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Preisdatenbank abonnierenâ–² Ronald Ossory Dunlop RA (Irish-British, 1894-1973) Self portraitsigned 'Dunlop' l.l., oil on canvas50.5 x 40.5cmCondition ReportFramed: 63 x 53cmCraquelure in areas. Light surface dirt. The canvas texture is visible where the paint has been thinly applied in places, in contrast to other areas which are thicker impasto. Not examined under UV light, for a more detailed report please contact the department.
▲ Salvador Dali (Spanish, 1904-1989) ‘Space Venus’ polished bronze with black and green patination in two parts, inscribed 'Dali' by the foundry, numbered '124/350', stamped with 'IAR', Inter Art Resources Ltd. mark, with 'Perseo' foundry mark, conceived in 1977 and first cast 1984, complete with certificate of authenticity from I.A.R Art Resources Ltd. 31cm wide 35cm deep 65cm high Condition ReportPresents well overall. A little light dust and dirt to the crevices. There is some slight rubbing to the patination to the extreme edges. A couple of light scratches to the arms and base, please see additional condition images. The bronze comprises of two interlocking sections and there is some scratching around the holes where the posts slot into the lower section, however this is not evident when the scupture is assembled.
â–² Dame Barbara Hepworth (1903-1975) 'Sea Forms'lithograph in colours, 1969, signed 'Barbara Hepworth' in pencil l.r.sheet 58.5 x 81.5cm, unframedProvenance: The Estate of Stanley Jones MBE RE.There is the opportunity for this lot to be embossed with 'Estate of Stanley Jones' blind stamp after purchase.Condition ReportUnnumbered. A small 1cm rip to the top right corner. A small tear to the extreme lower left corner. Edges a little scuffed. Light handling creases. Slight discolouration to the extreme edges. Please see additional condition images.
â–² Panos Tsarouhas (Greek-Swedish, b.1928) 'The Musician of the Village'signed and dated 'Panos 91' l.l., also signed verso, oil on canvas60 x 49.5cmProvenance: Acquired directly from the artist in 1992.Exhibited: The Greek Brotherhood Centre, London, 'The Hellenes', 16 November - 18 December 2015, catalogue no. 35.Condition ReportFramed: 77 x 65cmPresents well overall. There is a little spotting the the reverse of the canvas, however the front of the work does not appear to be affected. Not examined under UV light, for a full report please contact the department.
â–² The Connor Brothers (1968) 'I Tried to Drown My Sorrows But The Bastards Learned How to Swim'giclée print in colours, artist's proof, signed and dated '19' in pencil l.r., and inscribed 'AP'image 119.5 x 65cmCondition ReportFramed: 126 x 82cmA little light rippling to the margins, however presents well overall and ready to hang. Not viewed out of glazed frame.
â–² David Tindle RA (b.1932) 'Two Dogs' signed and dated 'David Tindle/79' and inscribed with title verso, acrylic on canvas25 x 20cmCondition ReportFramed: 42 x 36.5cmA little light surface dust. There are some minor losses and small abrasions to the centre of the right edge, please refer to illustration.
â–² Louise Bourgeois (French-American, 1911-2010) 'I Have Been to Hell and Back', 2007embroidery on a cotton handkerchief, with printed initials, pink edition, numbered '560/1000', published by Third Drawer Down, Melbourne, for Tate Modern, London29 x 30cmCondition ReportFramed: 36 x 36.5cmA little llight rippling. Light folds as issued. Appears to be in otherwise good order. Not viewed out of frame.
â–² James Brereton (b.1954) 'Going Aloft Aboard the Solent'signed 'James Brereton' l.r., also signed and inscribed with title verso, oil on canvas61 x 96.5cmCondition ReportFramed: 76 x 111cmAppears to be in good condition and ready to hang. Not examined under UV light, for a full report please contact the department.
▲ Tracey Emin RA (b.1963) ‘But Yea’, 2005offset lithograph in colours, signed 'Tracey Emin' in silver felt-tip pen l.r., from the unnumbered edition of 500 published by Emin International, Londonvisible 68 x 48cmCondition ReportFramed: 73.5 x 53.5cmAppears to be in good condition. Light scratches to perspex glazing. Not viewed out of frame.
