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Preisdatenbank abonnierenA large brass club fender,20th century, the red leather upholstered seat raised on twisted brass supports, 225cm wide64cm deep60cm highinternal 185cm wide40cm highProvenance: 47 Phillimore Gardens, Holland Park, London, W8.Condition report: Internal measurements: 185cm wide, 40cm deep. Generally in good order, with some light cosmetic wear.
A large Regency mahogany open wine cooler,early 19th century, of sarcophagus form with panelled sides fitted with a lead lining, raised on carved hairy paw feet and cup castors,80cm wide52cm deep45cm highProvenance: A Private Collection, Mayfair, London.Condition report: Lining perished in places one foot broken and repaired (currently detached), light knocks and dents throughout, the panels to the sides with cracks to the veneer.
A pair of Indian papier mâché candlesticks, early 20th century, Kashmir, each with a triple helix bulbous stem, with floral decoration, with later brass fittings for bayonet light bulbs, 51cm high (2)Condition report: Needs wiring. Holes drilled through the centre to accommodate this. With some loss of decoration to the surface.
A Staunton Grandmaster chess set by Jaques of London,of recent manufacture, the chessmen carved in boxwood and ebony, each piece with a gilt-embossed label beneath,kings 11.5cm high, in a fitted baize-lined mahogany box,together with a teak, walnut and birch board,58 x 58cm (2)Provenance: A Private Collection, Mayfair, London.Condition report: The chessmen appear to be seconds, each piece inscribed 'S' in marker to the labels. General light knocks and surface wear throughout.
A pair of modern Louis XVI-style armchairs,by Nordic Style, each with a limed oak frame with a woven light blue buttoned fabric back and loose cushion seat, on turned and fluted legs,76cm wide66cm deep95.5cm high (2)Condition report: In almost unused condition, clean fabric and with no apparent damages or marks.
Maria Teresa Hegg (1829-1911)Wild ferns and flowers at the base of a treesigned and inscribed 'Teresa. Hegg/Vevey' l.r., watercolour and bodycolour70.5 x 58cmCondition report: There is no glass in the frame, and the picture is loose in the frame with the left edge exposed. The paper has a light wave, although this could be because it is not secure in the frame. The visible edges of the paper have some surface abrasions. There are one or two specks of abrasion elsewhere, otherwise the paper looks to be in generally good condition, with strong colour and no obvious foxing.
J... F... M... Gow (19th century)A standing nudeindistinctly signed 'J F M Gow' and dated 4th September 1877 l.r., oil on canvas61 x 41cmCondition report: The painting is executed in oil on a canvas support which has not been lined. The canvas tension is slightly slack and there are minor undulations at the corners. A damage in the lower half of the painting has been repaired from the reverse with a canvas patch. The damage to the paint layer has been filled and retouched. A large paint loss is present to the side of the repair. There are a few other scattered losses across the surface caused by impact. The paint layer has developed textural phenomena related to the drying of the oil paint including drying cracks and wrinkling. The varnish is clear and semi-glossy with a light layer of surface dirt present.
A Victorian taxidermy diorama by Ashmead and Co.,late 19th century, containing common buzzard and a French partridge in a naturalistic setting, housed in an oak and glazed cabinet on stand, with paper maker's label,82cm wide39cm deep164cm highCondition report: Overall good order, the groundwork largely complete the case with light knocks and wear.
Herbert Thomas Dicksee RE (1862-1942)‘The Dying Lion’, a recumbent lion, by the side of a lake, looking towards the heavensoriginal etching, 1887, signed in pencil, artist's proof, as exhibited at the Royal Academy, 1887, number 1444, after the artist's oil paintingimage 25.4 x 46.8cm;a first state proof of the same etching, unframed;a third state proof of the same etching, unframed (3)Provenance: From the artist’s daughter; The Bryan Steele Collection.Condition report: Framed print: A couple of smudges to the margins. Very slightly yellowed. No other obvious flaws. Not seen outside of glazed frame. Unframed third state: Some creases to the margins and tears at the left and lower edge. Large pale stains throughout the margins, along with light surface dirt and light speckles of foxing. A spot of damage to the mane that looks to have been restored. A few tiny white specks to the printed area which seem to be lack of ink. Unframed first state: The paper has yellowed to a light brown. There are light creases to the margins. Some discolouration stains in places. A few spots of foxing. Surface dirt throughout. There are some pale smudges around the vultures, and there is a white spot of damage top right just outside of the platemark.
