Three: Sergeant G. I’Anson, East Lancashire Regiment, who was wounded at Armentieres on 16 November 1914 1914 Star (10377 Sjt. G. Ianson [sic]. 1/E. Lan: R.); British War and Victory Medals (10377 Sjt. G. I’Anson. E. Lan. R.) light contact marks, very fine (3) £120-£160 --- George I’Anson (also recorded as Ianson) was born at Salford, Lancashire in 1890 and attested for the East Lancashire Regiment at Manchester in October 1910. He served with the 1st Battalion during the Great War on the Western Front from 22 August 1914 to 19 November 1914, and again from 19 October 1916 to 14 March 1917, and received a severe gun shot or shrapnel wound to the left leg at Armentieres on 16 November 1914. He was transferred to Section ‘B’ Army Reserve on 25 March 1919, after 8 years and 165 days’ service.
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Three: Private C. Cooper, East Lancashire Regiment, who was captured and taken Prisoner of War in the Spring Offensive of 1917 1914 Star (5591 Pte. C. Cooper. 1/E Lan: R.); British War and Victory Medals (5591 Pte. C. Cooper. E. Lan. R.) light contact marks, very fine (3) £120-£160 --- Charles Cooper was born on 8 May 1893, and was a resident of Bacup, Lancashire. He attested for the East Lancashire Regiment and served in ‘D’ Company, 1st Battalion, during the Great War on the Western Front from 22 August 1914. He was captured and taken prisoner of war at Oppy Wood, near Arras, during the British Spring Offensive in April 1917, and was initially held at Douai Camp. At the time of his capture he was recorded as having wounds to his head and nose.
Four: Stoker Petty Officer, E. H. Taylor, Royal Navy, late Royal Marine Light Infantry 1914-15 Star (311081, E. H. Taylor, S.P.O., R.N.); British War and Victory Medals (311081 E. H. Taylor. S.P.O. R.N.); Royal Navy L.S. & G.C., G.V.R., 2nd issue, fixed suspension (311081 E. H. Taylor. Sto. P.O. H.M.S. Sandhurst), minor edge bruising, nearly very fine (4) £100-£140 --- Ernest Henry Taylor was born on 20 October 1886, at Bromyard, Herefordshire. He commenced service as a Private, Royal Marine Light Infantry on 25 September 1905 at the recruitment Depot, Deal, with service No. 13558. He was then posted to Plymouth Division, R.M.L.I., but swiftly transferred to the Royal Navy on 22 November 1906, to be Stoker II, H.M.S. Vivid II. He was advanced to Stoker Petty Officer, H.M.S. Majestic, in 1913. He was awarded his Long Service and Good Conduct Medal in 1920, and was promoted to Chief Stoker H.M.S. Philomel, on 22 May 1924. He was shore pensioned in 1927 but was recalled for service as Pensioned Chief Stoker, H.M.S. Drake II and H.M.S. Daedalus, in 1939, but was discharged again in 1942.
A large New Hall 'Elephant' pattern imari tea and coffee servicecirca 1805comprising teapot and cover, twin-handled sucrier and cover, cream jug, ten coffee cups, thirteen teacups, sixteen saucers, two bread and butter plates and a slop bowl, pattern number 876(47)Condition report: Overall, the condition of the service is very good and there is no significant damages or any signs of restoration. Generally, the condition of both the paintwork and gilding is in a good, original condition. A full condition report is as follows:Coffee cans - 1 can has some stained crazing to the interior and underside of the base, alongside some further lighter crazing to the remainder of the body. 1 coffee can has several scratches to the underside of the base. 1 coffee can has a minute nibble to the foot rim. 1 coffee can has a manufacturing flaw to the foot rim, in the form of a small indentation that has been gilded over in the factory. 1 coffee can has a firing crack to the handle.Teacups - 1 teacup has a small patch of white paint to the exterior upper rim, but this would most likely come off with a little coaxing. 1 teacup has a firing crack to the handle. A few teacups have a few circular spots of light staining to the interior. 1 teacup has a crack descending from the upper rim and a patch of rubbing to the gilding, also to the rim.Saucers - 1 saucer has a Y-shaped crack. 1 saucer has a small foot rim chip and small patches of rubbing to the gilding around the rim. 1 saucer has a small nibble to the foot rim. 1 saucer has a short V-shaped crack to the rim. 1 saucer is crazed to the underside.Slop basin - some minor short scratches and general sign of use to the interior. Cream jug - Some patches of gilding wear on the edges of the handle.Plates - 1 plate has an old collector's label stuck over the top of the tree, which may affect the gilding underneath if it is removed.Sucrier - Slight firing crack to the underneath of the upper terminal of the handle and one longer, darker, firing crack to the interior of the rim. Teapot and cover - Very slight rubbing to the gilding on the tip of the spout and the very tip of the finial.No further damages or repairs. Please see additional images for the above.
