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Preisdatenbank abonnierenDanish School (19th century)Hercules and OmphalesOil on canvas25.5 x 19cm (10 x 7¼ in.)The present lot is after a fresco at Osborne House in Prince Albert's bathroomCondition Report: The canvas has been lined. Some light surface scratches. Inspection under UV light reveals scattered retouching in darker areas but these are quite minor. Uneven and discoloured varnish throughout.Condition Report Disclaimer
Carlton Alfred Smith (British 1853-1946)Sisters Watercolour Signed and dated 1908 (lower left)29 x 18.5cm (11¼ x 7¼ in.)Provenance:Sale, Sotheby's, London, Victorian Pictures, 4 March 1992, lot 295Purchased from the above by the present owner Condition Report: Some light discolouration to the sheet, as well as some staining to the lower edge. The colours a little faded but otherwise the work generally appears to be in good original condition. Unexamined out of glazed frame.Condition Report Disclaimer
Follower of Sir Peter Lely Portrait of a lady wearing a gold satin dress with blue wrapOil on canvas111 x 77cm (43½ x 30¼ in.)Condition Report: The canvas has been relined and this is visible to each edge. Light surface dirt throughout. Stretcher marks are visible in natural light. Craquelure throughout, with some isolates areas just starting to lift - most notably to the right of the sitter's face. Paint wearing a little thin in some places. Inspection under UV reveals retouching throughout, particularly to the right of the sitter's face, possibly where there has been previous damage. Together with a green cloudy varnish throughout.Condition Report Disclaimer
Thomas Hudson (British 1701 - 1779)Portrait of Mary Browne (1721 - 1773)Oil on canvasSigned (lower left); later inscribed with sitter's details (upper right) 127 x 101cm (50 x 39¾ in.)Painted circa 1759Provenance:Commissioned by Sir William BrowneThence by inheritance to Mary Ffolkes and descent in the Ffolkes family to Sir Robert Ffolkes, 7th Baronet (b.1943), by 1979Literature:Prince Frederick Duleep Singh, Portraits in Norfolk Houses, Norwich 1928, vol. I, p.248, no.22, London, Kenwood House, Thomas Hudson 1701-1779, 1979, under no.25Thomas Hudson was one of the most fashionable portrait painters in London in the mid-18th Century. He taught Sir Joshua Reynolds and his sitters included the Duke of Cumberland and George Frederic Handel. In 1748 he visited France and the Low Countries with his friend William Hogarth. and his works of the 1750s, such as this, reflect his exposure to the sensuous handling of Flemish painting, as well as elements of the French rococo. Mary Browne was the daughter of the wealthy physician Sir William Browne (1692-1774), and his wife Mary Greene. Browne began to practice medicine in the prosperous seaport and market town of King's Lynn, Norfolk, in 1716. He became a few of the Royal Society and was knighted in 1748. The following year he moved to London and settled in Queen's Square, Bloomsbury - not far from Hudson's fine house in Great Queen Street. In 1759 he commissioned this portrait, together with one of his wife. Both sitters wear silver satin dresses trimmed with delicate lace. Hudson also painted Sir William three times, firstly 1745-49, as a portly, prosperous Lynn physician, with St Nicholas's church in the background, again in 1766 in his pomp as the newly appointed President of the Royal College of Physicians and again on his retirement, which he gifted to the college.Mary married William ffolkes (d.1773) of Hillington Hall, Norfolk in 1747. The ffolkes were an ancient Norfolk family dating back to before the 14th Century and had connections to the Walpole's of Houghton and later in the century, to Admiral, Lord Nelson. William ffolkes was a lawyer and agent for the Dukes of Montagu, Richmond and Manchester. Their only son, Martin, was born on 21st May 1749. After Eton, he studied at Emmanuel College, Cambridge and entered Lincoln's Inn in 1768. On his grandfather Sir William Browne's death in 1774, he restyled himself as Browne ffolkes and was created a Baronet. He was elected a Fellow of the Royal Society in 1772, was