Vacheron & Constantin: A Rare and Interesting Silver Open Faced Keyless Naval Deck Watch, Recorded in Service in the 1940's on Board HMS Upright, HMS Elfin and HMS Lingay, signed Vacheron & Constantin, Geneve, Chronometer Royal, Numbered 1566, circa 1940, manual wound lever movement signed and numbered 371566, split bimetallic balance with a blued overcoil hairspring, micrometer regulation, wolf's tooth winding, enamel dial with Arabic numerals signed and numbered, seconds dial, case back with engraved H.S (Hydrographic Service) military broad arrow 2, inside back cover stamped Vacheron & Constantin and numbered 271321, silver convention mark 0.925, with outer wooden fitted box, inside lid with instrument makers stamp label "B.Cooke & Son Ltd, Hull, sold with a photocopy of the original ledger for this chronometer number 156658mm wideFrom research at the Royal Observatory the ledger confirms this Naval Deck watch by Vacheron & Constantin was purchased by the Royal Navy in February 1942 for a sum of £16, and sold in August 1961 to B.Cooke & Son. The ledger confirms this deck watch was on board HMS Upright (U Class Submarine), HMS Elfin (Torpedo recovery vessel) and HMS Lingay (Trawler/Minesweeper).Case with surface scratches, case with very minor dents in parts visible under an eyeglass, case covers are nice an tight when closed, case hinges are in good condition, pendant bow is missing, glass with scratches, dial is clean and with no cracks and no chips, dial with broad arrow rubbed and still visible beneath the number 1566 and can be seen under an eyeglass when tilting the watch towards the light, minute hand is stained, hand setting correctly and winding smoothly, movement is clean and in going order. Outer wooden fitted box is faded and with dents and scratches in parts.
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A Victorian Silver Oil-Lamp, by James Dixon and Sons Ltd., Sheffield, 1896 on square base, chased with foliage and husk swags and with beaded border, the tapering stem fluted and terminating in a Corinthian capital sconce, with cut-glass font and metal mounts, later fitted for electricity, filled62cm high to top of electric fittingFully marked on base. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points. The stem leans slightly. The glass font seems to be intact with only some minor surface scratching and wear. The original mounts for the oil lamp are lacking and the top has been replaced with a light socket. The electrical wire has been cut and so not in working order as a lamp. The height to the top of the Corinthian capital is approximately 42cm. The diameter of the font is approximately 18cm.
A Pair of Portuguese Silver-Gilt Seven-Light Candelabra, by Mergulhão, Lisbon, 20th Century after a pair supplied by François-Thomas Germain in 1757-58 to King José I of Portugal, the bases modelled after a design traditionally attributed to Thomas Germain and often made by Louis Lenhendrick, each on shaped circular base cast with foliage, shells and rocaille, the baluster stems cast with foliage and flowers and with further foliage swags, the six branches each lavishly cast with foliage and applied with flowers, terminating in foliage and flower-cast sockets and with detachable fluted wax-pans, with similar central branch60cm high, 46.5cm wide, 375oz 2dwt, 11,667gr (2)Provenance: with Asprey, New Bond Street, London, December 1979.Each marked on base, socket, wax pan and nozzle. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The gilding was probably refreshed when sold by Asprey. The central nozzle on has a striped thread so it does not tighten properly. Some bruising to the branches.
Attributed to Howard & Sons: A Late 19th Century Bridgewater Type Upholstered Armchair, recovered in light brown linen, the rear leg stamped 8338 5127, on brass castors stamped Howard & Sons69cm by 69cm by 85cmRecently recovered so fabric in excellent condition. Numerous scuffs to legs consistent with age. All brass castors are stamped Howard & Sons
~ An Early Victorian Cut-Glass Twelve-Light Chandelier, attributed to Perry & Co, mid 19th century, the tapering vasiform shaft with a corona hung with drops above ten twisted branches terminating in glass nozzles and drip pans, all joined by faceted pendant drops and spears centred by a suspended ball pendant 80cm diameter, 130cm highFor a similar example see Mortimer (Martin) The English Glass Chandelier, pg.154, pl.92 and Christie's, 10 February 2022, lot 229
~ An Early Victorian Cut-Glass Twelve-Light Chandelier, attributed to Perry & Co, mid 19th century, the moulded baluster stem with cut canopy hung with graduated tiers of prismatic cut beads and drops, the cut-glass bowl issuing short and long S-shape ropetwist moulded arms joined by hanging chains, the cut-glass beads with large drops and faceted pendant drops below 80cm diameter, 120cm highFor a similar example see Mortimer (Martin) The English Glass Chandelier, pg.154, pl.92 and Christie's, 16 November 2021, lot 584
Nejafabad Isfahan CarpetCentral Iran, circa 1970The blood red field of scrolling vines around a pistachio green flowerhead medallion, framed by spandrels and sky blue borders of meandering vines, flanked by ivory guard stripes409cm by 292cm Both ends complete. Selvedges almost complete but with slight fraying to the binding cords in several areas. Pile is close clipped and generally in fair condition, one area of light wear.
~ A Chelsea Porcelain Pot Pourri Vase and Cover, circa 1765, of scroll moulded and pierced beaker form with foliate knop and entwined scroll handles, painted with a profusion of flowers on a gilt ground within blue Mazarin borders, anchor mark in gilt35cm highFor a related pair of pot pourri vases painted with flowers on a gilt ground within blue Mazarin borders see Severne Mackenna (F) Chelsea Porcelain, The Gold Anchor Wares, pl.63Cover with losses to the applied work on the top. Flat chip to the rim of the inner flange.Main body with a section of the pierced rim lacking and the edge re gilded to hide the loss, a short crack to the pierced rim and a firing crack opposite. A V-shaped chip to the inner rim with a small associated crack. Long stained firing crack under the base, viewable inside and out. Some other minor flakes and losses. Generally with some minor wide crazing. Gilding in overall good condition with some light expected wear.
