Tilly Kettle (London 1735-1786 Aleppo), Portrait of Edward Jeremiah Curteis, aged twelve, oil on canvas, 88.5 x 69cmEdward Jeremiah was the only son of Jeremiah Curteis and Jane (co-heir of Searles Giles, Esq. of Biddenden). He was M.P. for Sussex from 1820-1830 and married on April 14, 1789, Mary, only daughter and heiress of the Rev. Stephen Barrett, Rector of Hothfield, Kent and the last descendant of the ancient family Barrett of the Bent, Kilwick, Yorkshire. Condition Report Relined canvas. Paint surface is sound with scattered craquelure consistent with a work of this age along with some surface abrasions and traces of a discoloured varnish. Ultraviolet light reveals traces of uneven varnish, beneath which are suggestions of retouching to sitter's face, also to the collar, and sky, upper left, as well as to frame abrasions around each border.
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283287 Los(e)/Seite
Follower of Anna Joan Carlile, Portrait of a girl in a blue dress, oil on canvas, 69 x 36cm Condition Report Hard to say age of work because of retouching but we suspect early 18th century.Relined. Craquelure visible. Ingrained dirt. Large vertical line visible upper left quarter from old repair to canvas. Two very faint diagonal lines visible to lower left quarter.Inspection under UV reveals various areas of retouching including to face, body, dress and background. Also retouching to old repair in upper left quarter.Frame: various knocks, scratches, cracks, wear and tear and some old repair. But generally sound.
Dutch School, late 17th Century, Portrait of a gentleman wearing a white collar, dated '1670' (upper right) and inscribed 'Annos Natvs 48' (upper left), oil on canvas, 60 x 50cm Condition Report Canvas relined. The paint surface is very dirty with scattered marks, surface abrasions and stains. There is a vertical abrasion, running the width of the picture, approx. 1/4 of the way up the canvas, one further vertical abrasion off the lower, left border; both abrasions may have been due to the canvas being rolled. Ultraviolet light reveals no signed of retouching but an opaque varnish prevents a conclusive reading.
Follower of Sir Peter Lely, Portrait of Alexander Gordon, 5th Viscount of Kenmure and Lord Lochinvar (died 1698), oil on canvas, 72 x 60cm Condition Report Canvas relined. The paint surface has an uneven varnish, possibly due to over-cleaning; consequent areas of thin paint. Craquelure throughout consistent with a work of this age. Ultraviolet light reveals retouching to the sitters chin, lower left and beneath cravat; a few further scattered spots to background, upper right and upper left.
After Anthony Van Dyck, Portrait of the Duchess of Somerset (1599-1674), inscribed 'Duchess of Somerset' (upper left), oil on canvas, 74 x 61cm Condition Report Looks to be a 19th century copy.Re-lined. Craquelure visible, most noticeable to face and pale areas. Some white marks to lower centre. Some general dirt.
Attributed to Pierre Mignard (Troyes 1612-1695 Paris), Portrait of a lady wearing a blue dress, oil on canvas, 100 x 80cm Condition Report Canvas relined and restretched. The original oval stretcher mark is clear, within that there is extensive craquelure, particularly to the flesh tones, some of which is unstable; as a result flecks of paint loss to the sitter's face, chest, dress and background. Ultraviolet light reveals retouching to sitter's face and chest, to oval stretcher marks as well as an abrasion, lower left.
Studio of Sir Peter Lely (Soest 1618-1680 London), Portrait of Sir John Rivers 3rd Baronet, (died circa 1679), and his wife Lady Anne, oil on canvas, 144 x 183cm (unframed)Provenance:By descent through the Rivers familySouthampton Museum and Art Gallery circa 1960 - 1988Private UK collection Condition Report Canvas relined and restretched. Scattered craquelure to paint surface, particularly to flesh tones and to darker pigments in the background, consistent with a work of this age. Other than a few minor, scattered surface abrasions the surface is generally sound. Ultraviolet light reveals an even varnish and a few lines of infilling to the lady's face, to her dress, and a scattered areas to background.