High Sheriff of Norfolk 1783-84 and was MP for King's Lynn from 1790 until his death in 1821. Browne is memorialised with his daughter Mary and generations of the ffolkes family in Hillington church. Those records, and Hudson's portraits, commemorate two remarkable and fascinating East Anglian families. Condition Report: The canvas has been lined. There is a pronounced pattern of raised craquelure with associated fragile and lifting paint and numerous scattered losses, including corresponding to vertical drips which possibly pertain to water ingress. There is evidence of ingrained dirt and a heavily discoloured varnish layer. There are numerous passages of previous restoration, most notably large, discoloured clumsy retouchings above the lower edge which are visible in natural light. Inspection under UV light reveals scattered retouching throughout. Condition Report Disclaimer
Carl Fredrick Sørensen (Danish 1818-1879)Figures on a hulkOil on paper laid on panelIndistinctly dated 18[?][?] and signed (lower right)27.5 x 34cm (10¾ x 13¼ in.) Condition Report: The slip is falling out of the frame and would benefit from being secured. There is a faint horizontal line running the length of the panel in the sky, which is visible in natural light, and also flairs under UV light. There are a few surface scuffs and scratches. Inspection under UV light reveals a few other scattered spots of retouching. Condition Report Disclaimer
Thomas Rose Miles (British fl. 1869-1910)Return of the Lifeboat Oil on canvas Signed and dated 1888 (lower left)76.2 x 127cm (30 x 50 in.) Provenance:Royal Exchange Art Gallery, London Purchased from the above by the present owner Exhibited:London, Royal Exchange Art Gallery, Annual Marine Exhibition, 3 October - 2 November 1990, no. 24 Condition Report: The canvas has been lined but is a little slack. Stretcher marks visible. Some fine surface cracking but the paint surface in secure. Inspection under UV light reveals scattered retouching to the darker pigments and to the sky. One or two spots of surface dirt to the sky. Otherwise appears to be in good restored condition.Condition Report Disclaimer
†James Gillray (British 1756-1815)The Cow-Pock -or- the Wonderful Effects of the New Inoculation! (BM 9924)Hand coloured etching, published by H. Humphrey, London, 180224.5 x 35cm (9½ x 13¾ in.)UnframedCondition Report: Unframed. The work has been cut down and the edges are uneven. Very light undulation to the sheet. A couple of handling creases to the upper right quadrant. Ink stains to the margins. Image is generally in good condition. Condition Report Disclaimer
Italian School (late 17th / early 18th century)MadonnaOil on canvas33 x 25.5cm (12 x 10 in.)Condition Report: The canvas has been lined. The gold ground appears to be a later addition. Craquelure throughout and losses, most notably to the framed edges. The work has a later applied glossy varnish. Light surface dirt throughout. There is a patch of retouching to the sitter's face below her left eye which is visible in natural light. Inspection under UV is hard to read due to the application of a heavy varnish but it is likely that there has been previous restoration and infilling to the craquelure.Condition Report Disclaimer
British School (19th century)Portrait of a ladyOil on canvas76 x 63cm (29¾ x 24¾ in.)UnframedCondition Report: The canvas has not been lined. There is a small patch (verso) to the lower quarter. Stretcher marks, surface cracking and abrasions to edges all visible. Light scuffs and surface scratches throughout. The canvas has been lined and is a little loose. Inspection under UV light reveals retouching to the corresponding patched area (lower right), as well as one or two light patches to the sitter's chin.Condition Report Disclaimer
French School (19th century)Woman in a fur collared coatWatercolour42 x 29cm (16½ x 11¼ in.)Exhibited: Hazlitt, Gooden and Fox, 19th Century French Drawings, 20th June - 20th July 1984, No. 31Condition Report: Some light staining throughout the sheet. Two more pronounced horizontal lines running the width of the sheet, the top line with a small associated tear to the left edge (approx. 1.5cm) and there is also a further tear to the lower right corner (approx. 1cm). Otherwise colours are good. Unexamined out of glazed frame.Condition Report Disclaimer