A Pair of Gilt-Metal-Mounted Green and White Variegated Marble Lamp Bases, in Louis XV style, of baluster form with fruiting vine cast handles, on circular socle and square base, fitted for electricity60cm highGood overall condition. Some minor chips to edges, light scratches and wear. Mounts good and all firmly fixed. Wiring needs to be tested before use.
~ Kirman CarpetSouth East Iran, circa 1950The ivory field with a one-way design of cypress trees, birds and plants in flower enclosed by raspberry borders of further plants flanked by triple floral guard stripes366cm by 293cmBoth ends are complete. Selvedges both complete with slight fraying to binding cords. Pile is close clipped and in good/fair condition, one area of light wear. Would benefit from washing. No stains detected but carpet is dirty.
Afghan Ziegler Carpet, circa 1990The ivory field of large scrolling vines centred by a small cusped flowerhead medallion, enclosed by wide borders of palmettes and serrated leaves, flanked by double guard stripes484cm by 365cmBoth ends and both selvedges original and complete. Pile is full and thick, a number of tiny light spots (stains), might benefit from washing.
A Royal Worcester Porcelain Coffee Service, by Harry Stinton, 1933, painted with highland cattle in misty landscapes within gilt line borders, signed, printed marks in blue and retailer's mark for Maple comprising:1 coffee pot and cover1 milk jug1 sugar bowl6 cups and saucersSome glaze crazing, the coffee pot main body particularly heavy crazed. Some minor gilt wear. Very light wear and scratches to the decoration. No damage or restoration.
A George III Barrel-Shaped Wing-Back Chair, early 19th century, recovered in light green floral silk damask, the flared sides and overstuffed seat on square tapering forelegs with brass-capped feet and castors86cm by 57cm by 111cmUpholstery good and clean. Framewook structurally sound. Legs scuffed. Front left foot needs attention - loose pin - and poor colour.
A Pair of Chinese Porcelain Baluster Vases, mid 19th century, the trumpet necks with mythical beast handles, painted in famille rose enamels with dignitaries in interiors on a foliate ground within formal borders46.5cm highGood overall condition. No chips, cracks or repair. Some glaze pitting and light wear. Need cleaning.
An Edwardian Carved Mahogany Adam-Style Serving Table, early 20th century, of breakfront form, the moulded top with guilloche-carved border above a central frieze drawer decorated with an urn issuing trailing flowers and leaves flanked by carved panels, on stop-fluted tapering legs with spade feet214cm by 68cm by 92cmGenerally good condition throughout. General light scratches throughout, mainly around the top, consistent with age. Minor ring marks. General scuffs around the legs.
William Woodhouse (1857-1939) Sportsman and dog walking up grouse Signed, oil on canvas, 33cm by 45.5cm Good tension, all keys present. There is a fairly large scale brittle age craquelure and impact cracquelure throughout, with fewer cracks over the stretcher bars. Some cracks associated with the stretcher bars. The cracks are elevated in places but appear secure at present. There has been some minor wear over the elevated edges of the cracks, particularly in the sky (see images). There is a tighter diagonal pattern of cracking in the hills, and these and the cracks in the birds and foreground appear slightly dark. There has been some minor wear/abrasion in the sky and to the opaque scumbled glazes in the fathers. There is a tiny retouched losses in the sky top right. There is a passage of grey overpaint in the sky visible under ultraviolet light, leaving this area with a slightly uneven surface gloss.There is a layer of dirt and debris, wipe marks to bottom edge, and minor orange loss above signature.Examined in Frame
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.
John Cyril Harrison (1898-1985) Peregrine Falcon Signed, watercolour, 44cm by 29cmSold together with five letters from the artist to the vendor's father dated 1947 Relatively light to more moderate time staining which is more evident towards the outer edges of the sheet towards the mount. Colour depth broadly good with some slight tempering as a result of the time staining, and possibly very light overall reduction. The picture plane is flat and even. Possibly minor flaking to the sky and a tiny white scratch (see images). Three possibly retouched spots to the sky (see images).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.
Frederick Richard Say (c.1827-1860) Lady Elizabeth Buteel, half length seated before a landscapeBears later inscription to the reverse, oil on canvas, 75cm by 62cm Provenance: Sothebys "Royal and Noble", January 20th, 2002, Lot 27 (Property Removed from Fenton House to be sold on behalf of the 7th Earl of Durham) A fairly old lining with asociated stretcher, fair tension with two keys missing. Original tacking margins removed which are visible at the top of the picture from the front. A fine network of brittle age cracquelure most noticable in between the stretcher bars, and a series of diagonal cracks in top right corner and associated with the stretcher bars. Larger scale brittle age craquelureand impack cracks more visible in the thicker, paler paint. Mostly currently stable and not elevated, with only a couple of minor slightly raised areas. Scattered tiny pinpoint losses associated with the cracking, mostly unfilled and unretouched. Fairly wide drying cracks are also evident, most prominently in the dark background and red drapery, mostly suppressed by retouching. Resulting in a slightly lumpy surface. There is what appears to be an old lumpy filling and retouching to the top of the sitter's forearm 2 inches long, and a wider passage of restoration above the back of the chair but this is difficult to see the extent of. Further small scattered unretouched and retouched minor losses, with slightly bigger filled and retouched losses at the bottom of the landscape and in the hand. There has been some minor flaking of the upper paintlayers in the red passages, particularly the flowers. There is a brown patch of overpaint here too. It is likely that there are several campaigns of restoration (although it is difficult to see i nthe darker areas), with the retouchings in the paler areas now noticably lightened in the flesh and sky. There has been some abrasion to the thinner paint layers, for example the hair, which has been reinforced, along with the sky. There is old dirt and varnish ingrained in the canvas weave and brushstrokes, and remnents of old discoloured varnish. One more recent white loss to arm, 1.5mm long, and a layer of dust and surface debris. Mostly stable condition, with visible discoloured retouching.Examined in frame, not examined under ultraviolet light.
