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Preisdatenbank abonnierenSores, H. (19. Jahrhundert) Portrait einer Frau, Öl auf Leinwand. Portrait einer älteren Frau, die sich gerade etwas einschenkt und dabei den Rezipierenden betrachtet. Rotes Halstuch und grüner Krug ergeben ein schönes Spiel der Komplementärfarben. Rechts unten signiert. Craquele auf Vorder- und Rückseite.Leinwand 34 x 43 cm. Rahmen 61 x 67 cm.Standort: Engen
Antikes Schmuck-Lot, vierteilig, bestehend aus:1. Brosche "Glaube, Liebe, Hoffnung", besetzt mit kleinem Opalsteinchen, sowie mit Kreuz, Anker und Herz, Länge 2,5 cm. Breite 2 cm. 2. Runde Brosche, mittig Portrait eines Kindes, umrandet von kleinen Perlchen, Durchmesser gesamt 3,5 cm.3. Brosche im Jugendstil-Dekor, mittig Portrait eines Kleinkindes, flankiert von zwei Granatsteinchen, vergoldet, Länge 4 cm, Breite 2 cm. 4. Anhänger, mittig Portrait eines Mädchens, gefasst, mit Öse, beidseitig tragbar, Länge 2 cm, Durchmesser 1,5 cm.Standort: Konstanz
Kopist Fini (20. Jahrhundert) Freie Komposition, Öl auf Leinwand.Das vorliegende Werk vereint drei Gemälde von Leonor Fini (1907-1996). Zu sehen sind Ähnlichkeiten zu seinen Werken "Dans la Tour" (1952) und "Portrait féminin no.14" (1940). Eine spannende Auseinandersetzung mit Finis Werk. Nachdenkliche Frau, zu ihren Füßen Fische und Meerestiere im Sand. Über ihr, surrealistisch anmutend, eine angedeutete Raumecke, ein Mann und eine Frau lehnen an einer Säule. Leinwand geschlitzt, auf einer Länge von ca. 34 cm, rückseitig geklebt. Leinwand 78 x 57 cm, gerahmt 94 x 72 cm.Standort: Engen
Gabriel Metsu, Die KesselputzerinÖl auf Holz. 24 x 20 cm.Signiert unten links: G. Metsu.ProvenienzPieter Leendert de Neufville um 1752. – Dessen Versteigerung, Amsterdam, 19.6.1765, Lot 64 (Lugt 1470). - Wohl Christie‘s, London 28./29.4.1837, Lot 48. - Rev. J. Clowes, Manchester, um 1842, - Rev. W. Jones Thomas (Llanthomas Hay Breconshire). - Dessen Versteigerung, Christie‘s, London, 9.10.1886, Lot 149. - Dort von Martin Colnaghi erworben. - William James, London, um 1890. - Kunsthändler Daniel Katz, Dieren, von 1935 bis 1938. - Kunsthändler T. Erneking, Arnheim, um 1940. - Sidney J. van den Berg, Wassenaar. - Duits Gallery, London, dort von C. Napper im Februar 1954 erworben. – Christie‘s, London, 1.4.1960, Lot 81. - Dr. H. A. Wetzlar, Amsterdam 1960. - Duits Gallery, London 1961. - Englische Privatsammlung.AusstellungenLondon, Royal Academy, 1890, no.94 (Leihgabe William James). - Cinq siècles d’art (exposition universelle et internationale de Bruxelles), Brüssel, 1935, Nr. 744. - Tentoonstelling van schilderijen door Oud-Hollandsche en Vlaamsche meesters waaronder beroemde meesterwerken als Rembandt, Frans Hals, Jan Steen enz. Enz. uit de collectie der Fa D. Katz te Dieren, Rotterdamsche Kunstkring, Rotterdam, 1935, Nr. 40. - D. Katz. Tentoonstelling van 16de en 17de eeuwsche Hollandsche en Vlaamsche schilderijen…, Amsterdam, 1938, Nr. 43.LiteraturG. Hoet: Catalogus of naamlyst van schilderyen, met derzelver pryzen. Zedert een langen reeks van Jaaren zoo in Holland als op andere Plaatzen in het openbaar verkogt…, Den Haag 1752, Bd. 2, S. 513 (gelistet als in der Slg. Pieter Leendert de Neufville: „een Vrouwtje dat een