A group of 19th century portrait miniature silhouettes and a drawing of two young ladies, within ebonised and gilt frames (8). Condition Report Portrait of a gent in brass is on plaster there are some scuff marks to the upper edge and it is rather dirty, would benefit from a clean. The lady in the oval beaded frame is on card with some paint loss and foxing. See additional images.
Gerard Soest (Westphalia circa 1600-1680/81 London), Portrait of Dame Ann Robinson, half length, in a silver dress, inscribed with sitter's name (centre left), oil on canvas, 74.5 x 62cm Condition Report Canvas relined. The paint surface is sound, with areas of craquelure, particularly to the flesh tones, consistent with a work of this age. Ultraviolet light reveals extensive retouching to background, upper left, infilling to craquelure throughout, in particular to folds of dress, lower right, to flesh tones, the sitter's forehead, nose, along with evidence of a repair to the sitter's right cheek.
English School, 17th Century, Portrait of a lady wearing pearls, oil on canvas, 74.5 x 60cm Condition Report Relined. Craquelure visible, especially to paler areas. Small white and dark spots visible in places. A little possible retouching to end of nose and above centre of lip.Inspection under UV light reveals some patches of retouching including to upper centre, left edge and lower left quarter. Varnish prevents further examination.Frame: knocks, scratches, cracks, some small losses, wear and tear. Rubbing to gilding. Otherwise sound.
Joseph Highmore (London 1692-1780 Canterbury), Portrait of Elizabeth Banks, signed 'Jos Highmore Pinx' (centre right), oil on canvas, 60 x 45cm Condition Report The canvas has been relined. The paint surface is generally sound with traces of craquelure consistent with a work of this age. Ulttraviolet light reveals a thick varnish but no sign of reotuching, however the opaque varnish prevents more conclusive examination. Held in an ornate plaster gilt frame, with oyster shell corner ornaments, some chips to gilt work and repairs.
Follower of Sir Peter Lely, Three quarter length portrait of Melusine von der Schulenburg, Countess of Feversham (1667-1743), oil on canvas, 120 x 98cm Condition Report Relined canvas. There is an extensive craquelure pattern to the paint surface, consistent with a work of this age, which is stable. The paint to the shawl seems thin, possibly due to overcleaning. Ultraviolet light reveals retouching to surface abrasions/repairs, upper left and upper right; infilling to craquelure to the flesh tones, along with an area to the sitter's chin; further retouching to abrasions/repairs to dress, lower right and lower left. Further scattered retouching to background and frame abrasions. Held in a modern frame in sound condition but with a few chips missing.
Attributed to Sir Thomas Lawrence (British, 1769-1830), Portrait of Sarah Lysons (1802-1833), inscribed 'Sarah Lysons, daughter of Revd Daniel Lysons of Hempsted Court, and wife of Revd John Haygarth of Upham Rectory, Hampshire. Sketched by Sir Thomas Lawrence' (verso) and bears plaque with details of sitter (to frame), pencil sketch, 15.5 x 13.5cm
American School, 19th Century, Portrait of a gentleman, seated in an interior, reading the Boston Herald; Portrait of a lady and child in a garden, a pair, oil on panel, each 62 x 46cm (2) Condition Report Gentleman: vertical crack to panel, with retouching visible to the crack under u.v. light, and other restorations. Lady: Some retouchings visible under u.v. light, both would benefit from a light clean.
Follower of Sir Peter Lely, A bust length portrait of Lady Elizabeth Spencer, oil on canvas, 46 x 34cm Condition Report The canvas has been relined. The paint surface is generally sound with a craquelure pattern consistent with a work of this age. Ultraviolet light reveals traces of of an uneven varnish with more recent retouchings to the sitter's face and neck. Held in an ornate plaster gilt frame, with some repairs and losses to giltwork.
