1959 MG A Roadster Twin Cam Transmission: manualMileage:2157Introduced in 1958, the MGA Twin Cam was the result of a lengthy and involved development but, disappointingly, it returned one of the shortest production runs that Abingdon had ever seen. This certainly makes the car somewhat a rarity with only 2,111 cars being produced between early 1958 and early 1960. The Twin Cam utilised an engine that was never fitted to any other car and was developed from the B series unit. It was difficult to extract more than 60bhp from the standard pushrod engine so Gerald Palmer, the Cowley's plant design engineer, turned his attention to a twin cam unit, the company being keen to get back into serious competition. A special light alloy, cross-flow cylinder head carried twin overhead camshafts housed by two smart looking alloy cam covers adorned the top of the cylinder head whilst a large finned aluminium sump helped to keep the lubricating oil cool. Further design works led to a very healthy 108bhp @ 6700rpm and with a maximum torque figure of 104Ib. ft. @ 4500rpm meant that the new MGA Twin Cam was to be no slouch! Of the 2,111 examples produced, 1,801 were roadsters. There is no doubt that today, the MGA Twin Cam quite rightly has its niche in the MG history book and is a much desired classic. Purchased from Historics at our 2016 Brooklands Museum sale this stunning MGA twin cam roadster is a matching-numbers, UK home-market supplied MGA Twin Cam that still wears its original designated number plate. Manufactured on 9th September 1959, XHL 866 when purchased had just undergone an extensive body-off restoration resulting in this fabulous example. The final finish had been carried out to a very high standard in Chariot Red, its original factory colour. The interior seats are trimmed in black leather with red piping, the interior further featuring the original factory fitted steering wheel. A new hood keeps the occupants dry when required and complimenting the coachwork is the chrome work and badges that, apart from the windscreen surround, had all been re-chromed or replaced. Continental tyres adorn the wonderful and original Dunlop peg wheels (wire wheels were never an option on the MGA). Mechanically, the restoration included an engine overhaul with particular attention being paid to the cylinder head, this being built to the original specification, and the addition of a Hi-Torque starter motor aiding reliable starting. However after purchase the car had troubles with the running in period. Thus our vendor, wanting a perfect example of this true British great, commissioned Valoroso to carry out a full engine rebuild, fit a new aluminium radiator, oil cooler and filter coupled with fuel pump. While this was undertaken a new clutch and new brake pads were added. The car now stands our customer having spent in excess of £70,000, but this results in a truly lovely example. Having covered just 2,157 miles since the coachwork was carefully attended to this example correctly includes the factory fitted steel wings, all in exemplary condition. A history file includes a British Motor Industry Heritage Trust Certificate which shows that this is a matching numbers MGA Twin Cam and one of only 210 UK home-market, right hand drive cars built. Also included are invoices for the recent engine rebuild and dyno tests, coupled with photographs from the restoration and various books and manuals. The charm of this MGA Twin Cam is that it has been sympathetically restored to a condition that very much reflects how it may have appeared from the factory in 1959. With so few genuine UK home market, right hand drive MGA Twin Cams surviving today, there is no doubt that this car, built to this standard, is a much desired example of the marque.
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2007 Lamborghini Gallardo Spider Transmission: manualMileage:40536Manufactured from 2003 to 2013 the Lamborghini Gallardo is important in the history of the Sant Agata firm as it represents the most successful model in their history. Both eminently usable and importantly, reliable, the V10 sportscar had total Audi backup which made it hugely desirable and subsequently, the most successful sportscar built from this particular Carrozzeria. Its secret lies in its light, but stiff space frame chassis mounted to a five litre, V10 engine powering all four wheels on demand. Offered with two choices of transmission; a conventional six-speed manual transmission and an advanced six-speed electro-hydraulically controlled, semi-automatic which Lamborghini abbreviates to 'E-gear'. This allows the driver to make gear changes much faster than they could with a manual gearbox. This Lamborghini was registered on 6th July 2007 and presents in delightful condition. The blue coachwork is unmarked as is the black interior. The specification of this Gallardo is impressive with the car having the all-important front lift, factory satellite navigation and reversing camera. Standard equipment includes heated seats and dual climate control. However perhaps the most interesting feature of all is this 5.0 litre V10 Lamborghini fitted with a manual gearbox! Supplied with a V5 registration document, together with an MoT test certificate valid until 28th March 2023 and an impressive service history. A true supercar with a price tag of over £135,000 when new, this is a rare opportunity to acquire a properly maintained example that is surely a future classic. It would be difficult to find a Gallardo in better condition.
