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Preisdatenbank abonnierenPierre-Joseph Petit (French 1768-1825)Italianate river landscape with peasants and animalsOil on metalSigned lower right 33 x 49.5cm (12 x 19¼ in.) Provenance: Sale, Sotheby's, London, 18 February 1981, lot 50Condition Report: Please note this work is oil on metal. Light surface dirt throughout. Some light surface scratches scattered throughout. Inspection under UV reveals scattered retouching and a green masking varnish. Condition Report Disclaimer
Christopher Steele (British 1733-1767)Portrait of Giles Moore, three-quarter length, reading the 'Iliad', with a bust of HomerOil on canvas 92.7 x 71.8cm (36¼ x 28¼ in.)Provenance:Sale, Christie's, New York, Living With Art, 13 October 2016, lot 18 Acquired at the above sale by the present owner Literature:M.E. Burkett, Christopher Steele, 1733-1767 of Acre Walls, Egremont, George Romney's Teacher (Cumbria: Skiddaw, 2003), p. 215, no. 27, fig. 200 (illustrated)Condition Report: This work has been relined. Craquelure throughout. Light surface dirt throughout. Rubbing to the upper edge. Inspection under UV reveals a green cloudy masking varnish and scattered retouching throughout. Condition Report Disclaimer
†Arthur Pond (British c. 1705-1758)Portrait of a lady wearing a white dress and wide brimmed hatOil on canvas61 x 50cm (24 x 19½ in.)Provenance:Sale, Sotheby's, London, 9 November 1994, lot 46Please 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 premiumCondition Report: Canvas has been relined. Craquelure and surface dirt throughout. Stretcher marks visible in natural light. Rubbing and associated small losses to framing edges. There is another area of loss (approx 1cm) to the upper left edge running parallel to the sitter's upper neck. Inspection under UV reveals scattered retouching throughout as well as a green cloudy varnish which may be masking further over-paint.Condition Report Disclaimer
Arthur Devis (British 1711-1787)Portrait of a lady in a blue dress with shepherd's crookOil on canvasSigned and indistinctly dated 1740[?] on the rock lower centre61 x 42cm (24 x 16½ in.)Provenance:Sale, Christie's, London, 13 May 1983, lot 167The Estate of Christopher and Rosemary WarrenCondition Report: This work has been relined. Craquelure throughout, stretcher marks visible with associated craquelure. Surface dirt and yellowing varnish throughout causing discoloration, would benefit from a clean. The varnish has reacted with the pigment causing a white residue especially to the sitter's chest and above her right arm holding the crook. Inspection under UV reveals a cloudy green masking varnish and evidence of infilling and very light retouching. Condition Report Disclaimer
Attributed to Mason Chamberlin (British 1727-1787)A portrait of a young man with bookOil on canvas 127 x 103cm (50 x 40½ in.)Provenance: Kirtlington Park, OxfordshireCondition Report: Relined. Craquelure and light surface dirt including one or two white blemishes throughout. Rubbing to the framing edges. A vertical line of retouching approx. 30cm to the right of the sitter's head visible in natural light. Inspection under UV reveals some light scattered retouching and a green cloudy masking varnish which may be distorting the extent of retouching. Condition Report Disclaimer
Follower of Francesco GuardiThe Grand Canal, VeniceOil on canvas40 x 61cm (15½ x 24 in.)Provenance:Mrs M. Berryman collection, Great Chesterford, EssexCondition Report: This work has been relined. Light surface dirt and thick layer of varnish throughout. Scattered craquelure throughout. Inspection under UV reveals a green cloudy masking varnish which may be distorting some evidence of previous restoration. There is evidence of extensive infilling and retouching scattered throughout. Condition Report Disclaimer
Attributed to Francesco Fidanza (Italian 1747-1819) A coastal inlet Oil on canvas 73.5 x 124cm (28¾ x 48¾ in.) Condition Report: The canvas has been lined. Craquelure and surface dirt throughout. There are numerous areas of infilling and overpainting visible in natural light. Rubbing and associated losses to the framing edges. There is an area of light white scuffing to the lower left corner. Inspection under UV reveals retouching and infilling throughout. Condition Report Disclaimer