English School, 18th Century, Portrait of a boy in a grey coat, holding a hat, oil on canvas, 71.5 x 61cm Condition Report ***Please note amended catalogue description***The canvas has been relined and extended along the left-hand border. The surface is generally sound although there is evidence of an old abrasion/repair, lower right. Scattered craquelure consistent with a work of this age. Ultraviolet light reveals an old opaque varnish, traces of old retouching to the face. Varnish prevents further examination. Held in a later plaster gilt frame with some chips to giltwork, old marks and scratches, otherwise sound.
Circle of Sir Henry Raeburn (Stockbridge 1756-1823 Edinburgh), Portrait of a gentleman, half length, in a black coat, oil on canvas, 74 x 62cm Condition Report The canvas has been relined. The paint surface is generally sound, one small surface abrasion, upper right. Ultraviolet light reveals traces of old varnish and areas of retouching to the sitter's face and cravat. Held in a later, plaster gilt hollow-design frame with some old marks and scratches but otherwise sound.
Studio of Sir Godfrey Kneller (Lubeck 1646-1723 London), Portrait of a lady in a yellow dress with a basket of flowers, bears signature (lower left), oil on canvas, 90 x 70cm Condition Report Canvas relined. The paint surface is generally sound with scattered craquelure consistent with a work of this age. There is an abrasion to the sitter's forehead, to the background, upper left and one further to the sky, upper right, to the cuff, lower centre, to the table, lower left and frame abrasions to the extreme lower right corner. An opaque varnish prevents further examination.
Francis Alleyne (British, fl. 1774-1790), Portrait of a gentleman with his horse and dog, oil on canvas, 37 x 28.5cm Condition Report Re-lined. Craquelure visible and a circular line visible arching across top of head. Some general dirt and small white spots visible in places.Inspection under UV light reveals traces of old varnish, particularly to outer edges and lower left. Also, well executed infilling to craquelure to various places including face and head.Please see additional photos on website.Frame: Some losses. General wear and tear.
Theodore Russell (London 1614-1689), Head and shoulder portrait of the Countess of Devonshire, oil on canvas, 38 x 30cm Condition Report Relined. Craquelure visible throughout. Some stretcher marks visible. Some very small white and dark spots.Inspection under UV reveals some small areas of retouching, including to old stretcher mark in upper left quarter. Some further flecks of retouching to chest and dress. Opaque varnish prevents further examination. Some later retouching to right shoulder and lower neckline of dress. Please see additional photos on website.Frame: some losses to gilding, various knocks and scratches, general wear and tear.
Thomas Gibson (London, circa 1680-1751), Portrait of George Vertue, oil on canvas, 74 x 59cm Condition Report Canvas relined. The paint surface is generally sound with a scattered craquelure pattern, particularly to the background, consistent with a work of this age; this is currently stable. One small patch of minor surface staining, upper left. Ultraviolet light reveals an opaque varnish, retouching to an approx. 2cm horizontal repair halfway down the sitter's right lapel, further infilling to the sitter's left hand, to frame abrasions along the lower border; the aforementioned varnish prevents further conclusive examination.
English Provincial School, 19th Century, Portrait of a gentleman, oil on canvas, 59.5 x 49cm Condition Report Canvas relined and restretched. The paint surface has a thick discoloured varnish, scattered craquelure to the sitter's face and to the background. There is a small patched repair, lower left. Ultraviolet light reveals possible retouching to sitter's collar but the aforementioned varnish prevents conclusive examination.
After Raphael, Self Portrait, oil on board, 20.5 x 16cm.; in a carved and pierced giltwood frame Condition Report There are light surface abrasions to the panel surface; scattered fine craquelure and some minor areas of separation to the background. Ultraviolet light reveals retouching to the sitter's hair and collar, also to frame abrasions, lower centre and the right hand border. An opaque varnish prevents further examination.
An Austrian zwischengold glass date portrait beaker by Johann Joseph Mildner, 1792, of cylindrical form, painted with a portrait of a fashionable gentleman, the reverse of the panel inscribed Freundschaft is das schonste Band, das nur je ein Mensch erfand, 1792 Mildner Gutenbrunn, the inner rim with an inscription about friendship, within red and gilt borders, the base with a gilt radiating star, (a.f), 11.1cm. high. Condition Report Impact blow to rim of the glass on the reverse resulting in a networks of cracks, overall area approx. 2 cm. by 1.5cm. Another vertical crack to the rim extending the width of the top border, approx. 1.5cm. length. Some wear wear to the silvering and the inscription on the inner top border.Some wear to the gilding.