1981 Datsun 280ZX Transmission: automaticMileage:50100The Nissan S130 is a sports coupé produced by Nissan in Japan from 1978 until 1983. It was sold as the Datsun 280ZX, Nissan Fairlady Z and Nissan Fairlady 280Z, depending on the market. It was the second-generation Z-car, replacing the Nissan S30 in late 1978. The 280ZX was the first time the 'by Nissan' subscript was badged alongside the Datsun logo, along with Nissan trucks. The 280ZX was Motor Trend's import car of the year for 1979. The 280ZX's body was redesigned with aerodynamics in mind, by closing in the open grille of the first-generation Z-car and through other improvements taken from wind-tunnel testing. The new design had a lower centre-of-gravity and nearly 50/50 weight distribution in both the two-seater and 2+2 designs, overall, the new body design gave better fuel economy and high-speed stability, one of the known issues from the first-generation Z-car. This example presented in Nightfire Red with tan interior trim is in stunning order throughout. The current owner knows the history or the car from as far back to 1985. Whilst running a local garage, he regularly serviced this car for the lady owner; upon her passing he enquired as to its availability but to no avail. The car then sat in storage for nearly a decade when, in 2014, he was offered to purchase the car. Requiring some light commissioning, a service and a good clean, he took the bold decision to re- paint the car in Nightfire Red, having never been a fan of the original black. The change of colour has been the only real change since 1981 with all original wings, panels, and doors, much to the credit of the previous owner's decision to Waxoil the car early in its life. With fabulous new coachwork, you are beckoned inside by a truly time warp tan interior trim in incredible original condition befitting a car half its age. With just four previous keepers, it is offered with a new MoT test certificate, original toolkit and three keys. Probably the best example we have had the pleasure to find, viewing is highly recommended.
1973 Jaguar Series I XJ12 (Short Wheelbase) Transmission: automaticMileage:861The Jaguar XJ6 was the long-awaited replacement for both the Mk. X, S-Type and Mk. I saloons of the 1960's. The XJ had an all-new body that utilised the legendary XK engine initially in either 2.8 or 4.2 litre form. Independent rear suspension was essentially a modified design from the previous saloons. The XJ debuted in 1968 and was produced in three different Series through until 1992. It was the last Jaguar to have direct development input from the company's founder, Sir William Lyons. At the launch, he referred to the new XJ saloon as the finest Jaguar ever. It was indeed very well received and set new standards for ride quality and comfort in its class. A new flagship model was announced in July 1972 featuring simplified grille treatment and housing the mighty 5.3, V12 engine used in the E-Type. The car as presented at that time was the world's only mass-produced 12-cylinder four-door car, and was able to boast a top speed 'around 140 mph'. Despatched from Jaguar Cars on 28th December 1972 to Henlys in Bournemouth and registered on 3rd January 1973, this Jaguar has been owned by the vendor since 1st June 1988. The Old English White coachwork is in good order as is the blue leather trim, it should be pointed out that the headlining is suffering from the usual sagging. These mighty Jaguars were outstanding cars at the time, the level of luxury, smoothness and prestige set the standard for others to follow. A good history folder accompanies this XJ12 short wheelbase with invoices dating back to 1992. The vendor has clearly looked after this Jaguar, with the car residing in a carpeted, heated garage. She has been used little of late and will require some light recommissioning. This is a very honest good straight example, the vendor even went to the extent of having a badge bar fitted in a unique way. Offered for sale for the first time in 34 years this XJ12 will attract admiring glances wherever she appears.
2000 Mercedes-Benz CLK 430 Convertible Transmission: automaticMileage:60850In keeping with many of the other Mercedes model series, the new CLK-class in 2002 was able to bear the three-letter mark of sporting prowess: AMG. The package promised superlative power delivery and outstanding handling as well as a list of equipment that exuded exclusivity. Topping the new CLK range was a V8 model that delivered performance on a par with a typical sports car; the CLK AMG produced an impressive 342bhp that could propel this stylish sports coupé to 60mph in just 5.2 seconds. Further features that made the flagship CLK-class sports model really stand out included a special AMG body styling for the front apron, rear apron, and side skirts. Not to mention the 18€ AMG light alloy wheels and the AMG exhaust system with twin tailpipes. Originally registered on 12th April 2000, this CLK430 presents in beautiful, unmarked condition. The paintwork has recently been refreshed and the tyres are new. The fastidious vendor has used the car sparingly of late and has decided it is time to part with this Mercedes-Benz Convertible. The wheels are unmarked, and the roof operates exactly as it should. Supplied with a V5C registration document and a valid MoT test certificate together with the service pack and history, these V8 Mercedes-Benz are great to drive, offering smoothness, performance, and reliability all in one package. Such a great car for the summer months ahead.
