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Preisdatenbank abonnierenWilliam Richardson (fl.1842-1877)Figures among the ruins of Kirkstall Abbey, Leedssigned 'Willm Richardson' l.c., oil on canvas66 x 56cmCondition Reportoverall: 78.5 x 69cmThe canvas is unlined, there is craquelure and slight stretcher marks. Under UV light, there is a small repair to the lower centre with a small spot of retouching, otherwise no other signs of restoration are apparent, in generally good order.
â–´ Andrew Beer (1862-1954)'Slow but Sure'signed 'Andrew Beer' l.l., and extensively inscribed 'Slow but Sure./Red Cheq. Cock. NU.RP. 30. R.T.S.23. Owner Mr T. Sealey. winner of Oil Painting for Best Young Bird Average/in the Russell Town H.S. 1930. with the following positions,., 6th Ashchurch,1st Barnt Green, 2nd Tamworth,/2nd Derby, 3rd Chesterfield, & 1st Normanton.' l.c., oil on canvas31 x 41cmCondition Reportoverall: 41 x 51cmSome surface dirt, otherwise in good order. Unexamined under UV light, please contact the department for a full report.
â–´ Andrew Beer (1862-1954)'Darran King'signed 'Andrew Beer' l.l., inscribed 'Darran King/Red Cheq Cock. NU.RP.30.P.H.605. Positions taken in Darranlas Homing Society.1932.. 2nd Redhill, 4th Amiens, 1st. 2nd & 3rd.Nevers. all pools and O.B. Average (only bird home in race time.) Owner: Mr Bert Goss. Mountain Ash.' l.c., oil on canvas30.5 x 40.5cmCondition Reportoverall; 40.5 x 50.5cmThere is a scratch to the left of the head, this appears to be superficial and has not damaged the canvas itself, just the uppoer paint surface. Some surface dirt and varnish discolouration. for a full report under UV light please contact the deparment.
â–´ Andrew Beer (1862-1954)'Ambition'signed 'Andrew Beer' l.l., and inscribed 'Ambition./Red Cheq Pied Cock. N.U.RP.25. P.3555. Won 2nd Ashchurch. 3rd Barnt Green. (optional races.)/ 5th Tamworth. 3rd Chesterfield, 1st Ripon . 3rd Durham. 2nd Berwick. also 3rd & 4th Banff. Nomination race. Winning Cup & Oil Painting for Best O. B. Average.1926. Barton Hill. H.S./Bred & flown by G. Taylor.' l.c., oil on canvas30 x 40cmCondition ReportOverall: 36 x 46cmSome surface dirt, otherwise in good order. Unexamined under UV light, please contact the department for a full report.
Captain John Duncan King (1789-1863)'Sugar Loaf Mountain from Dargle River, County Wicklow, Ireland'signed and dated 'J D King 1848.' l.r., oil on canvas43.5 x 53cmCondition Reportoverall: 61 x 71cmthere is a puncture hole to theupper right with corresponding paint loss. There are several additional dents to the canvas where pressure has been applied from the front of the canvas but there has been no penetration. Canvas is lined. Unexamined under UV light, for a full report please contact the department.
William Etty RA (1787-1849)A reclining female nudeoil on card laid down on panel51 x 51cmCondition ReportFrame measurements: 63.5 x 63.5cmThe surface of the painting is uneven and there are two horizontal splits to the board. There are some superficial surface abraisons, see illustration. Under UV light, there is a thick masking varnish which obscures most of the surface, however, there is some retouching apparent to the skin tones of the chest and to the left arm and background. Would benefit from a light clean.
Attributed to William Etty RA (1787-1849)A seated male nudeoil on canvas53 x 47.5cm, unframedCondition ReportThe canvas is lined. there is some craquelure remaining. Under UV light there is significant retouching to and around the foot, with some small speckles elsewhere to the skin tones, with further areas throughout. The varnish layer is thick and obscures much of the surface which makes any reading difficult.
Circle of William Edward Frost (1810-1877)A nude in a landscapeoil on canvas65 x 52cmCondition ReportThe canvas is lined. There is surface is covered with a fine craquelure. There is dent to the top left, where pressure has been applied to the front of the canvas. some surface dirt. Under UV light, there is significant retouching apparent throughout, with a general wash being applied over the sky and parts of the trees, figure and foreground.
Herbert Carmichael (Gustave Schmalz) (1856-1935)The card gamesigned 'H Carmichael' l.l., oil on canvas51.5 x 62.5cmCondition Reportoverall: 61 x 71cmstretcher marks and some craquelure apparant. There are two small patches to the reverse, corresponding with the pink of the skit and to the left of the lady's head. There is corresponding retouching to these points. Not examined under UV light, for a full report please contact the department.
