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Click here to subscribeAn 18ct yellow gold, sapphire and diamond dress ring, featuring an oval sapphire claw set within a ridged surround set with four round brilliant cut diamonds, sapphire dimensions approx 6.12 x 4.6 x 3.1mm, weight estimated as 0.81 carats, diamond diameters each approx 1.8mm, total weight estimated as 0.08 carats, size M, gross weight 6.2g, hallmarked 18ct, London import 1990, sponsor YVFacets slightly chipped on sapphire.
Follower of Sir Anthony Van Dyck (1599-1641) Flemish Family portraitOil on canvas, 147.5cm by 206cmUnlined canvas, stretcher missing keys. Slack tension. A small 1.25 inch split to canvas at the top edge to the right of the curtain. Partially repaired (?) and surrounded by a swathe of restoration (see images). The canvas and stretcher are slighly distorted and bend away from the frame rebate at the two top corners. The slack canvas is distorted and undulating in places, most prominently at the top right corner (see image) and bottom right edge. Further small bulges from blows from face and reverse for example the top left corner, through the dress of the right hand girl and to bottom right of lute.Stretcher bar marks on all sides and associated with cross-members, and a network of brittle age craquelure throughout, and impact cracks. Paint and ground secure, but the cracks have elevated slighly. There are also passages of drying cracks (unretouched), most prominently in the red of the curtain and in the darker passages of drapery of the father. There is a more noticeable impact crack to the hand of the little girl, where the varnish has powdered and is now white, and there further minor white cracks to the right hand side of this. Two further scuffs to the varnish to left hand edge and scattered minor spots to top left.There are scattered small retouched losses and retouched cracks throughout, the restoration now discoloured. There has been a further campaign of retouching to the flesh tones of the mother/girls, baby, and hand of the father, and to the hair of the mother. This is opaque and is apparent in bright light (see images in torchlight). It appears that the painting has been selectively and partially cleaned in these areas leaving an uneven appearance. The same varnish has been partially removed from the paler passages of drapery too, which has caused some abrasion particularly evident in the green of the mother's skirt. It has been left on in most of the painting. It is difficult to see through the discoloured varnish layers if there is further wear in the dark areas.There are thick surface layers of discoloured varnish and ingrained dirt, but a fairly even glossy upper varnish layer.Not examined in UV, examined in frame.
Follower of Sir Thomas Gainsborough RA, FRSA (1727-1788) Portrait of a lady, three-quarter length seated, wearing a brimmed hat, a pink dress and a fur stole and muff, a veiw of a landscape at sunset beyond Oil on canvas, 110cm by 85.5cm Lined, original tacking margins removed as can be seen where exposed at the top, right and bottom edge from the face. One key missing, lacking in tension, minor splits to corners of lining canvas. Some slight pressing of impasto from lining process.A finescale brittle age craquelure throughout, all stable and no elevation. Most apparent in the paler passages, flesh, drapery, hair. Some passages of cracking slighly opened, possibly drying cracks. One minor unrestored loss to the original edge a the upper right edge, an approx. 3inch scuff to the bottom of the fur stole, a small white loss to the bottom edge, a 1cm loss to the back of the neck and a tiny loss in the hair (all unrestored).There ia very thick old very discoloured varnish layer, which has degraded and broken up. It has flaked off in small patches throughout, and scatters the light making it very difficult to see what condition the original paint is in underneath, particularly in the darkest passages. The flaking yellowed varnish has left the paler passages with a mottled appearance, and the darks fairly obscured. It is likely that there are some further minor losses and possibly some abrasion in the dark areas. There has been some abrasion in the lighter passages, particularly to the curls of the hair, and the hand. There is no restoration visible on top of the thick old varnish, and it is not possible to see if it lies over an older campaign of restoration. However, the surface doesn't suggest that there has been a history of flaking or loss. Possibly some minor reinforcing in the hair.The surface has an fairly uneven surface gloss, and there might be an upper varnish layer on top of the broken up one, and a layer of dirt, dust and cobwebs.
Christian Meyer-Ross (1843-1904) Norwegian Portrait of an elegant lady, three-quarter length standing, wearing a fine pink evening dress, an ermine stole, and holding an ostrich feather fan Signed, inscribed "Roma" and dated (19)03, pastel, 134cm by 75.5cm A good flat even picture plane, one very small bump in the top right corner visible in raking light. An approx 1cm band of disturbed/smudged pastel along the bottom edge likely from movement in the slip (see images). Scattered lumps of dust and fibres, with larger ones towards the bottom of the picture, with futher scattered fibres. An incised squiggle to fur sleeve - part of artist's technique? A futher scratch like mark below the highlight on the neck near the jaw line.A dark stain to the top edge emerging from under the slip (see images), and a possible patch of timestaining to top left corner where the pastel is slighly disturbed in places?There is a slighly bumpy surface to the pastel in places, appearing to be under the pastel layers (see images).