▲ Kate Brinkworth (b.1977) ‘Coke Zero’ signed, inscribed with title and dated '2017' verso, oil on board119.5 x 84cm, unframedCondition ReportA little minor rubbing to the extreme edges in places. Light surface dust and dirt. Presents well overall. Not examined under UV light, for a full report please contact the department.
â–² Sir Terry Frost RA (1915-2003) 'Winter Figure'signed and dated 'Terry Frost 56/57', also indistinctly signed, inscribed and dated, on a board attached verso, oil on board23.5 x 33cmCondition ReportFramed: 44 x 52cmVery light surface dirt. Minor chips and losses to the extreme edges. The bottom right corner of the board is missing. A small pinhole in the lower left corner. Examined under UV light no retouching shows. Please see additional condition images. Both signatures are on the board attached verso. The board has splits which have been glued. Not viewed out of glazed frame.
â–² Ruskin Spear RA (1911-1990) Figures and chickens in a farmyardsigned 'Ruskin Spear' l.r., oil on board24.5 x 35cmCondition ReportFramed: 33 x 44cmOn close inspection there are some tiny scattered white specks of loss. Minor losses to the lower right corner. Presents well overall. Not examined under UV light, for a full report please contact the department.
â–² John Piper CH (1903-1992) 'Courthouse, Long Crendon, Buckinghamshire' (Levinson 285)lithograph in colours, 1978, signed 'John Piper' in pencil l.r., with Archive of Stanley Jones blind stampsheet 57 x 77cm, unframedProvenance: The Estate of Stanley Jones MBE RE.There is the opportunity for this lot to be embossed with 'Estate of Stanley Jones' blind stamp after purchase.Condition ReportThe printed area appears to be in good condition. Light handling creases to the margins with a little light surface dirt. There is a light line/ indentation running along the lower edge,1cm in from the edge of the sheet. There is a yellow mark to the lower margin, centre right (pisbbilbly printing ink?). The print is unnumbered.
â–² Patrick Livingstone (b.1956) 'Velshelda off the Needles, J-Class Yachts'signed 'P. LIVINGSTONE' l.l., oil on canvas51 x 76cmCondition ReportFramed: 75 x 100cmPresents well overall. A couple of tiny white speckles in the sky. Light stretcher marks starting to emerge to the top edge. Not examined under UV light, for a full report please contact the department.
▲ ​Reg Gammon (1894-1997) Woman and donkeysigned 'Gammon' l.l., oil on board50 x 61cmProvenance: The collection of Robert and Jenny ​Borgerhoff Mulder.Condition ReportFramed: 62 x 73cmA tiny loss to the centre of the top edge. Presents well overall. Not examined under UV light, for a full report please contact the department.
â–² Trevor Bell (1930-2017) 'Black and Grey'signed and dated 'BELL 59' l.r., oil on canvas101 x 76cmProvenance: The artist;with New Art Centre, London;with Sam Fogg, London;the property of a private collector.Condition ReportFramed: 106.5 x 81cmA little light surface dirt with a faint red mark to the lower edge, centre right. There is a very small raised bump in the canvas to the left of the signature. A couple of very small areas of fine cracking to the black paint with very tiny speckles of loss. A semi-circular scuff/ abrasion to the centre of the left edge. Not examined under UV light, for a full report please contact the department.
â–² Roger Hilton (1911-1975) 'Botallack O'Clock' pencil 25 x 20cm Provenance: Authenticated by Rose Hilton on backboard; the property of a private collector. Condition ReportFramed: 37 x 31cm Two lines of watercolour. Likely to be by artist but not clear if intentional. A little time staining with faint spots of foxing starting to emerge. Light creasing. A small diagonal fold in the extreme lower left corner. Discolouration to the extreme upper edge. Pinholes to corners. Light surface dirt. Appears to be stuck down in corners, not laid down. Not viewed out of glazed frame.
â–² Roger Hilton (1911-1975) Untitledconté20 x 25cm, unframedProvenance: The estate of the artist and part of a collection of 27 drawings belonging to Fergus Hilton;with Jonathan Clark & Co. Fine Art, London;the property of a private collector.Literature: 'Roger Hilton: Night Letters', edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.198.Condition ReportMount: 34 x 40.5cmA little light smudging, please refer to illustration. Light handling creases and a couple of very small spots of discolouration. A larger diagonal crease mark 8cm in length crosses the vertical drawn line on the right side, finishing at the lower right edge where there are some faint dirty marks. A little time staining to the extreme right edge. Stuck down along top edge.
