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Preisdatenbank abonnierenEnglish School, circa 1840/Portrait Miniature of Juliana Strickland/three-quarter length, seated wearing a blue dress/watercolour on ivory, 14.5cm x 11cm in a folding leather case/Ivory registration reference: MG3MURPY CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
English School, circa 1840/Portrait Miniature of Juliana Strickland/three-quarter length, seated wearing a blue dress/watercolour on ivory, 14.5cm x 11cm in a folding leather case/Ivory registration reference: WL7P4SHB CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
English School, mid 18th Century/Portrait Miniature of Sir George Strickland, 5th BART/bust length, wearing a grey coat and black hat/pastel, 13cm x 11cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
John Miers (circa 1758-1821)/Portrait Miniature of Walter Strickland/looking right, wearing a white stock and collar/and two other silhouettes (3) CONDITION REPORT: Walter- brown staining all around the edge, probably due to lack of glass (stuck down)Gent facing right - badly torn and stuck downLady facing left - brown staining to right edge, Verre églomisé frame badly rubbed
G… I… (early 19th Century)/Portrait Miniature of Juliana Sabina Strickland/daughter of Sir George Strickland of Boynton Hall, Yorkshire/bust length/oval, watercolour on ivory, approximately 5.5cm x 5cm/set in a brooch with woven hair to the back/Ivory registration reference: ZGKHK3ZQ CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
John Miers (circa 1758-1821)/A double-sided silhouette portrait miniature depicting Walter Strickland to one side and George Strickland to the other/on a blue ground to one side and white ground to the other/painted on plaster, 7cm x 5.5cm CONDITION REPORT: The white side portrait is signed, there is a little dust between glass and surface but otherwise in very good condition as is the frame.
Frances Strickland (1803-1888)/William Decon Esq./pencil, 7.5cm x 6cm/English School, late 18th Century/Portrait Miniature of a Lady/bust length, wearing a white dress and bonnet/oval, watercolour on ivory, 7.5cm x 6cm, a miniature on ivory titled 'Fat Harry' and a daguerreotype (4)/Ivory registration references: XWSM8ZKQ, K1FA3JEJ CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Frances Strickland (1803-1888)/Portrait Miniature of Henry Eustatius Strickland (1777-1865)/the Artist's Father/half-length, clad in a blue cloak/inscribed verso/watercolour on ivory, 8.5cm x 7cm/Ivory registration reference: X8TJPVMK CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Manner of Sir Godfrey Kneller/Portrait of a Gentleman, bust length/ pastel, oval 28cm x 22cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Follower of Jean-Baptiste Greuze, 19th Century/Portrait of a Girl/bust length, wearing a green jacket/oil on panel, 39cm x 30cm CONDITION REPORT: Flat varnish with yellow tone beneath, needs cleaning but panel in good condition. Re-touching to the right eye (slight), the mouth and hair and small areas to the background. The frame measures 70cm x 59.5cm, a fine mid !8th Century carved giltwood frame with original gilding, minor losses with later slip.
Follower of Hans Eworth/Portrait of a Bearded Man/half-length, wearing a black doublet with fur collar and black cap/oil on panel, 46.5cm x 38cm CONDITION REPORT: Follower of Hans Eworth, early 17th Century, repaired split running vertically through sitters right ear, large area of old overpainting on fur trim of coat and some of it abraded, re-touching to the face with an area of overpaint to the right of the face, scattered re-touching to cheek and background.