Circle of Sir Peter Lely (1618-1680) Portrait of a lady, three-quarter length seated, before a draped velvet curtain, wearing a blue velvet dress with white chemise and holding a posy of flowers in her lap, a landscape beyond Oil on canvas, 124cm by 100.5cm With Christie's stencil FM494 to reverse The picture is lined, with all keys present and good tension. Some small splits to the corners of the linign canvas. There is fresh worm damage to the frame. Original tacking margins have been removed. Small old and fresher losses visible to the left and top edges where the picture has moved in the frame slightly. Some retouched. There is an old brittle age craquelure throughout, with some very slight elevation in passages of thicker paint for example the face, but barely noticable and appears secure with no real history of flaking and loss. There are numerous minor old filled and retouched losses mostly to the background. There is a passage of cracks to the left top edge in the trees that have been opened up slighly by cleaning in the past. The picture has been partially cleaned, removing the thick old yellowed and opaque varnish from the face, neck, sky and some of the drapery. It is difficult to see exactly what is happening in the background due to the obscuring varnish which is slightly broken up in places. Possibly further old restoration. However, there are scattered old losses including one patch of fresher cracking paint 1.5 inches right of the head, a small lifting filling to the hair to the left of the pearls, in the red curtain top right corner, and a possible retouching in a horizontal line above the head. The old varnish has left greeny yellow patches in places, for example in the darker glazes of the blue boddice, and to the right of the elbow. Some of the old varnish has been left on to the left of the sitter's face which is visible pooled in the troughs of the canvas/brushstrokes. There are passages of more recent retouching to the bottom left of the dress, and further patches of dark overpaint to the bottom of the dress. There has also been some possible loss of glazes or pigment degredation in this area as the blue has a greyish hue. There is slight abrasion to the ringlet over the shoulder and in the right hand proper, but the sitter is in generally nice condition. There is a fairly patchy and uneven surface gloss, and surface dirt and debris. Examined in frame
John Atkinson (1863-1924)The Artist’s DaughterSigned, watercolour, 45cm by 59cmThere are two small horizontal convex distortions to the paper, an approx 3-inch one above left of the hat, and a smaller 1.5inch above the horse's hind quarters (see images in raking light). There is some tiny microflaking to one brushstroke of thicker paint in the lead rein over the pink dress, and some very minor cracking of thicker bodied paint strokes in the sky. There is one small loss, retouched, to the highlight at the top of the horse's hind quarters (see image). Possibly some light time staining and light surface debris. Colours appear fairly vivid.
Adolphe Valette (1861-1942) French A lively beach scene, possibly Wales Signed, dated 1916 to label verso, oil on canvas, 38cm by 53.5cm Provenance: The Perera collection Purchased from Mr. Lamming in Jersey (who was the executor of Andre Valette's Estate.) The canvas tacking margins all present with some minor rips and damages to the turnovers. Canvas slightly lacking in tension, all keys loose in stretcher. There is a network of cracks throughout the central portion of the canvas possibly from movement/damage where it has not been protected by the stretcher bars; these cracks are lifting slightly pulling the canvas. In places they have lifted to create sharp lifting points not adhered to the canvas (most visible in raking light) although there have not been any losses of paint yet, for example below right of the two left most swimmers, below the feet of the little girl in pink (see images), and top left corner. There are futher stable drying cracks in places, such as the arm of the little girl in white and the mother's pink dress. Small cracked bumps to each corner, presumably from the stretcher. There is one minor unretouched loss below the top right swimmer in black, a tiny loss to the sand bottom left, and a further small loss to the foot of the gent in top hat - all stable and unretouched. An even surface layer with light surface dirt and minor dust/accretions. No apparent restoration, in fair condition. Examined in frame
British School (18th century) Portrait of a lady, half length, wearing a white satin dress, in a feigned oval Oil on canvas, 74.5cm by 62.5cmA lining from the second half of the 20th century, with stretcher dating from the same time with all keys present. The canvas visible at the back of the painting is loose, and does not appear to have been impregnated with adhesive. A possible secondary / half lining? The original tacking margins present on all sides, and the canvas is fairly rigid but undulating and not taught/supported.There is a widespread large scale brittle age craquelure and impact craquelure throughout, along with linear cracking associated with the stretcher bar. Much of this is slightly raised, especially in the face and left background. A few scattered lifting corners but the vast majority appears secure. A few tiny pinpoint