After Banksy 'Peckham Rock' offset lithograph on a shaped wood board produced by the British Museum, 201812 x 18cm, mounted on a mirrored frameBanksy’s 'Peckham Rock' is a piece of concrete showing a supposed prehistoric figure pushing a shopping trolley. This was placed in the British Museum in 2005, accompanied by an authentic-looking information label, and was there for three days before anyone realised something was amiss. This wooden postcard, originally sold by the British Museum, replicates the image from the information label that was originally placed with the wall art.Condition ReportFramed: 37 x 42cmStuck down to mirror. Light surface scratches to frame.
▲ David Hockney OM CH RA (b.1937) 'Pool Made With Paper and Blue Ink' for the book 'Paper Pools' (MCA Tokyo 234)lithograph in colours, 1980, signed and dated 'Hockney 80' in pencil l.r., and numbered '681/1000', published by Tyler Graphics Ltd., Mount Kisco, New York, with blind stamp sheet 27 x 24cmWhen thinking about David Hockney, the subject of the swimming pool is one that comes to mind. It has become one of the defining motifs of his artistic career and an iconic image of modern art. The theme recurs frequently in his paintings, drawings, photographs and prints.Hockney’s fascination with pools began in 1964 when he flew over Los Angeles and was captivated by the vivid expanse of blue pools dotting the Californian landscape - an image starkly different from the scenery of Britain he had left behind. To Hockney, the swimming pool was a representation of pleasure and leisure in the 1960s, and a joyous image to reproduce. Additionally, it provided a creative opportunity to explore the play of light and reflections on water, shaped by ripples, curves and shadows cast by gentle breezes or the movement of swimmers.This motif repeatedly surfaced in his work over the years, including the present lithograph titled 'Pool Made With Paper and Blue Ink for a Book'. This piece was created for the special edition book 'Paper Pools' by David Hockney, edited by Nikos Stangos and published in 1980 by Thames & Hudson. The book delves into Hockney’s 'Paper Pool' series, comprising twenty-nine paper pulp artworks that he created in 1978 while staying with his friend, the printmaker Ken Tyler. Inspired by this new medium, Hockney used Tyler’s swimming pool as the subject for this lithograph. He meticulously studied the pool at various times of the day and night, observing and recording the interplay of light and colour, through drawings and photographs.Though smaller in scale compared to Hockney’s large oil paintings, this lithograph is equally vibrant and demonstrates meticulous precision in its execution. The image was initially hand-drawn by the artist and then printed in six colours from three lithographic limestones and three aluminium plates. This lot is pencil signed and numbered '681' from a limited edition of 1,000 prints with an additional 122 proofs. Condition ReportFramed: 58 x 49.5cmPresents well overall. In our opinion the colours are bright. Slight time staining to the margins. There is some acid discolouration to the extreme edges. There is a little rubbing/ abrasion to the water in the lower centre and along the left edge, please see additional condition images. The print has been stuck down in the corners and it is not possible to see the reverse of the sheet. The print sits flat without any obvious cockling or creasing.
â–² Bryan Illsley (1937-2024) Untitleddated '1985', acrylic on card35 x 40cm (uneven)Condition ReportFramed: 49.5 x 53cmA little light surface dust and dirt. There is a curved crease in the card in the upper left corner. A couple of small white marks, please refer to illustration. The edges of the card are torn, however this is preseumed to be the intention of the artist.
â–² John Aldridge RA (1905-1983) 'Richmond'inscribed 'Richmond Wed' l.r., and dated '14 Sept 55' l.l., pencil18.5 x 24.5cmProvenance: From the artist's studio and estate, and then passed to the Fry Art Gallery in 2010 for sale;Fry Art Gallery, Saffron Walden, November 2010..Condition ReportFramed: 30.5 x 35.5cmTime staining with light cockling. The paper is slightly thin and it is possible to see the number 8 (?) inscribed on the reverse in the top left corner. There is some very light discolouration to the upper right corner where it appears that tape may be applied to the reverse. Not viewed out of glazed frame. Ready to hang.