Attributed to Charles Martin Powell (British 1775-1824)Shipping in rough seasOil on panel25 x 30cm (9¾ x 11¾ in.)Condition Report: Surface dirt and craquelure throughout. The is infilling to the craquelure throughout and this is visible in natural light. Rubbing and associated loss to the framing edges. Dirty varnish throughout and would benefit from a light clean. Inspection under UV reveals scattered retouching throughout and in addition to the aforementioned infilling. Traces of a green cloudy varnish throughout. Condition Report Disclaimer
Johannes Hermanus Koekkoek (Dutch 1778-1851)Estuary landscapeOil on panelSigned and dated 1826 on the boat lower left35.5 x 49.5cm (13¾ x 19¼ in.)UnframedProvenance:From the estate of Christopher and Rosemary WarrenThe Koekkoek family was a famous dynasty of Dutch painters of which Johannes Hermanus Koekkoek (1778-1851) was the head. Koekkoek, together with his sons Barend Cornelis Koekkoek (1803-1862) and Hermanus Koekkoek (1815 -1882) became renowned for their marine paintings. A third son, Marinus Adrianus Koekkoek (1807-1868) was an established landscape painter, and a grandson Johannes Hermanus Barend Koekkoek (1840-1912) also became an artist who was initially influenced by his father but later changed his style to a kind of realism under the influence of The Hague School.The present work is a beautiful example of a landscape estuary painted in 1826. The clear, calm and glassy waters, together with the bright blue sky and light voluminous clouds, are particularly characteristic of the artist's work.Condition Report: Yellowing varnish throughout causing discoloration, may benefit from a clean. Light rubbing with associated loss to the panel edges. Very fine craquelure scattered throughout with the grain of wood sometimes visible. Inspection under UV reveals a green masking varnish, scattered infilling, retouching and an area of repair to the upper left quadrant. Condition Report Disclaimer
Pierre Edouard Frère (French 1819-1886)The young cookOil on panelSigned and dated 1858 lower left32.5 x 41cm (12¾ x 16 in.)Provenance:Polak Gallery, LondonThe Estate of Christopher and Rosemary WarrenExhibited:Yorkshire Fine Art Exhibition, 1879Condition Report: Patches of craquelure scattered throughout. Light surface dirt. Light rubbing to the edges. Inspection under UV reveals no obvious restoration or repair. Condition Report Disclaimer
Basile de Loose (Belgian 1809-1885)The Sewing LessonOil on canvasSigned and dated Brux 1858 lower right83 x 70cm (32½ x 27½ in.)Condition Report: This work has been relined. Craquelure scattered throughout. Light surface dirt throughout. Inspection under UV reveals a green cloudy masking varnish but no obvious evidence of restoration or repair. The varnish may be concealing the true extent of restoration. Condition Report Disclaimer
Circle of William Hilton Jnr. (British 1786-1839)The Departure of UlyssesOil on canvasBears signature lower right71 x 92cm (27¾ x 36 in.)UnframedCondition Report: Unframed. The canvas has been relined. With surface dirt, craquelure and bitumen damage throughout the canvas. The bitumen reaction is contained largely to the background at the upper centre. The framing edges with some rubbing and associated loss. There are a small number of other areas of flaking predominantly around the edge of the work which have been over-painted and this is visible in natural light. Inspection under UV reveals a green cloudy varnish and some scattered retouching throughout.Condition Report Disclaimer
Attributed to John Greenhill (British 1642-1676)Portrait of a man with his dogOil on canvas124 x 101cm (48¾ x 39¾ in.)Condition Report: The canvas has been lined. Craquelure throughout. There is some rubbing and associated loss to the framing edges. Very light stretcher marks visible. Inspection under UV reveals scattered retouching and infilling together with a cloudy green varnish.Condition Report Disclaimer
†Sir Anthony Devis (British 1729-1817) Seven Rock Point and Pinhay Bay, Dorset Watercolour and black chalk 25.5 x 35.5cm (10 x 13¾ in.) Together with a watercolour of figures before a ruined tower, Circle of Nicholas Pocock and a watercolour of a traveler on a bridge, Manner of Paul Sandby (3) Provenance: Sale, Christie's, South Kensington, 3 July 2007, lot 599 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. Light staining throughout, most notable to the sky and along the upper edge. There appears to be a vertical line of staining approx. 5cm to the cliff face at the left edge. There appears to be a vertical watermark 1/3 of the way in from the right edge, starting along the top edge, approx. 18cm. Some scattered foxing visible to the sky. Condition Report Disclaimer