Follower of Pieter Cornelisz. van Slingelandt Portrait of a lady, three-quarter-length seated, in a black dress and white ruff, a green curtain behindwith inscription 'Slingelandt/LEYDEN 1640/Dutch' on a label verso, oil on copper19.5 x 16.5cmCondition Reportoverall: 31.4 x 27.6cmThe painting is executed in oil on a copper panel support. The copper support is in plane and the paint layers are well adhered. The paint layers are in a good condition overall. There is a network of age cracks which are prominent in the lighter paint passages. The varnish is slightly yellowed but even and semi-matte. There is a light layer of surface dirt present. Under uv light, bloom of green varnish with a few minor spots of retouching.
Marcus Stone (1840-1921)The Ancestor on the Tapestrysigned and dated 'Marcus Stone 1895' l.r., oil on canvas61 x 102cmCondition Reportoverall: 74 x 115cmThe canvas is unlined. There are everal patches to the reverse with corresponding retouching which have painted black verso. These correspond to a small spot on the right of the cabinet, a small spot to the centre, and to the centre. These do not appear to be large, despite the black to the reverse being extensive. Under UV light, there is some retouching to the patch to the tapestry, but very little elsewhere.
Henry Gillard Glindoni (1852-1913)'An Attentive Glance'signed and dated 'H Gillard Glindoni/1898', oil on canvas69 x 92cmCondition Reportoverall: 88 x 111cmThe canvas is lined. There is a a repaired tear with a thin line of retouching running vertically between the two heads, close to the lady, see illustration. Under UV light, there is a thick varnish, however, no other obvious restorations are apparent. The work is well presented and ready to hang.
Follower of William Callow (1812-1908)A street in Veronaindistinctly initialled 'C W H', titled and dated '1840' on the stretcher, oil on canvas35.5 x 25cm,together with a further street scene of Strasbourg bearing the same initials, framed as a pair (2)Condition Reportoverall: 44 x 34cmBoth parts are lined, well presented and framed, unexamined under UV light, for a full report please contact the department.
Manner of Jan Hendrick VerheyenA Dutch market sceneindistinctly signed l.r., oil on panel51 x 40cmCondition ReportThere is some stregthening apparent under UV light to the darker tones, visible to the darker red tones of the brick work, parts of the foreground and most estensively to the foliage.
Henry Thomas Schaefer (1815-1873)Évreux, Normandy;St Ouen, Rouensigned 'H Schaefer' l.l. and l.r. respectively, each titled and signed with copy inscriptions verso, oil on canvas30.5 x 20.5cm (2)Condition Reportoverall: 47 x 36.5cmboth parts are relined, well presented and ready to hang. Under UV light, there are some spots and flecks of retouching in places, mainly to the sky.
Alfred Montague (1832-c.1883)A waterfront scene; Checking the lobster potsa pair, oil on board22.5 x 17cm (2) Condition Reportoverall: 32 x 26cmGenerally in good order wtith no significant signs of damage or restoration, unexamined under V light. For a full report please contac tthe department.
Charles Fullwood (fl.1888-1889)Gloucester Cathedral beside a riversigned 'C Fullwood' l.r., oil on canvas76 x 61cmCondition Reportoverall: 93 x 78cmThe canvas has been relined. There are some mould spots to the upper layers apparent along the left edge and isolated spots in the sky. There is surface dirt and a discoloured varnish. Under UV light, an uneven varnish makes it a little difficult to accurately view the surface, however, there are spots and fleck of retouching apparent to the water, and in places throughout the sky, with more limited areas to the buildings.
Maxime Camille Louis Maufra (French, 1861-1918) ‘Le Matin’, Les Andelys, on the Seine signed and dated ‘Maufra 1902’ l.r., inscribed with title on an old label verso, oil on canvas 47 x 55.5cmCondition ReportThe canvas is unlined and generally the work is in good condition. Under UV light, there is a little fluorescing to the sky but it looks to be the white pigment used by the artist, rather than a later edition. There are possibly some very small flecks of retouching to the extreme right edge and upper right.
