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Preisdatenbank abonnieren1962 BSA Rocket Gold Star Registration number LSK 922 Frame number GA10122 Engine number DA10R6965 3,292 recorded miles Genuine original machine having undergone some restoration Some new parts fitted where necessary Copy of original factory record V5C, older documents and photocopy of the buff log book Will need light re-commissioning before use An excellent example of this rare and desirable classic Some invoices, old MOTs A good investment opportunity
1972 Triumph T120 Bonneville Registration number VRE 48L Frame number EG 56411 Engine number EG 56411 9,037 recorded miles Original machine professionally restored in 1988 Parts and labour invoices Purchase invoice included Owners handbook, parts catalogue, spare key Will require light re-commissioning before use Purchased by present owner in 2019 Good usable classic machine With V5C Many old MOTs, copies of old registration documents
1979 Moto Guzzi V50 Mk2 Registration number HAY 169V Frame number PB 15559 Engine number 16009 22,266 recorded miles Original unrestored machine Purchased by the present owner in 2009 With light re-commissioning would be ready to use Well kept and maintained in extremely nice condition Last used 2016 5 previous owners Numerous invoices from the present and previous owners detailing parts and labour Fitted rear carrier and front handlebar fairing Special low seat fitted Also included, new clutch cable, crash bars, standard seat cover and tool kit Documents include V5C, workshop manual, old MOTs, instruction leaflets Affordable classic bike in good original condition
Antique 1920s copper fire extinguisher "The Empire Fire Extinguisher" 350lb by John Kerr & Co of South Parade Manchester. Copper construction with brass plaques, handle, and valve. 58.5cm tall. Small bash to front of cylinder above top plaque, light oxidation marks to side, rubber hose has perished considerably.
British Army uniform, a light stone summer jacket having Daniels and Co of Woolwich Royal Artillery brass buttons, epaulette rank insignia for the rank of Lieutenant Colonel and medal ribbons for WWI was medal, Victory medal and General Service medal Queen's South Africa medal, King's South Africa medal, 1914-15 star, WWI war medal and Victory medal
A PAIR OF GEORGE III WHITE MARBLE AND GILT METAL MOUNTED CANDLESTICKS IN THE FRENCH MANNER, CIRCA 1810each 24.7cm highCondition Report: Minor scuffing, scratches and wear overall consistent with age.Marble with discoloured scratches, chips and nibbles to the slate bases.Gilt metal scuffed and scratched.One nozzle detaches, dent to lower edge of nozzle, the other seems fixed.Small ring fixings to the sides of the square section below the sconce, suggesting these might originally have had something threaded through these?Sectional construction, with some rotation under light pressure suggesting the parts can unscrew - chips to the edges of some of these sections.One loose wire to the baluster.Discoloration to the marble including to the area by the stiff leaf gilt metal mounts. Please refer to additional images for visual reference to images. Condition Report Disclaimer
A PAIR OF BRASS AND GLAZED DISPLAY CABINETSCIRCA 1815 AND LATERConverted from lantern caseseach approximately 49cm wide, 39cm high, 19cm deepCondition Report: As catalogued, these cabinets are likely converted from lantern cases. Marks, knocks, scratches and abrasions commensurate with age and use. Some old knocks and misshapen elements. the surfaces with the expected colour variation. Old soldered repairs to the corners of the doors. One of these joins has opened. The catches top the doors vary from one another - see images. Later electrical light fixtures to interior of both.Please refer to additional images for visual reference to condition. Condition Report Disclaimer
AFTER J CAVELIER (1814 - 1896), A FRENCH BRONZE 'PENELOPE WAITING FOR ULYSSES'LATE 19TH CENTURYThe figure seated holding a spool, with a lion under the Klismos chair, marked 'REDUCTION MECANIQUE', '416 J.CAVALIER'25cm high Condition Report: Patina - variegated colour range from dark to light, generally rubbed so protruding areas are lightened.Minor scuffing, scratches and wear overall consistent with age.Some marks/dents including to back of chair and base. Please refer to additional images for visual reference to images. Condition Report Disclaimer
A CUT GLASS TWENTY-ONE LIGHT CHANDELIERIN GEORGE IV STYLE, OF RECENT MANUFACTUREOf tent and waterfall design with gilt metal frame hung with prism and icicle cut pendant lustres, the circular base with facet cut finial drop152.5cm high, 78 cm widePlease note: This lot is available to view at our offsite warehouse. Please contact a member of the department if you would like to arrange to view this lot. Condition Report: One droplet broken.Please note: This lot is available to view at our offsite warehouse. Please contact a member of the department if you would like to arrange to view this lot. Condition Report Disclaimer
