Vacheron & Constantin. A rare and lightweight aluminium keyless wind open face pocket watchReference: 4348Date: Circa 1955Movement: Aluminium 17-jewel Cal.439/7 Swiss lever, cut and compensated bi-metallic balance, adjusted to temperatures, No.513745Dial: Silvered, applied polished Arabic numerals, black outer minute divisions, subsidiary seconds at 6, steel Breguet style handsCase: Polished aluminium, snap on back inscribed 'Presented to W.E. Bennett by Northern Aluminium Company Ltd. in recognition of long and loyal service, 1956', No.345542Signed: Case, dial & movement Size: 44mm Accompaniments: Vacheron & Constantin fitted caseFootnotes:In the mid 20th Century Vacheron & Constantin were commissioned with the difficult job of making a series of watches predominantly out of aluminium. Despite being so notoriously lightweight, Vacheron & Constantin were able to succeed and the case and plates of these watches were all made out of aluminium. The result was an exceptionally light but sturdy watch – the current lot weighs just over 21 grams. Each watch was given as a memento to the employees of the company Aluminium Limited once they attained 25 years of service and were embellished with a presentation inscription. These watches are a very rare example of using such an unusual material in series.For further information on this lot please visit Bonhams.com
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A nineteenth century mahogany circular breakfast table, width 131 cm, height 72 cm. CONDITION REPORT: The table has small veneer losses in areas, light scuffs and marks in most areas. It has been re-polished probably in the last 50 years. There are no clear damages to mention. The mechanism should work, but it has been drilled and fixed to stop the tilt, I think this could be reversed.
An Indian gauntlet sword (pata),17th/18th century, the gauntlet with partially pierced foliate decoration, the double-edged sharp blade attached to the hilt with raised stylised leafwork mounts,132.5cm longCondition report: Light rust all over, wear to decoration at base of blade, several small edge nicks to blade
A Continental enamel purse,late 19th/early 20th century, of rounded rectangular form, handpainted with two figures and a dog in an idyllic rural landscape, the silver-mounted edges with bright-cut decoration and bearing two marks to the clasp, one indistinct and the other initialled 'E.C',7cm wide, together with a further gilt-heightened example, anda Jaipur enamel elephant (3)Condition report: The former with general light surface wear and scratches, tarnish to silver, damage to the silk interior, the secondary example with some surface wear, tarnish and scratches, elephant with areas of loss to enamel. General surface wear throughout.
David Martin (1737-1797)Portrait of Captain Charles Kerr of Buchtrigg and Calderbank (1753-1813), half length, wearing the uniform of the Royal Edinburgh Volunteers, his right arm resting on a ledgeOil on canvas75 x 60cmProvenance: The Kerr family; Sworders, 27 April 2010, Lot 661, where acquired by the vendor;Wood Hall, Arkesden, Essex.David Martin was born in Anstruther Easter, Fife; a portrait painter and engraver, he was taught by Allan Ramsay in London, and subsequently travelled with him to Rome. He established his own studio in Edinburgh in the 1770s and became the most important portrait painter in Scotland before Henry Raeburn. He was appointed portrait painter to HRH The Prince of Wales in Scotland. David Martin's sitters included members of the Scottish Enlightenment and other society figures. His portrait of Benjamin Franklin (1767) hangs in the White House, Washington DC, USA.Condition report: Oil on canvas which has been lined. The canvas is in plane with good tension. The paint layer is stable overall but has been slightly softened and flattened during the lining process. There is extensive retouching in the sitter's face which is a warmer pink than the original flesh paint. There is also retouching in the background. The varnish is even but dull and yellowed with a light layer of surface dust. The gilding on the frame is very worn with losses around the sides.
English School, 18th centuryPortrait of a gentleman, head and shoulders, in a full grey wig, white stock and red coatOil on canvas74 x 60cmProvenance: Wood Hall, Arkesden, Essex.Condition report: Oil on canvas which has been mounted onto brown card. The painting has suffered from numerous damages in the past which have been crudely repaired. There are scattered paint losses across the surface. The paint layer has a fine network of age cracks and is beginning to lift in many areas, leading to losses. The varnish is yellowed, matte and uneven with a light layer of surface dirt present. The frame is in a poor condition and has probably been exposed to moisture, leading to wear and losses to the gilded surface.