Keetel Schuurt, door [Metzu]. H. 9 en een half d., br. 8 en een half d.” (24,4 x 21,9 cm). - J. B. Descamps: La vie des peintres flamands, allemands et hollandais, avec des portraits gravés en Taille-douce…, Paris 1753-63, Bd. 2, S. 245: „chez M. Leender de Neufville… une Femme qui écure une chaudière“. - G. Hoet und P. Terwesten: Catalogus of naamlyst van schilderyen, met derzelver pryzen…, The Hague, 1770, S. 473. - J. Smith: A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters […], London 1829-42, vol. 4, S. 100-101, Nr. 87, suppl., S. 523, Nr. 24. - C. Hofstede de Groot: Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, Esslingen-Paris 1907, 28, 130a und 212. - F. W. Robinson: Gabriel Metsu (1629-1667). A Study of his Place in Dutch Genre Paintings of the Golden Age, New York 1974, S. 79, Abb. 187. - C. Moiso-Diekamp: Das Pendant in der holländischen Malerei des 17. Jahrhunderts, Frankfurt-Bern-New York 1987, S. 371-2, Nr. D 2. - W. E. Franits: Paragones of Virtue. Women and Domesticity in Seventeenth-Century Dutch Art, Cambridge-New York 1993, S. 96, Abb. 77. - A. E. Waiboer,: “Why Buy a Vermeer when a Metsu is Available”. The Relationship between two Dutch Genre Painters”, in: Ausst.-Kat.: Gabriel Metsu, Dublin-Amsterdam-Washington 2010-11, S. 46. - A. E. Waiboer: Gabriel Metsu. Life and Work, New Haven / London, 2012, Nr. A-36, S. 49 (Abb.) und S. 185.Diese Darstellung einer Frau, einen Kessel putzend, stellt ein bedeutendes Werk Gabriel Metsus aus seiner frühen Zeit in Amsterdam dar, das um 1655 zu datieren ist. Die Provenienz des Gemäldes lässt sich bis in das Amsterdam des frühen 18. Jahrhunderts, in die Sammlung De Neufville, zurückverfolgen, die zu den bedeutendsten in den Niederlanden zählte und die größten Meisterwerke der holländischen Malerei umfasste.Das Bildthema ist bescheiden, die malerische Ausführung dafür umso brillanter: Metsu stellt eine Küchenmagd dar, die an einem Fenster stehend einen Kessel putzt, zu ihrer Rechten und Linken hat sie weitere Haushaltsgeräte auf der Fensterbank abgestellt. Während die Magd ihrer Arbeit nachgeht, hat sie den Kopf zum Betrachter gewandt und schaut ihn an. Gabriel Metsu zog Mitte 1654 nach Amsterdam, ein bedeutender Schritt in der Karriere des Künstlers. Seine künstlerische Ausbildung lässt sich nicht exakt rekonstruieren, er lernte wohl bei Anthonie Claesz. de Grebber, Nikolas Knüpfer und Jan Weenix. Ob er auch bei Gerrit Dou, dem führenden Künstler der Leidener Feinmalerei studierte, wie aufgrund thematischer und stilistischer Affinitäten angenommen worden ist, lässt sich nicht sagen; sicher ist jedoch, dass Dou eine wichtige künstlerische Inspiration für den jungen Künstler darstellte, der sich anschickte, den heiß umkämpften Kunstmarkt in der Metropole Amsterdam zu erobern. Metsu spezialisierte sich in seiner ersten Amsterdamer Zeit auf Genreszenen, wie es etwa auch Gerard ter Borch oder Nicolaes Maes taten. So entstand der Bildtypus der Küchenmägde, die ihrer Tätigkeit im Haushalt nachgehen, zu denen das vorliegende Gemälde zählt. Künstler wie Jan Miense Moleaner und Jacob Vrel hatten derartige Themen behandelt, jedoch mit einer sexualisierten Konnotation. Diese entfällt bei Metsu: Er lässt die männlichen Figuren