A PAIR OF FRENCH MARBLE AND ORMOLU SEVEN LIGHT CANDELABRACIRCA 1860Scrolling lily and floral branches above campana bases with twin snake handles81cm highCondition Report: Marks, scratches, chips, splits, abrasions commensurate with age and use.The marble of slightly granulated (rather than glass-like) finish; some stains; a repaired crack to the base of one vase.The ormolu with some discolouration.Lacking the stamens to one flower; one flowerhead and stalk detached.A nice design detail is that the serpents eyes are the screwheads fixing the handles to the vases.Some colour differentiation to the mounts applied to the reeded body of the vases; discoloured scratches to the plinth bases.All that said, these are impressive items and many of these details are only apparent with close inspection.Please refer to additional images for visual reference to condition Condition Report Disclaimer
A PAIR OF BLACK PAINTED CAST AND WROUGHT IRON GATESEARLY 20TH CENTURYOf shaped rectangular outline, cast with scrolls and part-wrythen uprightseach panel approximately 170cm high, 178cm wideCondition Report: The painted surface is quite peeled overall, with some light wear, scratching and minor surface oxidisation and green residue overall consistent with age and outdoor exposure.Two or three of the scroll elements appear to have been strengthened at some point, and another scroll appears to be lacking its tip. Please refer to additional lot images for visual reference to condition. Condition Report Disclaimer
A MORTLAKE TAPESTRY DEPICTING AUTUMN, THE TRIUMPH OF BACCHUS AND ARIADNE,PROBABLY FROM THE WORKSHOPS OF VANDERBANK, AFTER PIERRE MIGNARDEARLY 18TH CENTURYOriginally from a set of four of the seasons, woven in silks and wools, depicting Bacchus and Ariadne seated in a golden chariot drawn by leopards accompanied by winged children and other celebrants, within a floral borderapproximately 298cm high, 535cm wideProvenance: Offered on behalf of a Charitable FoundationLiterature: FENAILLE, Maurice (1855-1937). État général des tapisseries de la Manufacture des Gobelins, 1600-1900, Paris, 1903, Vol II, XXX, Le Galerie de Saint Cloud, ..Pierre Mignard, p403.Recorded English versions of this series including a set of three (Spring, Summer and Autumn) from the Tyrwhitt-Drake collection, Shardeloes, Amersham, Buckinghamshire was sold at Christie's, 10th July 1952, lot 233, and a pair (Spring & Autumn) from the collection of the 2nd Duke of Westminster, was sold Sotheby's, 3rd July 1959, lot 95, then described as Gobelins. The second piece (Autumn) now divided into two was sold Christie's, 15th December 1994, lot 317 and 318, then called Mortlake or Soho, late 17th century. Condition Report: Some wear and fading and discoloration overall commensurate with age and use. The more light sensitive colours, pale blues and lilacs are however still visible.Blue final border (outside of main floral trailing border) with losses, old insect damage and signs of old stitched repairs. Very fragile in some areas- most notably to bottom margin. Insect damage also visible to small sections of border and into main fieldOverall slightly rumpled- and uneven- as main image shows. Will benefit from smoothing out and possibly rebacking. Rumpling/surface rucking perhaps most evident to lower left hand corner where downward radiating light will make faces appear "distorted" (please see images with and without flash).Slightly stale smell- old handprint (?) visible to right of Ariadne's head. With later stitched backing. Some old stitch repairs. Some pulled sections which will require further repairs.Please refer to all additional images for visual reference to condition. Please note, the additional images are not exhaustive but try to give a representation of of the condition notesCondition Report Disclaimer
A SET OF FOUR JAMES II OAK HIGH BACK CHAIRSCIRCA 1685each 126cm high, 51cm wide, 44cm deep For a related but less elaborately carved and pierced chair, Victor Chinnery, Oak Furniture: The British Tradition, Antique Collectors' Club, 1979, page 281, figure 3:143. Condition Report: Marks, scratches and abrasions comensurate with age and use, old chips and splits. some old repairs, some old lossesAll elements appear original, no obvious replacement parts. Some elements including angled blocks at the reverse of the base of rear feet have been re-attached using small old nails, a small number with later dowel joints to secure. some of these angular blocks may be old replacements but match well in colour. The underside of the seat panels appear light in colour but appear original. Some old worm damage, mainly isolated to the framing panels to the underside of the seat. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A 19th century French Grecian Revival porcelain mounted gilt metal clock garniature, 8cm circular dial inscribed Aird & Thomson, Glasgow, Roman numerals, twin-winding holes, fourteen-day movement, the case crested by an urn, lion paw feet, 40cm high, flankled by a pair of conforming three-light candelabra, 31.5cm high, c.1875