Bruce Fleming (British, b. 1937) JIMI HENDRIX, 1967: a limited edition portrait photograph of Jimi Hendrix taken by photographer Bruce Fleming at Fleming's London studio, 1967, copper toned, signed by the photographer and numbered A9/50 lower mount, the photographer's printed studio label on verso, limitation number, titled, dated May, 2001 and further signed by Fleming, the image 41cm x 32.5cm within mount, framed and glazed; together with Jimi Hendrix at the Monterey Festival, 1967, a colour photographic print from the series The Golden Age of Rock, number 1452, published by Pomegranate Publications, California, reproduced with permission of the Jimi Hendrix Estate, 48cm x 63.5cm, unframed. (2) * the three day Monterey International Music Festival, June 16 - 18, 1967 at the Monterey County Fairgrounds. (2)Provenance: purchased by the vendor from Bonhams & Brooks, 'The Jimi Hendrix Experience' Auction, 21 June, 2001. both items originally consigned for sale by Hendrix's girlfriend, Kathy Etchingham; accompanied by Bonhams and Brooks bill of sale. Ex Lot 34 and part ex Lot 38.ARR Condition Report 1 Bruce Fleming photograph - 63.5cm x 53.5cm overall in a light wood frame, clean condition: 2) Jimi Hendrix at the Monterey Festival - minor creases, marks and indents overall, tape present to all four corners on verso.
A group of George III, comprising a teaspoon, Thomas Wallis II, London 1798, 13.5cm long, a tea caddy spoon with bright cut decoration, with 'EMJ' monogram, London 1793, 8cm long, a leaf form caddy spoon, John Lias, London, 1796, 7.5cm long, an early 20th century mustard pot with blue glass liner, rubbed military inscription and hallmarks, 9.8 by 4.5 by 7cm high, and three Edward VII and later silver spoons: an ornate teaspoon with twisted handle and profuse engraved decorations, Levi & Salaman, Birmingham 1901; one with a dog portrait to its finial, J A Restall & Co, Birmingham 1932, 9.1cm long, and another teaspoon, James Dixon & Sons Ltd. Sheffield 1920, 11.8cm long, 5toz of weighable silver. (1 bag)
ALESSANDRO CITTADINI (ITALIAN, 1820-1877), PORTRAIT OF EMILIE FRASER, painting on ivory, signed and dated 1847, 5.4cm x 4.2cm, in a gilt oval mount, inscribed verso Emilie Fraser born Octr 6th 1814, died Feby 28th 1887, in a fitted case Note: This portrait depicts Emilie Fraser, nei Nottabohm(?).
LATE 19TH CENTURY FRENCH FIGURAL MANTEL CLOCK, the two train movement by Japy Freres et Cie., with blue enamel Roman numeral chapter markers, the cast brass case surmounted by a group of two gentlemen in 15th century dress playing a game of chess, the dial flanked by two ceramic portrait panels, on a shaped rectangular base on four bun feet, 47cm high
Portraits: A Fine Mid-18th Century Ivory Fan with elaborately shaped monture, designed to coordinate with the design on the leaf. The guards feature cherubs to the tips, the upper guard then painted with the portrait of a wealthy gentleman wearing a powdered wig. The lower guard is painted with a lady in tall bonnet tied under the chin. Three portraits are visible, two to the recto, one to the verso. The gorge sticks alternate between straight sticks, gilded, and others shaped to accommodate colour portraits, cherubs, birds, and urns, some highly gilded. The two central portraits face each other in profile, exchanging a tender gaze, the gentleman to the left in green velvet and powdered wig, the lady to the right in pink gown and white bonnet tied with a pink ribbon. Quite a bulbous head. The double leaf, in silk, is vibrantly painted, featuring five oval vignettes, bordered with gold sequins, two containing musicians, three with dancers. Two ladies in pink are dancing. One gentleman, seated, plays the violin. A younger man performs with a tambourine and the last gentleman, in blue to the left, appears to be dancing. Each painted panel is divided from the others with a formal column, the design in silver metal and sequins, bordered with strong gold. Elsewhere, the leaf is painted with extravagant drapes, tokens of love and flowers. Light decoration to the verso, following some of the design from the recto, in orange, with painted pink roses. Guard length approx. 10.5 inches or 26.5cm.. This fan has been framed, the frame available within the hammer price if required. The verso is seen to have a fair amount of repair to folds. Some losses to the gilding, which is generally dull.