1994 Rolls-Royce Silver Spirit III Transmission: manualMileage:52183The Silver Spirit was unveiled in October 1980 as a replacement for the Rolls-Royce Silver Shadow. Direct comparison, however, showed only small differences. The new models had slightly grown in length and width; height had been cut a little, although the styling was more modern than that of its predecessor. The interior was dominated by the expected combination of fine wood and sumptuous leather. The Silver Spirit was similar mechanically to the Silver Shadow, benefiting from the superb Rolls-Royce 6,750cc, V8 and sharing many mechanical characteristics of the model it replaced. The instruments were supplemented by digital units which gave such information as the time, elapsed driving time and external temperature and were the first Rolls-Royces to be fitted with a retractable Spirit of Ecstasy. Originally registered in August 1994 this immaculate and original example is finished in the desirable colour combination of Royal Blue paintwork with light grey leather trim piped in blue. The file for this well maintained and low mileage Rolls-Royce shows an impressive 18 services at main agents and specialists and an advisory clear, fresh MoT. Also present is the original owners handbook and a copy of the cars construction and test records from the manufacturer. This Rolls-Royce is sensibly estimated given the cars original cost, history and current condition. Offering enormous amounts of style and luxury this car is one of the most elegant vehicles available today.
1957 Packard Clipper Transmission: automaticMileage:When Packard's Detroit, Michigan plant closed, the newly incorporated (1954) Studebaker-Packard company began the process of producing a new 'Packard' at Studebaker's South Bend, Indiana plant. The new Packard four-door saloon and station wagon were to be based on the Studebaker President. The original 'Executive' name was dropped and, from 1957, all styles bore the 'Packard Clipper' name. A cost-saving amalgam of components from the combined Studebaker and Packard parts bins with much of the borrowing done from the 1956 Clipper, the new cars managed to achieve a look of their own by sprouting all manner of fins, light clusters, and chrome trim. The general level of trim and finish was higher than that normally associated with Studebakers.Imported into the UK earlier this year from a private middle eastern collection. This rare and superbly built left hand drive example is in very good condition and has clearly had huge amounts of money spent on it during its life. The electrics are all working as they should, and the interior and paintwork present very well showing little sign of age and new head lining and carpets have been fitted. . It also benefits from a recent and thorough recommissioning carried out by renowned classic car and race specialists Alan Mann Racing. Fitted with a factory supercharger the Clipper is reported to drive very well by the vendor. Offered with a foreign title and Nova document the Packard is ready to be registered here in the UK and enjoyed by its new custodian!We are advised by the vendor that the Packard has been recommissioned, however the brakes will require further recommissioning before road use. The owner has some of the parts and also has the reference numbers to the remaining parts which are available to purchase online.