Manner of Hans Maler/Portrait of a Man Aged Twenty Six/half-length, wearing a black doublet and hat/inscribed in Latin/oil on canvas laid down on board, 63.5cm x 48cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Manner of Sir Peter Lely/Portrait of Rachel, Lady Russell/half-length, wearing black/oil on panel, 30cm x 34cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
David Bates (1840-1921)/Portrait of a Child/seated in woodland beside silver birches/signed and dated 1889/oil on canvas, 78cm x 52cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Antonio Joli (1700-1777)/A View of Naples from Mergellina/oil on canvas, 67.5cm x 97.8cm/Note: In the eighteenth Century Naples was one of the great cities of Europe,'In size and number of inhabitants she ranks as the third city of Europe, and from her situation and superb show may justly be considered as the Queen of the Mediterranean' wrote john Chetwode Eustace in 1813. By then Naples had enjoyed a golden age of nearly eighty years as the royal capital of the richest Italian state. The reign, from 1734, of Charles VII, first of the Neapolitan Bourbon rulers of the Kingdom of the Two Sicilies (he was also, from 1759, King Charles III of Spain) saw the construction of the Teatro San Carlo and the palaces of Caserta, Portici and Capodimonte (which now houses the famous art gallery), the rediscovery of Pompeii and Herculaneum and the founding of the Naples Archaeological Museum. Music and painting flourished, and those travellers who extended their Grand Tour beyond Rome were amply rewarded by the experience. Residents including Sir William and Lady Hamilton greeted visitors such as the Holy Roman Emperor Joseph II, Casanova, Mozart, Angelica Kauffman, Joseph Wright of Derby, Jacques-Louis David, Elizabeth Vigée-Lebrun (who described the city as a 'lanterne magique ravisssante') and Goethe (who remarked that nobody who had seen Naples could ever be really unhappy).The definitive portrait of Naples in its heyday is that provided by Antonio Joli, whose depictions of the city over several decades make him to Naples what his (almost exact) contemporary Canaletto was to Venice. Joli was not, in fact, Neapolitan by birth. Most of the leading Neapolitan view painters were from elsewhere. Born in Modena, Joli was partly trained in Rome, where he worked until 1725 under Giovanni Paolo Panini (1691-1765), the outstanding Rome based view painter of his generation. During the following three decades Joli became the most widely travelled of the Italian view painters of the eighteenth Century, designing scenography as well as view painting throughout his career. It is as a scenographer that Joli is first recorded, in 1732, in Venice where he remained until after 1740. He is mentioned in the memoirs of Giacomo Casanova as 'the celebrated theatrical scene painter' (G. Casanova, History of My Life, ed. Baltimore & London, 1997, I, p. 200). Joli may have visited Dresden before productive periods in London 1744-1749 and in Madrid 1749-1754. After returning to Venice, where he became a founder-member of the Venetian Academy of Fine Arts, he embarked in 1756 on a tour of Southern Italy and Sicily with his most important patron John Montagu, Lord Brudenell (1735-1770), for whom he executed an unrivalled series of at least thirty-eight views of Southern Italy, Florence, Sicily, Malta and Southern France. These include his celebrated group of views of Naples, where he is first recorded on 21 April 1759 (R. Toledano, Antonio Joli, Turin, 2006, nos. N.VI.7, N.VIII-XIV, N.XIX.1, N.XX.1, N.XXIV and N.XXVII.6-7, all illustrated). Apart from a brief return to Venice, where he is recorded on 28 December 1761, Joli was resident thereafter in Naples, working for visitors and for fellow residents such as Sir William Hamilton. Joli must have been familiar with Naples long before this date. He is indeed described as 'Napoletano' in inventories of the collection of the great Venetian collector Field Marshal Johann Matthias von der Schulenburg, who paid him for a view of Naples in 1736, one of the first records of the artist as a painter of views (Toledano, op. cit., p. 298, no. N.I.1, illustrated). It is the setting of Naples in its glorious bay, in the shadow of Vesuvius, which gives it its unique character. The heart of the city is here seen from the West. Near the left edge is the Torretta of Chiaia or of Piedigrotta, built in 1564 as a defence against Turkish raids. Just beyond it is one of the fountains erected along the shore between the Castel dell'Ovo and Posillipo by Luís de la Cerda Fernández de Córdoba Folch de Cardona y Aragón, 9th Duque de Medinaceli (1660-1711), Viceroy of Naples 1692-1706, and beyond that the Riviera di Chiaia stretches to Pizzofalcone and the Castel dell'Ovo off the point. The city is overlooked by the imposing walls of the Castel Sant'Elmo, built by the Aragonese Viceroy Don Pedro de Toledo in 1537-47, on the Vomero Hill behind to the left. Immediately below it to the right is the Certosa di San Martino, the great Carthusian monastery, on whose expansion Cosimo Fanzago worked for thirty-three years in the mid-seventeenth Century. Six variants by Joli of this composition are published by Toledano, all of very roughly similar scale, in the Kunsthistorisches Museum, Vienna (two) and in private collections (Toledano, op. cit., pp. 310-15, nos. N.V.1-6, all illustrated). As one would expect of Joli, the boats differ widely between most of the versions, including this. In three versions, however, the differences are limited; those are Toledano's N.V.1 and N. V. 2 (sold with a pendant showing the Gulf of Pozzuoli at Sotheby's, London, 8 July 2015, lot 20) and a previously unknown version sold (with a pendant showing the temples at Paestum) at Sotheby's, New York, 30 January 2019 (lot 78). The British three-master prominently shown in the foreground in our painting does not recur in any of the others and suggests that the painting was intended for a British patron. Our thanks go to Charles Beddington for preparing this catalogue note/see illustration CONDITION REPORT: A 4 inch tear to the top right of the picture, extensive re-touching to the sky and an areas of the sea on the right hand side, a 1 inch area of restored damage near the right hand edge, a restored hole to the top of the hill on the left hand side. re-lined 1974Provenance:- Private Collection Gloucestershire. Acquired from a Gloucestershire house sale circa 1965 (catalogued as Dominic Serres).