â–² Guy Taplin (b.1939) 'Shorebird'carved and painted driftwood on a metal and driftwood base with shell, signed 'GUY TAPLIN' and inscribed with title on base46cm high overallProvenance: From a private collection.Condition ReportThere are fine cracks running from beneath the head to the base of the tail on both sides, however the wood appears to be stable. Minor losses to the gesso at the base of the tail and to the white paint on the bird's neck and chest. Light surface dirt. For a more detailed report and additional images please contact the department.
â–² Edward Bawden RA (1903-1989) 'Bawden in Portugal'a special section published in 'Motif: A Journal of the Visual Arts; No. 9: Summer 1962', printed at the Shenval Press, containing lithographic reproductions of a series of linocuts which Bawden made especially for Motif including 'Obidos', 'Lamego', 'Beja' and 'Evora'30.5 x 24cmCondition ReportThere are four double pages printed recto and verso and two further colour plates. The covers and end plates of the supplement are missing. A little time staining and light surface dirt. With folds as issued.
â–² Michael Ayrton (1921-1975) 'Portrait of Wyndham Lewis'signed 'Michael Ayrton', inscribed with title and dated '55/Jan: 16th' u.r., black chalk, with a second portrait in pen and ink and wash verso51 x 62.5cm, unframedProvenance: Sotheby's, 'Modern British and Irish Paintings, Drawings and Sculpture', 12 October 1988, lot 294;the property of a private collector.Condition ReportPinholes with tiny tears to the extreme corners. The sheet has been hinged to a mount with two pieces of tape applied to the reverse of the top edge. A little light smudging. There is a very faint border of discolouration to the edges.
â–² Roger Hilton (1911-1975) Untitled (Thrashing limbs), c.1968charcoal55 x 75cmProvenance: Jonathan Clark & Co. Fine Art, London;the property of a private collector.Condition ReportFramed: 68 x 88cmTime staining. Discolouration to edges. Pinholes in the corners. Rippling and light creasing with faint dirty marks. A 5mm tear to the right edge, upper centre. There are some small raised bumps to the right edge, lower centre. Scattered pale brown splashes in the lower quarter, with another 6cm in from the centre of the right edge, please refer to illustration. Not viewed out of glazed frame.
▲ ‡Alan Davie RA (1920-2014)‡ 'Double Jive', 1962 signed and dated 'Alan Davie/Jun 62' verso and also inscribed and dated 'Double Jive/Jun 62/Opus: 0.483', oil on canvas 152.5 x 183cm, unframed Provenance: With Gimpel Fils Ltd., London; the property of a private collector. Literature: Alan Bowness, 'Alan Davie', published by Lund Humphries, London, 1967, no. 419, illustrated. ‡ IMPORTANT NOTE: This lot has been imported from outside of the UK and placed under Temporary Admission. An amount in lieu of Import VAT will be charged at 5% on the hammer price. VAT at 20% will be added to the buyer's premium and will not be shown separately on our invoice. Please see the VAT Symbols and Explanation section of the Conditions of Sale for further information. Condition ReportSurface dust and dirt. The painting has a matt finish with some areas of gloss. There is dark blue/ green shape, centre right, where it appears the thick impasto has been impacted resulting in a small exposed loss. Not examined under UV light, for a full report please contact the department.
â–² Roger Hilton (1911-1975) 'Two Prawns'signed with initials and dated '74' l.l., gouache35.5 x 40cmProvenance: The estate of the artist;with Jonathan Clark & Co. Fine Art, London;the property of a private collector.Literature: 'Roger Hilton: Night Letters', edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.48.Condition ReportFramed: 48.5 x 52.5cmLight rippling. Pinholes to corners. Small scattered faint brown speckles which appear to be paint rather than foxing or a later condition issue. A small 1cm ridge in the paper to the upper edge, centre right, possibly a minor tear (?). Light marks and smudges. Well presented and ready to hang. Not viewed out of glazed frame.