Samuel Prout OWS (1783-1852) "Cafe de la Place, Rouen" Signed, watercolour, 70.5cm by 52.5cmSold together with the loose original artist's inscribed label Provenance: Colnaghi, London The top edge and lower right edge are visible inside the mount, with mounting fixtures exposed (see images). There is a very slight distortion/cockling at the edges, and possibly a slight convex curvature across the sheet but the picture plane is relatively even. There is a slight stain/mark at the right hand edge half behind the mount above the top of the roof. Scattered tiny marks/spots in the sky, with a couple of tiny pinpoint losses. Light timestaining particularly to top edge but no major fading apparent. Fitted with low relective glass. Examined in frame.
Benjamin Cam Norton (1835-1900) Adam and Amy Agnes Dugdale in Griffin Park, Blackburn, Lancashire, with St. Philip's church in the background Signed and dated 1874, oil on canvas, 82.5cm by 110cmProvenance: Dutton Manor, Lancashire Unlined canvas, with minor damage to the tacking margins at the reverse. Two keys missing, and rather lacking in tension. There are distortions/draws at all corners, most notably the top, extending towards the centre of the painting and further smaller scale undulations to the canvas (see images in reflected light).There is brittle age craquelure throughout, with the larger scale cracking only very slightly raised and all appears stable. There is also finer scale craquelure in small passages, which is slightly tighter and sharper and in places the varnish has cracked an whitened. These too, appear to be largely stable. There are some slightly wider cracks, some of which have been suppressed by a little retouching, most notably in the top left corner (see images). The are less visable. Some impact cracks in places, which have slightly whitened varnish.Scattered small white losses, including some minor losses associated with the frame rebate. There has been some paint from paint flaking in the red jacket of the groom at the right (see image). The faces of the lady and gent have small dark dots, it is unclear of their origins.There are dark, spotty small matt acretions throughout, two white splashes to the sky at the left and possibly larger drip mark under the gentleman (see image)Overall a fairly dark tonality, with old dirt and discoloured varnish which has a slighly uneven surface gloss in reflected light. The slip is loose in the frame, with a gap to the right.Examined in frame.
Circle of Giovanni Costa (1826-1903) ItalianMending the netsOil on canvas laid on board, 15.5cm by 24cmOil on canvas, laid on board. A slightly lumpy surface at the middle right side, from just behind the prow of the boat to the edge of the painting in a cone shape (see image in raking light). This, and slight flattening of impasto in places and a long linear series of cracks running diagonally from the seated boy's foot to the left edge suggest that the canvas was laid on the board after painting? No further cracks are apparent.There is a small shallow loss to the sky at the middle of the top edge (unrestored), one tiny flake of blue paint stuck in the varnish at the bottom edge, one 1cm long scuff with transfer of gold paint approx 1 cm left of the left point of the net, and a futher blob of gold paint at the bottom right corner which has been glazed over in dark brown.The sky and water is a little thin/abraded in places, and has likely had some suppressing restoration particularly to the far promentary of coast at the left side (see image in UV). Retouching not really evident in normal light.There is old ingrained dirt and varnish, less in the sky, and scattered points of dark surface accretions.A good even surface gloss.
George Edward Lodge (1860-1954) ''The Raid in the Snow'' - Sparrowhawk and Bramblings Signed, gouache, 36cm by 50.5cm Exhibited/Provenance: Robert Dunthorne, London, No. 38, Exhibition, 1920 A good even picture plane.Light marking approx. 0.5cm inside sight at top and left edge from contact with the slip (see images).Some finescale flaking of the thicker passages of paint in the hawk's near wing and in the wings of the left hand brambling (see images in raking and normal light).Possibly some slight timestaining and fading, but colours appear pretty good.
Follower of Carlo Bonavia (c.1751–1788) Italian Rustic figure at rest with goat and sheep before a waterfall and a distant tower Oil on canvas, 144.5cm by 114cm A mid-late 20th century lining and associated stretcher, slighly slack but all keys present. There is a slight bulge in the centre of the face of the painting where the lining is possibly delaminating. The impasto is slighly pressed. There have been four canvas inserts, one to each corner (see images), with the extra pieces later painted. The joins are now prominent and slightly cracked/flaking.There is a fine network of cracks associated with the very open weave canvas throughout, with some more prominent horizontal, deeper cracks/flaking mostly concentrated in the thicker areas of paint particularly the water in the foreground (see images). Possibly bent/rolled? All currently stable. Old small retouched and unretouched losses throughout, with bigger losses including a 1 inch loss unretouched to the large rock to the right of the picture, which has a yellow halo of material surrounding; large brushstrokes of a gritty brown retouching to two losses to the large rock to the left, and a deepter old loss to the impasto above the head of the figure. A futher 1.5 inch approx. loss exposing canvas and associated old flaking to the gap in the trees in the middle of the painting. There is a band of overpaint all along the top edge.There has been abrasion to some of the thinner areas of paint, for example the dark trailing greenery over the sky, and to the sky itself revealing the reddish ground. The abrasion looks largely unretouched. Possibly older retouchings in the darks.There are small white scuffs, spots and scratches scattered throughout, and one larger scuff with some minor flaking to the top right in the pillar. There is patchy white mould (?) spots noticable in the bottom right of the picture (see images), a lot of old dirt and varnish ingrained in the deep canvas weave and texture of the paint. There is a cloudy old varnish, slightly matt and breaking up in patches giving a slighly uneven surface gloss, and a layer of surface dirt and dust.Examined in frame, not examined under ultraviolet light.