Follower of Henry Alken SeniorDrawing cover; The killOil on canvas, a pairBoth bears signature (lower left)Each 59 x 90cm (23 x 35¼ in.) (2)Provenance:Frost & Reed, LondonCondition Report: Dimensions with each frame are 77 x 108cm. The Death: The canvas has been relined which is visible along the right hand edge. Inspection under UV reveals some light scattered retouching throughout and light infilling to the sky, but overall the work appears to be in good restored condition and is ready to hang.The Kill: The canvas has been relined. The sky looks a little scrubbed and the paint is a little thin. There is also evidence of infilling which is visible in natural light. Inspection under UV reveals scattered retouching. Generally in good restored condition.Condition Report Disclaimer
Y Attributed to John Hoskins (British circa 1590-1664)Lady Glynne Wheler, wearing black dress, white underslip, pearl and gem jewels, single strand pearl necklace, pearl drop earrings, her hair curled and upswept into a bun embellished with pearlsOil on vellum, ovalSigned with initials and dated 1648 (lower right)6.5 x 4.5cm (2½ x 1¾ in.)Together with fourteen portrait miniatures, variously oil on copper, vellum, watercolour on ivory and enamel, each depicting a member of the Sitwell family from the 17th to 19th centuries, each identified by inscriptions to labels attached verso, the largest 14 x 10cm, the smallest 3.5 x 3cmFramed as three groups of five, in oval frames, the largest overall: 49 x 43cm, the remaining two: 42 x 35cm (3)Condition Report: They are all presented behind glass in three common frames. They are unexamined out of their frames, but under UV light there are no visible signs of damage or restoration.Condition Report Disclaimer
Follower of Sir Godfrey KnellerPortrait of a lady wearing a green dress and red shawlOil on canvas125 x 100cm (49 x 39¼ in.)Provenance:The 1st Earl Mountbatten of BurmaThence by descentCondition Report: The canvas has been lined and the reline is visible along the edges. There is also some associated scuffing. Some further scuffing and cracking to the paint surface along the stretcher line at the lower edge and a few other scattered areas of scuffing throughout. A small indentation and associated loss and visible retouching to the upper right corner and further visible retouching to a line above the sitter's head. There is a T-shaped repaired tear to the centre left of the sitter with retouching visible both to the naked eye and under UV. Craquelure throughout. Inspection under UV light reveals scattered retouching together with a green cloudy masking varnish throughout. Condition Report Disclaimer
Manner of Raffaello Sanzio da Urbino, called RaphaelThe AscensionOil on panel50.5 x 60cm (19¾ x 23½ in.)Condition Report: The panel has cracked vertically down the centre, and this is visible both rector and verso, where there is corresponding repair and support to the back of the panel (visible in online illustration). Surface dirt and a dirty varnish throughout. Rubbing and abrasions to the framing edges. Some light, scattered craquelure throughout the panel, together with some scattered areas of retouching which are visible in natural light. Scattered cracking and retouching to the panel throughout but most notably to the to the figures at the right side of the panel. Would recommend viewing.Condition Report Disclaimer
After Sir Peter Paul RubensChrist on the CrossOil on canvas96 x 71.5cm (37¾ x 28 in.)After the picture in the Museum of Fine Arts, Boston. Condition Report: The canvas has been lined (probably within the last 50 years) and is coming away from the reline and lifting at the framing edges. Light surface dirt and cracking throughout. There is a partial tear in the top right quarter (approx. 10cm). Some losses and abrasions to the framing edges and corners. Under UV light there are scattered spots of restoration, mostly to the background but some also to the figure. These all seem relatively small however. Condition Report Disclaimer
