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Preisdatenbank abonnierenA Regency rosewood occasional table, the rectangular top with single frieze drawer over a turned column support and raised on four hipped out splayed legs72 x 47 x 35cmDry crack across the top, various wear light scratching and dents, slighty warpedVeneer around the edge with various splits and some lossDrawer a bit sticky to pull out, handles repairedTwo legs broken and repaired at the curve, another repaired near the footSee photos
A Regency rosewood sofa table, the boxwood strung top with hinged sides above a pair of frieze drawers and raised on a brass-strung quatreform base and lion's paw caps and castors70 x 151 x 67cm (extended)Some slight unevenness and warping to the top with a couple of small indents, some light abbrasions to the surface with a larger area to one edge.
A still life of fruit and flowers including a bird and a butterfly on a stone ledgeoil on canvas38.5 x 60cmThe painting is executed in oil on a canvas support which appears to be lined. The canvas tension is slack and there are general undulations across the surface. There are old tears and damages to the canvas. Areas of overpaint appear matte. The paint surface is abraded in some areas, following the texture of the canvas below. The varnish is degraded, becoming dull and discoloured. There is a light layer of surface dirt present.53 x 73cm framed
A William IV oak dwarf bookcase, the rectangular top above a pair of glazed and brass grilled doors enclosing adjustable shelves and raised on reeded bun feet96 x 122 x 47cmSome light water staining to top, slight cracking to sides, one brass key hole missing, some possible loss of moulding, possibly adapted or reduced
the fitted interior with four decanters and four liqueur glasses27 x 24 x 24cmThe box with minor chips tp the extremeties, the brass edges are very wornlock and key workOne drinking glass replaced, all drinking glasses with minor nibble chips to the foot rimsAll four decanters chipped around the pouring rimThe decanters bodies and stoppers with light scratching and nibble chips commensurate with useOne decanter very dirty with residue of a dark liquidAnother decanter stopper is in very tightly which we havent tried to force out so can't comment on the damageSee images
A set of Grand Tour plaster intaglios, depicting works by Canova, early 19th century, in a faux book with marbled covering and gilt tooled spine, inscribed, the hinged cover opening to reveal 30 intaglios with a catalogue list of each one34.5 x 21cmBox is worn with some losses and scratchingThe intaglios have a light build up of dirt, some light scratchingA few are chipped with minor damageSee images
A Regency rosewood side cabinet, the crossbanded top above three short drawers with lion ring handles over a pair of brass grilled fabric backed cupboard doors raised on winged paw feet84 x 87 x 32cmMakers label to the ceiling of the cupboard 'GODWIN PIAZZA WINCHESTER' Recently polished/ restored General marks and light scratching to the top The line inlay on the top's right edge is lifting slightly Some minor dry cracks to the veneer with some minor losses The fabric of the cupboard doors is discoloured in places The cupboard doors look to have been repaired/ re-attached to the carcass Large horizontal split to the back panel84CM high See photos
Bull Terriersinscribed '(? E 859)' (lower left)oil on board21.5 x 29cm29.5 x 37cm framedThe painting is executed in oil on an artists’ board with a label for Winsor and Newton on the reverse. The support and paint layers are in a good, stable condition overall. There are a few small tiny dents to the paint layer caused by impact. Under ultraviolet light there are some dark brushstrokes on the top of the black dogs had, whether this is artist applied or restoration is difficult to determine. The varnish layer is thinly applied and slightly uneven. There is a layer of surface dirt present which has been partially cleaned, leaving a streaky surface gloss.