weg, stellt die Frauen stattdessen als einzelne Dreiviertelfiguren dar und entwickelt so einen neuen, moderneren Bildtypus (Waiboer, op. cit., S. 49). Zu dieser Werkgruppe zählen neben diesem Werk „Die Köchin“ in München (Staatliche Staatsgemäldesammlungen, Alte Pinakothek); „Eine Küchenmagd, Fisch zubereitend“ in Madrid (Museo Nacional Thyssen-Bornemisza); „Eine Küchenmagd, Äpfel schälend“ in Paris (Abb. 1; Musée du Louvre) sowie „Eine Frau, Wäsche waschend“ in Warschau (Muzeum Lazienky Królewskie, Palac na Wodzie). All diesen Bildern ist gemeinsam, dass die Einzelfigur der Magd bei ihrer alltäglichen Arbeit gezeigt wird, dabei den Betrachter anblickt und so mit diesem unmittelbar interagiert. Mal ist es die Oberfläche eines Zinnkessels, mal das Fell eines erlegten Hasen, mit dem Metsu, fast beiläufig, dem Amsterdamer Kunstpublikum sein Können vor Augen führt. Aus dieser Werkgruppe ist das vorliegende Gemälde das Einzige, das sich heute nicht in einem großen öffentlichen Museum befindet. Ein Meisterwerk unter Meisterwerken – Gabriel Metsus Kesselputzerin in der Sammlung De NeufvilleDas Jahr 1763 sah mit dem Frieden von Hubertusburg das Ende des Siebenjährigen Krieges – ein freudiges Ereignis, das gleichwohl zu einer internationalen Finanzkrise führte. Die Getreidepreise fielen drastisch, Banken und Handelshäuser konnten Kredite nicht mehr bedienen, in Deutschland und den Niederlanden gingen dutzende Bankhäuser in Konkurs, darunter auch die Gebroeders De Neufville in Amsterdam. So war Leendert Pieter de Neufville gezwungen, seine superbe Sammlung Alter Meister zu veräußern, die er und vor allem sein Vater Pieter Leendert de Neufville aufgebaut hatten. Die Werke dieser Sammlung würden heute jedem Weltmuseum zur Ehre gereich: Jan Vermeers „Milchmädchen“ (Abb. 1; Rijksmuseum); Frans van Mieris‘ „Allegorie der Malerei (J. Paul Getty Museum); Rembrandts „Portrait des Schiffbauers Jan Rijcksen und seiner Frau Griet Jans“ (Collection of H. M. The King, Buckingham Palace), Govaert Flincks „Jakobssegen“ (Rijksmuseum) oder Nicolas Berchems „Kindheit des Zeus“ (Mauritshuis) neben bedeutenden Werken von Gerard ter Borch, Jan van der Heyden, Nicolas Knüpfer und vieles mehr. Die Sammlung umfasste auch drei Gemälde von Gabriel Metsu, darunter diese Küchenmagd, die einen Kessel putzt; so hing dieses Meisterwerk bis zur Versteigerung der Sammlung zusammen mit anderen atemberaubenden Meisterwerken im Palais an der Herengracht in Amsterdam.
Francois Jouvenet d. J., Portrait Le Sire de la Grange (Oberbürgermeister von Thionville)Öl auf Leinwand (doubliert). 78 x 60 cm (oval).ProvenienzSeit dem Ende des 18. Jahrhunderts in französisch-deutscher Adelssammlung.Die Zuschreibung an Francois Jouvenet d. J. und eine Datierung in die Jahre um 1715 geht auf die Familientradion der Eigentümerfamilie zurück.
MARGARET PEACH, British (XX-XXI), Master of Hounds, Portrait of Peter Neilson, Master of the Duke of Buccleuch Fox Hunt, on his horse Nod, oil on canvas, signed LR: Margaret Peach 1980, 75cm x 90cm Neilson was Master of Hounds for the Duke of Buccleuch for approximately 15 years, he was also well known internationally as the Scottish Horse Whisperer, and also as a writer best remembered for ‘Nod Whisper’s’.