English School (circa 1800)Whitehaven harbourOil on canvas33 x 46cm (12 x 18 in.) Together with a landscape with figures haymaking 36 x 48.5cm (2)Provenance:Crane Kalman Gallery, LondonCondition Report: Whitehaven Harbour: The canvas has been lined. Paint is thin in places. Some evidence of old craquelure particularly to the sky. Inspection under UV light reveals in-filling to the sky and some further light scattered retouching.Haymaking: The canvas has been lined. There is craquelure throughout and visible stretcher marks. There is a small black stain to the upper left edge. Inspection under UV light reveals in-filling to craquelure and further scattered retouching throughout.Condition Report Disclaimer
Charles Henri Joseph Leickert (Belgian 1816-1907)A winter landscapeOil on canvasSigned and dated 91 (lower right)62.5 x 98.5cm (24½ x 38¾ in.) Condition Report: The canvas has been relined and cleaned. Inspection under UV light reveals some very light scattered retouching throughout.Condition Report Disclaimer
Abraham Jansz. Begeyn (Dutch 1637-1697)Shepherds, cattle and sheep in a landscapeOil on canvasSigned and indistinctly dated 166[?] (lower left)48 x 65cm (18¾ x 25½ in.)Provenance:Berwick House, Shropshire Condition Report: The canvas has been lined and the reline is visible along the upper edges, the canvas is also a little uneven as a result but this is really only visible in a natural light. Scattered retouching, mostly focused on the lower half of the canvas, otherwise the work appears to be in good, restored condition commensurate with age. Condition Report Disclaimer
English School (circa 1800)Hambletonian Beating DiamondOil on canvasInscribed Arrived at the Furse hill - just setting to for a grand burst (lower centre)32.5 x 43cm (12¾ x 16¾ in.)The present lot depicts Hambletonian Beating Diamond at Newmarket, March 25th 1799 in a match for 3000 guineas.Condition Report: The canvas has been lined. With surface dirt, surface scratching, and craquelure throughout. Stretcher marks are visible, together with a slightly discoloured varnish. The inscription is a little rubbed but still legible. Rubbing and abrasions to the framing edge. The canvas is a little loose in its frame and would benefit from being secured. Inspection under UV light reveals retouching throughout, together with a green cloudy varnish.Condition Report Disclaimer
Henry Weigall Junior (British 1829-1925)The Hon George FitzRoy Somerset (1857-1921) and the Hon. Granville Somerset (1862-1901)Oil on canvasSigned and inscribed (to label verso)110 x 86cm (43¼ x 33¾ in.)Provenance:The Raglan CollectionSale, Christie's London, Interiors Including Posters, 11 September 2019, lot 168Exhibited:London, Royal Academy, 1871.Literature:J. Steegman, Portraits in Welsh Houses, Cardiff, 1962, vol. II, p. 127, no. 19.Condition Report: The canvas has not been lined. The canvas has been cleaned and re-varnished. Inspection under UV light reveals scattered retouching to the edges. Condition Report Disclaimer
Carlo Grubacs (Italian 1802-1878)Three Venetian views: St Mark's Square, from the entrance to the Grand Canal; St Mark's Basilica and the campanile; and The Doge's Palace with The Santa Maria della Salute beyondOil on canvas Each signed (lower left)Each 20.7 x 29cm (8 x 11¼ in.) (3)ProvenancePawsey and Payne, LondonCondition Report: All canvases have been relined but the surface impasto is very well preserved. They each have fine surface cracking and several fine lines of restoration are visible under UV light. However, these are all very minor and not major damages. There is a small amount of abrasions and associated rubbing to all framing edges. The varnish layer is discoloured and uneven.Condition Report Disclaimer
Johann Joseph Acherman (Swiss 1790-1845)Portrait of a lady wearing a gold dressOil on canvas laid to cardSigned (lower right)84 x 57cm (33 x 22¼ in.)Condition Report: The card has now started to bow. There is a deep surface scratch to the sitter's handkerchief, and again off the sitter's right shoulder. Additional numerous small surface scratches and scuff throughout, some with associated paint loss. Inspection under UV light reveals some light retouching to the background however this is hard to read under the varnish. The figure generally seems untouched however.Condition Report Disclaimer