â–² Mary Fedden RA (1915-2012) 'The Red Table'signed and dated 'Fedden 1957' l.l., inscribed with title on stretcher, oil on canvas 63 x 76cmLiterature: Christopher Andreae, 'Mary Fedden: Enigmas and Variations', Lund Humphries, Farnham, Surrey, 2007, p.20.Condition ReportDirty and very dusty. Canvas a little loose upper right and lower left. A matt finish to surface. Cracks and some craquelure to paint in places. Under uv light, two area fluoresce. These are around the knife and fork andthe upper right red of the table. Please see addtional images. Under normal light, these areas do not onviously llok like they have been retouched. There is age to the paint as seen in the craquelure (see details). Perhaps this is very old retouching but there is not obvious damage in these areas, so perhaps it was later painted by the artist.
â–² Clive Barker (b.1940) 'Large Homer', 2004polished bronze, stamped signed, titled, dated and numbered '1/3' on a plaque on the base verso45cm highCondition ReportDust and dirt to crevices. Tarnishing and superficial surface scratches, may benefit from a light clean. There are some small spots of verdigris emerging in places. For a full report please contact the department.
â–² Roger Hilton (1911-1975) 'Nude Couple Embracing', c.1970scharcoal25 x 20cmProvenance: The estate of the artist;with Jonathan Clark & Co. Fine Art, London;the property of a private collector.Exhibited: Tate, St Ives, 'Into Seeing New: Roger Hilton', 7 October 2006 - 21 January 2007.Literature: 'Roger Hilton: Night Letters', edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.160.Condition ReportFramed: 38 x 32.5cmCurved creases in the lower left corner. Appears to be mounted with small pieces of tape applied to the corners verso, which has caused a slight bump in the upper right corner. Light smuding and fingerprints which are believed to be by the hand of the artist rather than a later condition issue, please refer to illustration. Not viewed out of glazed frame.
â–² Guy Taplin (b.1939) 'Peep'carved and painted driftwood on a wood and metal base with shell, signed 'GUY TAPLIN' and inscribed with title on base20cm high overallProvenance: From a private collection.Condition ReportPresents well. A little light surface dust and dirt. The wood appears to be sound. For a more detailed report and additional images please contact the department.
â–² James McIntosh Patrick RSA (1907-1998) 'View from Craigie Knowes'signed 'McIntosh Patrick' l.l., oil on canvas46 x 56cmThis lot is sold with a signed letter from the artist discussing the painting.Condition ReportPROVENANCE: with a letter from the artist. Framed: 52x 62cmLight surface dirt. Craquelure in places. A few tiny scattered dark speckles in the sky. Stretcher marks starting to emerge along the top edge. Seen under uv light, no retouching visible.
â–² Guy Taplin (b.1939) 'Lapwing'carved and painted driftwood on a metal and driftwood base, signed 'GUY TAPLIN' and inscribed with title on base80cm high overallProvenance: From a private collection.Condition ReportLight surface dust and dirt. The wood appears stable. For a more detailed report and additional images please contact the department.
â–² David Hockney OM CH RA (b.1937) 'Portrait of Felix Man', 1969lithograph on japon, signed 'David Hockney' in pencil l.r.sheet 76.5cm x 53.5cm, unframedProvenance: The Estate of Stanley Jones MBE RE.There is the opportunity for this lot to be embossed with 'Estate of Stanley Jones' blind stamp after purchase.Condition ReportThe print is not numbered. Scattered spots of foxing. Light creases visible to the reverse. A diagonal crease mark to the lower right corner. Please see additional condition images. Deckled edges. Unframed.
â–² Guy Taplin (b.1939) 'Plover'carved and painted driftwood on a metal and driftwood base with shell, signed 'GUY TAPLIN' and inscribed with title on base37cm high overallProvenance: From a private collection.Condition ReportLight surface dirt. The wood appears to be sound without any obvious signs of cracking or evidence of repairs. Flaking paint to the base, presumed to be original. For a more detailed report please contact the department.
â–² Edouard Léon Cortès (French, 1882-1969) Boulevard de la Madeleine, le Soirsigned 'EDOUARD CORTES' l.r., oil on board22 x 27.5cmSold subject to authentication from the Comité Edouard Cortès.Condition ReportFramed: 39 x 44cmThere is a faint, very light horizontal scratch running through the centre, possibly a fine hairline split in the board, please refer additional condition images. There is no evidence of a crack to the reverse of the board. The work appears to be in otherwise good condition. Examined under UV light no retouching shows. The female figure in the lower left corner has a pink coat which fluoresces orange, however this is believed to be due to the colour of the paint used, rather than later overpainting.