A ladies trinket box, with portrait miniature of Frances Villiers, Countess of Jersey, circa 1825, the bust length oval portrait, signed indistinctly LR, 9cm x 7.5m, set in a shagreen covered hinged box, 15cm wide, 13cm deep, 5cm high (Countess Jersey inscribed to reverse of miniature) The countess was a notorious mistress and Lady of the bedchamber for George IV. The Alastair & Sheila Brooks Collection: of Oaklands (& past owners of Ednam House Hotel), Kelso (Part One) Ivory licence 4UFMBBF2
Framed Print of St.Paul's Cathedral London and 3 other framed prints (4)St Paul's from the South Bank of the Thames. By Wifried Hug....... Gallery stamp bottom left.Three others of The Earl of Besborough, Breaking the Ice, Bolton Abbey in the Olden TimesThe two portrait prints Image size: 47 x 34 cms approxFrame size: : 68 x 52 cms approxThe two landscape prints Iargest image size: 46 x 57 cms approxFrame size: : 61 x 71 cms approxCondition: Good
John Taylor (British, 1739-1838) Mrs Richardson, wearing robes with wide sleeves, resting her right arm upon a covered plinth, plumbago oval portrait miniature, pencil, in moulded giltwood frame, overall 25cm v 19.5cm. Provenance: Bonhams, Sale 17964, Fine Portrait Miniatures, Lot 33, 8th April 2010.
A 19th century portrait miniature of a gentleman, possibly Arthur Wellesley, 1st Duke of Wellington, oval, watercolour on paper, in black acorn frame, together with a pair of portrait miniatures of Mr & Mrs Whitehead Selby, provenance: The Christopher Banks Collection, 21 October 2017, together with two other antique portrait miniatures (5)
David Paton (Scottish, active 1660-1695), Sir William Scott (c.1670-1725), plumbago oval miniature portrait on vellum, the sitter wearing cloak, lace cravat and long curling wig, turned and ebonised wood frame, the reverse with the sitter's details, overall 13cm x 11.5cm. Provenance: Bonhams, Sale 18840, Fine Portrait Miniatures, Lot 123, 25th May 2011.
Harris (Walter); 'The Whole Work of Sir James Ware concerning Ireland Revised and Improved', 2 vols, pub. Robert Bell and John Fleming, Dublin, 1764, First Edn., with portrait frontis and numerous fold-out plates and charts, quarter leather binding (2) Provenance; The Alan Winning Collection of Antiquarian Maps, Books and Atlases. Beginning in the 1970’s with an interest in the 19th Century development of the railway network and the County Maps of this period that charted it, Alan expanded his academic interest into good early printed maps, town plans, travel guides, books and atlases and has been adding to his collection over the past 50 years.
A group of Scottish interest books, comprising - 1. Barrington (Michael): Grahame of Claverhouse, Viscount Dundee, 1648-1689, pub. London: Martin Secker, 1911, orig. tan cloth gilt with armorial, portrait frontis. plus six plates and two folding maps, 4to 2. Keltie (John S., ed.): A History of the Scottish Highlands, Highland Clans and Highland Regiments..., pub. Edinburgh & London: A. Fullarton & Co., 1875, 2 vols, red half calf with red cloth boards gilt, aeg, combed marbled end papers, pictorial titles, illustrated throughout with some colour plates, 4to 3. Elcho (David, Lord): A short account of the affairs of Scotland, in the years 1744, 1745, 1746, pub. Edinburgh: David Douglas, 1907, black cloth, 8vo 4. Forfar (Alexander Mackintosh): The Muster Roll of the Forfarshire or Lord Ogilvy's Regiment, raised on behalf of the Royal House of Stuart in 1745-6, pub. 1914, printed for the compiler by The Northern Counties Newspaper and Printing and Publishing Company, Limited, Inverness, red cloth gilt, 8vo 5. MacGregor Peter (David): The Baronage of Angus and Mearns..., pub. Edinburgh: Oliver & Boyd, 1856, quarter morocco with grey boards, 8vo
The Complete Works of William Hogarth - In a Series of One Hundred and Fifty Steel Engravings from the Original Pictures, Introductory Essay by James Hannay, pub. London: The London Printing and Publishing Company Limited, no date, orig. half calf with textured boards gilt, all edges marbled, marbled end papers, portrait frontis. and illus. half title, large 4to, worn to extremities, scattered spotting; together with a bound volume of The Figaro magazine, 1874, half calf with marbled boards, 4to, worn to extremities, bumped to head and tail of spine and cracking at tail, scattered spotting with heavier spotting to end papers, colour Figaro Cartoons pasted to back page of each issue. (2)