Sir George Clausen (British 1852-1944)The Cottage, MoonriseOil on canvasSigned and dated 1902 (lower right)35 x 44.5cm (13¾ x 17½ in.)Provenance:John Russell Taylor Esq with Chris Beetles Gallery, London, circa 1987Private CollectionAnonymous sale, Sotheby's, London, 5 April 2000, lot 3, where purchased for the present owner Condition Report: The canvas has been lined but the surface impasto is well preserved and the paint layer appears in good original condition. Cleaned and re-varnished and is presented in a gilded oak and composition frame. UV light does not reveal any signs of retouching.Condition Report Disclaimer
Carl Max Gerlach Quaedvlieg (Dutch 1823-1874)Portrait of a young ladyOil on canvasSigned (lower right)28.5 x 22cm (11 x 8½ in.)Condition Report: The canvas has not been lined. Some surface cracking and stretcher marks. Inspection under UV reveals some very light spots of retouching to the background and a green cloudy varnish. Otherwise the work appears to be in good original condition.Condition Report Disclaimer
A French painted tole eight light chandelierLate 19th centuryWith bell flower embellished chains and the central bowl issuing foliate scrolled candle arms and a central lotus flower, 84cm wide, 84cm deep, 129cm high (33in wide, 33in deep, 50 1/2in high) This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A gilt bronze six light chandelier in the Régence styleFrench, 19th century With scrolled acanthus leaf cast candle arms, later fitted for electricity, 78cm wide, 70cm deep, 73cm high (30 1/2in wide, 27 1/2in deep, 28 1/2in high) This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A pair of gilt brass three light hall lanternsWith glass bell domes surmounted by pierced galleries mounted with three ram's heads supporting the chains, 50cm wide, 48cm deep, 94cm high (19 1/2in wide, 18 1/2in deep, 37in high) (2)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A French 19th century gilt bronze four light candelabra adapted to a lamp baseWith four acanthus leaf cast scrolled candle arms above a column support on three lion paw feet, measurement without shade: 25cm wide, 26cm deep, 34cm high (9 1/2in wide, 10in deep, 13in high) For further information on this lot please visit Bonhams.com
A PAIR OF EMPIRE ORMOLU AND SIENA MARBLE THREE-LIGHT CANDELABRAEarly 19th centuryEach modelled as a lady standing, issuing foliate scrolls terminating in nozzles from her hands and another from her head, 29 cm. (23 in.) high (2)Footnotes:Provenance: Christie's, London, South Kensington, 26 October 2016, The Hone Collection, lot 100.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Five table lamps19th century and laterComprising a twin-light Japanned toleware lamp with metal shade, a pair of marbleised toleware lamps with gathered green silk shades, a gilt composition nautilus shell form table lamp, with purple card shade, and a giltwood lamp of globular twisted fluted form, some adapted from oil lamps, the tallest 85 cm. high (5)For further information on this lot please visit Bonhams.com
A large Italian carved giltwood and painted eight light chandelier19th century With scrolled candle arms, later adapted to electricity, 110cm high (excluding the hanging loop) x 104cm diameterThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A collection of twenty pewter military figures, mainly after Charles Stadden and so marked on their bases, including: The Duke of Wellington, 1815; Napoleon Bonaparte, 1815; Light Company Private, Coldstream Guards, 1815; Drummer, 56th Foot, 1811; Private, Royal Marines, 1805; Corporal, R.M.L.I., 1902; N.C.O., Women's Royal Army Corps (R.M.P.), 1980; and others, all painted; together with three unpainted examples: Ensign, The Buffs; Private, Coldstream Guards (both c. 1815); and a soldier of the Royal Corps of Signals armed with a Sterling S.M.G. [20] nb. dates refer to the period represented, the models are all late 20th century.