An Olympus-Pen camera, no 343589, to/w an Olympus Trip 35 with instructions, Avigo exposure meter, flash unit with box of Sylvania Flip Flashes, Jonah-Junior light-meter and Vivitar 2600 electronic flash unit (boxed); lot also includes cream plastic dial telephone, vintage 'Sky Leader' transistor radio and a modern retro-style radio (box)
G HAYTER (Sir George, 1792-1871) - an early to mid 19th century portrait miniature of a young gentleman, oval shoulder-length portrait in gilt-metal frame, signed lower right G Hayter. The blue-eyed sitter with serene expression, high hair and curls; he wears a white cravat, yellow waistcoat and black coat. The card packing verso with ink handwritten inscription 'Painted by G Hayter R.A., Feb 1809, 42 Margaret St, Cav. Sq, London'. A lock of the sitter's light-brown hair verso terminating in a lower three seed pearl holding-band. (Minus glass to the reverse) (9cm including suspension loop)
A late 18th / early 19th century memento mori; the obverse painted with a grieving female figure above a tomb on which a two-handled urn is positioned with the initials W.L.P.. The inscription to the stone base reads SACRED WILL I KEEP THY DEAR REMAINS. The reverse with plaited light-brown hair, both oval glasses with hand-bevelled edges, rose-gold coloured oval frame. (6cm including suspension loop)
A 19th century rose-gold coloured oval-framed shoulder-length portrait study of a beautiful young girl; in her curly blonde hair she wears a light-blue ribbon and matching dress, her head turned to dexter, the glazed reverse with plaited locks of the subject's hair (9.5cm including suspension loop)
‡ PAUL PETER PIECH six monochrome lino prints on card - mining themed, all titled including 'The Pit Stack', 'The Viewer', 'Pit Horses', 'Blind Horses', signed and dated 1994Dimensions: 39 x 28cms (5) 30 x 22 (1)Provenance:from the estate of Carys & William Brown, artist William Brown being Scottish-Canadian (1953-2008) who lived in Wales from 1990 to his death and was part of the Welsh arts community.Condition Report:unframed, not creased or torn, one with light staining
‡ DAVID TRESS watercolour - entitled verso, 'Carnedd Meibion Owen, Towards the Light', signed Dimensions: 42 x 65cmsProvenance:private collection Cardiff, consigned via our Cardiff office, exhibition catalogue for 'Natur Yng Nghymru' and relating letters from the artist to vendor (retained with auctioneer)Condition Report:framed and glazed, ready to hang
‡EVELYN WILLIAMS ink and coloured chalk - entitled verso 'Mother and Child in Light and Shadow' and dated 1993, signedDimensions: 75 x 55cmsProvenance:private collection Ynys Mon, consigned via our Colwyn Bay office, believed to be formerly in the Estate of Elfriede Fischer and was unsold at Christies SK in March 2003, then transferred to Roseberys auction house where it was purchased by present owner in August 12th 2003, additional information verso. The composition matches a drawing illistrated in the artist's book 'Works and Words' and recorded there as in the collection of Elfriede Fischer. Condition Report:framed and glazed
THOMAS HORNOR watercolour - expansive landscape with carriage beside buildings, titled 'Vale of Taff, from the Bridgewater Arms', circa 1819Dimensions: 18 x 43cmsProvenance:private collection Rhondda Cynon Taff, consigned via our Cardiff office, a larger version is at the National Museum of Wales which has been described as 'Vale of Neath', also held at the National Museum is a sepia drawing of 'View of the the Taff near Bridgewater Arms' by William Weston YoungCondition Report:surface marks / light damage commensurate with age, antique frame, glazed, titled in ink script
THOMAS HORNOR watercolour - group of figures camping or picnicking on a ridge, titled 'Vale of Neath from Dinas Rock'Provenance:private collection Rhondda Cynon Taff, consigned via our Cardiff officeCondition Report:surface marks and light damage commensurate with age, titled in ink handwriting
THOMAS HORNOR watercolour - titled 'Aberdulais Mill', circa 1819Dimensions: 12.5 x 19cmsProvenance:private collection Rhondda Cynon Taff, consigned via our Cardiff office, almost identical view of the mill by the artist at the National Museum of WalesCondition Report:marks and light damage commensurate with age, antique frame, glass, titled in ink script
THOMAS HORNOR watercolour - figures resting, cattle grazing beside river, bridge and distant buildings including castle, titled 'Cardiff', circa 1819Dimensions: 15 x 22.5cmsProvenance:private collection Rhondda Cynon Taff, consigned via our Cardiff officeCondition Report:surface marks, light damage commensurate with age, titled in ink handwriting
‡SIR KYFFIN WILLIAMS RA painting in oils on both sides of canvas1. Ynys Mon (Anglesey) landscape with farm, entitled verso 'Farm at Penmynydd' (front of frame), circa 1960s2. Figure and horse, the ruins of St Dwynwen's Church and 'Twr Mawr' lighthouse on Ynys Llanddwyn (Llanddwyn Island) off the coast of Ynys Mon (Anglesey), circa 1960s Dimensions: 49 x 74cms and 41 x 67cmsProvenance:private collection Conwy, by descent, consigned via our Colwyn Bay office, handwritten label with artist's London addressCondition Report:original frame may benefit from repainting, back of canvas may benefit from light clean, slight indentation above farm building on right, which is more visible from the backPLEASE NOTE / Lower rate Buyer's Premium of 15% + VAT (18%) when hammer-prices reach £20,000 and over.