Waiting - A dog sitting by luggagesigned in monogram (lower right)oil on canvas29.5 x 19.5cmExhibited:London, Messum's, British Impressions, 2004, no. 6Lined. The paint layer has developed some prominent cracks in places - along the centre right edge, in the top left quadrant above the dog, and in the dog's face and feet. There are some light surface dirt and drip marks in the varnish layer. Scattered retouchings under UV particularly to the dog and edges of the canvas. 43 x 33cm framed
and a further Chinese hand-painted on silk wallpaper panel set, the pair of panels comprising two sets of six rolls painted with similar pond landscapes, each with red stamped sequence numbers to the rear, the single set comprising six rolls painted with various vases and jardinières, the six rolls from each of the three sets contained in original paper covered presentation boxes one set of six rolls from the pair of panels each 246 x 53cm the other from the set each 248 x 53cm the single set each 246 x 53cmTwelve rolls of Water lilies - some very faint occasional areas of browning but hardly visible. Very occasional light crease and skimming to the backs of sheets at edges. Overall in general good condition Six rolls of vases and jardinières -some very small occasional stain marks and creasing. Overall in general good condition
Lapwings; Cockatiels; and Zebra Finchesall signed 'Winifred Austen' (lower right)drypoint etching on paper; etchings with aquatint on paper 30 x 22cm; 31 x 26cm; 18.5 x 24.5cm (3)Lapwings - Discoloured. Light undulations across the paper. A horizontal crease appr. 2 inches long in the lower left quadrant. Few dirt spots throughout. Not examined out of frame. 37.5 x 47cm (framed)Cockatiels - Diagonal crease across the top left corner. Another diagonal crease about 10in long across the right hand side. Little discolouration visible along the edges. Light surface dirt under glass. Not examined out of frame. 49 x 38cm (framed)Zebra Finches - Gentle undulations across the surface. Little surface dirt under glass. Not examined out of frame. 35 x 41cm (framed)
A mahogany book trough, 19th century, the three-quarter shaped gallery over a three drawer base25 x 49 x 25cmA dry crack to the top on the left side Areas of repair to the veneer and inlay arounf the gallery edge General knocks and light scratching consistent with age and use Drawers slide well and key works See images
A late George III octagonal inlaid work table, the hinged top above one dummy and two real drawers over a turned column support raised on four scrolled legs and brass ball feet78 x 46.5 x 33cmSmall indent to top and light cracking to surface, some very light maks to top also, small loss of boxwood banding to one side, Some further light scratches and knocks commensurate with age and use, A little rocky on its feet.
A marble topped console table stamped 'Holland & Sons', late 19th century, the rounded rectangular marble top over a moulded frieze with single end drawer raised on turned and faceted tapering legs, stamp to drawer90.5 x 92 x 46cmMarble most likely later, various degrees of chipping to the edge of the marble top light sctaching from use The frieze has a portion of moulding missing to the right side above the front leg General wear, knocks and scratches to the legs, Black paint around the area where the legs meet the frame, legs possbly replacement/ repaired See photos
A large pair of Empire style faux-bronze and ormulu table lamps, each with reeded column and a triform base, complete with cream pleated shades67cm to top of light fixtureDear Mr McCormack,The lamps are relatively modern and cast resin which has been (rather well) painted to simulate bronze/ormulu. They are heavy and a good scale but have decorative value rather than antique. Hope this helps Kind RegardsChristopher Halls
A group of seven glass wall sconces, 20th century, decorated with moulded flower heads and drop pendants32 x 30cmtogether with a matching three-branch ceiling lightThe lights look to be recently taken off the wall if fresh electric tape on the wiresThey will need seeing to by a proffessional electrician to be usedNot all lights are matching, some glass drops are cut and some are roundedMinor chipping and scratching to some glass dropsMany glass drops loose/ missingChandalier is missing a drip traySee images
A Syrian pottery vase, 17th/18th century, the ovoid body lacking the neck, decorated with undulating lotus scrolls in light green and blue, converted in the 19th century to a Mosque lamp with pierced metal mounts and hanging boss/chains31.5cm high, overall 84cmceramic scuffed and stained. Neck off. later mounts. splits in metal mounts.a.f