François Millet (French, 1851-1917)A mountain village with goats in the foregroundsigned 'F. Millet, Flis' l.r., oil on canvas45 x 54cmCondition ReportThe canvas is unlined. There are several patches to the reverse which correspond to the lower left of the composition and correspond to three repaired tears. The largest of these stretches from the right group of goats across to the figure (approx. 11cm in length). The second is just above this to the right of the figure's head (approx.5 x 3.5cm), and the third a little higher to the left, above the roof tops to the lighter blue area in just below the tress (5cm). See additional UV images. There are 2 further small patches, the first behind the stretcher bar lower centre, the second corresponds to the distant cattle grazing in the field, however, these areas do not fluoresce under UV light, stuggesting any restoration or retouching must be fairly minimal.
John Robert Dicksee (1817-1905)'Il Riposo'signed and dated 'J R Dicksee/1870' verso, inscribed with title, oil on canvas46 x 38.5cmCondition Reportoverall: 59.5 x 52cmThe canvas is unlined. There is a small repair to the upper right background with corresponding retouching and patch verso, otherwise in apparently original condition. Not examined under UV light, for a full report please contact the department.
William Anslow Thornley (fl.1858-1898)St Michael's Mount at sunset;A bonfire on the beach, figures waiting for the catcha pair, the first signed 'W Thornley' l.l., oil on canvas35.5 x 30.5cm (2)Condition Reportoverall: 44 x 38.5cmBoth examples have been lined, there is a fine craquelure. Under UV light, there is a thick layer of varnish which slightly obscures the surface, however, there does not appear to be any signs of damage or restoration. Some surface dirt, would benefit from a light clean to lift the colours.
George Turner (1841-1910)'Sweet Water Lane'signed 'Geo Turner' l.r., also signed, inscribed with title and dated '1902' verso, oil on board30 x 39.5cmCondition ReportThe board is sound. Covered with a layer of discoloured varnish, would benefit from a light clean. Under UV light, there are a few touches of paint which fluoresce darker, it is unclear if this is the pigments used by the artist, or if this is later additions as it does not seem to relate to any damage. Generally, the work looks in good order.
Sidney Richard Percy (1821-1886)A mountainous river landscape with an angler;A river landscape with cattle watering, a figure resting in the foregroundthe first signed and dated 'S R Percy 1871' l.l., the second 'S R Percy 61' l.r.28 x 48cm (2)Condition ReportBoth parts are relined. The varnish is a little uneven and discoloured in places, which makes the sky in particular look a little uneven. Some craquelure in parts. It seems probable that there has been some retouching to both parts in the sky, however, under UV light I can only really see:angler - a little retouching to the extreme bottom edge and a thin line that would correspond to an old stretcher mark cattle - some infilling to the craquelure in the white tones of the water and also the sky.
After RaphaelLa Madonna della Sediaoil on canvas92 x 71cmAfter the original in the Pitti Palace, Florence.Condition ReportThe canvas has been lined. There is some craquelure, to the lower right there is what appears to be some flaking of the varnish layer. To the upper centre of the composition just above christ's head and to the right of the Madonna in the background there is a visible repair, probably a vertical tear, the surface reflects slightly differently and is slightly shinier. Under UV light, it is impossible to see the surface due to a thick green obscuring varnish so it is hard to see any additional restorations. The painting probably dates from the 19th century.
Adriaen van Ostade (Dutch, 1610-1685)Study of a peasant in a brown coat and capoil on panel16 x 15cmProvenance: Dr Leon Lilienfeld collection.Literature: Gustav Gluck, 'Niederländische Gemälde aus der Sammlung des Herrn Dr Leon Lilienfeld in Wien', 1917.We are grateful to Dr Fred G Meijer for confirming this as an autograph work by Ostade.Condition ReportThe painting is executed in oil on a small wooden panel with a horizontal woodgrain. The panel has suffered from woodworm damage in the past with a large area of loss on the reverse. The paint layers are in a good, stable condition overall. The horizontal woodgrain is visible in the texture of the thin paint layers. An old varnish layer has been partially removed and residues are evident in ultraviolet light. There are small touches of overpaint, mainly in the sitter’s face, which have slightly darkened with time. The upper varnish is clear, even and glossy. There is a light layer of surface dirt present.
Follower of Helene SchjerfbeckA figure making tea over an open fireoil on canvas30.5 x 41cmProvenance: Auktionsverk, Stockholm, 20 April, 2020.It has been suggested that the present lot dates from the 1880s when Schjerfbeck was working in St Ives.Condition Reportoverall: 43 x 53cmCanvas is unlined. Three patches verso which indicate repaired holes on right side and two small holes on other side. Under uv light, retouching fluoresces over areas where there are repaired holes, small crack that has also been retouched, light craquelure elsewhere. Additional condition report images can be found on the website by clicking here.
