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Lot 6
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.
Lot 2028
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.
Lot 2173
(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.
Lot 2187
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.
Lot 1013
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.
Lot 1024
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.
Lot 1027
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.
Lot 1034
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.
Lot 1035
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.
Lot 1037
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
Lot 1039
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.
Lot 1042
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.
Lot 1043
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.
Lot 1055
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.
Lot 1065
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.
Lot 1081
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.
Lot 1083
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.
Lot 1084
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.
Lot 1086
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.
Lot 1091
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.
Lot 1097
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.
Lot 1103
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.
Lot 1105
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.
Lot 1106
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.
Lot 1128
Attributed to Cavaliere Francesco Carlo Rusca (1693-1769) Italian/SwissStudy of an old manInscribed and indistinctly dated 1737?, oil on canvas, 45.5cm by 34.5cmIn fully restored condition. Stiffly relined, cleaned and revarnished. Some light surface dirt. Relatively widely spaced stable craquelure throughout. Visible stretcher shadow to all four sides. Area of restoration to forehead visible with the naked eye. Likely a repair to an old damage/hole. Shows as slighly greying and depressed below the regular paint surface. Approx. 2cm in diameter and approx. 8cm above the sitter's left eyebrow. This area shows associated overpainting and retouching under UV. Some minor sporadic areas of retouching and infilling, mostly containted to the background although not exclusively. Further areas of infilling/overpainting can be found on the sitter's lips and to the cloak on his left shoulder. There is a more substantial area of retouching, essentially circular in nature (approx 3cm dia.), just to the right of the sitter's left ear. This is likely to be a repair to a hole or damage to the canvas. This is not as readily visible with the naked eye but is evident under close scrutiny. Two slightly less pronounced areas of retouching above and just left of the top of the sitters head and just to the left of his face within his hair.
Lot 120
A Chinese Porcelain Plate, Kangxi mark and of the period, painted in underglaze blue with figures in an interior within a broad lotus and scale border with four panels of figures reclining in gardens, six-character mark in underglaze blue20.5cm diameterProvenance: With S Marchant & SonVery minor surface wear, minor chips to the foot rim, no further chips, free from cracks and restoration, some light fritting and glazed pitting
Lot 169
Tabriz Carpet Iranian Azerbaijan, circa 1950The indigo field centred by a scarlet floral medallion framed by spandrels and indigo borders of palmettes and meandering vines flanked by ivory guard stripes, 390cm by 298cmEnds complete. Selvedges complete. Pile fair. Several areas of light wear.
Lot 191
Isfahan Carpet Central Iran, circa 1960 The ivory field of vines around a medallion framed by spandrels and crimson borders of meandering vines and palmettes flanked by indigo guard stripes, 352cm by 245cmEnds and selvedges complete, pile, fair generally but several areas of light wear, no odour problems detected
Lot 399
A French Ormolu and Porcelain Mounted Striking Mantel Clock, signed Achille Brocot, circa 1880, light purple coloured porcelain panels depicting musical instruments and swag decoration, 3-1/2-inch porcelain dial with Roman numerals, twin barrel movement striking on a bell, movement stamped with maker's mark AB within a star monogram for Achille Brocot and numbered 9215, original pendulum with bob stamped 9215, 38cm high Ormolu surfaces are in good condition with very minor fading in parts, porcelain panels are clean with no cracks or chips, dial with one very small chip to the light hand side winding hole, movement needs cleaning, strike is working, original pendulum with bob stamped 9215.
Lot 85
A Royal Worcester Porcelain Plate, by Albert Shuck, 1925, painted with a still life of fruit on a mossy bank within a gilt line border, signed, printed mark in puce23cm diameterA Similar Plate, by Peter Platt, signed, printed mark in black27cm diameter (2)Albert Shuck, no chips, cracks or restoration, one large scratch to the right-hand boarder, and some very minimal enamel scratches, very light scratches and wear to the gilding, Platt, no chips, cracks or restoration, some vert minimal scratches to the enamels and light wear to the gilding
Lot 92
A Matched Pair of Royal Worcester Porcelain Oval Dishes, by Edward Townsend and P Love, 1939 and later, painted with still lifes of fruit on a mossy bank within shaped gilt gadrooned borders, signed, printed marks in puce and black26cm wideTownsend, no chips, cracks or repair, some heavy crazing to the reverse, minor light scratches to the enamel, and some light gilt wear, Love, no chips, cracks, repair or crazing, small scratch to the left-hand pair, gilding with a mis fired craquelure
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