Austria: a small collection of cased medals: i) a set of three medals cased together by Moritz Tiller & Co, comprising: War Medal 1973, gilt-bronze, rev. '2 DEC 1873'; Franz Josef I 50th Anniversary Medal (Signum Memoriae); Silver Medal for Bravery (Der Tapferkeit); all with tri-fold ribbons, good very fine or better; ii) Silver Cross of Merit with Crown, silver and enamel, in case by Bergmann of Vienna, enamel missing from lower obverse arm, other minor damage; Kaiser Karl, Military Merit Medal (Signum Laudis), gilt-bronze, in case by Zimbler of Vienna, light wear to gilding, good very fine. [5]
Bath Bluecoat School: three struck prize medals: gilt metal, 57mm, bust of Edward VI almost facing, rev. schoolmaster with pupils, 'THE BRODERICK MEDAL', edge engraved (CHARLES DAVID RUSSELL 1860), extremely fine or nearly so; another of this type, white metal, unnamed, light surface marks, nearly extremely fine; silver, 44mm, bust of Robert Nelson, rev. legend and assay marks, edge engraved (ARTHUR S. FLOWER 27TH DECR. 1881), Birmingham 1881, good very fine. [3] Second and third ex DNW 06/12/2012 lot 1400
An Edward VII Royal Marine Light Infantry officer's 1897 pattern sword, blade etched with R.M.L.I. badge and title amid panels of scrolling foliage, by Henry Wilkinson and numbered 38588; regulation hilt with EVIIR cypher, brown leather sword knot; brown leather covered scabbard; complete with brown leather sword bag.
An Austrian model 1850 light cavalry trooper's sword, slightly curved fullered blade 33.25 in., by C Jurmann and so marked, reinforcing piece at the ricasso; iron guard with reinforced edge and pierced with seven holes, two sword knot slots, guard also marked for Jurmann, back strap with ears, leather covered grip; steel scabbard with two loose rings.
A collection of five 19th century cavalry troopers' swords, comprising: a French heavy cavalry sword, marked for Klingenthal 1826; a French model 1822, modified type, steel scabbard; a French model 1882, steel scabbard; a French light cavalry sword, steel scabbard; and a United States cavalry sword, brass three bar hilt, steel scabbard. [5]
A Great War trio to Private Charles William Moger, Royal Marine Light Infantry, who was killed in the sinking of H.M.S. Glatton in Dover Harbour, 1918: 1914-15 Star, British War Medal 1914-20, Victory Medal (PO. 15920 PTE. C.W. MOGER. R.M.L.I.), extremely fine; together with the associated Memorial Plaque (CHARLES WILLIAM MOGER), nearly extremely fine; the medals with card postage box and folded ribbons, the plaque in its card case; and a Christmas 1914 gift tin. [5] H.M.S. Glatton was a Gorgon Class monitor which suffered a magazine explosion on 16th September 1918 - a mere five days after she was completed - while at anchor in Dover Harbour. A fire quickly spread, and when attempts to extinguish it were seen to be failing, Admiral Roger Keyes ordered Glatton to be sunk by torpedoes, in order to prevent a likely chain of detonations (including that of the ammunition ship Gransha) that could have devastated Dover. The bodies of 57 of the men who died in this tragedy - Moger's among them - were not recovered from the wreck until 1926, at which time their families were at last able to attend a funeral in Gillingham. Charles William Moger was born in April 1889 in Stoneham, and worked as a painter's mate before enlisting in December 1910 at Southampton. He served in various ship of the home fleet, and joined Glatton an the 24th August 1918.