A Victorian Hunt and Roskell five piece silver tea and coffee service, Robert Roskell, Alan Roskell & John Mortimer Hunt, London 1888, each piece with embossed floral decoration and vacant cartouch, comprising; a baluster coffee pot with cast floral finial, 24cm high, a baluster hot water jug with cast floral finial, 18cm high, a teapot with cast floral finial, 17cm high, a two handled sugar bowl, 11cm high and a cream jug, 15cm high, total weight approx 86.2oz (5)Condition report: All the hallmarks clear, small shallow dent to the teapot, some very slight mis-shape to the foot of the hot water pot so it doesn't quite sit flush with the surface, other than this each with general wear- light scratches and very small dings, in keeping with age, refer to images
An Art Nouveau silver dressing table tray, William Aitken, Birmingham 1906, of lobed form with embossed heron and reed decoration, 30.5cm wide, weight approx 8.2ozCondition report: Hallmarks clear, no signs of any past engravings or erasures, some very slight wear in keeping with age (light scratches and small dings), general wear, refer to images
A late 19th century sapphire and diamond cluster ring, designed as a central round mixed cut sapphire claw set within a border of twelve old cut diamonds, the yellow metal shank stamped '18ct', ring size M, weight approx 2.8gCondition report: Some very slight abrasion to the sapphire, sapphire measures approx 4mm diameter x 2.7mm deep, bright medium blue with small inclusions seen with 10x, diamonds light and bright, colour estimated G/H, clarity range SI1-I1 under 10x, some small chips to a few of the diamonds, slight wear to claws, some thinning to the shank, general wear, refer to images
A silver swing handled basket, James Deakin & Sons, Sheffield 1929, of lobed rectangular form with gadrooned rim and raised on lobed pedestal foot, 27cm wide, weight approx 16.8ozCondition report: Hallmarks clear, small crease/dent to the body, general wear and light scratches, refer to images
A cased silver and enamel dressing table set, Henry Clifford Davis, Birmingham 1961, each decorated with mallards in flight upon a lake within trees and reeds, comprising a hand mirror, hair brush, a clothes brush and a comb, presented within original fitted caseCondition report: Hallmarks to each piece reasonably clear, no obvious damage or chips to the enamel just general wear and light scratches in keeping with age, refer to images
An 18ct gold mid-size Rolex Oyster Perpetual Datejust Superlative Chronometer wristwatch, the black dial with gold batons, date aperture, sapphire glass and integral President bracelet, diameter of dial approx 23mmCondition report: In working order but no guarantee, no box or certificate, some general wear and light scratches but no significant visible damage, age estimated circa mid-late 1980's, unable to access the model number, refer to images
A Gentleman's stainless steel Breitling Cockpit Chronometer wristwatch, the decorative dial with batons, date aperture and sweep seconds hand, screw down crown, with attached Breitling bracelet, back of case stamped 'B49350-936364', diameter of dial approx 30mm, with accompanying chronometer certificate and instruction manual, within Breilting case and carrying caseCondition report: In working order but not guaranteed for timekeeping or longevity. The case, strap, clasp and bezel are good with some light/fine abrasions typical of age and regular or daily wear. The inner bezel has some deeper scratches. Case back good. Not opened to inspect movement. Dial, hands and hour markers all good/very good. Movement sets, winds and runs. Date advances correctly. A service and/or inspection is advised before immersing in water, internal bracelet measures approx 18.5cm
A group of Prescott-Pickup motorcar posters and prints, comprising 1907 Rover, Eccles Cross tram photographs, motor tug boats, the 1904 Turner Miesse steam car, North London Tramways Company, Guides, Officers of the Twelfth Light Dragoons, and a group of collector's reproduction Super Car Photocards of trains and trams. (a quantity)
Anglo-Dutch School, circa 1700 Ferrying passengers; and Figures resting in a river landscapeoil on metal15.5 x 20.5cm, a pairCondition report: 28 x 33cm (framed)Both paintings are executed in oil on copper panel supports. There are some minor deformations to the copper panels but overall they are in a good condition. The paint layers have suffered from small scattered losses, but overall they are stable and secure. The scene with the bridge has extensive overpaint which has slightly darkened in the sky. Both pictures have a thick varnish layer which is glossy, even and yellowed. There are some light scuffs to the surface and abrasion around the edges with some accretions including house paint.