John Nost Sartorius (British 1759-1828)The DeathOil on canvasSigned, inscribed with title and numbered 6 to canvas verso35.5 x 45cm (13¾ x 17½ in.)Condition Report: The canvas has been lined. Craquelure, surface scratches and surface dirt throughout. There is a small area of loss above the horse's head (approx 5mm) which has been over-painted and this is visible in natural light. There are a number of other spots of over-paint to the upper right and these can also be seen without the aid of a UV light. There is a larger area of loss to the hound's tail (approx 1cm). Light rubbing with associated losses and also surface dirt staining to the framing edges. Stretcher marks visible. Inspection under UV reveals light scattered retouching throughout and traces of a green cloudy varnish.Condition Report Disclaimer
George Armfield (British 1810-1893)Waiting for masterOil on canvasSigned and indistinctly dated 56[?] lower right26 x 36cm (10 x 14 in.)Condition Report: The canvas is thick but does not appear to have been relined. Craquelure and some light surface dirt throughout. A slightly heavier spot of craquelure to the upper left of the background. There are uneven grooved lines running parallel to the framing edges, it is not clear what has caused these. Light rubbing to the framing edges. Inspection under UV reveals traces of a green cloudy varnish but no evidence of overpainting or repair. Condition Report Disclaimer
William Shayer (British 1787-1879)A gypsy family with a wagon halted by a woodland pathOil on canvasSigned lower left51 x 46cm (20 x 18 in.)Provenance:Frost and Reed, LondonEstate of Christopher and Rosemary WarrenCondition Report: Relined. Light surface dirt and a yellowing varnish causing some discoloration. A small area of retouching visible in natural light to the upper left quadrant, located in the trees. Inspection under UV reveals very light scattered retouching. Condition Report Disclaimer
Follower of Sir Godfrey KnellerPortraits of William and Mary in coronation robesOil on canvas, a pairPortrait of William indistinctly inscribed 'King William' lower right, portrait of Mary indistinctly inscribed lower leftEach 239 x 146cm (94 x 57¼ in.) (2)Provenance:Sale, Phillips, Hampton Court, June 1972, Lot 548Kirtlington Park, OxfordshireThe portrait of Mary II is after the portrait by Sir Godfrey Kneller painted in 1690, and now in the Royal Collection, Windsor Castle, Ref: RCIN 405674Condition Report: William -Craquelure throughout. Stretcher marks visible. Light surface dirt and yellowing varnish throughout causing discoloration. Patch test visible to the ankle. May benefit from a clean. Inspection under UV reveals a cloudy masking varnish, infilling, retouching and possible repair to the lower left edge and lower right edge. Mary - Craquelure throughout. Stretcher marks visible. Canvas slack. Surface dirt and yellowing varnish throughout causing some discoloration. Rubbing to the edges. Inspection under UV reveals cloudy masking varnish, infilling and retouching. Condition Report Disclaimer
William Shayer Senior (British 1787-1879)Figures on the beach with boats beyondSigned lower rightOil on panel31 x 26cm (12¼ x 10¼ in.)Provenance:Estate of Christopher and Rosemary WarrenCondition Report: Light craquelure and surface dirt throughout. There is a small loss to the panel at the lower left corner (approx 5mm). There is a small surface crack running vertically up from the lower right edge (approx 5cm). Around this area there are also one or two blemishes - possibly traces of residue/varnish. Inspection under UV reveals some light infilling to the craquelure and some light over-painting to the aforementioned crack. The work is also indistinctly dated 18**[?]Condition Report Disclaimer
Joseph Thors (British 1835-1920)The Hunting PartyOil on canvas Signed and dated 58 lower right 53 x 73cm (20¾ x 28½ in.)Condition Report: This work has been relined. Canvas very taught. Light surface dirt and yellowing varnish throughout causing some discoloration. Fine craquelure scattered throughout. Inspection under UV reveals a cloudy green varnish and no obvious evidence of restoration or repair. Condition Report Disclaimer