A Victorian Silver Whitehaven Junction Railway Company Token, Designed by Benjamin Wyon, Dated 1844 circular, the front stamped with the Whitehaven Bransty Arch, with a George Stephenson type locomotive and carriages behind, all above the arms of the Earls of Lonsdale and within the inscription 'Whitehaven Junction Railway Company Incorporated July 4 1844', the back engraved 'Free Ticket Earl of Lonsdale Chairman' and with an earl's coronet, 49mm diameter; Together With an Elizabeth II Royal Agricultural Society of England silver-gilt Bledisoe medal, by Turner and Simpson Ltd., Birmingham, 1979, the front stamped with the cypher of the RASE and below the royal crown, the back stamped with a portrait of Thomas William Coke in a landscape, after the portrait by Ramsay Richard Reinagle, in fitted case, 65mm diametertotal weight 6oz 9dwt, 201gr (2)Provenance: The token presented to William Lowther, 2nd Earl of Lonsdale (1787-1872), as Chairman of the Whitehaven Junction Railway.A matching Whitehaven Junction Railway Company used by George Stephenson, as chief engineer, is in the collection of the Institute of Mechanical Engineers (STE/1/2/11).The token and silver-gilt medal each in generally good condition with only some minor wear and small marks. The silver-gilt medal with some minor areas of tarnish. The case of the silver-gilt medal with some scuffs and marks.
Andreas Henry Groth (fl.1739-1753): Miniature Portrait of a Lady, half length, with pearls comb and earrings, wearing a white dress with blue ribbons, enamel, oval4.6cm by 3.8cmGood condition. Surface free from cracks, chips and notable wear. Some small amounts of debris trapped behind the glass. Metal frame in good order with only general light wear and scratches.
Samuel Drummond ARA (1765-1844) Portrait of John Watson (1780-1814) Oil on board, together with a portrait of his wife, Mary Watson, 43.5cm by 35cm (2) MARY: Minor old knocks and damages to the back of the canvas board at the edges and corners. Board flat and even. Finescale brittle age craquelure throughout, flat and stable. A little abrasion apparent in delicate half tones and glazes. Scattered minor retouchings to small losses and a few open cracks, including a patch to the right of the neck. Further small retouched losses to a scratch and a circular loss in the purple drapery. A little futher strenghtening overpaint including to the right of the chest, drapery bottom left, on the neck and a larger brushstroke down the nose.Degraded old yellowed patchy lower varnish, partially removed in the face, chest and drapery but left as ingrained dark material in the troughs of paint and canvas weave in these areas. Upper varnish layer with a patchy surface gloss. A few wipemarks and white mould growth in cracks. Rubs to varnish at edges in a few places. A layer of surface dirt and accretions including a few fly spots. JOHN: Edges and corners of the millboard knocked and distorted, visible at the face as slightly bent back corners and knocks at the edges with associated minor loss of paint and ground, and a larger crack to the right of the bottom edge and a small area of stable but raised cracks to the top right of this. A very lumpy surface, slightly gritty possibly due to there being a gritty, coarse ground. Apart from the cracks associated with the board, the paint layers are stable. There are a few patches of drying cracks in the background and black drapery lower right quadrant. Thick brown touches of overpaint to scattered minor losses, drying cracks and marks in the background. A little abrasion in delicate browns and half tones of the face. A campaign of brushy touches of overpaint to the hair and face (see uv images), likely to suppress abrasion and some of the old ingrained dirt and varnish. A thick old varnish layer, yellowed, partialoly removed in the lighter passages but visible in these areas as ingrained dirt and varnish in the troughs of the paint. Upper varnish layer has a sligthly uneven surface gloss, a little yellowed with a few milky/matt patches/splashes. Surface dirt and scattered surface accretions.