Roger Hilton (1911-1975) Nude Turning, 1962a series of eight silhouettes of a model turning17.5 x 22.5cm,together with a signed letter in which the artist discusses the sequence of drawings, addressed to Mr Lederman and dated July 196222 x 24.5cm (9)Provenance: With Boundary Gallery, London;the property of a private collector.Condition ReportFramed: 34 x 39.5cmSmall scattered brown speckles of foxing starting to emerge. A small, faint pink mark in the lower left corner. Light handling creases to the upper third.Framed: 34 x 39.5cmVery minor handling creases, however presents well overall and appears to be in otherwise good condition.Framed: 34 x 39.5cmA small handling creases to the centre of the top edge. Appears to be in otherwise good condition.Framed: 34 x 39.5cmA very small handling crease crosses the thigh in the upper centre. Slight undulations to the upper right corner. A little rippling with a couple of tiny, faint dirty marks to the right edge.Framed: 34 x 39.5cmA tiny, very small handling crease to the upper centre. On very close inspection there are some fine colourless lines/ indentations which appear to be pressure marks from another drawing in the lower right quarter. Presents well overall.Framed: 34 x 39.5cmOn close inspection a very tiny handling mark is visible above the shoulder. There is a fine colourless line/ impression at the bottom of the figure which appears to be pressure mark from another drawing. The work appears to be in otherwise good condition and presents well overall.Framed: 34 x 39.5cmPresents very well overall.Framed: 39.5 x 34cmExtremely slight rippling and a couple of small, light handling creases to the upper third are visible under raking light. Presents well overall and ready to hang. Not viewed out of glazed frame.Letter. framed: 27 x 29cmA small brown spot to the right of the signature. Appears to be in otherwise good condition. Not viewed out of glazed frames.
â–² Jacob Kramer (1892-1962) Anna Pavlovasigned 'JACOB KRAMER' l.r., oil on canvas 132 x 79.5 cmCondition ReportFramed: 148.5 x 96cmA little unevenness to the finish with light surface scuffs and abrasions. Fine cracking to the hair. Very small scattered losses to the background in the lower left. A small dirty mark at the bottom of the skirt, lower centre. There is a 4cm x 4cm patch repair verso which corresponds to a small area of retouching above the dancer's front foot. Examined under UV light there are small scattered retouchings to the dress. Please see additional condition images.
â–² Edward Bawden RA (1903-1989) 'St Paul's' (MG 052)autolithograph in colours, 1958, with stamped signature and title, printed at the Royal College of Art, with RCA watermarksheet 49 x 62.5cmCondition ReportFramed: 63 x 76.5cmA little light surface dirt with small spots of foxing starting to emerge to the margins. The printed area appears to be in good condition. Not viewed out of glazed frame. It is unclear if the work has been laid down.
â–² Terence Cuneo (1907-1996) The German surrender at Lüneburg Heath, 4 May 1945signed and dated 'CUNEO/FEBRUARY 1969' l.l., oil on canvas 101.5 x 126.5cm;together with a collection of correspondence relating to the picture between Mr Haworth, of James Haworth & Brother Ltd., and others, including the 1st Viscount Montgomery of Alamein;later correspondence between Mr John Haworth and David McCleave (qty.)Provenance: Mr Haworth;the David and Pam McCleave Collection of Modern British Art.This painting depicts a monumental moment in history, captured at the time with photographs. No official war artist was commissioned at the time, and Field Marshal Montgomery was said to be disappointed that there was nothing more substantial than a few photographs to portray this important meeting. He had mentioned this to Garfield Weston (director of Fortnum & Mason) who then discussed it with James Haworth in 1968. It was Haworth who suggested Terence Cuneo as just the artist to recreate the scene, as can be seen in the accompanying correspondence sold with this lot. Cuneo preferred to work from life drawings, but agreed to proceed with the commission and it is said that 'Monty' was delighted with the painting. Originally, Garfield Weston intended for the painting to be displayed in the restaurant of Fortnum & Mason, but the acquisition did not proceed as planned. Consequently, the painting stayed with the Haworth family until 2006, when it was acquired by David McCleave.Condition ReportFramed: 120 x 145cmSlight rubbing to the edges. On close inspection there is a little very fine cracking starting to emerge in the upper left. There appears to be a small spot of overpaint above the door in the upper left corner, please refer to illustration. This can also be seen under uv light. No other obvious retouching was seen under uv. Presents well overall.