GWASG GREGYNOG / GREGYNOG PRESS two editions (1) 'Penillion Omar Khayyam', limited edition (60/310) 1978, translated from Persian to Welsh by John Morris-Jones with wood-engravings by Robert Maynard, bound in yellow buckram over cream cloth, with gilt title to spine (2) 'Caniadau' by W J Gruffydd limited edition (373/400) 1982, with wood engravings and shadow initials by Blair Hughes Stanton, grey buckram spine with red spotted covers, title in giltProvenance:private collection Pembrokeshire, consigned via our Carmarthen officeCondition Report:both editions showing elements of age including light surface marks and discolouration, minor losses, but in overall presentable condition, examination recommended
A large and heavy black-painted ironwork strongbox; two side carrying handles, the hinged section with a further single central handle above a shield-shaped brass escutcheon plate with cover marked 'Price's Patent - Wolverhampton', light-green painted interior, together with key (55cm wide including handles x 36cm deep x 36cm high)
A group of five ceramic pieces comprising:an Edwardian Doulton Burslem blue-and-white ceramic jug decorated in the 'Iris' pattern;a mid-20th century pottery hors d'ouevre dish modelled as cabbage leaves; a Japanese part-glazed pottery vase modelled in high relief with two figures;two studio pottery jugs, the larger with treacle glaze and the smaller glazed in light lime-green with trailing slip decoration.
Grecian pattern, engraved with the badge of the 106th Light Infantry, with pierced blades and tinesthe fish-knife 32cm long, 10oz 15dwt, 335grEach fully marked on back of handle. The marks are generally clear. There is some overall light surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points and the engraving. There is some minor wear to the tip of the blade on the knife.
(calibre 1530) lever movement signed, original black glossy dial with radium luminous Arabic, dagger and baton markers, gilt writing and underlined below Super Precision, Mercedes hands, screw down crown, screw back signed inside with maker's mark Montres Rolex SA Geneva Switzerland, numbered 1002 and dated IV63, case serial number 977432, Rolex stainless steel oyster bracelet with a deployant clasp, one link stamped 7835/19 and end links stamped 35733mm wideIn the early 1960's Rolex produced a small number of this reference 5500 with Explorer dials and they are almost indistinguishable from the classic Explorer Reference 1016. Instead of "Superlative Chronometer Officially Certified" the dials would spell out "Precision" or "Super Precision" above the 6 o'clock position. This example is a very rare variation of the Explorer dial with striking features. The dial has the original lacquered black glossy dial and gilt finished writing, but the main feature which collectors love to see is the Underline beneath the Super Precision. Case and barcelet with surface scratches, case with very minor dents to the side and bezel, bracelet links are slightly stretched, bracelet clasp with Rolex emblem slightly rubbed, bracelet would probably date circa 1970 and has been placed onto this watch when serviced. Plexi glass with small scratches and one minor chip to the top edge at 12 visible under an eyeglass, original dial finish is in good condition, luminous hour markers have a great patina and aged well, gilt writing is very clear, dial surface with very minor spotting marks when tilting the dial towards the light, service replacement hands, crown is screwing down correctly on the threaded tube, hand setting correctly, movement in going order.
quartz battery driven movement, light pink coloured dial with Roman numerals, Cartier secret signature at 10, date aperture, tonneau shaped case with a later aftermarket diamond set bezel, back cover secured by four screws and numbered 545663CE, Cartier stainless steel bracelet with a concealed double deployant clasp, with Cartier box32mm wideCase and bracelet with surface scratches, bezel with very minor dents visible under an eyeglass, later aftermarket diamond set bezel, glass is clean, dial is clean, hand setting correctly, date changing correctly, movement looks clean, movement has just been fitted with a new battery. Movement in going order.
Arthur Reginald Smith ARA, RWS, RSW (1871-1934)"A Bridge on the Wharfe"Signed and indistinctly dated, with original artist's label verso, pencil and watercolour, 35.5cm by 54.5cm Provenance: The Fine Art Society Ltd., London, 1946Pronounced and consistent large sized foxing spots throughout the mount which is less apparent across the sheet but not absent. The sheet/backing board is slightly bowed in a convex fashion but is not presenting any risk to the stability of the paper at present. Some relatively light time staining to the sheet but unworked areas of paper seem reasonably ok excepting parts which visibly display foxing. Colour depth possibly slightly muted but is reasonable to good overall. Not examined out of the frame.