A John Brooker Original, number 65 from a limited edition of 100 and signed by John on the verso. Printed in London and retailed by the Fan Museum Trust. From an original painting by David Walker, who was a theatrical designer and attended Art School with Helene Alexander. Issued to commemorate the wedding of the Duke and Duchess of York in 1986. With a portrait of each of the happy couple, a central initial ''A'' above two winged cherubs, one holding aloft a flaming torch. The reserves are printed with Neptune, a mermaid, sea shells, butterflies and floral garlands looped with gold wedding rings. The monture is of ivory, with the upper guard carved with a thistle.. As new.
A Palmette or Jenny Lind Fan, the panels of black paper, each embroidered with black beads and gold sequins in a floral design. The verso is plain. Together with A Folding Fan in plain black cotton, opening to a half circle, the second guards clipping together to form a handle, the word ''PATENTIRT'' marked on one handle; A Black Gauze Folding Fan, the double leaf embroidered to the recto in vertical rows with gold sequins of different shapes and sizes. The verso is plain, the black monture is clouté; A Mid-19th Century Fan, the lithographed leaf mounted on sturdy white Mother of Pearl, carved, pierced and heavily gilded, the central gorge featuring a suitor offering a gift to his lady, her gown in bronze, this cartouche bordered in gold, the reserves with floral detail. The recto features three young couples dancing in a clearing to a tune played by a piper, buildings and a mountain range in the background. The verso shows a simple scene of ruins surrounded by water. The elaborately shaped gold metal loop is fitted with coloured stones to the rivet and a red stone to the lower shaped portion; and A Wood Fan, the monture gilded, probably Spanish, the fabric leaf printed with a cheerful profusion of colourful flowers, enclosing a central cartouche of a young lady in 18th century costume smiling beguilingly for her portrait. The verso is plain brown glazed cotton (5). Some rubbing to the paint on the folding fan sticks.. The MOP fan has damage to the monture, some glue residue, some splits and rubbing to the leaf.
An Ornate and Striking 19th Century Ivory Fan, the monture gently shaped, etched and tinged with colour to the guards, the gorge continuing the floral theme in bands, with a band of elongated ovals and leaves. The cream silk leaf is painted with three separate romantic scenes, the largest featuring a musical gathering, all set in the 18th century. Each scene is bordered with tiny gold sequins. Any remaining space is painted with small pink flowers. The verso is plain cream silk. Guard length approx. 9.5 inches or 24cm. Together with A Similar Cream Silk Fan with central scene of a wealthy family at leisure in a park, this cartouche being embroidered with tiny coloured spangles as a narrow border, these being embroidered elsewhere in the reserves, as highlights within meandering flowers and leaves. The verso is plain, a second layer of cream silk. The monture is quite formal but understated in design against the lightness of the leaf design. Guard length approx. 9.5 inches or 24cm. Contained in a Duvelleroy fan box covered in floral brocade; and A Small Ivory Fan mounted with a pink silk leaf, painted with small pink and white flowers and green leaves, this being continued on the guards and gorge. Centrally, a portrait of an 18th century lady wearing a large hat perched atop a high formal hairstyle in the spirit of Marie-Antoinette, bordered with tiny gold sequins. Double layer of silk but mounted à l'Anglaise. Guard length approx. 7.5 inches or 19cm (3) . The first fan, some front leaf folds have splits but the two layers of silk have prevented severe loss. The lower guard has been repaired with a small metal plate. The second fan is in good order. The box is grubby and some edging braid is damaged. The clasps work well. Fan 3, the portrait panel is detaching at one side and the ribs need some reattachment.