â–² Joan Warburton (1920-1996) Summer flowers in a cornfieldsigned with initials and dated '83' l.r., watercolour76 x 56cm, unframedCondition ReportPresents well. Brown tape to edges where stretched. There is light foxing to the reverse but the front of the work does not appear to be affected.
â–² Sir Eduardo Paolozzi RA (1924-2005) Untitled pencil 25 x 35.5cm, unframedProvenance: The artist's estate;thence by descent.Condition ReportA little very light time staining, appears to be in otherwise good condition. Executed on a sketchbook page. Presented in a mount with clear plastic corners.
ROYAL WORCESTER; a late Victorian hallmarked silver mounted four setting coffee service, comprising four silver mounted coffee cans, silver mounted milk jug, silver mounted twin handled sugar bowl, silver mounted coffee pot and four yellow ground gilt decorated saucers, the teapot hallmarked for William Hutton & Sons Ltd, London 1894, the remaining items later hallmarked for London 1896, combined weighable silver approx 3.7ozt/115g.Condition Report: There is a small hairline crack to one of the saucers, however all other items appear in good condition with no cracks, chips or hairlines, all items also appear free from crazing but all have light surface ware and tarnishing from silver.
A 9ct gold dress ring, with two double rows of four claw set cut blue stones separated by three columns each containing two diamond chips, size N, approx 5.82g.Condition Report: The condition of this ring is good with no visible damages other than some light tarnishing. Unfortunately, we will be unable to transfer this to our Devon saleroom but we can certainly post it in house if needs be.
MASONIC INTEREST; seven assorted Masonic hallmarked silver medals and jewels including Masonic Hospital medal, 11th Master 1966-1967, Euclid Lodge, no. 7476, presented to W Bro Marcus Clayton by the brethren for his most valued service as WM 1966-1967, WM 1955-1956, Eternal Light, two Founder badges, London jewel presented to W Bro A M Hart by the Lodge of Eternal Light as a token of esteem upon his appointment of the dignity of London Grand Rank October 1969, and seven further Masonic jewels including Royal Masonic Steward badge, Steward 1956, Steward 1948, Royal Masonic Institution for Girls 1962, London jewel, Eternal Light badge and Hospital badge (15).
A framed collection of approximately forty-eight military cap badges including King's Royal Rifle Corps, Wiltshire Regiment, British Army Infantry Regiment, Berkshire Regiment, Northamptonshire Regiment, Essex Regiment, Oxford and Buckinghamshire Light Regiment, Welsh Regiment, South Lancashire Regiment, Dorset Regiment, South Staffordshire Regiment, East Surrey Regiment, Duke of Cornwall's Light Infantry, Border Regiment, Royal Sussex Regiment, East Lancashire Regiment, Cambridge Regiment, Worcestershire Regiment, Gloucestershire Regiment, etc.
A pair of George V hallmarked silver matching tabletop photograph frames, each with dome top, blank circular panel and engine turned decoration, with wooden back and brackets, Birmingham 1923, height 20cm, width 14cm (2).Condition Report: Both backing plates are secured with celotape, glasses are also both loose however no signs of bends or breaks to the silver but some light tarnishing.
Pair of oak tambour front filing cabinets, labelled M.O.S. HMT/F5, width 49cm, depth 41cm, height 103cm, both with keys. Condition report:Both cupboards are in good condition, light signs of age and use. Tambours work well.Additional images have been uploaded to the lot page on our website for you to view.
Ercol light elm and beech rocking chair, hoop back with turned spindles, turned legs and rails on rockers, loose cushions, width 56cm, height 102cm.Condition report:No woodworm. Splits appearing at joints to the front of the chair. Large and small splits to back. Water marks in various places. Chip to edge. Noticeable difference between colour of back and seat covered by cushions and other areas. Please see additional uploaded images.
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