A Coalport chalice vase and cover, the thistle shaped cup in mottled pick with two gilt mask and scroll handle, lion mask knopped pedestal, waisted and stepped circular base, picked out in gilt on a light green ground, stepped slightly domed cvoer, pierced gilt finial, 37cm high, pritned mark, retailer for Theodore B Starr, New York
POW Letters from a British Lance Corporal Alex Blakeman, Oxfordshire & Buckinghamshire Light Infantry. Captured in 1940 while with the BEF he spent nearly five long years in various POW Camps including Stalag Luft VIIIB The letters betray his painful seperation from his wife and children back in Littlemore Oxford. His last letter written on V-Mail (April 24 1945) "At last I'm able to write to you as a free man" and clearly he had been in very poor shape " Thanks to the Yanks I'm getting quite fit again" 9 letters in all,
Seven 19th/20th Century Bayonets, comprising:- a British 1842 Lovell's pattern socket bayonet, the 43cm triangular section steel blade with various inspector's marks; a French M1866 Chassepot yataghan sword bayonet with St. Etienne T section steel blade, the crossguard numbered J.3054; a British SMLE 1907 pattern bayonet with issue date for March 1915; a British No.4 Mk.II spike bayonet; a British No.9 knife bayonet; a British SLR L1A3 knife bayonet; and a British SA80 rifle bayonet (7 - lack scabbards). 1 - Black patching and light pitting to the blade. 2 - Deep pitting, the socket has a later drilled hole. 3 - Small areas of black pitting to blade and bruising to the grip scales. 4 & 5 - Both hilts later repainted black
A Quantity of Militaria, including two Field Telephone Sets F - one dated 1940, the other dated 1943, an EKCO Wireless Set No.88 transceiver, a 1942 dated 6 pounder gun sight, a lifejacket light, a Brownie box camera and a Conway box camera; 1940's/1950's British Webbing, including map holders, backpacks, canteens, satchels, an entrenching tool, a No.4 Mk.II spike bayonet and frog, a holdall etc
Circle of George Dawe, RA (British, 1781-1829)Portrait of Lt Col Sir Thomas Noel Hill, KCB, KTS (1784-1832) inscribed to the reverse 'Lieut. Col. Sir Tho Noel Hill / KCB [K]TS MJ A? Gen. / 815 ' oil on canvas, unframed 76.5 x 63.5cmFootnote: Born at Hawkstone Hall, Shropshire, the sitter was the 7th son of Sir John Hill, 3rd Bt (1740-1824) and younger brother of Rowland Hill, later 1st Viscount Hill (1772-1842) who succeeded the Duke of Wellington as the Commander-in-Chief of the British Army in 1828. Sir Thomas, like his elder brother Rowland, distinguished himself during the Napoleonic Wars and fought in the Battle of Waterloo. He entered the army at the age of seventeen and went on to serve as an aide-de-camp to his brother Rowland, accompanying him to Portugal in 1808. He commanded the 1st Portuguese Regiment and received medals for his involvement in the battles of Salamanca (1812), Vittoria (1813) and the siege of San Sebástian (1813). He was promoted to Lieutenant-Colonel in the 1st Foot Guards in July 1814. In 1815, at the Battle of Waterloo, he served as an Assistant Adjutant-General under the command of his brother, Lord Hill. In 1825, he was promoted to Colonel and in 1827 he was appointed the Deputy Adjutant-General in Canada by the Duke of Wellington. He married, on 27th July 1821, Anna Maria Shore, daughter of John Shore, 1st Baron Teignmouth, by whom he had six surviving children. In the present portrait, Sir Thomas is depicted in his Portuguese uniform, wearing numerous decorations and medals, including the Portuguese Order of The Tower and Sword (KTS), the Order of the Bath (KCB) which he was awarded in January 1815, the Waterloo Medal, Portuguese Campaign Cross, Portuguese Commander’s Cross, and the Bavarian Military Order of Max Joseph. We are grateful to Christopher Bryant for his assistance in identifying the sitter's uniform and decorations. CONDITIONOil on canvas which has been lined. The lining fabric is thin and transparent and the adhesive used waxy – this allows the original inscription and canvas tax stamp to be visible. The paint layer is in a stable condition overall. Wax appears to have been used in the varnish as well as the lining. Along the right hand edge white cracks have formed in the varnish. There is a light film across the surface, also caused by the varnish, creating a slightly milky appearance to the darker paint passages. Areas of overpaint are fairly well matched to the original.
