534297 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534297 Los(e)/Seite
Los 632
A Queen's South Africa Medal with Transvaal, Wittebergen, Orange Free State and Cape Colony bars to 1036 Pte J.R Johnson 5th Mounted Light Brigade, with another a Queen's South Africa Medal with Transvaal, South Africa 1901, 1902 and Cape Colony bars to 2936 Trp E.F.A. Miles 2: Life Guards, possibly re-named. (2)
Los 1
English School (18th Century)Portrait of Edward VIOil on panel 32 x 26.5cm (12½ x 10¼ in.)Condition Report: Small horizontal craquelure to the panel throughout, some of which is starting to lift. There are also a number of areas of loss throughout (each approx 1mm) with larger areas of loss to the lower left corner (approx 1cm), lower right corner (approx 5mm) and along the upper framing edge. Rubbing along each framing edge is also visible. There is an uneven varnish throughout which is visible in natural light. Also with some light surface dirt. Inspection under UV reveals traces of scattered retouching but the extent of this is distorted by a green cloudy varnish.Condition Report Disclaimer
Los 101
Henry H. Parker (British 1858-1930)Harvesting, Culham, BerkshireOil on canvasSigned lower right; further signed and titled verso31 x 46cm (12 x 18 in.)Provenance:Henry Whitley, ScarboroughCondition Report: The canvas has not been relined. Some light surface dirt and craquelure commensurate with age. Inspection under UV revels no evidence of retouching or restoration. Overall this work appears to be in good original condition. Unexamined out of glazed frame.Condition Report Disclaimer
Los 102
Claude Hayes (British 1852-1922)HaymakingOil on canvasSigned lower left; signed, titled and inscribed no.2 on the reverse59.5 x 76cm (23¼ x 29¾ in.)Provenance:Estate of Christopher and Rosemary WarrenCondition Report: Not relined. Light surface dirt throughout. Canvas slack and undulating. A few flecks of dirt and paint along the right edge. Inspection under UV reveals no evidence of retouching or repair. Condition Report Disclaimer
Los 104
Alfred Heaton Cooper (British 1864-1929) Cows watering Watercolour Signed lower right 36 x 52cm (14 x 20¼ in.) Condition Report: The colour is a little down through fading. There is also some discolouration to the sheet as well as brown spots of foxing throughout. Light staining to the framing edges. Light undulation to the sheet under the glaze. Unexamined out of glazed frame. Condition Report Disclaimer
Los 11
English School (17th century)A three quarter length portrait of a gentlemanOil on canvas127 x 103cm (50 x 40½ in.)Provenance: Kirtlington Park, OxfordshireCondition Report: Craquelure throughout and stretcher marks partly visible. Canvas is slack and visibly undulating. Rubbing and associated loss to the edges. Small patches of scuffs and loss scattered throughout, the largest approx. 2cm. An area of visible repair and retouching in natural light to the right edge. Small vertical tear to centre lower edge approx. 3cm. Inspection under UV reveals a green cloudy masking varnish, scattered retouching and areas of repair. Condition Report Disclaimer
Los 112
Edmund Morrison Wimperis (British 1835-1900) Near Derehem, NorfolkWatercolour Signed with initials lower right 54 x 75cm (21¼ x 29½ in.)Condition Report: Under glass, unexamined out of glazed frame. Light surface dirt throughout. Some light discoloration to the edges and sky. A grey horizontal scuff to the upper eft quadrant approx. 10cm. Condition Report Disclaimer
Los 118
William Frederick Mitchell (British 1845-1914)H.M.S. Powerful 84 guns, Captain the Hon. R.S. Dundalk C.B. 1848-51Watercolour and pastelSigned, dated 1877 and numbered 922 lower right48 x 71cm (18¾ x 27¾ in.)Provenance: Private Collection, WantageCondition Report: Watercolour and pastel. Colour is generally good. There are some light, scattered spots of surface dirt throughout and the sheet with some light acidification which has cause some discolouration to the sky and around the framing edges where there is some light visible staining. Otherwise the work appears to be in good condition. Unexamined out of glazed frame.Condition Report Disclaimer
Los 119
Charles William Wyllie (British 1853-1923)The Upper Pool, LondonOil on canvasSigned lower left46 x 81cm (18 x 31¾ in.)Provenance: David Messum Fine Art, LondonPrivate Collection, WantageCondition Report: Relined. Craquelure scattered throughout. Light surface dirt. A visible repair to the upper right quadrant, in a right angle approx. 7cm up and 5cm across to the left. Inspection under UV reveals no obvious retouching but this may be distorted by the varnish. Condition Report Disclaimer
Los 132