losses associated with the cracking.There is a campaign of slighly matt, murky retouching to the top edge where the original ground is exposed, to minor looses along the edges and scattered minor losses across the painting. Some retouching, too, to gold paint/leaf on the surface. There is the same matt retouching in long brushstrokes to the hair and long curls.There has been some abrasion to the mid-tones and glazes to the face and hair.Old ingrained dirt and varnish is visible in the troughs of the brushstrokes apparent in the lighter passages, and remnants of old varnish has been left on in the background which obscures enough to not be able to see if there is an older campaign of retouching here.There is a thick layer of surface dirt and debris over a fairly glossy varnish, with some more recent abrasions to the varnish from movement in the frame at the edgesExamined in frame
Follower of Allan Ramsay (1713-1784) Portrait of Mrs Salisbury, three-quarter length seated before a landscape, wearing a black dress and white accompaniments Oil on canvas, 90.5cm by 75.5cm Christie's stencil to stretcher 219C "The sitter, Mary, wife of Thomas Salisbury of Marshfield, * Yorks. She was born 1734, daughter of John Lister and Great Granddaughter of Rev. Anthony Lister of Giggleswick, Yorks... her son, Richard Salisbury born 1765, was father of Ellen who married Lloyd Salisbury Baxendale and died at Wellington Maidstone, March 10th 1869, aged 77" (according to old inscription to stretcher)
David Bowie - The Man Who Sold The World, 1971 1st UK pressing, Mercury 6338 041 1Y//1∇420 / 2Y//1∇420, the labels with the misspelling of Tony Visconti on both sides, in British Patent No. 800513 & 973939 inner and iconic textured "dress" sleeve. (1)Lots 501-518 have been consigned by Steve Harley, singer and frontman of 1970s group Cockney Rebel, whose number one hit ‘Make Me Smile (Come Up and See Me)’ has been covered at least 120 times and appears on soundtracks as diverse as The Full Monty, Lego Rock Band, and a Marks & Spencer’s advert. Vinyl, light spindle wear to both labels, side 2 a very light scratch approx. 6cm at 6 o'clock from outside edge which certainly would not affect play, inner and sleeve with water mark to bottom corner (see images) otherwise good, spine good, light wear to corners, both vinyl and sleeve V/G +
B. Henneberg of Warszawa - an Art Nouveau pewter and moulded green glass mounted centrepiece, the glass of wavy handkerchief form heightened with floral detail, the column in the form of a stylised standing lady to robed spreading foot, marks to underside and numbered 3200, h.32cmGlass bowl very good and complete.Stands well.Pewter with general age related surface and handling wear.Area of fatigue to metal at raised crinkled area of flowing dress towards bottom of right leg.
Collection of assorted 20th Century jewellery to include an Art Deco turquoise and mother of pearl drop necklace , Art Deco butterfly wing pendant necklace (chain marked 835), Art Deco marcasite set dress clip brooch, oval silver brooch (marked silver), a pair of early 20th Century gold plated lorgnettes and a filigree butterfly brooch. Oval brooch measures 5.5cm wide.
Group of antique and art deco jewellery to include a silver white and black paste bow brooch, silver art deco paste dress clip, opal three stone brooch, silver butterfly wing brooch, silver and green stone bar brooch, marcasite set scottie dog brooch, stone set pocket watch key, silver hallmarked whistle and gold plated mechanical pencil. Bow brooch measures 5.5cm wide, opal brooch measures 2.8cm wide.
Splendid original oil painting on alloy made in a Neo-Classical style reminiscent of the precision of the Orientalist artworks by Jean-Auguste-Dominique Ingres. This portrait depicts a powdered white skin sitter whose hair is partially covered by an elaborate white turban with ribbon and torsade. She holds a sumptuous dark green and gold velvet dress that falls off her breast. Housed in a carved and gilded wooden frame set around an alloy border. Artwork dimensions: 12"L x 14.50"H. Frame size: 22.25"L x 25.50"H x 3"W. Issued: c. 1800Country of Origin: Continental EuropeCondition: Age related wear.
George V pattern 1897 Infantry officers sword, nickel hilt with GRI cypher (Indian Army) and floral scrolls, wire bound fish skin grip, straight blade 82cm by 'Wilkinson Sword, London' and numbered 64140 (for 1933) on the back, the blade etched with foliage and GRI cypher, complete with wooden, leather-covered scabbard and dress knot, 100cm long overall
Yellow diamond and diamond ballerina cluster dress ring, the white metal stamped 'Pt900', size M½ approx, 9.1g gross approx, cased, and with a GW LAB certificate No.220100651017, stating the oval cut yellow diamond as 1.76cts, Fancy Deep (AA) Brownish Greenish Yellow and SI2, the fifty-nine additional diamonds as 0.98cts, D-F and VS1 to SI2
Folk Art - British Naïve School, 19th century - Oil on canvas - Portrait of a mother and daughter, seated before a red curtain in a 'Primitive' manner reminiscent of the style of Sir Thomas Lawrence, the young girl with her hair in ringlets, wearing a teal blue dress, her mother with matching hair ribbons, over lace-trimmed black (mourning?) dress, 90cm x 75cm, in gilt slip and cavetto-moulded gilt frame
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