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Click here to subscribeA late 19th century continental porcelain fairing entitled Oysters Inn modelled as a girl before a bench with various wares on a rectangular base, height 10cm, together with five other fairings, each on titled base to include The Last in Bed to put the Light Out, Modesty, Returning at 1 o'clock in the Morning, Who's Coming?, and One Too Many (6)
Two pairs of New Hall porcelain tea cups and saucers, decorated in the Japan pattern, circa 1815; together with a New Hall tea bowl on stand, polychrome decorated with floral sprays; another similar example by New Hall; a late 18th century Worcester tea bowl on stand, both being fluted and decorated with gilt banding; and two early 19th century tea cups and saucers, factories unknown (14)Pale blue ground cup & saucer with some wear to gilt, no cracks, chips or restoration. Some light marks. Impressed 'M' and various labels to the undersides.
An early 20th century James Macintyre & Co. Burslem vase of squat circular form, decorated in the Imari palette, on a white ground with gilt heightened Art Nouveau flowers, having a printed mark verso numbered M720 registration No. 314901 height 9cmHeavy crazing visible in places, particularly inside rim and to the underside. Light wear to decoration. No crack, chips or restoration.
A 19th century Staffordshire pearlware figure of a gentleman dressed in a light brown coat and yellow breeches, resting on a pair of crutches and naturalistic base and square plinth, titled Old Ages, height 23cm, together with eight other 19th century and later Staffordshire pearlware figures (9)
A pair of Wedgwood stone china soup bowls, each decorated in the Japan palette, circa 1827-1861, printed backstamp Wedgwood's Stone China, dia.24cm; together with a Wedgwood twin handled comport, decorated with floral sprays in the Imari palette on a white ground, circa 1880, w.26.5cm (3)Comport with light wear to decoration and some marks, large firing crack inside stand.Otherwise no cracks, chips or restoration.
A pair of contemporary plain cloth fabric upholstered three-seater sofas, each raised on squat bun supports with twin squab seat cushions, width 195cmDepth 96cm. Height 74cm.Both sofas are good and clean with the odd light mark.Cushions are reversible, not feather.Fire and makers label present.
An Ercol light elm draw leaf dining table, with three additional leaves, 252cm overall, together with a set of four Ercol stick back dining chairs (5)252w x 92d x 74h cmOverall condition is clean and usable, with only the lightest signs of use. Has three additional leaves which fit under the top. It can be used with any combination of extra leaves. Collected from a house clearance, so has been used. Some light dents to the seats, where they have been sat in. 160cm closed
A Royal Worcester porcelain miniature cabinet cup and saucer, painted with fruit by E. Townsend, date code for 1924, printed marks, together with another painted with fruit by W. Hale, date code for 1923, 10cm diameter (2)Overall condition looks to be complete. Some very light marks, wear to gilt and signs of use.
A Victorian part dinner service, with light blue / green border with gilt highlights, bearing unknown family crest / heraldic symbol, designed by Phillips of Oxford Street, London, circa 1868, with two later Hammersley side plates, to include a large tureen, six dinner plates and ten soup bowls (Qty). Generally good and clean condition, some surface wear and minor damages may be apparent
English School (17th Century) Portrait of two young girls on a chequer-board terrace, one standing, wearing a fine red dress with a dark green stripe embellished with gold thread and lace detailing, the other seated, wearing a pale pink satin ensemble and white chemise, a posy of flowers being passed between the two Oil on canvas, 140.5cm by 152.5cmProvenance: The Property of the Earl of Suffolk and Berkshire, Charlton Park Lined. All keys present, lacking in tension. Brittle age and impact craquelure throughout, with passages of lifting/cupping mostly to the dark leafy background (see raking light images), but these are not actively flaking. Slight stretcher bar marks - stable. Scattered restored losses throughout, mostly minor. A few larger patches of restoration including to the right of the curtain (the overpaint is a light pink), to the forehead of the older child, with a few futher touches and brushstrokes throughout. There has been some abrasion to glazes and delicate passage including the faces/hands and drapery. There has been a little reinforcing to places in the drapery and around the older child's hands and to both her armpits (see images in UV). There are a few patches of retracted/bitten into paint - some of which have been suppressed by retouching. For example around the younger child's head and to the curtain on the right. Possibly the result of solvent damage? It is difficult to see if there is further overpaint in the background due to the thick old varnish layers, which are slightly yellowed. It is likely that there is more than one varnish layer as well as some ingrained dirt. There are two white scratches to the chequered floor bottom centre and scuffs to all sides of the painting where in contact with the frame rebate as well as further minor scuffs throughout. There are pale splashmarks across the varnish throughout the lower half of the painting. There is a layer of surface dirt and minor surface accretions including flyspotting.