John Hoppner RA (1758-1810)Portrait of William, 1st Earl of Lonsdale (1757-1844), head and shoulders, in a black coat and white stockOil on canvas74 x 62cmProvenance: Sworders, 25 February 2011, Lot 625, where acquired by the vendor;Wood Hall, Arkesden, Essex.Lowther was briefly Member of Parliament for Appleby in 1780, for Carlisle from 1780 to 1784 and for Cumberland from 1784 to 1790. In 1796, he was returned as Member of Parliament for Rutland, holding the seat until 1802. In that year, he inherited by special remainder the titles of Viscount Lowther and Baron Lowther from his third cousin once removed, the Earl of Lonsdale of the first creation, as well as his immense estates. He was also appointed to the northern Lord Lieutenancies of Cumberland and Westmorland. In 1807 Lowther was himself created Earl of Lonsdale and appointed a Knight of the Garter.A coal magnate, he spent £200,000 on the Lowther estate and built a new Lowther Castle. A Tory in politics, he seems to have been tolerant and well-liked, disdaining sabbatarianism and serving as patron for a number of painters and authors, including William Wordsworth. Lonsdale died at York House, Twickenham in 1844. Lowther also enjoyed hunting, serving as Master of the Cottesmore Hunt from 1788 to 1802 and 1806 to 1842.Condition report: Oil on canvas which has been lined. The canvas is in plane and the tension is stiff. The paint layer is in a stable condition overall. There are extensive passages of retouching in the background which have darkened and as well as in the sitter's face. The varnish is clear and even with a light layer of surface dirt.
English School, c.1810 Portrait of Sir Robert Chester, Master of Ceremonies to King George III, King George IV, King WIlliam IV and Queen Victoria, head and shoulders, in court dress Oil on canvas 74 x 62cmProvenance: Watsons, Broome End Sale, Stansted, Essex, 13 September 1983, Lot 106;Wood Hall, Arkesden, Essex.Sir Robert Chester of Bush Hall, Hertford, was Assistant Master of Ceremonies from 1796-1818 and then Master of Ceremonies from 1818-1847.The Master's duties were to receive foreign dignitaries and present them to the monarch at court.Condition report: Oil on canvas which is unlined and has an artist supplier's stamp for C.E. Clifford of London on the reverse. The canvas tension is slightly slack but in plane. There are a few scattered losses at the edges of the painting but overall the paint layer appears stable. Textural phenomena associated with the drying of the paint layer is evident across the surface with wide drying cracks and an uneven surface. The drying cracks in the face reveal the white ground layer below. The varnish is old and degraded; it has become yellowed, dull and no longer saturates the paint layers below. There is a light layer of surface dirt present. There are scattered losses to the gilded surface of the frame and old areas of damage have been covered in metallic paint.
Circle of Francisco Pacheco (Spanish School, 17th century)The Virgin of the Immaculate Conception, crowned with a circle of starsOil on canvas35 x 26cmCondition report: Lined and has been cleaned at some point. Craquelure throughout. Seen under UV light, a large amount of retouching down both sides, some covering old paint losses, especially in top left corner. Further scattered dabs and dots in other areas, a few attempts made at infilling craquelure, some larger spots of retouching around the angel faces at the base of the picture. A little dirty. A horizontal crease-like line across the centre of the canvas. Stretcher marks visible. Some very small scattered flakes of paint loss throughout. A few very small chips to frame, otherwise frame in good condition. Frame size 55 x 46cm
After David Roberts RA (1796-1864)'El Deir, Petra'By Louis Hague, tinted lithographimage 35 x 51cm and'Excavated mansions of Petra'Tinted lithograph27.5 x 34.5cmBoth published by F G Moon, Aug 18th 1842 (2)Provenance: The property of the late Christopher Dyment (1939-2016), a voracious collector of contemporary Japanese prints, Toscanini memorabilia and 20th century British Art.Condition report: Mansions with light foxing mainly to the margins.
After David Roberts RA (1796-1864)'Convent of St Saba, Engedi'Lithograph by Louis Hague, published by F.G. Moon 1842image 35 x 50cm;'Port of Tyre''St Jean d'Acre'Two lithographs framed as oneeach 25.5 x 34.5cm (2)Provenance: The property of the late Christopher Dyment (1939-2016), a voracious collector of contemporary Japanese prints, Toscanini memorabilia and 20th century British Art.Condition report: Latter two light foxing mainly to margins.