Follower of Guillim Scrots Portrait of King Edward VI (1537-1553) bust-length, in a black doublet encrusted with gold braid, wearing the chain of the Order of the Garter and bejewelled black hatoil on panel55.5 x 43cmFootnote: The present painting is based upon an official portrait of Edward VI (1537-1553) painted by the Flemish artist, Guillim Scrots (sometimes William; active 1537–1553). It is highly likely that the original version was produced in 1550 during the marriage negotiations between Edward VI and the daughter of Henri II of France, Elisabeth of Valois. This composition became a popular image and many contemporary and later versions were made, all with subtle differences. Perhaps the most notable of these is the full-length version in the Royal Collection that was acquired by Queen Victoria in 1882.Condition report: Framed 68 x 56cmThe painting is executed in oil on a wooden panel support with the wood grain running vertically. The panel has a slight convex warp. There are vertical splits running down the panel from the upper edge. The split at the centre of the painting has been reinforced from the reverse with a trip of canvas. The paint along this split is slightly raised. The rest of the paint layer is in a good, stable condition overall. Areas of overpaint are mainly located in the sitter’s face and along the splits. The overpaint is finely applied and reasonably well matched to the original. The varnish is even and semi-matte with a layer of surface dust present.Technical Notes*Panel The panel comprises three radially cut oak boards. Visible working marks on the reverse indicate that the panel has not been thinned. Dendrochronological examination was carried out by Ian Tyers on the two wider boards. One board was too narrow with insufficient rings to be of use. Both boards are oak which originated in the eastern Baltic, although from different trees. They had a last heartwood ring dating to 1569. There was no sapwood. A probable first usage date could be given after 1577. It is possible that the painting might date up to the last use of Baltic oak in c.1650, however, the earlier date seems consistent with our observations of the painting technique and materials, and it is likely that the painting dates from the late 16th or possibly early 17th century. Paint and ground layers A pale coloured ground lies over the panel, over which a thin streaky grey imprimatura has been applied. This can be seen through the paint in normal light, and also in digital infrared photography indicating the presence of carbon containing pigments.Underdrawing in a dry medium is visible in the face and neck in normal light, and appears much more intense with digital infrared photography. The drawing delineates the features and indicates modelling for example in the cheek where there are hatched lines. It is likely that the drawing has been transferred from a pattern, as was typical practice for the time. The paint layers do not follow the underdrawing exactly. It is possible that there is underdrawing in the torso, but it is masked by the black of the drapery.The paint layers have been built up in thin even layers, using what appears to be a limited range of pigments, and simple paint structure. The background has been laid in first, with a reserve left for the face. The hat, with reserves left for the jewels, then the face has been added, followed by the pillar and clothing, again with reserves left for the two jewels at the neck. The highlights on the costume, jewellery and curtain were then applied in a more bodied lead tin yellow, and the black pattern on the curtain in a more bodied black paint. The colour of the pigments are typical of the period, and the use of lead tin yellow to imitate gold rather than using real gold, indicated a date in the later 16th century. This sequential pattern of painting, rather than working up the whole picture at once, is typical of painting practice of the period.Other versions Catherine Macleod writes that a new portrait type emerged when Edward was about thirteen years old, and at least five full length versions are now known. Of these five, she considers the Louvre version the prime copy by Scrots. The Hampton Court version was the most widely copied in England, and is the one to which ours is closest. SummaryThe materials and techniques are consistent with late 16th and early 17th century Anglo-Flemish Painting.*The above report was completed by Katherine Ara Paintings Conservator & Restorer in December 2010
Charles Leickert (Belgian, 1816-1907) Winter scenes - Figures skating and sledging on a frozen river with a windmill beyondeach signed and dated 'C. Leickert 1889' (lower right)oil on panel23 x 29.5cm, a pairCondition report: 35 x 41cm (framed)Both paintings are executed in oil on wooden panel supports. The panels and paint layers are all in a very good, stable condition overall. The varnish layers are thick and uneven becoming yellow with age. There are a few light scuffs and scratches to the surface.
Portrait of a gentleman, presumably Charles Sluyts, full-length, lounging in an interior beside a tablesigned, inscribed and dated 'a Charles Sluyts / Piet Vahaat / 1891' (lower right)oil on canvas70 x 49.5cmCondition report: Framed 82 x 62cmThe painting is executed in oil on a canvas support which has been lined. The lining is not adequately supporting either the original canvas or the paint layers. There is a network of age cracks across the surface, some of which are raised and lifting. Old damages have been repaired, filled and overpainted. The fills are smooth and lumpy and the overpaint poorly matched, although acceptable from a normal viewing distance. The varnish is clear, even and semi-glossy with a light layer of surface dirt.