Fortunino Matania RI (1881-1963) Italian Venus and other beauties Mixed media, possibly a fan design, together with five further mixed media figurative renditions, one possibly an illustration for "Vanity Fair", one of mountaineering interest and another seemingly a Burberry Clothing original advertisement illustration, 26.5cm by 53.5cm, 38cm by 27.5cm, 38cm by 24.5cm, 47cm by 25cm, 34cm by 24cm and 44.5cm by 31cm respectively, the first framed only (6)Provenance: From a collection of sketches and drawings from the studio of Fortunino Matania Private Collection, North Yorkshire Framed fan design: Light cockling throughout, more pronounced in the gilded area with several creases (see images in RL). Deep crease at right edge. Micro-flaking of the gold (see images). Oxidised at the edges, a few tiny foxing spots.Lady & Lamp: Creases, cockling throughout. Rough edges. Oxidised paper, light staining and marking.Vanity Fair: Creases, cockling throughout with folds, small tears at edges. Light dirty marking and oxidisation to paper.Trying on Shoes: Slight cockling and creases top and bottom and middle. Tear middle left. Foxing throughout, and oxidisation of paper.Mountaineers: Mounted on card, which is itself marked. Feint tight creases top left quadrant, small tear bottom edge. Light foxing and brown material in a few small patches on the surface.Burberry: Fold creases at the centre with further creasing at the top. Several tears, dogearred corners, foxing and light marking, oxidisation of paper.
Harry Fidler RBA, ROI (1856-1935)Ploughing the fieldsSigned, oil on canvas, 34.5cm by 54.5cmUnlined. Very coarse, open weave canvas on a rough strainer. Thick ground emerging through canvas at reverse. Set undulations and lacking in tension. Brittle age craquelure throughout, lifting and pulling at the canvas. A few mobile and lifting flakes including to the centre of the sky (see image in raking light). A few unrestored losses at the edges. No restoration visible. Old, yellowed varnish layer, darker where lying thickly in troughs of paint, light surface dirt layer.
E. Fletcher (1857-1945)Shipping in the Pool of London at sunset, with view of St Paul's Cathedral to distanceSigned, oil on canvas, 49.5cm by 75cmUnlined. All keys present, but slightly slack. Quantity of dirt and debris behind bottom stretcher bar. Slight undulations top left and bottom right corners. Slight distortion associated with edges of stretcher bars. Raised brittle age craquelure and impact cracks within edges of stretcher bars. Paint not actively flaking but pulling up the canvas and slightly raised, mostly in the thicker paint of the sky - see images in raking light. Apparently some reinforcing overpaint to the bows of the two largest boats - appears matt in reflected light. Possibly a little abrasion in these areas, and to other thin passages such as the shadows under the bridge arches. One small unrestored loss below a thick lump of white impast to right of signature. A little overpaint to the small flaked losses at impact sites in a couple of places in the sky. A little rubbing at the edges from contact with the frame. An even, fairly glossy varnish, not appreciably yellowed. Light surface dirt.