Robert Henry Roe (1822-1905) In Full Cry The Huntsman Return The latter signed and dated (18)89, oil on canvas, 44.5cm by 80cm (2) A) The Huntsman ReturnOne key missing, good tension to the canvas.Prominent stretcher bar marks in places, with some associated cracking. Widespread brittle age and impact cracquelure throughout, with some lifting and flaking in patches, much of which appears to have been treated previously. Some active lifting and flaking in the sky above the horse's withers, to the right of the hind leg, in the shadow of the same hoof, and there are a few scattered small unrestored losses, for example to the rear leg of the horse. Old minor restored losses to top edge.Some abrasion/wear to the upper paint layers especially in the horse's far foreleg, hind haunch and leg of the left hand hound and behind the fence on the left in the woods, and to the tops of the trees. Parts of the surface/paint layers appear slightly broken up/crizzled, with cotton wool embedded in places. These scatter the light and appear more matte.There is some old ingrained old dirt and varnishe, particularly evindent in the troughts of the impasted paint. Some minor transfer of gold from frame at to edge. The old varnish has been partially removed, and an even upper varnish applied. There is a light layer of surface dirt/debris. B) In Full CryAll keys, present and the canvas has good tension. Slight stretcher bar marks and associated cracking. Patches of finescale brittle age and impact craquelure, currently secure but there has been a history of finescale flaking which has been consolidated and some of which has been retouched. This gives the surface a broken up/crizzled appearance that is matt in patches. Several larger lines of cracking and flaking from impacts, notably to the middle of the sky, and a long line through the back of the right hound towards the outer edge. This has cracked and flaked and been retouched but is raised (see images in raking light). Possibly some paint from paint flaking in the head of the huntsman.Scattered unrestored small losees, and some further small restored losses, for example in a line through the left hand hounds leg and flank, to the horse's hoof and coat.There are patches of abrasion/wear to the upper paint layers in patches, such as the top right corner of the sky, top left of sky, horse's muzzle, and to the signature.Both examined in frame.There is scattered white debris in the surface, and old ingrained dirt and varnish, which has been partially cleaned.
Owen Bowen ROI, PRCamA (1873-1967) A view of a North Yorkshire coastal village, probably Runswick Bay Signed and dated 1909, oil on canvas, 49cm by 74.5cm Unlined, one key snapped off in the stretcher, but fair tension.There is a slight distortion to the bottom left corner from material behind the stretcher bar. Large-scape brittle age craquelure through the thicker paint of the sky and the water, slighly cupped and pulling at the canvas causing a quilted appearance to the canvas at the reverse (see images in reflected light). No sharp lifting points evident at present and secure. Some slight stretcher bar marks.Old ingrained dirt and slighly yellowed varnish in troughts of paint.A few tiny scuffs and losses bottom right corner and bottom edge.
Attributed to Benjamin Cam Norton (1835-1900)Portrait of a gentleman seated in his library, wearing a black suit, with his attendant dogsOil on canvas, 140cm by 111cmAn unusual partial / supporting lining, with the original canvas restretched over a thin white cotton material but not adhered. There is an old repaired split to the centre of the cross members. All keys present, slighly slack tension on the canvas.There are raised stretcher bar marks in passages, particularly at the top horizontal member, the top of the vertical cross member, and the bottom of the horizontal cross member (see images in reflected light). There is some minor brittle age craquelure, particularly associated with the corners and some minor impact cracks in places. Some slighly cupped/raised but all stable and not history of flaking. A few minor passages of drying cracks/aligatoring in the black of the dog's head.There are scattered tiny unrestored losses, and a few scattered retouched and partially retouched tiny losses particularly at the top of the painting.There is a patch of abrasion revealing white underpaint above the spaniel's left paw (see images), and some further light abrasion to the it's paw.The picture has been partially cleaned to remove old yellowed varnish in the face, and lighter passages of the drapery and fur. The thick old yellowed and slighly opaque varnish has been left on in the rest of the painting, now visible in certain lights as slighly streaky in the background (see images). There is a fairly even upper varnish and surface gloss, with slighly shiny pools of varnish in the top right edge. There are minor scuffs/abrasion/gold residue from frame at the left edge, and a layer of surface dirt/dust.Examined in frame.There are scattered tiny white drips/spots, small yellow patches.
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).
William Oliver (1823-1901) The Love Letter Signed and dated 1881, oil on canvas, 44cm by 35cmProvenance: Sutcliffe Galleries, HarrogateSold together with a copy of the 2009 insurance valuation provided by the above Lined, with two keys missing. Fairly stiff but good tension.Slight stretcher bar marks, and brittle age and impact cracks throughout, slightly raised/cupped but mostly secure with the exception of one slightly lifted point in the top right corner (see image in raking light).Scattered retouched losses, including four approx 1cm losses in the background to the left of the sitter and a 2cm loss to her right. All the retouchings appear matt (see images in reflected light). Futher matt patches to the top edge and top left corner. Further minor scattered retouchings and a few tiny pinpoint unrestored losses.A few matt splash marks including to the top right, and slight abrasion around the rebate.There has been some abrasion/wear to the dark paint of the bonnet, which has some associated retouching, and a little abrasion in the black shawl. Possibly some very minor wear to the flesh tones around the features in the face.An uneven surface gloss over the retouchings, and a layer of surface dirt and dust.Examined in frame.
Theodor Alexander Weber (1838-1907) GermanLeaving Harbour, BologneSigned, oil on canvas, 31.5cm by 53cmLined, all keys present, good tension, some possibly very slight pressing of impasto from lining. A few patches of brittle age and impact cracks, mostly to the sky, which have associated tiny losses of paint. Most are unretouched and are covered by the upper varnish layer. All currently stable and not lifting. There is some drying craquelure in the boats and figures (see images). There are a few small dark grey touches of overpaint in the sky. Possibly some minor thining of paint in the rigging.Some tiny pools of old yellowed varnish visible in troughs of brushstrokes in the sky, and a touch of a yellowish substance in the sky between gulls. A good even surface gloss with the exception of one matte scuff through the second highest gull visible in reflected light.