Follower of Joris van Son Bunches of fruit and flowers including roses, grapes and plums with poppy seed heads; and Roses, peaches, grapes and a thistle - both hanging before painted feigned bas reliefsoil on canvas49 x 37.5cm, a pairProvenance:Christie's, London, 13th February 1948, lot 144, as 'J D de Heem', bt Young for 26 gns.,Christie's, London, 28th January 1949, bt Stointon for 18 gns.;Christie's, London, 9th April 1987, lot 112,when acquired by Claudine Auger (1941-2019) Belgravia, LondonCondition report: Both paintings are executed in oil on canvas which have been lined. The canvas tension is good and the pictures are in plane. The paint layers are stable and secure. There is some wear and abrasion in the darker background with overpaint. The varnish is matte and even. The wooden frames are in a good condition with light scuffs across the surface.
Eight Chinese export blue and white plates, 18th century, decorated to the centres with a garden scene with bamboo and rockwork, within a diaper rim, the borders with butterflies and flowers, comprising two 33cm diameter plates, two 29.5cm diameter plates, one 27cm diameter plate and three 22cm diameter platesProvenance: From a Norfolk Country HouseCondition report: One of the medium sized plates has a crack to the rim, the other one has been broken and riveted. One of the smaller plates has also been broken adn riveted. Loss of enamel to the edges of the plates and light staining in places.
A pair of George III mahogany demi-lune card tables, the moulded fold over tops with baize lining, raised on patera-headed turned tapered and fluted legs72 x 97 x 46cmFootnote: (72 x 97 x 91.5cm open)Condition report: some fading and old scratches to the top of one and water damage to the top of the other, light worm (probably historic) to the pine under side of both
Music making angelsoil on panel, in giltwood Gothic style framesone with paper label to reverse 'FLOT & FINDEL, PICTURE DEALERS, FLORENCE' and with further handwritten ink inscription 'Captain Handrus'72.5 x 24.7cm, a pairProvenance:Christie's, London, 16th December 2008, lot 268;Birling Ashes, Kent Condition report: Several surface scuffs and light surface dirt throughout. The panels are a little loose within their frames. Few chips to the paint layer visible bottom left corners of each picture. The wooden panels measure 42 x 15.5cm whilst the measurement in the main catalogue entry - 72.5 x 24.7 includes the frame.
A Flight Barr & Barr armorial dinner service for the Carter-Campbell of Possil family, circa 1810, the crested centres within broad scrolling acanthus borders, in pink, puce, red and gilt, gilt rims, comprising a tureen and cover, a tureen base, a circular stand, five bowls, eight 24cm diameter plates, and seven 21cm diameter platesCondition report: One bowl cracked, one bowl with a surface chip to the rim and light surafce cracks, one bowl with gilding badly owrn, light wear and typical glaze scratching to the others. The tureen base has a lot of wear to the gilding and light wear and scrathing to the other tureen. Three of the larger plates are cracked, usual wear to gilding
A Wedgwood creamware dessert service, circa 1810, the borders decorated with bugle vine on a sage ground, comprising a two-handled comport and stand, two tureens, covers and stands, four lozenge shaped dishes and fifteen plates, impressed marksCondition report: Plates - discolouration to some of the fields and toical rubbing to the rims, rubbing to the fluting. One plate has two cracks to the rim, one plate has been broken in two to the rim and glued, one plate with a slither to the rim which has been glued and one with surface chips out to the rim. The comport is stained to the interior, lozenge shaped dish with staining to the field. The tureens are generally in good condition with the slighetst of crazing and rubbing. The other dishes have light staining and rubbing
A mahogany framed settee, early 19th century, the shaped arms with turned column supports raised on three tapered and fluted front legs with brass castors, upholstered in light blue fabric89 x 153 x 73cmCondition report: Upholstery tired, worn and stained, front left and central castors have been re-attached, left front leg screwed and filled
A gilt painted six branch hanging ceiling light, 20th century, with foliate decoration, together with a pair of gilt painted twin branch wall sconces of a similar designhanging light 50 x 60cmwall sconces 52 x 36cm and a further gilt painted wall mounted candle holderCondition report: good condition, sconces and candle holder bearing Fabrica Lampadari Li Puma Firenze labels
the circular tilt top with a scrolling foliate carved frieze raised on a substantial baluster column and quatrefoil base on bun feet78 x 107cmCondition report: super condition with no obvious damage or signs of repairSome shrinkage to the two-piece toprich colour and patination to the top with some light rubbing to the base commensurate with usethe lever to one of the catches underneath has been repaired