Joseph Thors (British 1835-1920)Dutch river sceneOil on canvas Signed and dated 58 lower left 53 x 73cm (20¾ x 28½ in.)Condition Report: This work has been relined. Light surface dirt and yellowing varnish throughout. Craquelure throughout with some associated loss. Inspection under UV reveals a cloudy green varnish and no evidence of restoration or repair. Condition Report Disclaimer
Balthasar Paul Ommeganck (Flemish 1755-1826)Sheep and goats in a country estateOil on cradled panel, a pairBoth signed lower rightEach 19 x 22cm (7¼ x 8½ in.) (2)Provenance:Estate of Christopher and Rosemary WarrenCondition Report: Grain of wood panel visible to the sky. Light surface dirt and yellowing varnish throughout causing some discoloration. To panel with sheep lying in the foreground, there is a small fleck of gilt paint to the lower right corner. Inspection under UV reveals a green masking varnish and no obvious evidence of restoration or repair. Condition Report Disclaimer
Kilian Christoffer Zoll (Swedish 1818-1860)A Village Gathering in WinterOil on canvasSigned and dated 1855 lower left95 x 121cm (37¼ x 47½ in.)Condition Report: The canvas has been lined. There is a very small inconspicuous loss (approx 1mm) to the lower framing edge. Overall this work appears to be in good restored condition commensurate with age. Inspection under UV reveals scattered infilling to the craquelure and light scattered retouching throughout.Condition Report Disclaimer
William Darling McKay (British 1844-1924) October MorningOil on canvasSigned and dated 1878 lower left70.5 x 122cm (27¾ x 48 in.)Exhibited:RSA 1878 (222)Edinburgh, Scottish National Exhibition,1908 (No.24)Japan-British Exhibition 1908RSA 1919 (No.474)Exhibition of Scottish Art RA, 1939, No.289London, Bourne Fine Art, 1985, No.3 Condition Report: The canvas has not been lined. There is a small area of flaking to the lower left corner. Craquelure and light surface dirt throughout. Stretcher marks lightly visible. There is also some rubbing and loss around the framing edges, particularly along the right edge. Inspection under UV reveals no evidence of restoration or repair however there is a green cloudy varnish which may be hiding any previous over-paint.Condition Report Disclaimer
Bill Culbert (New Zealand, 1935-2019), 'Cubic Projections', 1968, exhibited by the Lisson Gallery, a plastic ball with pinholes all-over, radiating lights, inscribed 'Culbert Lisson '47', 60cm diameter Literature: David Mellor, 'The Sixties Art Scene in London', Phaidon, London, 1993, pp.180-181 for an example illustrated in a mirror-chamber. Bill Culbert was one of a handful of artists in the mid-sixties exploring kinetic and optical art forms. Cubic Projections is a light sculpture that sees the performation of a black globe allowing spots of light to be projected and a regulated flow of light at intervals to be seen, depicting the image of the bulb filament on to the surrounding surfaces. This sculpture was one of a limited edition of multiples produced and sold by the Lisson Gallery in 1968.
An Orrefors 'Äpplet' green glass vase, designed by Ingeborg Lundin, designed in 1955, inscribed 'Orrefors Expo 32-57 Ingeborg Lundin', 37cm high For the nearly thirty years between 1947 and 1971, that Ingeborg Lundin designed glassware for Sweden's Orrefors glassworks, her designs were prized for their originality, simplicity and grace. Founded in 1898, Orrefors originally manufactured bottles, window glass, and tableware. In 1914, the firm started to produce cut crystal, and by 1925 had become internationally renowned for its engraved art glass. By the late 1940s, the young Lundin and her contemporaries at Orrefors and other Scandinavian glassworks were developing new forms that expressed the spirit of a softer, organic type of modernism. In 1955, Lundin designed the Apple (Äpplet) vase for the Helsingborg 1955 Exhibition, a world’s fair dedicated to modern design. The simple transparent form of her Apple vase is a beautiful luminous shape that needs no ornamentation. The slightly imperfect sphere, topped by a thick-walled cylindrical neck reminiscent of an apple’s stem, relies on the play of light on and in the colourless glass itself. The form exploits the transparency of glass exceptionally well. When shown at the Milan Triennale of 1957, the Apple vase won a gold medal. Produced in both clear and light green transparent glass, it is the best known of Lundin’s designs for Orrefors.
