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Lot 12
Great War Period Leather Flight Helmet, light brown leather flight helmet with fold down peak and rolled ear flaps with press studs. Leather chinstrap with leather covered buckle. Missing the lining from the interior; Brown leather aviators / motoring helmet with leather chinstrap and artificial fur lining; light tan leather flying helmet, probably of American origin, with leather chinstrap and ring buckles, press stud fittings and cloth lining to the interior. (3 items)
Lot 117
Thomas Sword Good (British 1789-1872)The egg sellerOil on panel25.5 x 19cm (10 x 7¼ in.)Traditionally identified as a portrait of the artist's nieceProvenance:From the collection of Matthew G. Erinson [?], 1886Bought by John Wheeldon Barnes, Esq, 1894Leggatt Brothers, LondonSale, Christie's, London, 4 November 1988, lot 192Condition Report: Some light rubbing and abrasions to the framing edges. There is a small line of gilt running along the right framing edge, which probably occurred whilst gilding was applied to the frame. The panel is beginning to bow ever so slightly and therefore doesn't sit completely flush in the frame. There is some very light surface dirt around the top left of the sitter's bonnet which flairs under UV however this does not appear to be retouching. Inspection under UV light reveals traces of a green cloudy varnish which has been partially removed, but no further evidence of restoration or repair.Condition Report Disclaimer
Lot 193
Attributed to Alfred Vickers (British 1786-1868)Landscape with Cattle, Sheep, and Figures by a PondOil on canvasTitled (to label verso)58.5 x 89.5cm (23 x 35 in.)Provenance:Vicar Brothers, LondonCondition Report: The canvas has been lined. Some very light spots of surface dirt throughout. There is a very small area of loss to the upper left corner (approx. 5mm). Inspection under UV light reveals some very light scattered retouching to the lower right corner and to one or two patches in the sky. Condition Report Disclaimer
Lot 328
Jean-Louis Forain (French 1852-1931)Lady seatedPencil and watercolourSigned (lower right)19.5 x 26cm (7½ x 10 in.)Exhibited: Hazlitt, Gooden and Fox, 19th Century French Drawings, 13th June - 12th July 1985, No. 29Condition Report: Some light acid staining to the framing edges. Colours are a little down. Otherwise appears to be in good condition. Unexamined out of glazed frame.Condition Report Disclaimer
Lot 19
Attributed to Joseph Melling (French 1724-1796)Venus, Cupid and Satyr Oil on canvas Signed with initials and indistinctly dated (to the original canvas below the reline) 153 x 117cm (60 x 46 in.)Condition Report: The canvas has been lined and this reline is visible along the framing edges. Craquelure throughout. Some scuffs and surface dirt throughout. Inspection under UV reveals some light scattered retouching, but there is also a green cloudy varnish present making it hard to read the extent of this restoration. Otherwise the work appears to be in good restored condition.Condition Report Disclaimer
Lot 137
† James Gillray (British1756-1815)The Union Club (BM 9699)Hand coloured etching, published by H. Humphrey, London, 1801 29.6 x 43.8cm (11½ x 17 in.)UnframedCondition Report: Unframed and cut down with unevenly cut edges. A number of tears and repairs to the edges of the sheet. Light handling creases to the margin. Very light undulation to the sheet. Light ink staining and scattered foxing throughout the margin. However, the image is in overall good condition. Condition Report Disclaimer
Lot 293
David Roberts (Scottish 1796-1864)Burgos Cathedral, SpainPencil and watercolour heightened with white, on buff paperInscribed and dated Burgos 1832 (lower right) 38 x 27cm (14¾ x 10½ in.)Provenance:The Fine Art Society, 1986Purchased at the above by the present owner's familyCondition Report: The sheet has been laid down at the four corner edges. The sheet is heavily, but unevenly, discoloured with some lighter staining to the extreme edges and to the upper right quadrant. A lot of the pigment has faded. The sheet appears to have been previously treated and as a result there are a number of light blemishes scattered throughout but most predominantly to the upper left quadrant. Some light creasing and softening to the extreme corners commensurate with age and handling. There is also a small repaired tear to the lower left corner (approx. 5mm). Some light undulation to the sheet under the glaze. Unexamined out of glazed frame.Condition Report Disclaimer
Lot 210