Eden Upton Eddis (British 1812-1901)Portrait of William Courtenay, Margaretta and Charles William MorlandOil on canvas160 x 190cm (62 x 74¾ in.)Provenance:Property of the Morland Family, Court Lodge, Kent Painted in 1854.William Courtenay Morland was the son of Colonel Charles Morland and Lady Caroline Eustatia Courtenay. William married Margaretta Eliza Cator in 1843 and inherited the estate from his uncle William Alexander Morland in 1847. They had three children, Caroline, who died in infancy, Charles, pictured in current portrait and a younger brother Henry.William Courtenay Morland made significant alterations to Court Lodge during his tenure as well as continually improving and growing the land and farms on the estate. He and his family were an integral part of the Lamberhurst community and from the historical information available, he comes across as an industrious innovator but also a deeply caring and community minded Victorian squire.Condition Report: Relined. Light craquelure and surface dirt throughout. Some light rubbing to the framing edges. Inspection under UV reveals some scattered retouching throughout and traces of a green cloudy varnish. Condition Report Disclaimer
Los 133
Circle of William Powell Frith (British 1819-1909)The unanswered pleaOil on canvas54 x 85cm (21¼ x 33¼ in.)Condition Report: The canvas has been relined. Light scattered craquelure throughout. There is some light rubbing to the framing edges and some light surface dirt throughout. Inspection under UV reveals traces of a green cloudy varnish and scattered retouching throughout. There is a slightly larger concentration of over-paint to the framing edges where the work has been relined.Condition Report Disclaimer
Los 138
Pierre Bonnaud (French 1865-1930)Portrait of a young girl seatedOil on canvasSigned lower left115 x 87cm (45¼ x 34¼ in.)Provenance:Private Collection, Jo WoodCondition Report: The canvas has not been relined. Craquelure and surface dirt throughout. The canvas is a little slack in its frame and would benefit from being re-stretched. There are a number of light white scuffs to the canvas. Stretcher marks are also visible. There is an area of flaking with associated losses to the upper left corner. Inspection under UV reveals light scattered retouching throughout.Condition Report Disclaimer
Los 139
William John Hennessy (Irish 1839-1917)The Flower SellerOil on canvasSigned and dated 1874 lower right121.5 x 91.5cm (47¾ x 36 in.)Provenance:Sale, Christie's, London, 22 May 1998, lot 99Private Collection, Jo WoodCondition Report: This work has been relined. Relining visible to the edges recto. A few vertical paint drips, two visible to the lower 1/3 and one particularly visible to her arm. Light surface dirt throughout. Very small areas of loss scattered throughout, but hardly noticeable. A diagonal scratch to the lower centre approx. 12cm. Inspection under UV reveals a green masking varnish which may be distorting the extent of retouching. Condition Report Disclaimer
Los 144
Arthur Hacker (British 1858-1919)Study for 'Piccadilly Circus'Oil on boardSigned lower left; signed, titled and dated 1911 verso34 x 42cm (13¼ x 16½ in.)Arthur Hacker was born in 1858. His father, Edward Hacker, was an engraver and specialised in sporting and animal prints. Arthur Hacker studied at the Royal Academy between 1876 and 1880 and at the Atelier Vonnat in Paris. Hacker was most notable for his grand subject paintings and high Victorian-Edwardian portraiture. However, Hacker's extensive travel across Spain and North Africa also influenced his work and provided the setting for Pelagia and Philammon, held in the Walker Art Gallery. From 1910, on his election to the Royal Academy Hacker produced a series of nocturnal views of London. The works depict the hustle of city nightlife around Piccadilly Circus capturing the rainfall and haze of gaslight across the busy streets of London.The present lot is possibly a study for 'Flare and Flutter: Piccadilly Circus at Night, 1912' held in the Brighton and Hove Museums and Art Galleries. Hacker returned to this subject matter a number of time during these years and gifted his diploma work in 1910 to the Royal Academy, titled 'A Wet Night at Piccadilly Circus'. Condition Report: Horizontal crack approx. 4cm to the upper left and right corner, the right with a nail hole. Fine craquelure scattered throughout. Rubbing to the edges with some associated loss. A loss to the centre of the lower edge, approx. 1cm. Inspection under UV reveals no obvious restoration or repair and a light varnish. Condition Report Disclaimer
Los 156
λ Andrew Beer (British 1862-1954)Mad MullahOil on canvasSigned lower left31 x 41cm (12 x 16 in.)Condition Report: Light surface dirt throughout. One small area of loss approx. 1cm to upper edge. A few specks of dirt to the sky. Inspection under UV reveals no evidence of restoration or repair. Condition Report Disclaimer
Los 158
λ Andrew Beer (British 1862-1954) The Prince Oil on canvas Signed lower left 30.5 x 41cm (12 x 16 in.) Condition Report: Canvas has not been lined. Surface dirt throughout with some rubbing to the framing edges. The canvas is a little lose which is causing some light undulation. Inspection under UV reveals no evidence of restoration or repair. Condition Report Disclaimer
Los 169