William Mellor (1851-1931)"On the Wharfe, Bolton Woods"Signed, oil on canvas, 44.5cm by 75.5cmWax lined with a secondary loose canvas at the reverse. Fairly ridgid. Two keys missing but fair tension. Original edge of painting visible at left edge in places. A very small amound of finescale brittle age craquelure in the rocks in the river, no elevation or flaking. There is a minor linear disturbance in the paint 1cm in from the left edge in the trees and bank - appears to have been when the painting was wet. Retouched/suppressed in places with brown paint. A little old grey ingrained dirt/varnish visible in the troughs of paint in the sky, and three small brown surface accretions and one small grey drip all in the sky (see images). One very minor scratch in the river rocks visible with a torch. A tiny old loss to a rock in the river. A slighly uneven surface gloss associated with the artist's technique/materials - i.e. glossier in the thicker, more medium rich paint. Varnish possibly very slightly yellowed. A light layer of surface dirt/dust.
Richard Henry Brock (exh.1897-1915) Penning the Turkeys Signed and dated 1901, oil on canvas, 54cm by 90cm Provenance: John Noott, Broadway Sold together with a copy of the sales invoice from John Noott, Broadway, dated 3/9/84 Unlined, all keys present, fairly slack tension to the canvas. The canvas appears quilted at the reverse, where the thick paint layers have cracked and pulled the canvas out of plane, and varnish has seeped through.One lump of paint on the reverse of the canvas associated with an impact and small loss of paint and ground at the face (unrestored) at the boy's left shoulder. The impact cracks are slightly elevated (see image in normal and raking light).Largescale and finescale brittle age and impact craquelure throughout. This is cupped and elevated (see images in normal, raking and reflected light), but appears secure with no history of flaking and loss. There are just a very few slightly more raised sharp points mostly associated with impact cracks. One small 0.5cm long paint-from-paint flake from trees at the top middle edge (see image), and a couple of tiny pinpint unrestored losses.There is a small patch of white residue to the right of the man's head (see image), and two small losses at the bottom edge from contact with the frame, and a further slighly larger loss top left corner by the frame rebate.A good glossy even varnish, a light layer of surface dirt and a thicker band of dust down the left edge.No overpaint apparent in normal or UV light. Likely an early to mid 20th century frame.
Italian School (17th Century) Santa Dorothea Inscribed verso, "Re Lined by H W Holder, Portland Place, Hull", oil on canvas, 98cm by 92.5cmExhibited: National Exhibition, Leeds, 1868, according to label reverse Provenance: Private Collection, East Riding of Yorkshire The painting has an old lining, which is painted red at the reverse with black drips/staining. On an old stretcher with keys missing, and the stretcher bar inscribed 'Sir Godfery Kneller 1760'. Fair tension, but loss of impasto associated with the lining.The canvas is distorted and slightly lumpy in the top corners (see images).There is a fine brittle age craquelure throughout, slightly elevated and cupped in places but mostly secure at present.It is difficult to see quite what is going on in the darker passages of the painting due to the opaque old varnish and cracking. However, there is likely several old campaigns of restoration across the painting with some reddish retouching and thick opaque brown restoration visible in strong torchlight. There are scattered old filled losses at the corners, centre top edge, in the top of the palm where the fillings are slightly lumpy and lifting. There has been some history of flaking, now overpainted, leaving the surface with an uneven appearance. Notably this can be seen in the dark cloak over the Saint's shoulder (see images in raking and reflected light). There are small scattered newer losses including in the top left quadrant. There are larger filled and retouched damages including an L-shaped filling and retouching possibly to an old tear through the white drapery of the Saint's left sleeve. There is a long line of old losses and associated restoration running ten centimeters in from the right edge, extending through the hair and shoulder of the boy to the bottom edge with discoloured overpaint. Not all the losses have been filled. Further larger losses/patches of overpaint include those to the upper lip of the boy, the hand of the Saint holding the palm.There have been successive campaigns of restoration, some partially removed, for example the opaque green leaves that extend over the lower hand of the Saint.Much of the paint surface of the flesh tones and red drapery has a pockmarked/pitted appearance with paint from paint flaking. This is usually associated with heat or chemical burning. Some of the larger losses have been overpainted (see images). There are futher passages of overpaint throughout, including to the hair, the black necklace, and the hand.There is a thick old yellowed varnish, partially removed in the face. Old ingrained dirt. Splashes and wipe marks across the surface and white powdery residue, thick surface dirt.Examined in frame.
George Morrison Reid Henry (1891-1983) "Accipiter nisus" - Studies of a Eurasian Sparrow Hawk Signed, inscribed and dated 2-IX-60, gouache, 22.5cm by 21.5cm There is staining and marking to the bottom and right of the mount.There is some minor distortions to the paper visible in raking light (see images in raking light). There are two spots of paper fibres/fluff to the left edge opposite the beak. There is a small brown accretion bottom edge to the right of the signature. The yellow retains a vivid hue.
Follower of Francesco de Mura (1696–1782) Italian Allegory of WinterOil on canvas, 152cm by 181cmThe canvas has been lined, and wooden battens attached to all the tacking margins. The canvas has fair tension. There is widespread brittle age craquelure and impact craquelure throughout, and it has had a history of flaking. Much of the cracking, particularly in the dark area are lifting and cupping and there are several areas of active flaking (see images), particularly in the right hand dark area to the right of the boy's head and in the bottom left corner. In the lighter areas flaking to cracks is unretouched, and they may have been opened slighly with cleaning in the past. There have been several extensive campaigns of restoration. There are several larger losses which have been filled and retouched but remain visible for example an approx. 10cm circular network of losses to the top edge where the sky meets wall, and an approx. 10cm x 6cm loss to the sky above the mountain. There has been extensive overpainting in areas, including to passages of the sky, to the darks at the right hand side and along the bottom edge, the fire, the hands and face of the boy, to parts of the drapery of the man and to the nape of his neck, and the darker passages of his left leg, and in the bundle of sticks. The overpaint is more opaque and solid than the original. There has been some abrasion of the original dark areas and to the trees. There is old dirt and varnish ingrained in the original paint, an uneven upper varnish and white scuffs to the varnish in places. Examined in frame, not examined in UV light.