René Xavier François Prinet (French, 1861-1946)Interior scene, with a daybed and painting aboveoil on canvas 33.5 x 41cm Condition ReportThe canvas has been lined. There is some shrinkage in places, see illustration. Under UV light, there are no significant signs of restoration. The painting is well presented and ready to hang.
William Frederick Witherington RA (1785-1865)'The Harvest Field'signed 'W F Witherington' l.l., oil on canvas45 x 60cmProvenance: With The Royal Exchange Gallery, London.Condition ReportThe painting has been executed in oil on a canvas support which has been lined. The paint layers are in a very good condition overall, stable and secure. There is a slight vertical indentation at the right hand side. Overpaint is visible under ultraviolet light around the edges of the picture. The varnish is clear and even. Overall, the appearance of the picture is very good.
Ernest Charles Walbourn (1872-1927)'A Quiet Corner'oil on board, with artist's studio stamp 'EW' l.r.34.2 x 22.7cmProvenance: With the Bourne Gallery, Surrey;from the artist's estate.Condition ReportFramed size: 46 x 35cm.Overall, appears to be in good condition, not viewed under uv light, please contact the department for a full report.
Michail Markianovic Guermacheff (1867-1930)Snow along a riverbank at sunsetsigned 'Guermacheff' l.r., oil on canvas46.5 x 55cmProvenance: With Frost & Reed, No. S653.Condition Reportoverall: 58.5 x 68cmin generally good order, unexamined under UV light, for a full report please contact the department.
Michail Markianovic Guermacheff (1867-1930)Sunset through the treessigned 'Guermacheff' l.r., oil on canvas46.5 x 56cmProvenance: With Frost & Reed, No. S628.Condition Reportoverall: 58 x 67cmin generally good condition, unexamined under UV light. For a full report please contact the department.
Michail Markianovic Guermacheff (1867-1930)A still pool, sunsetsigned 'Guermacheff' l.r., oil on canvas46.5 x 55cmProvenance: With Frost & Reed, No. S451.Condition Reportoverall: 58 x 68cmthe canvas is unlined and generally the work looks to be in good order. Unexamined under UV light, please contact the department for a full report.
David Farquharson ARA (1839-1907)'The Tay - at Newburgh'signed and dated 'D. Farquharson/.89' l.l., inscribed with title and initialled verso, oil on canvas30.5 x 46cmCondition Reportoverall:45 x 65cmCanvas is unlined. Under uv light, a small area of retouching on centre left edge. Otherwise in good and original condition.
Bernard de Hoog (Dutch, 1867-1945)A woman sewing in an interiorsigned 'Bernard de Hoog' l.l., oil on canvas51 x 40cmCondition ReportThe canvas is lined. There is some flatenning to the impasto. Under UV light, it is difficult to assess any retouching due to a thick and patchy varnish, however, there may be some to parts of the skirt and possibly elswhere. The painting is well presented and ready to hang.
Alfred Pollentine (1836-1890)The Grand Canal, Venice, looking towards the Doge's Palace and St Mark's Squaresigned 'A Pollentine' l.r., oil on canvas51 x 76.5cmCondition Reportoverall: 64 x 89.5cmCanvas is relined. There are small areas of retouching to sky area that are noticeable under uv light. Otherwise the work is overall in good condition.
Alfred Pollentine (1836-1890)The Grand Canal, Venicesigned 'A Pollentine' l.r., oil on canvas40.5 x 60.5cmCondition Reportoverall: 53 x 75cmSome craquelure and slight stretcher mark to the upper edge apparant. The painting does not appear to be re-lined, however, the verso seems to have been treated and is shiny in appearance, possibly with a beva film or similar synthetic lining. Under UV light, two small areas of retouching in left portion of sky, this is faintly noticeable to naked eye.
â–´ Hugo Golli, known as 'Vallin' (Italian, b.1921)A Venetian backwatersigned 'Vallin' l.l., oil on canvas56 x 69cmProvenance: With The Medici SocietyCondition ReportOverall in good condition, under uv light no obvious signs of retouching or restoration. The work was acquired by the vendor from The Medici Society.
â–´ Antoine Bouvard (French, 1875-1957)A gondola on the Grand Canal, Venicesigned 'Bouvard' l.l., oil on canvas50.5 x 65cmCondition Reportoverall: 63.5 x 79cmCanvas is unlined. Under uv light, a couple of small spots of retouching toward left edge, please refer to condition report images for detail, these are only noticeable to naked eye on very close observation, otherwise in good order.