Attributed to William Singleton (d.1793)Portrait of a gentleman wearing a grey curled wig, purple overcoat and white stockon ivory, oval6 x 4.7cm, with blue glass, woven hair, seed pearls and initials 'DR' versoCondition report: A little faded and very slightly yellowed. Occasional very light brown stains. There is glue, or something similar, visible around the edges of the portrait. A flake of paint loss above the hair. A hair trapped under the glass lower centre. The glass is lightly scratched. The metal of the frame is uneven and slightly rippled at top edge, and is scratched in places. There is some damage to the border in the centre of the reverse.
Follower of Franz Richard UnterbergerThe Bay of Naplesbears signature 'F R Unterberger' and date 1871 l.l., oil on canvas80 x 100cmCondition report: Oil on canvas that has been relined. The varnish has yellowed, unevenly, and there is surface dirt. Old, faint craquelure throughout. A flake of paint loss close to the edge, lower centre. Some surface scratches, including two in lower left corner, one upper left, one upper right (with a tiny flake of paint loss), and a couple to the sea centre right, and at lower edge. Seen under UV light, the bloom of the varnish makes it difficult to see the retouching, however the craquelure in the sea and distant mountains appears infilled. There is a line of retouching below the distant town, and another faint line of retouching above it. One of the small clouds also appears overpainted. A very tiny indent in the sky. Some old craquelure in the centre of the sky appears restored.
An unusual silver and mother-of-pearl box, by Omar Ramsden, London 1936, incised, engraved 'OMAR RAMSDEN ME FECIT', rectangular, the frame case in relief with entwined rose stems, the base having a rope twist border and the inside of the frame engraved with wrigglework, with cedar lining, 12.2cm wide7.1cm deep4.3cm highProvenance: The Peter and Pat Crofts Collection.For a similar example, see: Woolley & Wallis, 'Arts & Crafts', 18 June 2014, lot 507, and Christie's, New York, 'Silver & Objects of Vertu', 22 October 2014, lot 101.Several boxes of this design, either with ivory or mother-of-pearl panels, are recorded in Omar Ramsden's order book, 1933-37, held at the Goldsmiths' Company. The current lot may be illustrated as order no. 2022. Condition report: No obvious major faults. photos taken from all sides, very light scratches to the interior top edge mounts Woolley & Wallis, Arts & Crafts, 18th June 2014, lot 507, sold for £4,400 and Christie's, New York, Silver & Objects of Vertu, 22 October 2014, lot 101, sold for $8,125.
Sarah Biffin (1784-1850)Study of feathersinscribed in pen 'Drawn by Miss Biffin, 6th August 1812', watercolour10.3 x 12cm;together with a handbill advertising her as an attraction 'During The Races', describing her as 'born deficient of arms and legs, she is of comely appearance, twenty-eight years of age, and is only thirty-seven inches high'.Provenance: The Peter and Pat Crofts Collection.Sarah Biffin was born in Somerset with no arms and only vestigial legs. She was apprenticed to a man called Dukes who exhibited her as an attraction throughout England. The Society of Arts awarded her a medal in 1821 and the Royal Academy accepted her work. She is thought to have had the condition phocomelia, but taught herself to write and paint, holding the pen or brush between her teeth. She has come to greater prominence in recent years, although the majority of her paintings that have emerged at auction have been portraits.The Earl of Marton died in 1827 leaving her without a noble sponsor, which caused her financial difficulties. Queen Victoria later awarded her a Civil List pension whereupon she retired to Liverpool and later married.Three similar works sold at Sotheby's this year: one also dated 1812 - 7 July 2021, lot 11, and two further smaller examples - 27 October 2021, lots 65 and 66.Condition report: Discolouration to paper. Slight fading Some light surface dirt, especially in the lower right corner. A couple of small spots of foxing. There appears to be a very light vertical crease in the centre of the work, although this is only visible under close scrutiny. A very light wave to the paper visible near to the top edge. Probably original gilt frame.A printed sheet verso dated May 23, 1840.