A Victorian walnut sofa, the scrolled arm supports upholstered in a light brown buttoned fabric raised on carved and turned front legs 67 x 224 x 96cmCondition report: Fabric quite tatty one cushion ripped to one cornerFront left foot castor missingBoth front feet with minor splitsBack legs very wornStructurally ok, some give in the armsSee images
A pair of satinwood and painted two door side cabinets, 20th century, the tops decorated with a bouquet of flowers with a single frieze drawer above a pair of cupboard doors with painted musical trophies within oval panels raised on turned and tapering legs87 x 83 x 41cmCondition report: some light wear and light marking to tops with loss of varnish, small losses of veneer mainly at bottom of each, back leg of one cabinet has been broken and glued
A French gilt and bronze fifteen light chandelier, 19th century, the star studded globe surmounted by a seated maiden, issuing naturalistic branches58cm high x 71cm wideProvenance:Christie's South Kensington, Style & Spirit sale, 17th May 2011, Lot 388,Birling Ashes, KentCondition report: Repair to two of the arms
A Chelsea-Derby two-handled butter tub, cover and stand, circa 1770, the moulded body painted with scattered roses, gilt dentil rims, marks in gilt stand 15cm diameterProvenance:Crepping Hall, SuffolkCondition report: Usual rubbing to the gilding and light pitting in places, slight rubbing to the enamel on the stand, only the stand is marked
A Regency oak Spanish chair, in the manner of Gillows, with close button back brown leather upholstery104 x 63 x 80cmLiterature: For a 'Spanish' chair of a similar design see Susan E. Stuart, Gillows of Lancaster and London 1730-1840, Vol. 1, 2008, pp. 230, pl 224Footnote: See Gillow pg.230Condition report: some light wear but generally in good condition
John D Stevens (Scottish, 1793-1868) A maidservant with a bowl of fruitsigned 'J D Stevens' (lower left)oil on panel34.5 x 23.5cmProvenance:James Connell & Sons, Glasgow;Cheffins, Cambridge, 17th June 2015, lot 893Condition report: Framed 49 x 38.5cmThe painting is executed in oil on wooden panel support. The panel and paint layers are in a good condition overall There are stress cracks in the surface of the paint layer following the vertical woodgrain of the panel, but these are stable overall. The varnish is in a poor condition with scuffs and losses across the surface. There is a light bloom and some surface dirt present.
After Auguste Moreau (French, 1834-1917), an early 20th century patinated spelter lamp entitled ‘Vic cast as a young winged putto wearing a laurel wreath and holding a bow in his hands, each end fitted with a foliate light fitment, raised on conical square rouge marble socle with applied presentation plaque marked VICI Par Aug. Moreau, Mlle d'Or62cm highProvenance: Bonhams, London, 1st April 2008, lot 91By descent to the previous vendor from his Grandfather F.W. Kinns who was the architect responsible for the building of the Elite Theatre, Nottingham. A number of the August Moreau lamps lined the foyer and this lamp was retained as a spareBirling Ashes, Kent
A set of six Royal Worcester tea cups and saucers, painted by Kitty Blake with blackberries, cased, retailed by Weir & Sons, DublinCondition report: Some of the saucers with faint glaze crazing whih is evident under a strong light. One of the Royal Worcester marks to the saucer appears to be scratched through. A few of the cups have light crazing evident under a strong light. Typical light scratching where the cups sit on the saucers
A pair of George Smith armchairs, the out scrolled arms upholstered in gingham fabric, raised on turned front legs and brass castors 92 x 80 x 77cmCondition report: Upholstry a little tierd with some light staining, otherwise in good condition92cm high 80cm deep 77cm wideSeat depth 54cm seat width 44cmheight from floor to seat approx 45cm
Alfred H. Vickers (British, 1834-1919) Lock gates at Upton Magna; On the Severnboth signed and dated 'A H Vickers/ 1893' (lower right)oil on canvas44 x 79.5cm, a pairProvenance:Kensington Art Gallery, LondonCondition report: 61 x 96cm (framed)Lock Gates at Upton MagnaThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is generally in plane with minor undulations. The paint layer has a network of prominent age cracks which are stable overall. There are localised areas of retouching across the surface which is fairly well matched to the original. The varnish is even, glossy and yellowed,On the SevernThe canvas is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layer is stable overall. Areas of old damage have been repaired, filled and retouched. The overpaint is reasonably well matched to the original, apart from a horizontal line in the sky which is very pale. The varnish has yellowed but is even overall. There are several light scuffs and scratches to the surface.
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