Samuel Melton Fisher (British 1860-1939)Portrait of Mrs Fuller, half-length, in a grey dress with pink rosesOil on canvas, ovalSigned (centre right)58.5 x 44.5cm (23 x 17½ in.)Condition Report: The canvas has not been lined. Generally appears to be in good original condition. Inspection under UV reveals no visible damage or restoration. Would benefit from a light clean and new varnish.Condition Report Disclaimer
Lot 207
James Sant (British 1820-1916)Portrait of the Hon. George FitzRoy Somerset (1857-1921)Oil on canvasSigned with monogram (lower right)140.5 x 90cm (55¼ x 35¼ in.) Provenance: The Raglan CollectionSale, Christie's London, Interiors Including Posters, 11 September 2019, lot 166Exhibited:London, Royal Academy, 1864, no. 279.Literature:J. Steegman, Portraits in Welsh Houses, Cardiff, 1962, vol. II, p. 127, no. 17.Born on 18 September 1857, George FitzRoy Henry Somerset, later 3rd Baron Raglan, was the son of the 2nd Baron Raglan, and his wife Lady Georgiana Lygon, third daughter of Henry Lygon, 4th Earl Beauchamp. King George V of Hanover was his godfather, and he became a Page of Honour to Queen Victoria in 1868, which he remained until 1874. On 28 February 1883, he married Lady Ethel Jemima Ponsonby, daughter of Rev. Walter William Brabazon Ponsonby, 7th Earl of Bessborough and Lady Louisa Cornwallis Eliot. They had six childrenCondition Report: The canvas has been lined. Fine surface cracking throughout. Inspection under UV light reveals some areas of retouching to the darker pigments mostly covering paint shrinkage. The work has been cleaned and re-varnished and is in its original frame.Condition Report Disclaimer
Lot 39
Follower of Sir Peter Paul Rubens Portrait of an officer, possibly Ambrogio Spinola, 1st Marquess of Los Balbases (1569-1630)Oil on canvas, oval63 x 46cm (24¾ x 18 in.) Condition Report: The canvas has been lined. Paint surface seems to be in reasonably good condition. Inspection under UV light reveals scattered restoration mainly to the background and sitter's jacket. The face generally appears to be untouched. The work has been cleaned and re-varnished. Condition Report Disclaimer
Lot 240
William Shayer Senior (British 1787-1879) and Edward Charles Williams (British 1807-1881)The Timber WagonOil on canvasSigned and dated1849' (lower left)76 x 127cm (29¾ x 50 in.)Provenance:Frost and Reed, London, purchased 19th November 1987Condition Report: The canvas has been lined. Fine surface cracking. Inspection under UV light reveals scattered retouching particularly in the darker pigments such as the darker pigments in the house and to the logs on the wagon. Cleaned and re-varnished, in good restored condition.Condition Report Disclaimer
Lot 129
After John ConstableHampstead HeathOil on canvas60 x 73cm (23½ x 28½ in.)Condition Report: The canvas has been lined within the last 50 years. Inspection under UV reveals retouching in the darker pigments and to the sky, some of this is visible in natural light. Surface cracking and craquelure throughout together with some surface dirt. Rubbing and abrasions to the framing edges. Dirty varnish throughout. Condition Report Disclaimer
Lot 260
Frederick Calvert (British fl.1827-1844)Shipping in a swell; Fishing on a calm seaOil on canvas, a pairEach 28 x 38cm (11 x 14¾ in.) (2)Condition Report: Neither canvas has been lined. Both with stretcher marks and craquelure throughout. Shipping in a Swell has a thumb-print sized area of loss to the upper centre of the composition (visible in catalogue and online illustration) and a number of white spots of paint to the upper left area. Inspection under UV light reveals some scattered retouching. Condition Report Disclaimer
Lot 261
English School (19th century)Shipping in a harbourOil on canvas52 x 75cm (20¼ x 29½ in.)Condition Report: The canvas has been relined, re-varnished, and cleaned and the paint surface appears to be in a good stable condition. Evidence of old craquelure throughout. There appears to be an old repaired tear to the centre left of the canvas (approx. 4cm) with some associated repainting which can be seen in natural light. Light rubbing and abrasions to the framing edges. Inspection under UV light reveals one or two scattered spots of retouching throughout together with repainting to the aforementioned area of repair.Condition Report Disclaimer
Lot 265
Carl Fredrick Sørensen (Danish 1818-1879)Landing the CatchOil on canvasSigned and dated 1853 (lower left)65 x 102cm (25½ x 40 in.)Provenance:Burlington Paintings, LondonCondition Report: The canvas has been lined but the paint surface appears to be well preserves. Some surface cracking throughout. Inspection under UV light reveals some fine scattered spots of restoration to the sky and also notably in the upper right corner. This is all well executed though and not visible to the naked eye. Condition Report Disclaimer