David Morrison Reid Henry (1919-1977)Red Crested Cardinal Signed, gouache, together with a further work by the same hand, "Rufous-bellied Niltava" 22.5cm by 17.5cm and 25.5cm by 18.5cm respectively (2) Cardinal - Tinted sheet with some further possible time staining throughout - retains good colour depth although the watercolour denoting the vegetation behind the bird possibly slightly muted. Possible very subtle cockle to sheet. Odd thunderfly trapped beneath glass. Not examined out of the frame. Extremely sublte diagonal crease to lower left hand corner. Odd extremely tiny and sporadic foxing spots beginning to form - mostly within upper background. Niltava - In a broadly good and bright state of preservation. Some possible light surface dirt. No evidence of cockling. Not examined out of the frame.
David Morrison Reid Henry (1919-1977)A pair of Scarlet-chested Parrots on a branch Signed, gouache, 35cm by 24.5cmIn a broadly good and bright state of preservation. Some possible light time staining to sheet. Most apparent within the paler pigment of the sky upper left. No evidence of cockling. Not examined out of the frame. Droit de Suite applies to this lot.
Robert L Alexander RSA RSW (1840-1923) ScottishStanding grey horse in a stableSigned and dated 1905, oil on canvas, 74.5cm by 89.5cm In an overall good and original state of preservation. Glazed. Covered in a layer of dirt and discoloured varnish. There is a certain amount and dirt and organic debris trapped beneath the glass mostly collection along the edge of the lower slip. Not examined with a UV light.
Robert L Alexander RSA, RSW (1840-1923) ScottishBay mare and foal standing in a stableSigned and dated 1907, oil on canvas, 69.5cm by 82.5cmIn a broadly good and original state of preservation. One small patch repair to reverse of canvas with associated retouching (see image). Glazed. There is an amount of dirt and organic matter trapped beneath the glass, mostly collecting along edge of lower slip. Slight buckle to lower left hand corner. Small vertical loss in lower left hand corner approx. 0.5-1cm in length. The odd very tiny loss to surface above the neck of the standing mare. The canvas is showing through in places by execution. Not examined with a UV light.
Thomas Blinks (1860-1912)"The Morning Ride"Signed and dated (18)90, oil on canvas, 24.5cm by 34.5cm Glazed. Original canvas. In an essentially good and original state of preservation. Some light surface dirt and evidence of deterioration to varnish in parts most evident across the body of the chestnut horse, showing an opaque quality. Possibly some strengthening to the reins and darker definition around the hands of the riders and possibly touches within the vegetation around the gentleman rider. Framed dimensions: 47.5cm by 57.5cm
Alfred Grenfell Haigh (1870-1963) K. H. Milvain (Neé Mitchell) As MFH of the Percy Foxhounds riding QuickstepSigned and dated 1918, oil on canvas, 70cm by 90cmIn an overall good and original state of preservation. Covered in a thick layer of dirt and discoloured varnish. Very slight buckle to top left corner. Pin hole to all four corners. Vertical linear splash mark? running full width of canvas intersecting the horse at the base of the tail. Slight buckle lower left corner. Not examined with a UV light.
P* Herbert (19th century)Two pointers in a mountainous landscapeSigned and dated (18)76, oil on canvas, 49.5cm by 70cmIn restored condition, relined, cleaned and revarnished. The paint is thin in places and the surface is somewhat flattened as a result of the restoration process. Horizontal line of retouching lower edge left hand side approx. 5cm in length. Demi-lune shaped patch of retouching above the front pointer's outstretched neck and is approx. 1cm along flat edge. Small patch of retouching/strengthening below back pointer's muzzle along top edge of vegetation and approx. 1cm in length. Small patch of retouching to possible old repair approx. 4cm above the nose of the front pointer within mountains and approx. 1cm in length. Very small and sporadic retouches elsewhere. Relatively light dirt and discoloured varnish. Areas of fine stable craquelure. Some minor rubbing to outer edges. Slither of losses right hand side edge below centre. Small amount of losses of gilt to top edge of frame.