Studio of Willem Wissing (1656-1687)/Portrait of Queen Anne when Princess of Denmark/full-length, standing by a jardinière of flowers with a dog at her feet/oil on canvas, 206cm x 134cm/Note: This picture was acquired by the vendor from Sotheby's where it was catalogued as Studio of Godfrey Kneller, Portrait of a Noble Woman. The sale was in November 2006 CONDITION REPORT: Old re-lining, repaired hole to left below crown, another by edge of pedestal, areas of thinness in blue cloak, extensive areas of re-touching, good craqueleur to flesh tones
Late 18th century oil on canvas portrait believed to be Maria Anna, Duchess of Bavaria (1753-1824) believed to be wearing the medal for the Order of St. Elizabeth (similar portrait by an unknown artist hangs in the Rathaus, Neuburg an der Donau) with later added plaque attribution to Jens Juel 1745 - 1802 (although unlikely). In a heavy gilt frame measuring 100cm by 86cm
° ° Cook, James - Anderson, George William. A New, Authentic, and Complete Collection of Voyages Round the World, undertaken and performed by Royal authority, containing an authentic, entertaining, full and complete history of Captain Cook's first, second, third and last voyages. London 1784-86, portrait frontis and 153 plates and charts (1 folded)***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese famille rose European erotic subject snuff box and cover, Qianlong period, the flat circular cover painted with an erotic portrait of a lady in a landscape, the base painted with landscape vignettes, and figures, the underside of the lid and the base painted with a bird amid foliage, 6.6cm diameter, metal mounts lacking, crazed glaze to base***CONDITION REPORT***The snuff box is missing its European metal mounts and has wear to the gilding on the edges and the interior. The cover has a small splinter chip to the edge of the top and on the inside. The base is heavily crazed and does not ring when tapped. Hairline crack to the side, some slight fitting around the bottom edge of the base, otherwise in reasonable condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Henry Pierce Bone, R.A. (British, 1779-1855) Miniature portrait of Deputy Commissary General Thomson, formerly secretary to Francis Hastingsenamel on coppersigned and inscribed verso,7.5 x 6cm***CONDITION REPORT***A few scattered dirt specks otherwise good order, later gilt metal frame. Extensively inscribed verso and dated 1806.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Henry Pierce Bone, R.A. (British, 1779-1855) Miniature portrait of the Arch Bishop of Canterbury after the original by John Hoppnerenamel on coppersigned HB and inscribed verso7 x 5.75cm***CONDITION REPORT***Good untouched condition, slightly undulating shape to the oval enamel, with a hint of rubbing around the edge, original ormolu mount now with spotting, glazed gilt frame looks original but with later fabric lining.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
18th century English School Miniature portrait of Robert Harley, 1st Earl of Oxford and Earl Mortimerwatercolour on ivoryMiers label verso9 x 7cm. Ivory submission reference: ZMKRQS46***CONDITION REPORT***Slight undulation of the ivory, perhaps some dirt spotting but essentially good order, eglomise frame which is loose in the outer original ebonised pear wood frame which has suffered from losses to the inner margin and has an ormolu coronet mount. Original paper backing label has been cut and torn through and later attached with cellotape which has erased part of the numerous ink inscriptions verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