Sergei Zakharovich Gatin (Russian, 1923-2001)'Boxing day'signed in Cyrillic and dated '57 l.l., also signed, inscribed and dated verso, oil on canvas108.5 x 78cmCondition report: The painting is executed in oil on a canvas support which is unlined. The canvas tension is slack and there are minor undulations across the surface. The paint has been built up in layers and there is some delamination occurring in the lower half with scattered losses and areas of flaking. The varnish is even and glossy with a light layer of surface dirt present.
Attributed to Henry Baines (1823-1894)A stormy landscape with figures and an ox-drawn wagon crossing a riverinscribed 'H Baines, 69 Upper Seymour Street, Euston Square' on stretcher verso, oil on canvas49.5 x 66cmProvenance: From a private collection in King's Lynn, Norfolk.Henry Baines was the younger brother of the celebrated artist Thomas Baines (1820-1875), whose reputation rests on the extensive output of paintings and drawings produced on his expeditions to Australia and, principally, Southern Africa.The brothers were brought up in King’s Lynn and, after training in London and Europe, Henry returned to the town and established his own Art Academy. His paintings are chiefly devoted to East Anglian landscapes and coastal scenes, and his topographical views are a valuable record of the town and its environs. The King's Lynn Museum holds a large collection of his sketches and watercolours as well as paintings, many of which were included in the exhibition of his work held after his death in 1894.This painting depicts a stormy landscape in the romantic tradition, but the subject appears to be African. Although, so far, we have been unable to find a record of this composition by Thomas, it is well known that Henry copied his brother’s work. Stylistically, parallels can be drawn with some of Henry’s East Anglian landscapes in his treatment of the foreground vegetation, but also, more tellingly, in his Turneresque rendering of the approaching storm and the dramatic effects of light.Condition report: The canvas is lined. There is some surface dirt and craquelure remaining, most notable to the white in the centre of the sky. Under UV light, there is a large patch of retouching apparent to the centre of the sky and what looks like a repaired tear to the centre tree, there are additional smaller retouchings elsewhere, most notably to the lower edge. In a gilt composition frame, some damage.
English School, late 18th centuryA view of the church of St Peter and St Paul, Wisbech, with figures conversing outside on Church Terrace, the Duke's Head pub visible at the end of the streetoil on board, with clock movement29 x 45cmProvenance: The Peter and Pat Crofts Collection.Condition report: The painting is executed in oil on a metal support. A small hole has been cut into the support to allow clock hands to be fitted onto the church tower, presumably with some sort of movement behind. The reverse of the painting is covered with a wooden panel. The paint layers have developed a network of age cracks which are slightly raised but appear stable overall. The painting has been cleaned in the past as remanets of older varnish are visible in ultraviolet light. The current varnish is clear and even and also appears to have developed a network of age cracks.
Walter Crane RWS (1845-1915)Study for 'Neptune's Horses'watercolour18 x 26cmProvenance: The Cyril and Shirley Fry Collection.Condition report: Some light discolouration to the paper in places. Light flecks of surface dirt and dust under the glass. A few very tiny dots of foxing. Not seen outside of glazed frame.
Herbert Thomas Dicksee RE (1862-1942), after Frank Dicksee RA ‘Memories’, a music soirée around a piano with a recumbent Irish Wolfhound in the foregroundoriginal etching, 1892, signed in pencil by both artists, artist's proof, with remarque two lines of music and lyric 'O for the touch of a vanished hand, and the sound of a voice that is still', published by C E Clifford & Co., London, edition limited to 400, on vellum, as exhibited at the Royal Academy 1892, number 1505, exhibited at The World’s Columbian Commission International Exhibition, Chicago, 1893image 46.4 x 60.1cm Provenance: The Bryan Steele Collection.Condition report: The vellum is lightly cockled and very slightly yellowed. There are some light smudges of dirt to the margins. A few faint cloudy white spots to the printed area. Some light surface dust and dirt, and the occasional tiny flecks of white possibly where the ink has not fully covered the surface. Not seen outside of glazed frame.