gouache on paper, varnished, in an ebonised frame with ivorine Liberty of London plaque 159 x 59.5cmDuring the 19th century, demand grew in the UK and France for exotic shawls imported from India. These complex designs were labour intensive and the skills necessary to produce them domestically were almost non-existent. European textile manufacturers needed a solution to reduce the costs of imports and allow them to exploit this burgeoning market.In 1804, the Frenchman, Joseph Marie Jacquard (1752-1834), created an attachment known as the Jacquard Machine, which could be fitted to western machine looms and would allow the weaving process to become semi-automated. The Jacquard Machine worked by reading a series of punch cards that were laced together in a continuous sequence. The machine rotated the cards and read the punched holes that corresponded to rows in the final weaved design. In the mass manufacture of textiles, this allowed the production of complex patterns to be produced consistently and quickly without the need for a skilled weaver. The machine today is considered to be the first-ever programmable device used in manufacturing and is regarded as a key point in the development of computing. The Jacquard loom revolutionised the textile industry and in the UK, Paisley in Scotland and Norwich in England became key centres in the production of shawls. It is likely that the present lot was a design produced in India by an anonymous artist and then brought back to the UK to be transferred onto a punch card by a specialist technician. Examples of similar designs can be found in The Metropolitan Museum of Art, New York (62.600.235(8)) and the V&A, London (E.4411-1911).See imagesHorizontal wrinkles and creasing overall, tears and some areas of loss and repair to top edge and extensive infill of loss to top right corner, further small light abrasions to the surface, appears to be on a stretcher with card backing
An early Victorian burr wood sofa table, the rectangular top with canted hinged flaps above two frieze drawers raised on turned column supports and outsplayed legs, stamped ‘James Winter Wardour Street’72 x 105.5 x 63cm (closed)72 x 171 x 63cm (open) some light scratching to the top commensurate with age, very slight warpage to the ends, structurally firm
A George IV rosewood three-tier whatnot, the top with hinged reading slope over turned tapering column supports, frieze drawer to lower tier above a split bobbin border raised on turned tapering feet112 x 48.5 x 42.5cmGeneral wear and light scratching, splitting to the bobbin moulding loss to one corner, small separation to some joints, castors missing
Rooster and hens feedingsigned and dated 'Jac.s Carabain ft. 1860' (lower right)oil on panel29 x 37cm42 x 50cm (framed)The painting is executed in oil on a wooden panel support. The support and paint layers are in a very good condition overall. The painting has been cleaned in the past, residues of old varnish are visible under ultraviolet light. The new varnish layer is clear, even and semi-glossy. There are a few light scuffs and matte areas. On the surface of the varnish is a light layer of surface dirt including fly spots.
Rabbits running along a woodland tracksigned 'Louis Wain' (lower right)gouache on paper21.5 x 16.5cm41 x 36.5cm framedOverall the watercolour is in a good condition with no major signs of damage or repair. There is light surface dirt throughout and some minor spot staining in the upper left quadrant. There are light undulations across the surface of the paper.
Portrait of a girl in contemplationsigned 'Fritz Paulsen' (lower right)oil on canvas19 x 14cm30.5 x 25cm framedThe painting is executed in oil on a canvas support which is unlined. The painting is attached to a wooden stretcher with a horizontal cross bar. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition overall. The varnish is thin, even and clear. There are few small touches of overpaint in the sitter’s face. The varnish has a light layer of surface dirt present.
Villagers merrymaking outside a country innoil on panel24.5 x 33cmOil on panel formed from one board. There is a crack to the panel in the top right corner. The paint layer is stable overall. There are some visible cracks above the figures in the darker pigments which were retouched in the past. There are signs of abrasion or light scratches to the paint layer in the trees. There is extensive overpainting throughout the composition, in the figure groups as well as in the sky especially top right corner due to the crack to the panel in this area. Some retouchings have discoloured. 34 x 42.5cm framed
Portrait of a gentleman, three-quarter length, in a blue, richly embroidered coat, wearing the insignia of the Order of the Bath, a landscape beyondsigned and dated 'J.s Millar pinx.t 1789' (to the reverse)oil on copper, unframed35.5 x 27.5cmProvenance:Sotheby's Chester, 7th March 1991, lot 4309The painting is executed in oil on a copper support. The copper has a slight, gentle bend across the centre. The paint layers have suffered from losses, mainly located around the edge of the picture. The painting has a varnish layer which is degraded, becoming dull and darkened. There are numerous scuffs and scratches across the surface. There is a light layer of surface dirt present.