Sir Joseph Noel Paton, RSA (Scottish, 1821-1901)Ophelia inscribed to the reverse 'Ophelia / Noel Paton / no. 3' oil on board 21.5cm diam.Footnote: Provenance: [By repute: Bought from the Hughes family in Liverpool c. 1898 and given to Rev. Jones (d. 1977)] Presumably his Sale, Sotheby's Belgravia, 18th April 1978, lot 65, when acquired by the present owner CONDITIONOil on artist’s board. The support is in plane and the paint layers are in a good condition overall. There are some drying cracks in the thicker paint passages and small touches of overpaint in the face. There is a thin varnish layer present which is even and matte. There are light scuffs to the paint surface around the edges.41 x 41cm framed
George Engleheart (British, 1750-1829)Portrait miniature of William Henry Robinson of Denston (1784-1826) half length, wearing a black coat watercolour on ivory, oval, verso a central oval shaped panel of woven hair surrounded by a border of blue enamel and encased in a yellow metal surround, unmarked, tested as 9ct gold 8 x 6cmProvenance: By descent from the sitter to his cousin, Henrietta Jeaffreson (d. 1838) great-great-great grandmother of the present ownerThe sitter was the son of Lt. General John Robinson (1757-1819) and his wife The Hon. Rebecca Clive (1761-1795) daughter of Robert, 1st Lord Clive, "Clive of India."CONDITIONSome light surface dirt and fly spots under glass. There appears to be little mould lower left corner. Not examined out of frame.
Charles Topham Davidson (British, b. 1848, exh. 1870-1902)'The First Snow on the Mountains, Llyn Helsi, North Wales' signed lower left 'C. Davidson' oil on canvas 54.5 x 90cmFootnote: Exhibited: London, Royal Academy, 1884, no. 704; Dundee, Fine Art Exhibition (label refers, details untraced)CONDITIONOil on canvas which has been lined. The canvas has good tension and is in plane. There is a loose lining also attached to the stretcher which is not part of the painting and has some deformations. The paint layer is in a good stable condition. Areas of retouching cover cracks and some wear, the retouching is slightly matte and pale but generally well matched to the original. The varnish is yellowed, even and semi-glossy. There are some light scuffs and scratches to the surface.
Follower of Jacques d’ArthoisA Wooded landscape with figures and a packhorse on a path, mountains beyond oil on canvas, 40 x 52.5cmCONDITIONOil on canvas which has been lined and attached to a wooden board at the edges. There is slash to the canvas at the lower edge and a deformation nearby caused by impact damage. The paint layer is stable overall although there are some slightly raised cracks present across the surface. There are areas of overpaint across the surface covering cracks and minor wear to the paint surface. Some of the overpaint is slightly yellowed in appearance but acceptable at a normal viewing distance. The varnish is semi-matte and brittle with light scuffs across the surface.
Circle of Pieter van Bloemen (Flemish, 1657-1720)An Italianate scene with ox and sheep resting by a pool oil on canvas 47 x 62.5cmCONDITIONOil on canvas which has been lined. The painting has a red ground which gives the painting a dark tone overall. The red ground is apparent in areas of wear and abrasion. This is slightly confused by residues of old varnish which have become opaque over time, giving the painting a slightly mottled appearance in areas. Overpaint is present along the edges of the painting and in localised areas across the surface. The upper varnish layer is clear and even with a few light scuffs.
Circle of Francis Swaine (British, 1720-1783)Two British men-o-war in close quarters in the Channel oil on canvas 33.5 x 42.5cmProvenance: The collection of Rivenhall Place, Essex; Private collection, UKCONDITION: Oil on canvas which has been lined. The canvas is in plane and the tension is stiff. The paint layers are in a good, stable condition overall. There are localised areas of slightly raised paint and a few small pin hole losses. Areas of overpaint are mainly located in the sky and have slightly darkened, notably in the blue paint passages. The varnish is semi-matte with a few light scuffs to the surface and a layer of dirt. The gilding on the frame is raised and flaking.
Follower of Bonaventura Peeters the Younger, 18th CenturyShipping in stormy seas off a rocky coastline oil on panel, oval 49 x 70cmFootnote: Provenance: Simon Carter Gallery, Woodbridge, from whom acquired by the present ownerCondition report: Christie's stencil to the reverse 393ZSOil on an oak panel formed from two boards in horizontal alignment. The panel is in a good condition and is in plane. The paint layers are thinly applied, there is some light wear and abrasion across the surface. The panel join has moved in the past and there is a line of fill and retouching the length of the panel. Areas of retouching are reasonably well matched to the original. The varnish is even and semi-matte with a layer of dust present.
Max Schödl (Austrian, 1834-1921)A Still life of a Chinese vase, grape cup, and other antiques on a rug-covered table signed lower left 'Max Schödl 1880' oil on panel 34 x 25.5cmCONDITIONPaint layer is stable. Varnish is clear and glossy. Several scuffs and small chips along the edges of the panel. Some light surface dirt. Under UV, retouchings along the edges, top left corner, in the centre of the vase and in larger areas - in the lower left quadrant and in the left middle ground.
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