Mid century teak dressing table, the rectangular top above two drawers, handles inset into the cut-outs of the top, on circular supports, 122cm x 77cm Condition ReportThe depth is 46cm. There are some chips to sides of the dressing table. There is some wear to the legs. The top right hand corner of the raised section is chipped off. There are spots of light staining on the top as well as shallow scratches. See attached images.
Japanese bronze and gilt metal menu holder, fan-pattern and embossed with crane and water lilies, easel-pattern stand, 6cm high and another, smaller in the form of a fan with bird and flower decoration, 4cm high (2) Condition ReportLarger; some areas with rubbed patches, some light scratches. Smaller; some minor wear and light scratches.
George IV silver milk jug, having gadrooned everted rim, ornate floral cornucopia decorated handle, the body repousse with basket of flowers and scrolls, on circular foot, 11.5cm high, London 1822, 7oz approx (with gilded interior) Condition ReportSome dings including slightly bigger one to cartouche, bent foot, light scratches, general wear and tear.
White metal diamond three-stone ring, set with three round brilliant-cut diamonds (estimated weights 0.93ct VS1, 1.1ct VS2, 0.93ct VVS2, colour G-H), marked 18ct, finger size S ½, approx. 4.8gCondition ReportNo obvious major faults, some light wearing to setting. Diamond weighing approximately 0.93cts has small chip to girdlePlease note that weights of gemstones and grading information for diamonds are very much estimates and for guidance only. Both coloured gemstones and diamonds are routinely treated to enhance their appearance. We cannot guarantee that gemstones are free of treatments.I cannot comment on brightness / sparkling. Chip just visible with naked eye, the light has to hit it correctly. Chip can just about be felt. Metal Unknown.
Rolling Stones LPs, two Israel release albums on PAX comprising Aftermath (ISK 1016 - VG+/EX) and Let It Bleed (ISK 1060 - EX-/EX+) sold together with a USA promo leaflet '211 reasons why the Rolling Stones is the World's Greatest Rock and Roll Band (a few light spots, otherwise Excellent condition)
Beatles Acetate, 12" 78 rpm acetate for Hey Jude / Revolution - possibly produced as an acetate for the Indian market which was still releasing Beatles singles on 78s during the Sixties, although there is doubt as to whether Hey Jude was ever released in India as a single - metal of the acetate is clearly visible at the centre hole - plain labels with typed information - Timings: Hey Jude 5.01, Revolution 3.36 - Visually VG, but both sides play excellently with light surface static in places - This item will be available to play on Viewing Day
Blues LPs, twelve albums of mainly Blues comprising Sleepy John Estes - Tennessee Blues Vol 4 and 1929-30 Sessions, Blind Willie Johnson - Let Your Light Shine On Me, Johnny Shines - Masters of Blues Volume 1 and Dust My Broom, Homesick James & Snooky Pryor - Shake Your Moneymaker, K C Douglas - Big Road Blues, Sam Collins - Crying Sam Collins, Big Mama Thornton - Stronger Than Dirt / The Way It Is, Odetta - Sings Folk Songs, Junior Parker et al - Mystery Train and Pink Anderson - Carolina Blues Man Voume 1 - mainly Excellent to EX+ condition
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![George Armfield (British 1810-1893)Waiting for masterOil on canvasSigned and indistinctly dated 56[?] lower right26 x 36cm (1](https://cdn.globalauctionplatform.com/262af5a2-0bbc-4677-94ec-abcf00ca77ba/396bef1a-6cef-4726-b302-abcf00d58d25/468x382.jpg)