Portrait of a young lady, wearing a ruff, lace cap, embroidered black satin bodice, coral bracelet and white gloves held in her right handsigned and inscribed 'Aetatis 21 An.o 1632/ W. vander Vliet. fecit' (left of centre)oil on panel67 x 54cmWillem van der Vliet began his career as a history painter but became renowned principally for his portraits which are rare. He joined the Delft painters’ guild in 1615 and trained with Michiel Jansz. van Mierevelt (1566-1641). Vliet was certainly painting portraits by 1625 (Portrait of Burgomaster and his wife in the Amiens Museum) though other portraits by him are dated 1631 (London National Gallery) 1636 (Paris, The Louvre) 1638 (Amsterdam, Rijksmuseum) and 1640 (Utrecht). Although little is known about his life, he gained enough acclaim in his lifetime to be included in Dirck van Bleyswijck’s Beschryvinge der Stadt Delft [Description of the City of Delft] published in 1667.Framed 79 x 67cmThe painting is executed in oil on a wooden support. The panel is formed from three boards in vertical alignment with the widest board at the centre. A cradle has been fitted to the reverse of the panel to reinforce the joins and keep the painting flat. The cradle appears quite recent in the painting's history. There is slightly raised paint following the lines of the panel joins. The paint layer is stable overall with a few small localised losses, for example below the inscription. The varnish layer is semi-glossy, clear and even. There are some areas of overpaint across the surface which have a slightly matte and gritty texture. There is a light layer of surface dirt present.
Portrait of a lady in black with a lace cap and ruffinscribed 'Aeta: 58. A.o 1622' (upper right)oil on panel61 x 54cmProvenance:Stockholms Auktionsverk, Sweden, 2nd December 1992, lot 5584, as Attributed to Werner van den Valckert54 x 77cm (framed)The painting is executed in oil on a wooden panel support. The panel is formed from two boards in vertical alignment which are in a good condition overall and in plane. The paint layers are thinly applied in many areas and the vertical woodgrain of the panel is evident in the texture. The paint layers are stable overall. The varnish is clear, even and semi-matte. There are areas of overpaint across the surface which are finely applied and well matched to the original. There is a light layer of surface dirt present.
Portrait of a gentleman, head and shoulders, with shoulder length hair and a blue shawl, in a feigned ovaloil on canvas66 x 50cmPossibly by a British artist working in France after the Revolution.84.5 x 68cm framedThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are stable and secure. There are raised lines of paint running horizontally across the paint surface, possibly caused by the painting being rolled or folded in the past. The overpaint covering the horizontal lines in the sitter’s face have lightened over time. Other areas of overpaint are well matched to the original and locally applied. The varnish is uneven with matte patches in the background. There is a light layer of surface dirt present.