*Andrew Beer (1862-1954)'Double Event', a racing pigeonsigned 'Andrew Beer' l.l., inscribed l.c., oil on canvas30.5 x 40.5cm;and another portrait of a racing pigeonsigned 'Andrew Beer' l.r., inscribed l.c., oil on canvas30.5 x 40.5cm (2)*Artist's Resale Right may apply to this lot.Condition report: Double Event: Some light surface dirt. A vertical line imprinted in the paint running down through the tail, ahes nd another by the right edge, probably from when the paint was wet. Unnamed pigeon: Very slightly dirty. Two scratches lower left, one through the lettering.
A Regency mahogany bookcase,the scrolled cornice with applied gilt-metal mounts over two astragal-glazed doors enclosing two adjustable slides, the base with a shallow frieze drawer with applied boss tablets over two panelled doors with half-turned pilasters, enclosing one slide, on turned feet,108cm wide47cm deep195cm highProvenance: The Peter and Pat Crofts Collection.Condition report: Cornice possibly altered. - the gilt applique to the cornice overhangs the edges, the fixing appear ad-hoc and not uniform Slides missing. - only four shared between top and bottom sections, the slides in the upper section appear oversized in depth given the dainty glazing bars Ready for a new home light cosmetic wear in line with age and use
*Andrew Beer (1862-1954)'Strong Boy', a racing pigeonsigned 'Andrew Beer' l.l., inscribed l.c., oil on canvas30.5 x 40.5cm*Artist's Resale Right may apply to this lot.Condition report: A very slight wave to the canvas lower left. The picture has yellowed a little. There is a pale vertical line running down in the lower right quarter. A couple of light surface scratches.
*Andrew Beer (1862-1954)'Herb's choice' and 'Consistent', a double portrait of two racing pigeonssigned 'Andrew Beer' l.l., inscribed l.c., oil on canvas38 x 51cm*Artist's Resale Right may apply to this lot.Condition report: A dent from the reverse, upper left. Small dents in lower corners from the wooden stretchers. Occasional light cracks to the paint. A further tiny indent by left edge. Surface dirt.
An Indian silver salver/card tray,by Robert Hamilton of Calcutta, first quarter of the 19th century, of plain circular form with a reed border, raised on three hairy claw and ball feet,12cm diameter, 6.5oztProvenance: The Peter and Pat Crofts Collection.Condition report: Colour a bit bright.No obvious major faults.it doesn't t look to have been erased, and is of thick even gauge, light surface scratches
A Persian wool carpet,mid-20th century, Heriz, the field centred with a flower head medallion, among densely-populated geometric floral and foliate motifs, within similarly-decorated spandrels and stepped borders,410 x 285cmCondition report: Fringe trimmed and worn. Light wear and staining. Side cords good.
Edward Wilkins Waite (1854-1924)A girl by a garden gate, tending to her chickens and duckssigned 'Edward Waite' and dated 1894 l.l., oil on canvas61 x 51cmCondition report: Please condition report: The painting is executed in oil on a canvas support which has not been lined and has an artists’ supplier stamp on the reverse. The canvas tension is slightly slack and there are minor undulations across the canvas. The paint layer appears to be in a very good, stable condition with no evidence of damage or loss. The varnish is clear, semi-glossy and even. There is a light layer of dust and dirt on the front and reverse of the canvas.In general, I would say yes it is in good nic. The frame is period and with a bit of TLC, it would look good, however, intrinsically, it is not of particular importance or value. the picture comes from a private source. I hope this is of interest and if I can be of any further assistance please do not hesitate to contact me.Kind regards, Jane
A Japanese carved ivory figure of a child,Meiji period, (late 19th century) standing on a sphere, on a wooden stand, incised signature beneath base,18cm high excluding stand (2)Condition report: overall good order, on fingertip broken and lost, light discolouration no obvious chips or cracks
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