Circle of John Vanderbank (1694-1739)Portrait of a gentleman, three-quarter-length, in a red jacket and gold waistcoatoil on canvas127 x 101cm, unframedCondition ReportThe painting is executed probably in the 1720s-30s, oil on a canvas support which has been lined. Water staining is visible on the reverse of the lining canvas. There are numerous tears and deformations across the canvas. An old horizontal tear is present through the sitter’s neck. The fill and overpaint in this area is cracked and flaking. There are scattered areas of flaking paint and small losses across the surface. The painting has a thick varnish layer which has discoloured, obscuring the detail of the composition including the sitter’s red jacket. The varnish has possibly developed its own network of age cracks which is evident in the background. There is a thick layer of surface dust present. Under UV light, there are some small scattered retouchings in places, however this is not extensive.The painting comes from a private source, it is unclear whether it was recently hung or framed.
J... Coleman (19th century)A game lardersigned 'J Coleman' l.l., oil on canvas63.5 x 76cmCondition Reportoverall: 72 x 85cmCanvas is relined. Cracking to paint that has been retouched particularly around edges, this is obvious under uv light and to naked eye, please see images, some paint loss along bottom edges, condition now seems stable.
Circle of Adriaen van Diest (1655/56-1704)View of Plymouth with shipping in the Sound, figures and a horse-drawn coach in the foregroundoil on canvas70 x 119cmCondition ReportThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is generally in plane with some minor undulations. The paint layers are stable overall bit have suffered from wear and abrasion, notably in the sky. The sky has been extensively overpainted. There are touches of overpaint in the lower half of the painting but most of the detail is well preserved. The varnish is slightly yellowed and matte but even. There is a light layer of surface dirt present.
Flemish School, 18th centuryA wooded river landscape with figures loading a boat;A landscape with figures, a horse and cart and a distant towna pair, oil on copper, oval8 x 10.3cm (2)Condition ReportOverall: 11.5 x 14cmsome surface dirt but apparenty in good order, unexamined under UV light, for a full report please contact the department.
Follower of Jacob van RuisdaelA wooded landscapeoil on canvas54 x 62cmCondition ReportFramed size: 65.5 x 75.5cmthe canvas has been lined. Under UV light there is retouching apparent in parts, most notably to the left of the sky, to the lower left and to the lower right. The work is well presented, and ready to hang.
Scottish School, mid-18th centuryPortrait of James Mackie, half-length seated, in a brown coat and waistcoatoil on canvas72 x 62.5cmCondition Reportoverall: 87 x 77.5cmThe canvas has been lined. There is some craquelure in parts. Under UV light there is a significant amount of infilling to the craquelure scattered throughout.
After Carlo Dolci The Angel of the Annunciationinscribed verso 'Medal of Distinction Italian Exhibition of Costa & Conti Artists, Gallery of Copies & Ancient Pictures Florence', oil on canvas70 x 54cmAfter the original in the Pitti Palace, Florence.Condition Reportoverall: 91 x 74.5cmThe canvas has been lined. There is craquelure in parts and some slight bitumen damage to the darker tones around the angel's head and to the hair, see illustration. Under UV light there is a thick varnish which obscures much of the surface, however, there are some scattered flecks of retouching in places, to the right of the face and some strengthening of the drapery.
Attributed to John Ralston (1789-1833)Men-of-war anchored off the coast, figures in a rowing boat in the foregroundoil on canvas66 x 91.5cmCondition ReportFramed size: 104.5 x 79.5cmThe canvas has been lined. Some signs of over-cleaning in parts. There is some craquelure remaining and signs of the old stretcher marks. There is discolouration in places and some infill is noticeable. Under UV light, there is considerable retouching apparent in places throughout. The frame is in generally good order.
Circle of Charles Brooking (1723-1759)Frigates off the coastoil on canvas71 x 118cm, unframedCondition ReportThe canvas has had a wax relining. There is craquelure in parts. Stretcher marks are visible to the centre, left and right edges. There is some cockling to the surface, particularly across the bottom towards the right where there is sign of a repaired tear. Under UV light there is retouching in places throughout the composition.
Anglo-Chinese School, c.1855'Arabia', a clipper, 333 tonnes, off the coast possibly of Hong Kongoil on canvas46 x 59.5cm, in the original Chinese carved wood frameCondition ReportThe canvas has been lined. There is craquelure throughout. In parts this has lead to strinkage, apparent int he illustration. Under UV light, there is extensive infilling to the craquelure, also to the stretcher marks. There is crinkling to the paint surface to the upper left. Overall, the conservation has been well exected and the painting is presented in a stable condition, ready to hang.
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