18th century Flemish School Portrait of a gentlemanoil on canvas70 x 59cm***CONDITION REPORT***Oil on canvas relined 10 - 20 years ago, canvas remains tight, paint a little dirty with some white chalk marks showing particularly to the right of the sitter, signs of old but stable craquelure running through much of the work, slight stretcher marks showing down the right side, housed in an old probably later oak frame with small losses to the inner gilt slip, no labels or inscriptions verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Attributed to David Morier (Anglo-Swiss, 1705-1770) Portrait of the Duke of Cumberland on horseback on a Thames towpathoil on canvas100 x 122cm From the Estate of the Right Honourable Lord Lawson of Blaby***CONDITION REPORT***Oil on canvas relined many years ago, canvas remains tight, paint a little dirty with some scattered white mould and paint flecks otherwise looks good, housed in the original now rather tatty giltwood farme, Christie's stencil number 454PN verso along with Freeman & Sons Picture Restorers of Albemarle Street label dated '68. Provenance: From the Estate of Rt Hon Lord Lawson of BlabyPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Circle of Sir Thomas Lawrence (British, 1769-1830) Portrait of two childrenoil on canvas75 x 62cm***CONDITION REPORT***Oil on original canvas which is slightly saggy and has a number of patched repair holes, notably top right corner and several across the bottom, see our photographs in order to note these, otherwise stretcher marks showing particularly across the top and right side, paint looks a little dry with a fine but stable craquelure running throughout, just starting to lift near the top right corner, apparently unsigned, possibly a small squiggling monogram lower right, housed in an ornate gilt gesso scroll frame which is now rather tatty, no labels or inscriptions verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Arthur William Devis (English, 1763-1822) Portrait of Lieutenant Colonel Cockburnwatercoloursigned and dated 179742 x 31cm***CONDITION REPORT***Watercolour on paper, looks a little a flat so may well be laid down, perhaps slightly faded but colours still good, one or two small scattered dirt and fox marks but essentially good order. Housed in an old washline mount giving details of artist and sitter, Victorian glazed gilt gesso frame now rather tatty. No labels or inscriptions verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
19th century Italian School Portrait of a young woman standing in a landscapeoil on canvas66 x 52cm***CONDITION REPORT***Oil on canvas relined many years ago, canvas remains tight, paint looks rather dark and dirty, some fine lines of craquelure showing throughout, slight undulation of the canvas particularly across the top margin, apparently unsigned, housed in a Florentine frame which is now looking rather tired with some losses.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Victorian silver, parcel gilt and ebony mounted velvet illuminated album, presented to the Right Honourable Lord Northwick in 1855, the silver mounted cover by Smith, Wilkinson & Co., London 1855, set with four silver gilt portrait busts of the artists Cimabue, Raphael, Michelangelo and B. Cellini and various motifs emblematic of the arts, containing two illuminated pages referencing the gift of the album to the Right Honourable Lord Northwick from the inhabitants of Cheltenham 1856 and the last inscribed page with a list of those on the committee, the pages between signed in ink by the great and the good of Cheltenham of the time in thanks for opening his art collection at Thirlestaine House to the public.Lord Northwick bought and extended Thirlestaine House in 1838 with the addition of an extra wing to house his renowned art collection. His whole collection, including pictures still at Northwick, was sold on his death, intestate and childless, in 1859.***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
19th century Continental School Portrait of a youth wearing a yellow jacketoil on wooden panel39 x 30cm***CONDITION REPORT***Oil on mahogany panel which bulges vertically down the middle, looks to be in fair clean condition, signs of old craquelure throughout but most notably in the dark areas where there is some bitumous separation, apparently unsigned, housed in a period gilt gesso frame which is separating at the corners, no labels or inscriptions verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