Frederick Landseer Maur Griggs (1876-1938)'Addlethorpe and Ingoldmells'Signed and dated 1912, pencilimage 10 x 13.5cmPrepared for 'Lincolnshire Highways and Byways' (W F Rawlings, Macmillan, 1914).Provenance: With Abbott and Holder 1990; the property of the late Christopher Dyment (1939-2016), a voracious collector of contemporary Japanese prints, Toscanini memorabilia and 20th century British Art.Condition report: Light surface dirt including scattered black flecks. A very tiny hole in paper in margin top right corner. Not seen outside of frame
Harry Hine (1845-1941)A shepherd with his flock on the Yorkshire moorsSigned and dated 1895 l.l., watercolour66 x 98cmCondition report: Large watercolour. The paper appears to be mounted onto a wooden panel, there is possibly a support between the paper and paper, keeping the paper in plane. There are no glazing spacers present so the glass is touching the paint layer. The outer frame edge is not securely fixed in place. Light discolouration to sky. Frame wobbles a little
Attributed to John Vincent Stephens (19th century)Peggoty's boat house, Great YarmouthSigned with initials l.r., pen and ink14.5 x 22.5cmCharles Dickens visited Great Yarmouth in 1849 and the town became the main setting for his autobiographical novel, 'David Copperfield'. An upturned boat used as a house provided the inspiration for Peggoty's house. A print of this image entitled 'Peggoty's House' was recorded in Norwich Museum.Condition report: Not framed. Pen and ink on cardboard. The cardboard is discoloured and there is a dark vertical streak in the discolouration to the left of the keel. A dark spot of dirt on the door, which could be black ink. Some light scattered foxing. A tiny raised bump above the boat, corresponding with a large scratch in the cardboard verso.Two tiny pale flecks close to left edge, possibly from water flecks. Very light scratch lower centre. The mount frame has been stuck directly onto the cardboard, and it is not framed
*Henry John Sylvester Stannard (1870-1951)A village scene with a shepherd driving his flockSigned l.l., watercolour35.5 x 51.5cm*Artist's Resale Right may apply to this lot.Condition report: A little light scattered foxing throughout, most visible in sky. A little fading of colour. Paper has a very light wave. Not seen outside of frame
Attributed to William Dobson (1611-1648)Portrait of a boy, head and shoulders, in a black coat and white collar, his hand resting on his heartOil on canvas, in a Dutch gilt and black frame45 x 35cmProvenance: Private collection, London.Condition report: The painting has been lined and cleaned. It is in a good Paul Mitchell frame. Seen under UV: there is overpainting throughout including small dabs to face and larger strokes in the hair, clothing and hand. There is a diagonal line in the lower right corner that looks like an old tear, but we have looked at this under UV light and there is no corresponding retouching, therefore it is either a tear as old as the painting itself, a crack in the paint or an old dent.See additional images.
Circle of Pierfrancesco Cittadini (Italian, 1616-1681)Portrait of a lady, half length, in a black dress with ribbons, ruby necklaces and flowers Oil on canvas76 x 63cm, in an 18th century carved giltwood frameCondition report: Has been relined.Horizontal crease running across the width of the painting through sitter's forehead.Craquelure throughout.Surface dirt and dust.Very scattered tiny flakes of paint loss throughout.Some of these have been retouched, in the background especially.A visible patch of retouching to the right of sitter's hair, possibly an old repair.Seen under UV light, scattered dabs of retouching through, including some infilling to the craquelure on the face.Abrasions under frame at extreme edges.Please view additional images.
English School, c.1740 Portrait of a gentleman, three-quarter length, wearing a blue coat and a pink embroidered waistcoatOil on canvas 129 x 100cmCondition report: Oil on canvas which has been lined. The canvas has minor undulations across the surface. An old tear in the sitter's forehead has been repaired. The paint layer is stable, there is some wear and abrasion in the thinner paint passages. There are scattered retouchings in the sitter's face which are slightly discoloured but generally acceptable. The varnish is glossy, even and slightly yellowed. There are scuffs and scratches to the varnish and abrasion around the edges from the frame. A light layer of surface dirt is present on the varnish causing a slight bloom. There are some losses to the corner mouldings as well as to the gilded surface of the frame, some have been toned.