Attributed to Paul Sandby RA (1725-1809)Young ladies of fashiontwo, pen and ink and watercolour11.7 x 6.5cm and 12.5 x 8cm (2)Exhibited: Appleby Bros. Ltd., 'Winter Exhibition', 1964, no.138/UL (as by Sandby).Condition report: Lady facing right: On laid paper. Light surface creases. A few dark spots of foxing, although mostly in upper left corner. There appears to be a square of tape or paper attached verso to the upper right corner. Some faint pencil writing in the two lower corners. Colours faded. Watermark visible top left. Lady facing left: On laid paper. Light surface creases. Some faint brown stains to the right of the figure. Pencil margin is visible at the left and top edges. Colours faded. Some lines above the figure, which we believe are the watermark. Neither seen outside of glazed frames.
A wing back armchair, by Axel Vervoordt, contemporary, Belgian, with grey stuff-over upholstery and raised on bleached oak cabriole legs,82cm wide72cm deep112cm highInterior designer, antique and art dealer, Axel Vervoordt, started his fifty-year career at age 21 by buying and restoring a row of 16th century houses in his hometown of Antwerp. His empire now stretches a little further, with an interior design practice, an antiquaire, a private foundation, and two art galleries in Antwerp and Hong Kong. Listed in Architectural Digest’s inaugural AD100 Hall of Fame, Vervoordt has built a reputation as one of the world’s leading connoisseurs of style, working with clients such as Robert De Niro, Sting and Calvin Klein. His interiors are clean and serene, with every piece carefully chosen for its presence and story, often fusing heritage with the contemporary.Condition report: Good order, upholstery clean and unmarked, legs with very light cosmetic wear.
Aleksandr Nikolaev Roussoff (Russian, 1844-1928)Figures on a balcony by a Venetian canalsigned 'A N Roussoff' and dated 1883 l.r., watercolour78 x 28cmProvenance: From the estate of the author Sir Henry Rider Haggard (1856-1925).Condition report: A little light surface dirt. The sign, centre left, is very yellow, although this may have been intended by the artist. There are a couple of very small spots of foxing. There is a dark spot in the archway above righthand lady's head, about the size of a fingerprint, which appears to be a correction. The glass is dirty on the inside. Overall in good condition. Not seen outside of glazed frame.
French School, c.1700Portrait of a gentleman in armouron copper, oval5.5 x 4.5cmCondition report: Some flakes of paint loss around the extreme edges. Also two flakes of paint loss in the background upper right, and by the left edge. A little dust under the glass and there appears to be some light surface dirt. The case is dirty and shows signs of wear and tear.
*Andrew Beer (1862-1954)'Beaufort Beauty' and 'Beaufort Pride', a double portrait of racing pigeonssigned 'Andrew Beer' l.r., inscribed l.c. oil on canvas38 x 51cm*Artist's Resale Right may apply to this lot.Condition report: Surface dirt, especially at edges. A light wave to the canvas. A stretcher mark is visible along top edge, and along lower edge from certain angles. A couple of light surface scratches and abrasions.
A Thomas Webb & Sons Gem Cameo glass vase,c.1880, Stourbridge, of shouldered form with a short flared neck and spread foot, carved with two monkeys amongst branches in relief against a citron ground, acid-etched ‘Thomas Webb & Sons Gem Cameo’, 15.1cm high Provenance: The Peter and Pat Crofts Collection.Condition report: No major chips or cracks.Minor imperfections due to manufacture. photos taken, small dark specs visible through the glass from the outside, the interior of the vase would benefit from a light cleaning
An enamel patch box,mid to late 18th century, of lobed form, the lid painted with the portrait of a lady wearing a feathered headdress, the band inscribed 'Long live the King',3.5cm wide5cm long2.5cm high,together with a second oval patch box,the lid painted with a monochrome portrait of Louis XVI,3.5cm wide5cm long 2cm high (2)Condition report: Long live the king box - cover and mount are separated from the base, chips visible from under the edge of the mount, light scratches to the surface, no major chips loses or restorations.Louis XVI box with impact chip/cracks to the left-hand side repaired chip to the front, scratches to the surface.