English School c.1900 Three quarter length portrait of a young woman in riding attireoil on canvas98 x 72cm***CONDITION REPORT***Oil on original canvas in untouched condition, canvas remains tight, some slight undulation near the top left corner, otherwise a little dirty but no real faults noted, apparently unsigned, housed in the original ornate gilt gesso frame which is in fair condition, a label dated 1915 verso with indistinct ink signature beneath the typed word Underskrift, a further faded typed label to the right of that.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Two large Persian fritware polychrome ’portrait’ tiles, Qajar dynasty, 19th century, moulded in relief and painted in colours with a seated ruler and a kneeling subject, within star-shaped cartouches on a blue ground moulded with scrolling foliage, each approximately 51.5cm x 35cm, some faults***CONDITION REPORT***The tile depicting a seated ruler has shrinkage and crackle to the glaze on 3/4 of the tile, with some glaze losses and chips around the edges (please see photos). The tile with a kneeling subject has crackle to the glaze all over, some glaze losses, splinter chips around the edge and three firing cracks on the left side of the tile, otherwise in reasonable condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Modern British Half length portrait of a young manoil on canvas60 x 50cm***CONDITION REPORT***Oil on original canvas in honest untouched condition, some light wrinkling of the canvas at 3 o'clock, light scuffing near 9, apparently unsigned, housed in what looks to be the original white painted frame, the back of the canvas has been overpainted to conceal original details inscribed by the artist.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Amy Katherine Browning ROI SWA (English, 1882-1970) Portrait of Hester Wood (Harvey Cleminson)oil on canvasinscribed verso, (head cut from a larger portrait)36 x 28cm***CONDITION REPORT***Good clean condition with no faults noted, housed in a later frame, inscription on the stretcher, giving details of the work, fairly recently re-stretched.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A 19th century French part engine turned silver and guilloche enamelled circular box and cover, the cover with inset painted portrait of a lady, signed Ribot, (Theodule-Augustine Ribot 1823-1891), diameter 85mm, 190 grams.***CONDITION REPORT***Chip/crack to the enamel on the top rim of the base. The odd minor scratch to the enamel in places.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
J.W WATERHOUSE - an oil on canvas of seated girl sewing - 50cm x 40cm, signed lower rightCONDITION REPORTThe portrait was given to the vendor's mother in the 1970's from her father's boss' wife, who was possibly French.We have attached a number of additional images to showcase the lot in further detail.
Four Russian enamelled and stone miniature Easter eggs pendants, comprising: one enamel example inscribed XB (Christ is Risen), approx. 1.6m high; another enamel egg painted with village winter landscape, approx. 1.8cm high, a small sodalite example, approx. 1.2cm high; and a small red enamel example, approx. 0.9cm high, all with suspension loops; together with a Russian circular enamel clip, with portrait of the Tsar Alexander II, c.1870, approx. 3.1cm diameter (5)
A collection of Grand Tour plaster cameos, 19th century, various subjects including The Last Supper after Leonardo da Vinci, Cupid & Psyche, Hebe feeding the draught of immortality to Hercules, the Ronandini Medusa, and various others including portrait busts after the Antique, eleven in total, held in a modern box frame, approx. 37 x 47cm
A group of Bohemian cranberry glassware, 19th century, to include: a decanter with double knopped neck etched with motifs of deer and castles between geometric scrolling cartouches, with stopper, 25.4cm high overall, with a similarly etched small pot, 7cm high, and a faceted goblet decorated with enamel scrolling decorative motifs, with knopped stem and octagonal base, etched to the base MARY PULLER., 14.5cm high; together with a clear glass paperweight with portrait of Prince Albert of Saxe-Coburg and Gotha, and a modern wrythen glass vase with yellow and opaque white enamelled shaped rim, 13cm high (5)