Samuel Bough (British 1822-1878)View of AnstrutherWatercolourSigned and dated 1868 lower left14 x 23cm (5½ x 9 in.)Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Light scattered foxing visible to the sky. A small blue blemish to the lower right quadrant. Otherwise colour appears good and no other significant condition issues. Condition Report Disclaimer
Los 173
James Salt (British 1850-1903)Three views of VeniceOil on canvasTwo signed lower right, one signed lower leftOne 35.5 x 61cm (13¾ x 24 in.), the other two 34 x 44cm (13½ x 17 ¼) (3)Condition Report: Image 1 (Gondola): The canvas has not been lined and as a result is now a little slack. Some light surface dirt together with some scattered craquelure throughout. Stretcher marks visible. Inspection under UV does not reveal any evidence of restoration or repair. Overall this work appears to be in reasonable original condition commensurate with age. Image 2 (Tree left): The canvas appears to have been relined. There is craquleure throughout and an area of flaking and loss to the upper centre framing edge. Traces of a dirty/discoloured varnish throughout as well as some scattered surface dirt. Inspection under UV reveals an area of possible over paint to the upper right corner Image 3 (Tree right): The canvas has been relined. Craquelure with some areas of flaking and associated loss throughout. This is most prominent to the right and left framing edges. Surface dirt throughout. Inspection under UV reveals no evidence of retouching or restoration.Condition Report Disclaimer
Los 178
William Collins (British 1788-1847)The Market Cart Watercolour and pencil 10 x 15.8cm (3¾ x 6 in.)Provenance:Thomas Agnew & Sons, Ltd., London Condition Report: Some light discolouration to the sheet. There is a small area of staining to the upper right corner and several brown spots of surface dirt and foxing throughout. There are two horizontal scratches (approx. 5cm) running through the two figures to the left. The sheet has been laid down and the supporting sheet is visible and also showing some browning, especially to the framing edges. The colour remains good. Unexamined out of glazed frame. Condition Report Disclaimer
Los 18
Follower of Marten van Cleve The ElderA peasant woman with a spindleOil on panel 31.5 x 24.5cm (12¼ x 9½ in.)Condition Report: Craquelure, surface dirt, surface scratches and thinning paint throughout. Some light rubbing to the framing edges. Inspection under UV reveals a green cloudy varnish and evidence of some infilling however the extent of this is distorted by the varnish.Condition Report Disclaimer
Los 181
†Hercules Brabazon Brabazon (British 1821-1906) The River Rother, near Midhurst Watercolour 25 x 35cm (9¾ x 13¾ in.) The artist's house was at Oaklands, Battle, in East Sussex. Provenance: Thos. Agnew & Sons Ltd., London W.J. Harrison, Bradford Albany Gallery, London Sale, Christie's, South Kensington, 3 July 2007, lot 697 Please Note: VAT is payable by the purchaser at the standard rate of 20% on the hammer price, in addition to the standard VAT charge added to the buyer's premium Condition Report: Under glass, unexamined out of glazed frame. Slight undulation to the sheet. Some very light scattered flecks of dirt. Colour is good. No other significant condition issues. Condition Report Disclaimer
Los 22
Circle of Michelangelo Maestri (Italian c.1779 -1812)A set of four allegorical figuresGouacheEach 40 x 25cm (15½ x 9¾ in.) (4)Condition Report: Under glass, unexamined out of glazed frame. Light surface dirt and one or two very faint surface scuffs. Otherwise no obviously condition issues. Condition Report Disclaimer
Los 24
Ferdinand Bol (Dutch 1616-1680)St. Jerome in the cave (Bartsch 3)Etching and drypoint, 1644Sheet: 28.6 x 24.3cm (11¼ x 9½ in.)Condition Report: The sheet has been hinge mounted in two places along the upper edge verso. This has caused some light, white discolouration recto. There are two old tabs to the lower edge verso which are no longer stuck down. There are several brown spots to the sheet verso. The sheet has been cut down along the plate edge. There is a small tear to the upper left corner of the sheet (approx 2mm) and a patch of skinning to the lower left corner (approx 2mm). There is some staining to the sheet, predominantly along the extreme edges. There is some light creasing throughout the sheet. There is a small area to the lower right below the sitter where the printed text has been heightened in sepia ink. Condition Report Disclaimer
Los 27
Circle of Francisque Millet (Flemish 1642-1679)A classical rocky landscape with figures on a path, a waterfall and castle beyondOil on canvas 47 x 49.5cm (18½ x 19¼ in.) Provenance:Sale, Christie's, London, 29 May 1981, lot 105 Condition Report: The canvas has been relined. Light craquelure throughout. Stretcher marks are visible and there is some light undulation to the canvas at the lower right corner (this probably occurred as a result of the relining). There is a small area of loss to the leaves at the upper left quadrant (approx 5mm). There is a small white scuff to the lower right corner (approx. 1cm). Light rubbing to the framing edges. There is an area to the right of the waterfall where there appears to have been a reaction to and subsequent attempted clean of the pigment. This has lead to some discolouration and thinning of the paint. Inspection under UV reveals scattered retouching and infilling. Condition Report Disclaimer