A pair of French Louis XVI-style marble and bronze guéridons,20th century, in the manner of Adam Weisweiler, each with a circular marble top on faux bamboo supports, united by a triform stretcher and on sabot feet,43cm wide75cm high (2)Provenance: 47 Phillimore Gardens, Holland Park, London, W8.Condition report: Overall good order, light scratches to the top, both with circle of discolouration to the centre.
A pine and fruitwood dresser,late 19th century, the plate rack back over three drawers, with further drawers and cupboards beneath,152cm wide52cm deep202cm highCondition report: dark waxed patina, with old knocks and polished indents, the top, lighter in colour but with no obvious signs of replacement, light areas of cosmetic
*Jean-Franck Baudoin (French, 1870-1961)'Soir d'orage'signed 'Jean Franck Baudoin' l.l., oil on canvas46.8 x 66cmProvenance: Petley Fine Art, London.*Artist's Resale Right may apply to this lot.Condition report: A little yellowing to the varnish and some very light surface dirt. Under UV light, there are some small scatterings of retouching, mainly to the lower left and to the sky probably due to flaking. Generally however, it is well presented in a gilt frame and ready to hang.
Herbert Thomas Dicksee RE (1862-1942)A King Charles Spaniel, head and shouldersetching, original printer’s proof, signed and inscribed 'to F Goulding' the printer in pencil, on laid paperimage 24.8 x 19.6cmProvenance: The Bryan Steele Collection.After refinement to the lower body, the etching ‘Bonnie Prince Charlie’ was published as a small limited edition by the Fine Art Society, London, in 1902.Condition report: A light wave to the paper down the righthand side. A few very light smudges and specks of dirt to the margins. A few very tiny flecks of dirt to the background of the printed area. A few very tiny and faint dots of foxing. Not seen outside of glazed frame.
English School, early 19th centuryPortrait of a young man in a blue coat with gold buttons, c.1810on ivory, oval6.6 x 5.2cm, with a fan-shaped arrangement of curls within a plaited hair border versoCondition report: The ivory is very slightly warped. Some hairs caught in the paint of the coat. A little light surface dirt. Not seen outside of case. The hair verso is in reasonable condition although a little dusty, and there is some damage to the plaited border lower centre, plus some loose strands of wire in the main section.
Evgeni Chuikov (Ukrainian, 1924-2000)'Still life with lilacs', 1962signed in Cyrillic l.r., oil on board95 x 77cmCondition report: The surface of the board has a very slight wave. A couple of light surface scratches. Some light cracks to the thick impasto. Some of the most raised paint has been squashed a little and has surface dirt and dust attached to it. A few small flakes of paint loss from the very thick impasto. A very small pin hole in top left corner. A small area of damage and paint loss at extreme right edge, mostly hidden under the frame. A thin scratch down the lower left edge. The varnish has a slightly yellow tint in places. Overall in a good stable condition and ready to hang.
Harry Fidler (1856-1935)A farmer with a pair of heavy horsessigned 'Fidler' l.r., also signed verso, oil on canvas36 x 41cmCondition report: Some light cracking to the paint throughout. There are small pieces of gauze attached verso which must indicate old holes, one is quite large and in an 'L' shape so indicates an old tear, although it is difficult to spot these from the front. A little yellowing to the paint. It is difficult to tell whether there are any flakes of paint loss due to the thick impasto, but it is uneven and there are glimpses of canvas visible in places. Seen under UV, there are a few small spots of recent retouching to the sky and around the ears of the white horse.
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