William Woodhouse (1857-1939) Partridge shooting Signed, oil on canvas, 49.5cm by 60cm The canvas is unlined with original tacking margins stuck down with adhesive tape to the stretcher. One key is missing, but there is fair tension. There is a line of old wax impregnated into the back of the canvas at the reverse. There is a significant distortion to the canvas over the largest partridge in flight, and a futher convex horizontal distortion from a blow from the reverse (see images in raking light). There is a patch of active flaking above the head of the partridge and to the horizontal distortion (see images).There is a brittle age craquelure throughout, especially associated with the stretcher bar, and diagonal cracks across the corners. Most of the cracking is secure, except a patch of tight raised, slighly flaking paint approx. 2.5inches below the dog (see images in raking light).There has been a series of losses along the bottom edge, now filled and retouched and associated with the wax on the reverse. The filling has since cracked and is flaking (see images). The losses are located just above the frame sight in the centre, centre right, and further retouched losses below the signature and to the right edge just above the signature. There are some minor drying cracks in the white cloud, and very minor micro-flaking in the dark of the dead bird's tail.There is some old ingrained varnish, and some light abrasion to the surface layers along the top edge with some small unretouched losses to the top right corner and around the sight.A good even surface gloss, with scattered flyspotting and accretions and a light layer of surface dirt.Examined in frame
Peter de Wint OWS (1784-1849) "Old Cottages, Lincoln" With inscribed label verso, watercolour with scratching out, 40.5cm by 51.5cmFor a comparable work see "Old Houses on the High Bridge, Lincoln" in the V&A Collection, Accession No. 179-1598, which is also referenced in Lord, John, "Peter de Wint for the Common Observer of Life and Nature", Lund Humphries, 2007.Provenance: Thomas Agnew and Sons, Manchester. Dutton Manor, Lancashire The paper is undulating in vertical curves across the whole sheet.There are tiny pin holes along bottom edge from being held whilst painting.Three scuffs to the paper in the sky around the tallest chimney (see images in raking light).A few dark grey spots in the sky and a dark mark in the top right corner.There is a small amound of a shiny yellow material in the bottom right corner just above the mount.Possible blue retouching to lines in water?Some timestaining and possible muting of colour.
Myles Birket Foster RWS (1825-1899) Fruit Market, Venice (1879) Monogrammed, various inscribed labels verso, watercolour heightened with white, 12.5cm by 17.5 cmProvenance: Dutton Manor, Lancashire Provenance: Richard Haworth, Blackburn Exhibited: Royal Society of Painters and Watercolours, February 1900 Japan = British Exhibition (presumed 1910), according to fragments of label verso A good flat, even picture plane.Some of the bodied white highlights are flaking slightly, see images in raking light particularly of the blouse of the woman carrying a basket.Possibly some very light timestaining to the paper.Colours have altered/faded slightly, most apparent where the foliage of the green veg and plants in pots in the foreground have faded to blue.
George Weatherill (1810-1890)Aerial view of the bridge at WhitbySigned, mixed media, 11.5cm by 20cmIn a broadly good state of preservation. Relatively light time staining to the sheet, which is more evident in the sky, especially upper right hand corner. Some likely general tempering of the overall colour colour depth as a result of this. No evidence of cockelling, not examined out of the frame.
Frederick Daniel Hardy (1826-1911)The LetterSigned and dated 1890, oil on panel, 19cm by 14cm Provenance: Rowles Fine Art, PowysPrivate Collection, North YorkshirePanel mostly covered at reverse, but no splits evident at face. A couple of small holes to the reverse of the panel, which is held flat in frame. Paint and ground layers stable, no cracking or lifting. There has been minor fresh abrasion/transfer to the upper layers down the right hand side from contact with the rebate. There is what seems to be the imprint of canvas to the sky in the window (see images), highlighted by dirt in the hollows. No major losses apparent, but a line of dark brown opaque retouching to the mid & lower right edge through the fireplace and teapot (see images), and to the bottom two inches of the left edge and a small patch to the top left corner. Slight abrasion, unretouched to the darkest area of the fireplace, and possibly to the wall which may have some slight reinforcing. An even surface and varnish layer, with a slighly milky wipe mark bottom left visible in reflected light. A layer of surface dust.
Attributed Richard Buckner (1812-1883) Portrait of General Sir Patrick Grant of Tullochgorm, three-quarter length standing in a landscape, in his full military attire and regalia Oil on canvas, 141cm by 110cmSir Patrick Grant was Governor of Malta 1867-1872 Lined, original tacking margins removed. All keys present, slightly lacking in tension. A slight lumpy surface to the canvas visible in reflected light (see images) possibly from the lining process. The painting is loose in the frame, and all original edges are visible, revealing scuffs and losses (both restored and unrestored) at all edges.There is a largescale brittle age craquelure in passages, mostly present as long diagonal cracks particularly to the sky either side of the head, and in the red sash. These are only slightly raised, and all appear secure (see images in reflected light).One indentation approx 3cm diameter from an impact to the left of the shoulder, which has cracked the varnish. There are a few scattered larger losses in the sky, with filling and slightly discoloured overpaint, and scattered small, minor unrestored losses (see images). Possibly some minor abrasion/wear in the beard with associated retouching. Due to the opaque varnish, it is difficult to see the darker passages of the sky.The paint layers of the bottom of the red sash have sustained some damage possibly from liquid. Darker disrupted spots sit above the belt, and flaking of the upper paint layers in vertical bands below the belt. There are futher white drip marks in the varnish that run to the bottom of the painting (see images). This damage has not been restored.There is a patch, uneven surface gloss (see images in reflected light), with the upper varnish layer partially broken up becoming opaque and whitish in places, following largescale brushstrokes presumeably from the application of the varnish by brush.There are scattered further drip marks particularly to the bottom portion of the painting, tiny white flecks to a patch of the sky top left, tiny black deposits on the face (see images), and a layer of surface dust and dirt and a scattering of cobwebs.