Portrait of Constable: A Small 19th Century Vernis Martin-Style Painted Ivory Brisé Fan, the central cartouche showing a rural scene with a cottage by a riverbank, a boat in the water, flanked on either side by portraits, one of a man to the left, in front of an easel, holding an artist's palette and brush, and a woman to the right in pensive pose, most likely John Constable and his wife Maria. In the centre a view of Lott's Cottage. The reserves and guards are painted with many different floral designs, the gorge particularly attractive. The verso shows a country scene of a farmer's cart crossing the river, a cottage to the left, after Constable's ''The Haywain''. Twenty-eight inner sticks and two guards. The head is finished with turquoise stones, and an abalone thumb guard is fitted to each side. Guard length approx. ……. The Hay Wain, originally titled ''Landscape: Noon'' is a painting by John Constable, finished in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex.. Very slight rubbing to the paint.
A 20th Century Fan in fontange form, the cream cotton painted with a big, blousy poppy and light green leaves. The monture, of simply shaped wood sticks painted white, is also silvered. Mounted à l'Anglaise, the verso is plain. Together with A Cockade Advertising Fan for Melins Food, ''untouched by hand'' the recto with a charming portrait of a young mother and her blonde haired daughter, the lower half with stylised lilies; A Folding Fan with simple monture and double paper leaf, advertising ''Chocolats Royat'' and listing locations for the shops, the recto then showing scenes from these locations, including Lyon and Vichy; and Another Fan advertising Nestlé chocolate (4)
A mid 1800's Brazilian Naval Hero Admiral's uniform belonging to an Englishman, Admiral John Pascoe Grenfell comprising of Bi-corn hat with Lisbon tailors makers mark, tunic with heavy bullion wire embroidered decoration, British made buttons, pair of removable epaulettes, along with matching trousers, brocade belt with buckle and knot, dress sword with approx 700mm long blade (Cannot be removed from scabbard) upper fitting loose, overall length 900mm, framed oval portrait photograph in gilt frame approx 300mm in size overall, all housed in a large glass fronted wooden display case with hinged side access panels. https://en.wikipedia.org/wiki/John_Pascoe_Grenfellhttp://www.grenfellhistory.co.uk/biographies/john_pascoe_grenfell.phphttps://www.findagrave.com/memorial/185901176/john-pascoe-grenfellhttp://www.thepeerage.com/p42655.htmhttps://libguides.liverpool.ac.uk/library/sca/johnpascoegrenfellCONDITION:All items have significant moth damage, wear and holes and old sewn repairs. The sword is rusted into the leather scabbard and cannot be removed.
WW2 Tirpitz survivor Alfred Zuba signed on the reverse of 5 x 3 b w portrait photo of him in uniform. With note and autograph to my dear friend Tom Bennett Per Ardua ad Astra. Bennett flew with 617 sqn on the raid which sunk the Battleship. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Jenny Watson Old Black Cat, 2020 Rowney Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jenny Watson is a post-conceptual painter represented by Vigo Gallery in London. She draws aspects of daily life into her art practice. Here the self, a bird, a cat and a horse are assembled as a set of key images urgently rendered in watercolour. She often uses the device of self-portrait as alter ego. Disjunctive combinations of image, text, haberdashery and objects alongside traditional painterly formats are often presented in an interrogation of painting itself. Jenny Watson was born in 1951 in Melbourne, Australia. She completed her Diploma of Painting, National Gallery of Victoria Art School, Melbourne, Australia (1972) and Diploma of Education, State College of Victoria, Melbourne, Australia (1973). From 1978-1984 she was a Partner in Art Projects, Melbourne, (Artist run space). Since 2002 Jenny has been an Adjunct Professor, Queensland College of the Arts, Griffith University, Australia.
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283287 Los(e)/Seite