Harold Swanwick RI, ROI, RCamA (1866-1929) "Alger" Initialled, inscribed, oil on canvas laid onto board, together with a further example by the same artist likely depicting a French harbour scene, 14cm by 22.5cm and 15cm by 22.5cm respectively (2)Provenance for "Alger": The Estate of Harold Swanwick and by descent The Heatley familyExhibited: "Chris Beetles Summer Show, 2023", Chris Beetles Gallery, London, June - September 2023Literature: Illustrated "Harold Swanwick (1966-1929): Rural Life and Landscapes" Forrest, Andrew, p.49, no.43It has been suggested that this work was painted in c.1897The lot is sold together with a copy of the book "Harold Swanwick (1966-1929): Rural Life and Landscapes" Forrest, Andrew, Coniston Books, 2023 ALGER: Canvas delaminating from the board in a few areas - visible as raised bubbles - namely to right hand edge, left hand edge, left of lower edge and to left of the left hand horse (see images in raking light). Small pin hole to each corner, likely from painting process. Edges of canvas just visible within sight of frame. Some flattened impasto. Paint all stable - no cracking, losses or abrasion. Marking and paint transfer around edges. Yellowed old varnish, ingrained dirt, and layer of surface dirt.SHIPPING: Canvas flat and even, no delamination visible. Small pinholes at corners and centre top and bottom painted out with brushy cream overpaint, which extents over a tiny loss bottom left corner, and around the bottom right corner. One tiny unrestored loss top right in sky and one small diagonal crease/crack to upper left edge. Slight marking/transfer of paint at edges. A layer of surface and ingrained dirt. Apparently unvarnished.
Gerard van Soest (1600-1681) Dutch Portrait of Oliver Jones (c. 1654-1685), son of Colonel Phillip Jones (1648-1685), by repute, half-length, wearing fine costume and resting his hand on the head of his hound Oil on canvas, 74cm by 62.5cmProvenance: The Property of Sir Brooke Boothby, 15th Bt., removed from Fonmon Castle, Glamorgan possibly Soest circa 1600-1680/1 London Sotheby's London, December 7 2023, Lot 44, Old Master Paintings Day AuctionLiterature: J. Steegman, "A Survey of Portraits in Welsh Houses", vol. 2, Cardiff 1962, p. 93, no. 9, reproduced pl. 15 c (as anonymous, c. 1660); A.D. Fraser Jenkins, "The Paintings at Fonmon Castle", in S. Williams, Stewart Williams' Glamorgan Historian, vol. 7, Glamorgan 1971, p. 62 (as Gerard Soest).Catalogue Note: The sitter in this portrait is traditionally identified as Oliver Jones (c. 1654-1685), the heir of Colonel Philip Jones (1618-1674). Despite living a relatively short life for the period, Oliver is recorded to have married Mary Button and sired an heir, Robert Jones (d. 1715), who continued the family line. Lined with a secondary loose lining canvas at the reverse. Unusual stretcher with corner bars. All keys present but a little lacking in tension. Brittle age and impact cracks throughout. Slightly raised, but secure. A history of flaking in the past, with micro losses throughout - the larger ones suppressed by retouching. Scattered fruther minor losses of paint and ground throughout - retouched. Mostly in the background. A few touches of overpaint in the face. Larger passages of overpaint to the bottom centre above the plaque, around the bottom left edge of the drapery, in the dog's neck and in the background above right of his head and the hand. There has been some abrasion to the paint layers, and likely loss of glazes. These areas include the shadows/halftones of the face and the dog, and in the background particularly over the raised cracks. Likely this is what the overpaint is suppressing. A little ingrained dirt and varnish. There has been some more recent knocks/movement to the canvas - there is one small area of slighly raised area of paint to the right of the red collar. This patch, together with several others, appear white. This whitening, however, is the result of delamination of varnish, and the paint is intact underneath. The rest of the upper varnish layer is even, and not appreciably yellowed. Light surface dirt.
John Pettie RA, HRSA (1839-1893) ScottishDeparting the masquerade ballSigned, with indistinct presumably related Glasgow Herald newspaper cutting to stretcher verso, oil on canvas, 120.5cm by 86.5cmWax lined, all keys present, fair tension. Brittle age craquelure throughout, flat and stable. Fairly open drying cracks in passages, largely through and surrounding the figure. There has been a campaign of retouching to suppress these in places (see images). There has been some abrasion to the paint layers, notably the hair/forehead, face, and drapery. A few scattered minor restored losses, including a small one in the hand holding the fan. Old ingrained yellowed varnish in passages. An upper, fairly even varnish, not too yellowed. Light surface dirt.
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