An early Victorian pale celadon Parian porcelain jug, c.1840, with a rococo moulded relief celebrating the Scottish novelist and poet Sir Walter Scott amongst a profusion of objects, the underside of the base with raised moulded stamp with No.91 within a scroll ribbon, 26.8cm high; together with an early Victorian William Ridgeway, Son, & Co. relief-moulded stoneware jug, depicting knights jousting, impressed to base Published by W. Ridgway, Son & Co. Hanley, September 1 1840, 23.5cm high; and a Victorian pressed white glass sugar basin, c.1878, designed by Henry Greener & Co., of circular form with wavy rim, the bowl moulded in relief with a portrait of Benjamin Disraeli within a laurel-leaf and a berry wreath inscribed to centre EARL BEACONSFIELD / THE HERO OF THE CONGRESS OF BERLIN / JULY 1878, amongst thistles, roses and clovers, on a faceted stem and circular foot, 14.2cm high, 13.5cm diameter (3)
A WMF circular brass box, first quarter 20th century, with porcelain plaque to cover after a Élisabeth Vigée Lebrun self-portrait, the body with repousse floral swags, 8cm diameter, together with a Continental porcelain plaque depicting a portrait of a woman, in frame with easel support, 17.5cm high, 13.5cm wide; a circular mahogany box with a porcelain plaque of a young woman, 12.3cm diameter; a gilt metal jewellery casket, the glass top mounted with a porcelain figure of a young woman, with padded and lined interior, 12.3cm wide, 9.4cm deep; and a small brass jewellery box, with scrolling foliate decoration and circular plaque with a portrait of a woman to cover, 9.2cm wide, 6.1cm deep (5)
Dekorationsschild im Stil der Renaissance, 19./20. Jhdt. Eiserner Rundschild. Schauseitig kräftig reliefierte, antikisierende Szene mit berittenen Kriegern vor weiter Hügellandschaft. Der Außenrand umlaufend mit Trophäenbündeln, Portrait-Medaillons und Kartuschen mit Allegorien der Jahreszeiten dekoriert. Umlaufend geschnürter Brechrand. Rückseitig schwarz lackiert. Am unteren Rand restauriert. Durchmesser 56 cm. A Renaissance-style decorative shield, 19th/20th century A Renaissance-style decorative shield, 19th/20th centuryEiserner Rundschild. Schauseitig kräftig reliefierte, antikisierende Szene mit berittenen Kriegern vor weiter Hügellandschaft. Der Außenrand umlaufend mit Trophäenbündeln, Portrait-Medaillons und Kartuschen mit Allegorien der Jahreszeiten dekoriert. Umlaufend geschnürter Brechrand. Rückseitig schwarz lackiert. Am unteren Rand restauriert. Durchmesser 56 cm.Condition: II - III
JOHN MARTYN/ VAN MORRISON/ BOB DYLAN - LP COLLECTON. A smashing collection of 41 LPs by three of folk/ folk rocks biggest names. Artists/ titles include John Martyn inc Glorious Fool, Bless The Weather, Piece By Piece, Grace & Danger, Sapphire, Inside Out, One World. Bob Dylan inc Blonde On Blonde, The Freewheelin' Subterranean Homesick Blues, Another Side Of, Infidels, Nashville Skyline, The Little White Wonder Vol 1, Self Portrait, John Wesley Harding, Street Legal, The Times They Are A-Changin', At Budokan. Van Morrison inc Irish Heartbeat, Tupelo Honey, Veedon Fleece, Moondance, A Period Of Transition, It's Too Late To Stop Now, Hard Nose The Highway, Astral Weeks, His Band And The Street Choir, Poetic Champions Compose, A Sense Of Wonder, Beautiful Vision, Saint Dominics Preview. Condition is generally Ex to Ex+.
DYLAN / YOUNG / MUNGO JERRY - LP / 7" COLLECTION. A great collection of 23 Bob Dylan LPs, 6 Neil Young LPs, 11 Mungo Jerry LPs and 11 Mungo Jerry 7" (40 x LPs / 11 x 7" total). Titles include Bob Dylan inc Blonde On Blonde (mono UK OG mispress, 'memphis Blues again' label), Freewheelin, Highway 61 Revisited, Under The Red Sky and Self Portrait. Neil Young inc Comes A Time and Harvest and Mungo Jerry inc Greatest Hits, Electronically Tested and Long Legged Woman. The condition is generally VG+ to Ex+.
Elvis collectables inc: 'Elvis Portrait Portfolio' by Sean Shaver with original mailing box, 'The Life of Elvis Presley' by Sean Shaver (with original packaging), 'Photographing The King' by Sean Shaver, signed, 'Our Memories of Elvis' by Sean Shaver in original mailing box, 'Elvis and Me' by Priscilla Presley.
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