Los 28
Flemish School (Late 17th Century)The village gatheringOil on canvas86 x 101cm (33¾ x 39¾ in.)Provenance:By repute with Sir Robert Peel, Drayton Manor Park, Staffordshire (according to information from the late Rodney Gausden)With the Tolson Gausden family, Dosthill Hall, near Tamworth (since 1850)Thence by descent to the present ownerCondition Report: Canvas has been relined. Ultraviolet light reveals extensive retouching in the sky and throughout. Otherwise, in good restored condition.Condition Report Disclaimer
Los 3
Attributed to Jan Anthonisz van Ravesteyn (Dutch circa 1570-1657)Portrait of the Man, said to be the Earl of ClarendonOil on panel67 x 57.5cm (26¼ x 22½ in.)Provenance:The Collection of Major General Sir Allan Adair, Flixton Hall, SuffolkThence by descent to the current ownerCondition Report: The panel has not been cradled but there are some strip supports verso. There are also several light vertical cracks to the left, right and centre top of the panel. The cracks run the length of the panel although this has been well repaired and is not particularly noticeable at the centre of the panel in natural light, although there is some retouching which is visible under UV. A white smudgy blemish can be seen throughout the panel and also in the catalogue/online illustration. This has possibly been caused by a previous cleaning attempt. Inspection under UV reveals a green cloudy varnish and light scattered retouching throughout.Condition Report Disclaimer
Los 31
Circle of Nicolaes Molenaer (Flemish 1630-1676)Winter landscape with frozen lakeOil on canvas82 x 125cm (32¼ x 49 in.)The present work is a typical example of a genre painting from the Dutch Golden Age, a period in which the culture, art, military and trade of the Netherlands was amongst the most celebrated in the world. It was a time of unprecedented wealth in the country leading to the growth of an influential middle-class born out of prosperous trading relations with the Far East and the Baltic states and Poland. Cultural and artistic trends were driven by this newly-enriched mercantile class leading to a focus on scenes of everyday life over historical and religious painting. A further contributing factor was the counter-reformation - unlike in Catholic Europe, the Netherlandish Protestant church was not an artistic driving force. First made popular by the 16th century Dutch master, Pieter Bruegel the Elder, views of frozen lakes with people enjoying sporting pursuits on the ice, quickly became a celebrated genre in itself with many artists producing these idealised winter scenes, many with the typical Dutch windmill in the distance. These scenes are also truly democratic, depicting all ages and areas of society, full of joy and gaiety. Unlike much of the art of the past, they are not the preserve of the aristocratic and rich, but open to everyone and would have been displayed proudly in the homes of the newly prosperous merchants. Condition Report: The canvas appears to have on old reline. There is craquelure and surface dirt throughout together with isolated areas of scattered flaking and associated loss but this is really only noticeable when the viewer is up close to the work. Rubbing and associated losses to the framing edges. The lower edge of the canvas with some light undulation - possibly caused either by the reline, or by being hung in a position where it was exposed to fluctuating temperatures. Inspection under UV reveals scattered in-filling and minor retouching throughout.Condition Report Disclaimer
Los 34
Follower of Gaspar Dughet Fishermen in a river landscapeOil on canvas48.5 x 65.5cm (19 x 25¾ in.)Provenance:Sir Max Waechter ( 1837-1924 )His widow, Armatrude née Hobart (1890-1981), Grimston Garth, YorkshireThence by descent to the present ownerCondition Report: This work has been relined. Surface dirt and yellowing varnish throughout causing some discolouration. Craquelure scattered throughout with some associated cupping in concentrated areas. Some light retouching visible in natural light to the left 1/3 of the work. Inspection under UV reveals light scattered retouching. Condition Report Disclaimer
Los 35
Follower of Gaspar Dughet Extensive landscape with river and mountain in the distanceOil on canvas50 x 65cm (19½ x 25½ in.)Provenance:Sir Max Waechter ( 1837-1924 )His widow, Armatrude née Hobart (1890-1981), Grimston Garth, YorkshireThence by descent to the present ownerCondition Report: This work has been relined. Fine craquelure scattered throughout, with some more obvious cracking to the lower edge. Surface dirt throughout. An vertical area of flaking and associated loss approx. 6cm to the right edge. There also appears to have been a reaction which has caused a white residue. Inspection under UV reveals very light scattered retouching. Condition Report Disclaimer
Loading...-
534297 Los(e)/Seite