive skies, mist tumbling on a distant hillside and a silence broken only by lapping water and gulls ascending".
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oil on canvas, signed, further signed, titled and dated 2016 versoframedimage size 51.5cm x 62cm, overall size 77cm x 87cmArtist's label verso.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery, Holyrood Gallery and Frames Gallery.
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