George Weatherill (1810-1890)"Whitby Harbour" Signed, watercolour, together with a further work by the same hand "Shipping by Moonlight, East Cliff, Whitby", 9cm by 13.5cm & 11.5cm by 21cm respectively, framed as a group of twoSmaller example: In a broadly clean and bright state of preservation. Some very light time staining to sheet, with possible very subtle and tiny clusters of foxing spots beginning to form within the sky on the left hand side. Larger example: Painted on a gentle and subtle palette with a slightly yellow hue, probably mostly by design. Light time staining to sheet. Both broadly in a good and presentable state of presentation. No evidence of cockelling. Not examined out of the frame.
Follower of Jacob van Walscapelle (1644-1727) Dutch An abundant still life with silver plate and spoon, a cut lemon, oysters, wild strawberries, a vine and grapes, pink Roses, cherries, and glassware, with butterflies and insects Oil on panel, 40cm by 33cm Frame size: 54cm by 47.5cm The panel is one single board, with a horizontal batten in the middle of the back, minor old knocks to all sides, and canvas stuck to the back of the panel. There are no splits visible, and the panel is held flat in the frame.There is a fine brittle age craquelure throughout, all stable with no elevation or history of flaking. In passages the cracks are wider, and these have been suppressed in a campaign of retouching, slightly discoloured (see images). The cracks are most evident in raking light and a higher concentration through the table top and plate. Small scattered retouchings to suppress the cracks in the background, and small retouched losses to the right of the righthand glass, further retouched losses in the left hand glass, and above this near the top edge. A small newer unretouched loss to the left of the lefthand glass. There is a diagonal line of retouching running towards the top left corner from the top of the vineleaf, a retouched loss to the end of the vineleafe above the grapes and further small scattered minor retouched losses. Some retouching to cracks in strawberrys, lemon, and a small filling and retouching to the right end of the cherry stem. There is a larger brown retouching above the oyster.Possibly some minor losses to the delicate glazes, but mostly intact.There is what appears to be a retouched or removed? signature or inscription above the butterfly on the left. Visible clearly in UV (see images) and as a pale milky patch in normal light. Wipe marks in the varnish bottom left and right. An old varnish layer, slighly opaque in places.Examined in frame.
Silvio Giulio Rotta (1853–1913) Italian Street urchins playing cards Signed and inscribed “Venezia”, watercolour, 18.5cm by 28cmProvenance: The Estate of the late David Middleton A good flat even picture plane. Top edge, particularly above the fence, there are patches of a yellowish brown shiny adhesive, with remnants of paper stuck to it (see images). Further small traces of the adhesive visible in places along the rest of the top edge.There are patches of brown staining and light coloured associated mould growth/accretions. The largest is approx. 2cm long, surrounded by smaller blobs, to the right of the head of the lefthand boy. Futher larger patches of staining/mould include one above the cards on the ground, and a patch top right of the jug. Smaller scattered further brown stains/growths.Light timestaining, and possibly some minld fading particularly in the greens that appear to have a blueish hue.
Joseph Richard Bagshawe (1870-1909)Rescuing a ship from a storm Signed and dated 1907, watercolour and gouache, 24.5cm by 34cmThe paper is flat and even. There are remnants of white paper adhered to the surface in three places along the very bottom edge, with residue of adhesive visible below the signature and bottom left corner. A feint dark line in places down the left edge (see images). There is a slight pale diagonal in the sky ? Some light time-staining, and possibly some fading to the transparent washes?
William Mellor (1851-1931) "On the Derwent, Derbyshire" Signed, inscribed verso, oil on canvas, 38.5cm by 74cm Unlined. Two squares of impregnated wax on the back of the canvas, likely associated with consolidation of flaking. Fair tension, all keys present, but stretcher keyed quite far out and there is a split to the top left stretcher member. The picture plane is good and even.Minor brittle age craquelure throughout. Mostly secure but there is some minor microflaking to the bottom centre (see images), and the sky has had a history of micro-flaking which has been retouched/overpainted throughout (see images in UV and raking light). The white impasto appears fairly flat, possibly associated with consolidation. There is one patch of more active impact flaking/cracking top left in the sky, and stable cracks through thicker areas of impasto. There are minor patches of drying craquelure to the horizon of the water (retouched), and on some of the rocks. There are scattered minor retouched but unfilled losses, and possibly some thinning to the dark, glaze-rich brown passages in the water.There is some very minor abrasion associated with the rebate in places along the bottom edge. There is a light layer of dirt and debris and an even glossy varnish.
Raymond Booth (1929-2015) “Iris Spuria” (2002) Signed and dated 2002, pencil and oil on paper, 71.5cm by 47.5cm The paper is flat generally, but there is one approx 2.5inch curved crease at the middle of the right edge, and there are two patches of indented marks, one to left and upper left of lefthand flowering iris, and one in the middle left of the picture (see images in raking and normal light).There are scattered artist's pencil marks and artist's corrections in white.Two tiny brown accretions mid left edge, and a few very feint smudges of original paint.The frame is in good condition with just two very small damages at the back edge (see images). The white slip appears grubby and marked.
Frederick William Jackson RBA (1859-1918)A fishing pot makerSigned, watercolour, 39cm by 51.5cmThe paper on support has slipped slightly in the frame to reveal the top edge, which also exposes a ragged edge of old paper (see images). The paper has a slighlty concave curvature, with a very slight convex 2-inch convex distortion sitting vertically in the bottom right corner visible in raking light. There are minor old abrasions and tiny nicks to the paper and scuffs along the top edge. There is minor cracking to some bodied opaque paint strokes. There are a few scattered pinpoint damages showing white, and imbedded white particles in the surface, for example bottom centre. Some light timestaining but colour remains fairly bright.
Thomas Daniell RA (1749-1840) "On the Bridge, Juanpur, (7th Dec 1789)" Numbered in pencil 131 to margin, and 77/33 to mount, pencil and watercolour engrisaille, together with a further inscribed example "Jumma Musjid Rajmahal", and numbered 117/33, monochromatic pencil and watercolour by William Daniell RA, 33cm by 42cm and 32cm by 46.5cm respectively (2) Provenance: Thomas Agnew & Sons Ltd, London "On the Bridge, Juanpur, (7th Dec 1789)"Light patchy time staining and foxing in places (see images), debris trapped between glass and paper. Laid down on backing paper, all edges exposed."Jumma Musjid Rajmahal",Laid down on backing paper, all edges exposed. Light foxing top right (see images), and very light time staining. Tiny possible flaking in the dark grey bank below trees, and dark blotches in the same dark grey lower left and centre bottom. Unclear what this is. Minor debris on paper.