Friedrich August von Kaulbach (1850-1920) German Portrait of a young lady, head and shoulders Portrait of a young lady, head and shoulders, wearing a headpiece with diaphanous material Each signed, oil on panel, 12cm dia. (oval) (2)Contained in decorative, ebonised and gilt Renaissance style framesProvenance: Christie's South Kensington, "19th Century European Art including Russian Pictures", 21st September 2005, lot 137
Attributed to William Etty RA (1787-1849) Self-portrait (Historically known as) Oil on board, 37cm by 27cmProvenance: James Bourlet Thence by descent to son Louis Bourlet Sold 1921, Pattinson Banks Melmore JP of Maryport Thence by descent, Samuel Melmore, 31 Carr Lane, Acomb, York (died 1969) Provided on the basis of letters and correspondence associated with the paintingWe are grateful to Richard Green for his assistance in cataloguing this lot Reverse of board not accessible. One old hole to board top edge towards left and a series of diagonal lines of movement/disruption of the support with associated loss of paint and ground above the head, with one deeper hole (see images). Further brittle age craquelure in passages with horizontal cracks with minor associated loss of paint and ground - particularly level with shoulder area. Some passages of minor drying cracks including to eyes, lips and cheek. Scattered minor retouched and unretouched losses throughout, from flaking and knocks. One active flake to right of cheek. Retouched 3 inch scratch below chin, and a further shorter retouched scratch in cheek. A few scattered small retouchings to the face. Possibly a larger retouching to the hair - appears as a slightly lumpy texture? A quantity of old dirt and varnish, with a few splash marks. Partially cleaned in the past. Slightly yellowed old upper varnish, surface dirt.
Dutch School (17th/18th Century) Portrait of a lady, head and shoulders, wearing a wide white ruff and a pearl earring Oil on panel, 23.5cm by 24cmProvenance: The Parker Gallery Oak panel, grain running horizontally, held in with two pins at the sides and one pin in the top. The top pin across the grain, likely holding the panel under tension. Mould on reverse. Old minor losses to the panel at either end of the grain, and one approx 6cm splinter partially re-adhered at the top left corner with associated loss of paint and ground (see images). Slight convex curvature in lower half where not held under tension by pin. A curious raised vertical line against the grain through the centre of the panel below the sitter's chin. Unsure what this is, but appears stable.The panel has had a history of flaking and loss. Brittle age craquelure throughout, wtih numerous raised tents of paint and ground, some visibly active and not stable (see images inreflected light). One fresher tent has crushed at the middle of the left side, with associated loss of paint and ground. Numerous old restored losses, mostly to background and drapery. Likely several campaigns of restoration. Also brushy overpaint in places in the background, notably in the bottom left and right corners, and around the figure. It is difficult to see the extent due to obscuring thick varnish layers. Further patchy overpaint to losses and to suppress the abrasion in lighter passages. There has been abrasion and thinning of paint layers, including to hair, eyes and lips and likely glazes on the face. For more recent campaigns of retouching - see ultra violet images.Thick old glossy varnish layers with a splattered and drippy thick yellowed varnish visible over the head and drapery (see images). A light layer of surface dirt.
Charles Spencelayh RMS, HRBSA (1865-1958)"Failing Memories"Signed, with inscribed and dated 1926 label verso, oil on canvas, 49.5cm by 37.5cmUnlined. Perspex backboard. All keys present and fair tension. Light brittle age craquelure and impact cracks in a few passages, e.g. the violin. Not elevated and stable. Edge of canvas and a few very minor losses just visible at the top edge. Minor tiny scuff/loss to the chest of the sitter in the grisaille portrait. A few scattered very minor touches of overpaint, carefully applied, to places at the edges, and a few touches within the painting for example to the background top right of head of violin. (see uv images). Minor abrasion to some of the thin, dark and glaze rich passages, eg. the trouser legs and the chair with the umbrella. A little old ingrained dirt and varnish, noticable on close inspection in the face. Even, fairly matt varnish, not appreciably discoloured. White surface spots/flecks in the doorway and a little minor surface dirt.