After Sir Thomas Lawrence Portrait of Arthur Wellesley, 1st Duke of Wellington, half lengthOil on canvas60 x 43cmCondition report: One scratch to Wellington's coat. Light craquelure in places. Varnish has yellowed. Seen under UV light, bloom of varnish makes it very difficult to see retouching. However there appear to be areas flourescing on his coat, in the background, a couple of areas of his face, and a lot of flourescence in the top quarter of the painting. A small repaired hole top right. Some surface dirt. Old stretcher bar marks can be seen from the front. Old gilt frame has chips. A 19th Century copy.
Nikolay Leykin (Russian, contemporary)'Gold and white'Oil on canvas59.5 x 90cmCondition report: A little light dust caught in the varnish. Two small horizontal lines in the varnish top right, very insignificant and only visible from certain angles. A light vertical line caused by a thread in the canvas just visible running down the model's derriere, only visible under close inspection
A pair of Elizabeth II silver gilt figural candelabra, by C J Vander Ltd., London 1962,cast in the rococo style with twin removable branches, one centred with a woman with a watering can and the other a man picking flowers, each on a foliate scroll base,27cm high, 93ozt total (2)Condition report: Some light surface wear, dirt and tarnish, the male figure is slightly loose on its base, cleaning fluid residue, general wear throughout. No majorly apparent rubbing to gilt other than to foot rims.
A pair of gilt metal occasional tables,20th century, each with square grey marble tops over square tubular bases,45cm wide45cm deep45cm high (2)Condition report: Some light surface scratches and knocks to the marble top.There is some wear to the gilt finish to the base, but they present well.
A Victorian silver mug, by Robert Hennell III, London 1865,of tapering form, embossed with quatrefoil latticework, initialled, 11.5cm high, 12oztCondition report: Original inscription has been erased and it has been re-engraved. General surface wear and light scratches. A very tiny amount of wobble when on a flat surface.
A rare silver combination cigarette case,by Alfred Dunhill & Sons, London 1931, with an integrated lighter and manual-wind clock, the body of oblong shape with engine-turned decoration, the gilt interior with presentation inscription dated Aug. 29 and impressed 'Bando',10.7cm long, 5.5oztThis model entered production in 1930, the work of master craftsman Matteo Cellini, commonly known as 'Bando'. The Company was founded by Alfred Dunhill (1872-1959), who first opened a car accessories company and then a tobacco shop. In 1929, the business passed to his son, Henry Alfred Dunhill, who created the internationally successful business we know today.Condition report: Small indentation to rear, light rubbing.No other obvious major faults.Hallmarks to rear of clock face rubbed.Clock and lighter have not been tested.Fuel tank screw present - please see photos.
An early Victorian silver christening mug, by Charles Reilly & George Storer, London 1844,retailed by Dismere, Liverpool, decorated in relief with panels depicting a prowling lion and a giraffe amongst undergrowth, on scroll feet, 10.1cm high, 5oztCondition report: Light surface scratches. The feet may be turned inward a little. The cartouche appears to have been previously engraved, but the silver is still of a good gauge.
A George III silver sugar caster,by John Delmester, London 1763,of baluster form, the engraved pierced cover above a plain body and a spreading circular base, 16.5cm high,together with two smaller examples,by the same maker, 1762 and 1764,total 13ozt (3)Condition report: General surface wear, light scratches and tarnish, some small dents and misshapen areas.
A William IV silver snuff box, by Nathaniel Mills, Birmingham 1832,with engine turned decoration and a chased border, 7.3cm wide, together with a William IV silver gilt vinaigrette,maker's mark F.C,with engine turned decoration, 3.25cm wide, total 2.6ozt (2)Condition report: There are some light surface scratches and knocks, but overall they are in good condition.
A German silver perpetual calendar snuff box, probably 18th century, with dials to both sides, on scrolling and chased panels, tests as silver, no marks, 8.4cm wide, 5.5cm deep, 2cm high, 4oztCondition report: There are light surface scratches and knocks, but overall it is in very good condition.
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