George Armfield (1808-1893)Spaniels flushing out DuckSigned and dated 1867?, oil on canvas, 58.5cm (tondo)Relined, cleaned and revarnished. Relatively thin layer of discolured dirt and varnish now in evidence. Fine and delicate infilling to old cracquelure mostly within the sky. There is little else to discern in the way of intervention under a UV light otherwise broadly in a good state of preservation.
Attributed to George Morland (1763-1804)Piglets drinking in a stableIndistinctly signed, oil on panel, 10cm by 13cmIn an overall good state of preservation. Cleaned a re-varnished, retains a reasonable amount of brushwork and impasto. Some minor re-touching to the darker shadows and outlines of the wooden slats of barn, odd dash within the water trough and around the animals mouths, the pig in the forefronts belly and some of the general definition elsewhere in a delicate manner. There is also a degree of very fine and subtle cracquelure. The two - 3 fine mostly horizontal lines evidently running from left-hand side edge are either the result of the surface slightly cracking in a uniform way or possibly the grain of the wood showing through. Some light surface dirt and discoloured varnish.
British School (20th century) "Anemones in a bowl"Initialled, with original artist's inscribed label verso, oil on canvas, 49.5cm by 59.5cmAn indistinctly inscribed artist's label verso refers to a Mrs Georgina Audeceiol ?In an overall good and original state of preservation. Light surface dirt and discoloured varnish. The artist to have appears to have painted the outer edges of the canvas with a slightly different tone or pigment which is visible by eye and is believed to be contemporary with execution rather than any later intervention. There is one further subtle slightly incongruous rectangular brush mark just right of centre above the arrangement of flowers which is assumed to be contemporary and not out of period. The canvas is showing through in some areas by execution. Some minor rubbing to edges with imperfections tpo upper right-hand corners. Very slight stretcher shadow.
Norman Garstin (1847-1926) IrishRural landscape with village pond and church Oil on canvas, laid onto board, together with a further landscape by the same artist, 19.5cm by 31cm and 20.5cm by 32cm respectively (2)Provenance: Purchased 1996 at Olympia Art Fair, LondonOne signed, one initialled (fairly indistinctly). The canvas is free of the board in parts, for the example showing a pond before a village, the canvas is apparent in a fair amount of places by execution, unvarnished, some surface dirt. There is a visible vertical central line. The second example featuring the river with reeds is most likely on paper not canvas and also likely unvarnished. There is a diagonal crease to the upper right-hand corner, light surface dirt. Otherwise in a stable state of preservation.
Edmund John Niemann (1813-1876)"Richmond, Yorks"Signed and inscribed, oil on canvas, 69.5cm by 117cmIn fully restored condition, fairly stiffly relined, cleaned and revarnished. The surface of the canvas is slightly flattened and the paint is thin in places as a result of the restoration process. Retouching and strengthening throughout the darker tones and definition of the left-hand side branches and trunks of trees in addition to a good amount of dark brown pigment or shadows etc, predominately on the left-hand side of the picture including parts of the masonry, the large rocks, left-hand side centre, the darker tones and pigments within the vegetation, lower left-hand corner with some more inconsistent and sporadic elements within right-hand side landscape below horizon. The signature is probably strengthened. Some light surface dirt and discoloured varnish now in evidence. Area of fairly widely spaced cracquelure within biturmen immediately below the turret of the castle within lower reaches of the vegetation approx 4cm diameter etc.
William Mellor (1851-1931)Sheep grazing in a river valleySigned, oil on canvas, 82cm by 70cmIn fully restored condition, fairly stiffly relined, cleaned and revarnished. A good amount of surface dirt and discoloured varnish now in evidence. The surface is somewhat flattened as a result of the restoration process. Evidence of fairly light and sporadic retouching to the darker tones and definition of the foliage of the tree left-hand side furthermore concentrated over painting to the shadows and background of zed tree and an area immediately above the rocks and the lower reaches of the rocks below the tree. Further fairly isolated patches of retouching and strengthening within the grass on which the sheep are grazing and nearest the rocks and also further shadows and definition above and below the rocks beneath the grazing sheep, through the water and to a similar extent darker tones and definition of the rocks, mostly lower right side. Further patches, later paint within the lower reaches of foliage belonging to smaller tree right-hand side and approx centre area of the picture. The upper right hand 25% is broadly less affected. The grassy area at the base of the larger tree on the right-hand side also shows signs of retouching and overpainting etc.