Cosmo Alexander (1724-1772) Scottish Portrait of Alexander and Mary Bayne-Meldrum With extensive (mostly indistinct) hand-written labels to stretcher verso, oil on canvas, 61.5cm by 74cmProvenance: Alexander Bayne, Mary Bayne-Dalgleish-Willhelmina Barnes-Graham Collection, BalmungoBalmungo, near St Andrews, was the 1866 home of the Bayne-Meldrum family. The mother of the Scottish painter Wilhelmina Barnes-Graham (1912-2004) was Wilhelmina Menzies-Bayne-Meldrum. Lined, all keys present, good tension. Original tacking margins removed, as can be seen at top edge where canvas has slipped in the frame. Network of old brittle age craquelure, stable and flat. Fairly widespread old restored losses, some possibly tears given their size. Extensive old abrasion and thinning of paint layers, much of which has been suppressed by a fairly extensive campaign of retouching (see images in ultraviolet light). Some of the overpaint is discoloured. Newer unrestored scratches in two patches, top left and bottom right. Futher minor scuffs and scratches. A fairly even varnish, not appreciably discoloured. Old ingrained dirt and varnish. Light surface dirt.
Follower of Arnold Boonen (1684-1729) DutchPortrait of a lady, half-length, wearing a white dress trimmed with lace at the décolletage and a suite of pearl jewellery Oil on copper, 9.5cm dia. (tondo)Copper panel flat. Raised micro-cracking with associated loss of upper paint layers in passages, including a larger flaked loss unrestored top centre. Further brittle age craquelure, not raised (see images in reflected light for extent of flaking). Cracks in figure are largely secure. Minor losses and rubbing at edges where visible - see bottom left edge. There are some pale yellowish streaks in the background, it is not possible to determine what these are, they don't appear to be losses to paint and ground, and are perhaps flaked/broken up varnish, or a substance on the surface? Scattered minor retouching to looses, with a little reinforcing in drapery. A degraded yellowed matt varnish, slightly broken up in places. A layer of surface dirt with tiny dark spots and other surface accretions.
European School (18th Century) Portrait of an elegant lady, three-quarter length, seated, wearing a white satin dress, with a blue overcoat trimmed with ermine Oil on canvas, 127cm by 102cm Lined, all keys present, good tension. Some mould on the back of the canvas. The edge of the canvas is visible at the top.Brittle age craquelure throughout, with stretcher bar and impact cracks. All stable, but slightly elevated in thicker passages of the paint.Scattered minor retouched losses mostly in the background, particularly to the top right and left corners, and down the left and right sides. A thicker band of old overpaint/varnish at the top and left edges. There is one 1cm retouched loss to the left thumb, and below this a patch of impact cracking with a couple of tiny unrestored losses, and below this there is a line of unrestored losses.There has been Some abrasion to the thin delicate passages in the hair, a little in the background, the halftones/glazes in the face and in the fur edge to the drapery (see images). It appears the at the rose might have had the glazes removed, as the leaves now appear blue. The fur edging has patches of suppressing overpaint, particularly in the chest area, but there are no other attempts to suppress abrasion.There are a few dark spots in the lighter passages of background, it is not clear what these are.The picture has been unevenly cleaned in the past, with patches of thick old yellowed varnish left on in areas such as in the blue drapery and fur bottom right quadrant. It has been partially put into solution and wiped around, and is visible with the naked eye as slightly milky/uneven area, and ingrained in the troughs of the canvas. There is an upper, even, glossy varnish, not discoloured, with minor fresher scuffs to the varnish at the edges. Light surface dirt.
John Evelyn, diarist, autograph inset to the reverse of an engraved portrait by Robert Nanteuil with an inscription 'Pour Mons de la Quintenay, reccomende a Mons Oldenbourg'. Has additional note explaining that it was taken from a copy of his 'Numismata'. Colnaghi label and further notes to the reverse, 14 1/2" x 19" framed.
Collection of Medals, military and personal items belonging to 2nd Lieutenant J.E. Cundall. Victory Medal, 1914-1918 War Medal. Certificate of Appointment to be an Officer in the T.A. Dated 25/11/16. Military badges, Silver cigarette case and vesta, common prayer book, trench lighter, glasses and razor. A portrait photograph of Lt Cundall with a newspaper cutting telling of his 'Killed in Action' date. May 3rd 19??
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