Portrait of Richard Paul Jodrell (1745-1831) in a black coat against a red curtaininscribed 'Portrait of Richard Paul Jodrell Esqr. / of Portland Place &c. A. D. 1810 / Born Nov 14th / O.S. 1745 painted by Browne / and died Jan. 26th / 1831, having been in possession of his paternal estate 80 years' (on an old label to the reverse)oil on canvas 74 x 62cmProvenance:Christie's, London, 12th November 1998, lot 66The sitter, a classical scholar and dramatist, was the eldest son of Paul Jodrell of Duffield, Derbyshire, solicitor-general to Frederick, Prince of Wales and his wife Elizabeth, daughter of Richard Warner of North Elmham, Norfolk. He was educated at Eton and Oxford, elected a Fellow of the Royal Society in 1772 and of the Society of Antiquaries in 1784. In 1772, he married his second cousin Vertue (d. 1806) eldest daughter and co-heiress of Edward Hase, of Salle, Norfolk and niece of John Hase, later Sir John Lombe, 1st Bt, with whom he had five sons and two daughters. He was a friend of Dr Samuel Johnson and in 1790 was elected Member of Parliament for Seaford, Sussex. He suffered from mental impairment for the last ten years of his life and died in Portland Place.The present portrait is known from an engraving by Charles T. Heath Heath after Mather Brown which was published in 1820. A portrait of this sitter by Thomas Gainsborough from the 1770s is now in the Frick Collection, New York. The painting is executed in oil on a canvas support which appears to be unlined. The canvas tension is good and the picture is generally in plane. At the lower left corner are diagonal stress cracks in the paint layer which has led to raised paint and losses. The rest of the of the paint layer is stable. There are areas of overpaint cover cracks and abrasion to the paint layer. The varnish is slightly uneven but clear. There is a light layer of surface dirt present.Framed 90 x 78cm
Portrait of a gentleman, half-length, in a red coat with a blue sash, holding a batonsigned and dated 'AD Therbusch / de Lisiewski / peintre du Roy / de France / 1771' (lower right)oil on canvas78 x 62.5cmProvenance:Christie's, London, 28th October 1998, lot 269Anna Dorothea Therbusch, born Lisiewska, initially trained as a painter under her father, Georg Lisiewski (1674-1751) a Berlin portrait painter of Polish stock. In 1761, she left Berlin for Stuttgart to paint at the court of Carl Eugen, Duke of Württemberg, before moving to Paris in 1765. She was elected a member of the Académie Royale in 1767. Therbusch befriended the art critic and philosopher, Denis Diderot, who favoured her work and she lived with him and other artists in Paris until 1769 when she returned to Berlin. She later became court painter to Frederick II of Prussia.The painting is executed in oil on canvas support. The canvas appears to be unlined but has been heavily impregnated with wax on the reverse. There is a large double patch on the reverse of the painting securing an old damage. The paint layers are stable overall. There is extensive restoration in the sitter’s face and a few other localised areas of overpaint in the background and red jacket. The varnish layer is thick, glossy and even. There is a light layer of surface dirt present.Framed 90 x 74.5cm
Portrait of Joseph Brotherton MP (1783-1857) three-quarter length, in black, holding a documentinscribed with the names of the sitter and artist on an old label (to the reverse)oil on canvas90 x 69.5cm;together with a cartoon taken from Punch titled 'Mrs. Brotherton Putting the House of Commons to Bed!' (2)Joseph Brotherton was appointed minister for the new Bible Christian Church, Salford, in 1817 and held the position for the rest of his life. One of the core teachings of the Church was not to eat meat and Joseph and his wife Martha were strict vegetarians. In 1847, he held a meeting that established the Vegetarian Society. Additionally, following the Reform Act of 1832, Joseph was elected the first Member of Parliament for Salford and held the position over the course of five successive elections. He was a great parliamentarian and pushed for better factory reforms and advocated for the provision of public walks, gardens, museums and libraries. Due to Brotherton’s efforts, Salford became the first municipal authority to provide a free lending library, museum, and art gallery. He is also today widely considered to have been the first vegetarian Member of Parliament.The present portrait was engraved in mezzotint by Samuel William Reynolds Jr. and published in 1836.Framed 120.5 x 100cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The darker passages of paint have an uneven texture with islands of raised paint. This is probably a result of the artist’s choice of materials and would have formed as the paint layers dried. The paint layers are stable overall. There are areas of overpaint across the surface which are generally well matched to the surface. The varnish is clear, even and semi-matte. There is a light layer of surface dirt present.