Peter de Wint OWS (1784-1849) "On the Yare" Watercolour, 26.5cm by 38cmProvenance: Dutton Manor, Lancashire Good even picture plane. Scattered dark flecks are natural inclusions in the paper.Some possible fading/muting of colours and light timestaining.One dark mark centre of top edge.A small damage/retouching to the sky just above the gable to the right of the mill, and to the right of this a tiny dot of material on the surface.A further tiny white accretion at the bottom edge (see images).
Raymond Booth (1929-2015) “A Denophora Species” Signed, oil on paper, 98cm by 27.5cm There is a slight uneveness/undulations to the paper, just visible with the naked eye (see images taken in raking light). There is one small sharp indentation to the middle right of the plant.There are a couple of pencil marks at the top either side of the paper, a few further artist's drawing marks, and scattered small brown inclusions in the paper.There are few tiny brown spots below the second bottom leaf on the right, and a further brown smudge to the right of this at the very edge ,and a few further tiny accretions bottom left corner. There is a small flake of debris between the slip and glass in the bottom left corner.The frame has a very small damage to the back of the top edge, a loss of laminate approx. 1.5inches log at the bottom right edge/corner towards the back edge, a tiny rub bottom left corner join, a small scuff to the left back edge, and a loss to the back edge of the top corner.
Samuel Bough RSA, RSW (1822-1878) Scottish "Yauwath Mill, On the Lowther, Westmorland" Signed and dated 1848, oil on canvas, 61.5cm by 74cmProvenance: Purchased from the artist by a member of the seller's family and thence by descent (by repute) Unlined, with an unusual stretcher. Fair tension. See images in normal, raking and reflected light. Brittle age, impact and stretcher bar cracking throughout. Some cupping and elevation in the dark passages, but more pronounced in the very thick paint of the sky which is elevated and has had a history of flaking and attempted consolidation to treat this (old adhesive and varnish has seeped through to the canvas at the rear). There is still some active unsecured flaking in places. The surface has a lumpy plane in places, particularly top left, associated with the very thick layers of paint pulling at the canvas. Some of the flakes appear to have been crushed slightly. There has been some minor retouching to flaked areas. There are fairly open drying cracks, too, in the darker passages of the painting which appear to have been suppressed by retouching. There are scattered minor retouched losses, plus a larger unfilled retouching to a damage in the middle of the trees top left of cottage. Possible minor abrasion to the dark brown layers to the left bank. There is a thick old varnish layer, yellowed and pooled thick in places. INgrained dirt, and dark flake of paint stuck in the paint surfact top left, and surface dust and accretions. Examined in frame.
Emilie Preyer (1849-1930) German Still life of a peach, black grapes and cobnuts on a marble shelf Signed, oil on canvas, 15cm by 19cm The unlined canvas is on what appears to be the original stretcher, with tacking margins. One key missing, but canvas retains good tension. One slight linear diagonal distortion to the picture plane running from top right towards the middle of the painting only noticable in reflected light. Old brittle age craquelure throughout - barely noticeable.Two diagonal parallel scratches with minor small unfilled but retouched losses to the ledge below the peach. There are a series of small scratches and losses to paint along bottom of the ledge, which are retouched, and a small unretouched white scratch (2mm). Further minor small rouched losses/scratches to bottom left corner and lower right edge. One very small rouching to the background. Very minor abrasion along the bottom edge from movement within the frame rebate, and to end of signature.A fairly recent glossy varnish, not noticably discoloured, and minor surface dust. Overall, in good condition.Examined in Frame, not examined under ultra violet light.
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970)Staithes Fisher LadyPencil, 21.5 cm by 16cmProvenance: Walker Galleries, HarrogateThere is a crease and distortion to the top right corner, and cockling along the top edge and a slight bulge through the face and a slight distortion to the bottom edge visible in raking light (see images in raking and normal light). There is light timestaining, and one brown spot to the top left, and tiny black debris to the left edge, and minor light old marks to the right.
Ernest Dade (1864-1934)Scotch Herring fleet leaving ScarboroughSigned, inscribed and dated 1907, watercolour heightened with white, 48.5cm by 74.5cmThere is some cockling to the top left edge and a smaller distortion to the top right corner (see images in raking and normal light). The rest of the paper is even. There are scattered small foxing spots (see images), one dark spot in the centre of the sky, and four tiny white nicks/scratches (see images). Some light time staining ?, and possibly slight fading.
Circle of Jacopo Negretti, called Palma Il Giovane (1548/50-1628) Italian Madonna and Child flanked by angels with attendant saintsOil on canvas, 176cm by 163cm, with arched topLined on a solid stretcher, all keys present and fair tension but the stretcher and canvas sits lightly away from the frame rebate at the top. The original canvas has a seam running vertically just to the right of the Christ child's head, which has been filled and retouched and flaking slightly.There has been an extensive history of flaking, loss and restoration, likely in several campaigns. Much of the later overpaint is very apparent, particularly to the face of the Madonna (see images). Much of the old flaking of paint and ground is historic and stable, but there are patches of lifting and flaking original paint and restoration. There are losses of paint and ground both filled and unfilled, retouched and unretouched throughout, with worse passages of broken up paint to the right hand side. This has left the surface rather lumpy and disturbed, particularly at the top.There are some passages of better preserved paint, notably in the face of the left cherub, and the two right hand figures in the left figure group.There is much old ingrained dirt and old varnish layers, and a lean and dry surface. The old opaque varnish makes it difficult to see what is happening in the dark passages.Examined in frame, not examined in ultraviolet light.
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