Alfred de Breanski Snr. (1852-1928) "The Glyndwr Mountains, North Wales" Signed, oil on canvas, 60cm by 90cmProvenance: Polak Mandell's Gallery, Jersey, September 1977In fully restored condition. Slightly stiffly relined, cleaned and revarnished. There is very little to discern in the way of retouching or restoration under a UV light which does not proclude the possibility. Possible small amount of linear retouching on the left hand side of the highest peak within the far left of the landscape. The surface of the canvas is slightly flattened in places as a result of the restoration process but some reasonable to good impasto remains. Some light surface dirt and discoloured varnish now in evidence. Areas of fine stable craquelure in evidence.
Attributed to Benjamin Williams Leader RA (1831-1923)Evening on the SevernSigned and dated 1904, oil on canvas, 49cm by 75cmRelined. The dog, dungarees of the left-hand side figure, trousers and hat of the central figure and other minor definition points of that group have been strengthened or overpainted in addition to the figure in the rowing boat and darker tones and definition in and around the boat itself. More sporadic retouches to describe the darker tones within the vegetation lower left-hand corner. The hedge/wall running across the central part of the painting in addition to the lower reaches of the two left-hand side thatch buildings, general outline here and much of the roofs and general construction of the arrangement of buildings across the horizon all show signs of strengthening and overpainting as do parts of the second figure group in front of the timber-framed building. The vegetation to the lower right-hand corner has minor and sporadic retouches within but broadly the right-hand side 40% and sky in totality is mostly unaffected. The painting retains a good level of original brushwork and impasto in many parts. There is a mostly vertical narrow band of fine cracquelure running just right of the right-hand side figure in front of the timber-framed buildings, approx 8-10cm in length and maybe on the cusp of flaking. There are other small and fairly isolated similar areas e.g. immediately above the head of the far left-hand side figure of the left-hand side figure group and within the vegetation thereabouts. One or two other further areas of a similar condition including one small lifting corner towards the outer reaches of the marshland vegetation, lower right-hand side foreground. The right-hand side of the sky shows more widely spaced and stable cracquelure. Odd minor imperfection to edges/corners. Light surface dirt and discoloured varnish. The signature is posisbly strenthened / added.
Abraham Hulk Snr. (1813-1897) Fishing smacks in inclement weather Signed, oil on canvas, 19cm by 29cm Fairly stiffly relined, (please note this is on canvas not panel) cleaned and revarnished. Now with general surface dirt and discoloured varnish in evidence. Surface somewhat flattened, paint thin in places as a result of the restoration process. Some frame rubbing to edges most notably to top and bottom edge. There is little to discern in the way of any retouching or intervention under a UV light accepting the possibility of any barrier varnishes or the like. Otherwise in a broadly good and stable state of preservation.
Campbell Archibald Mellon (1875-1955) "Summer Skies, Docking" Signed, inscribed on stretcher verso, oil on canvas, 28.5cm by 43.5cm Covered in a relatively light layer of dirt and discoloured varnish. Canvas weave is visible in several areas by execution. Slight horizontal push mark back to front through the sail of the left-hand boat approx 3-4cm in length. Otherwise in a good and original state of preservation.
William Banks Fortescue RBA RBSA (1850-1924)Portrait of a Newlyner (Dick Pollard)Oil on board, 29cm by 24cm Provenance: Shears Fine Art, PenzanceIn a broadly good and original state of preservation. Cleaned and re-varnished. The right hand side edge has a fine vertical line of rubbing and abrasions / losses where the board is showing through or the white underpaint is showing through ? (Images can be supplied upon request). Areas of very fine stable cracquelure. The paint is thin in places and the board is showing through elsewhere, likely by execution. Light surface dirt.
Attributed to Henry Scott Tuke RA RWS (1858-1929)Head study of Neddy Hall (believed to be)Oil on canvas, 38cm by 37cm Provenance: Shears Fine Art, Penzance (as Walter Langley)Original canvas, cleaned and revarnished. Some retouching to edges and background in parts in addition to some strengthening of his left shoulder and the linear marks to denote elements of his attire. The paint is thin in places mostly within the background and more likely a result of its execution rather than any intervention. There are further minor scratches, abrasions and small losses to the background including to the left of his right shoulder shaped like a number 7 and further minor abrasions etc.. mostly along top edge but not exclusively. Some light surface dirt. Some minor rubbing to edges and a tiny amount of transferred gilt paint transfer. Otherwise in a broadly good and stable state of preservation.
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