A collection of Marvel & DC graphic novels including; Wolverine Welcome to Westfall, Coyote Crossing, Weapon X, Return of the Native, Soul Taker, Get Mystique, Origin, Origin Saviour, Origin Our War, Origin Deadpool, Law of the Jungle, Xisle, The Chronicles of Conan 1-15, 17, The Savage Sword of Conan 6, Daredevil the Man of Fear, Daredevil Born Again, DC Secret Origins, Justice League a New Beginning, The Kingdom, Swamp Thing Bad Seed, DC Versus Marvel Comics, Daredevil Gang War, DC One Million, The Greatest Superman Stories Ever Told, The Joker: Devil's Advocate, Superman in the Fifties, Teen Titans: A Kids Game, Green Arrow Heading Into the Light, The Punisher: Return to Big Nothing, Green Arrow Year One, Green Arrow: City Walls, Crawling Through the Wreck, Moving Targets, Quiver, The Longbow Hunters, Sounds of Violence, Straight Shooter, The Archers Quests, The Punisher Max, Welcome Back Frank, The Punisher Born, Bloodlines, Mother Russia, Six Hours to Kill, Warzone, No Escape, The Prize, Full Auto, Man of Stone, Kitchen Irish, Nightwing Love and Bullets, Wrath of the Spectre, Zero Hour: Crisis in Time, Miracleman: A Dream of Flying, 100 bullets: Split Second Chance, Jonah Hex: Origins, Only the Good Die Young, The Six Gun War, Birds of Prey: Sensei and Student, New Friends, New Enemies, Of Like Minds, The Battle Within, Between Dark & Dawn, Dead of Winter, Superman Time and Time Again, Superman and Batman versus Aliens and Predator, Superman Speeding Bullets, among other titles (100) Condition Report:Available upon request
A collection of military and other cap badges, rank pips, buttons etc., to include the Black Watch, Royal Scots, Cameron Highlanders, Highland Light Infantry, Royal Lincolnshire Regt., Northamptonshire Regt., Royal Military Police, Royal Army Service Corps, Army Catering Corps and Royal Air Force Condition Report:Available upon request
An 18ct gold three stone diamond ring set with estimated approx 1.20cts in total, in a pretty leaf design mount, finger size J1/2, with matching wedding ring, weight together 5.5gms Condition Report:Very light wear. Diamonds are a good colour, and have a few clear feather type inclusions, and a very tiny bit of carbon, none of which are eye visible, only with a loope
Original acrylic mixed media painting on canvas by Austrian/American artist Josef Kugler (20th Century). It is signed, mounted and framed and . Original Joseph Kugler painting on canvas 122x91cm Josef Kugler (Austrian/American) is a fine painter from a family of fine painters his father was much loved landscape artist. His paintings run the gamut of subject matter, but the pieces featured here come from the general category of Abstract Illusionism. The notable characteristic of this genre is that objects appear three dimensional through the use of cast shadows and perspective. Illusionism straddles the defintions of realism and abstraction. In effect, abstract forms become real due to their manipulation by the artist. These paintings are extraordinary when viewed with a changing light source
A Moorcroft pottery 'Pomegranate' pattern vase for Liberty & Co,c.1910, of ovoid shape, tubeline-decorated and bearing printed and painted marks to base,12cm diameter21cm highCondition ReportSome crazing to body. General light surface wear. No visible traces of restoration - good consistent 'ring' throughout the ware. With a few smaller patches where the glaze has covered a little thin. Overall in good order. Please see the additional images. It is glazed internally.
An extensive Royal Doulton Dinner service, 20th century, in the Carlyle pattern, comprising, a pair of tureens, 31cm high, two sauceboats, a coffee pot, a cream jug and two sugar bowls, thirteen coffee cans and twelve saucers, nine soup cups and saucers, eleven salad and side plates, twelve dinner plates, 27cm diameter an oval serving platter, 42cm wide a salt and pepperette and a cheese board, each with gilt-highlighted floral and foliate decoration (qty.)Condition ReportLight surface wear and scratches throughout. Some light rubbing to gilt edges.
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