Lot 119
English School (18th century)The smokersOil on canvas37 x 51cm (14½ x 20 in.)Provenance:Crane Kalman Gallery, LondonCondition Report: The canvas has been lined and is on a later stretcher which is providing good support. Stretcher marks visible, together with some surface cracking throughout. The picture is unfinished along the lower edge. Some very small areas of retouching throughout under UV light. Light scratches to the varnish layer.Condition Report Disclaimer
Lot 325
Francois Clement Sommier, called Henry Somm (French 1844-1907)A lady in the street by moonlightWatercolour and inkSigned (lower right)20 x 15cm (7¾ x 5¾ in.)Exhibited: Hazlitt, Gooden and Fox, 19th Century French Drawings, 15th June - 15th July 1988, No. 31 Condition Report: The colour is generally good. Some light brown spots scattered to the background but these are very light and barely noticeable. There is a small spot of what appears to be a water mark to the centre of the sitter's cloak (approx. 3cm), and some very light, fine cracking to two areas of the black pigment in the cloak (lower right), which create a slightly uneven finish to the surface. Unexamined out of glazed frame. Condition Report Disclaimer
Lot 111
English Provincial School (early 19th century)A lady in an interiorOil on canvas56 x 44cm (22 x 17¼ in.)UnframedCondition Report: The canvas has been relined. Fine surface cracking throughout and abrasions to the edges. Light surface scratches. Inspection under UV light reveals scattered retouching to background areas, including to two holes. Generally the figure appears to be untouched. Condition Report Disclaimer
Lot 109
American School (19th century)A boy and girl in an interior blowing bubblesOil on canvas65 x 54cm (25½ x 21¼ in.)With frame maker's label L. Grieve, New York City (to stretcher verso)Provenance:Property of a deceased American estateCondition Report: The canvas has not been lined. There is a small patch to the lower left corner (verso). Fine surface cracking and stretcher marks throughout. Inspection under UV light reveals scattered retouching throughout but these all appear to be very minor and appear to be covering old paint shrinkage. The frame appears to be original to the work.Condition Report Disclaimer
Lot 22
Flemish School (17th Century) The Archduchess Isabella Clara EugeniaOil on paper laid on panel32.5 x 21cm (12¾ x 8¼ in.)UnframedAfter a detail of a picture by Sir Peter Paul Rubens in The Norton Simon Museum, Pasadena, California Condition Report: The paint surface is a little uneven and there are some cracks to the panel and chips to the edges of the paper. Under UV light there is scattered retouching around the edges and to the darker pigments although this is quite hard to read. Condition Report Disclaimer
Lot 304
William Thomas Warrener (British 1861-1934)Two boys playing before haystacks Oil on canvas Signed and dated 86 (lower left)29.2 x 24cm (11¼ x 9¼ in.)Condition Report: The canvas has been lined. Some very light craquelure to the darker pigments. The upper stretcher mark visible. Some light retouching visible in natural light, most notably along the lower edge, where a previous signature appears to have been over painted (lower left). Light rubbing and abrasions to the framing edges. Inspection under UV reveals one or two patches of retouching scattered throughout, together with the larger patch over over paint to the lower edge as previously mentioned. There is also a green cloudy varnish which may be obscuring further retouching.Condition Report Disclaimer
Lot 179
Alfred Pollentine (British 1836-1890)The Grand Canal Venice; The Barbarigo and Pisani Palaces, VeniceOil on canvas, a pairSigned and indistinctly dated (lower right) and (lower left) respectively, the second further signed and inscribed (verso)29 x 49cm (11¼ x 19¼ in.) (2)Provenance:Aitken Dottson, GlasgowCondition Report: Both works have been relined and are on new stretches which are providing good support. Thick layer of dirt and old varnish. There are minor scuffs and abrasions throughout. Under UV light there are some scattered areas of retouching but generally both works appear to be in good condition.Condition Report Disclaimer
Lot 161
George Goodwin Kilburne (British 1839-1924)The Introduction Oil on canvas 54 x 71cm (21¼ x 27¾ in.)Provenance:Sale, Christie's, London, Victorian Paintings, 6 November 1996, lot 66Condition Report: The canvas has been relined. There is some light surface dirt scattered throughout. Inspection under UV light reveals scattered retouching but this is not visible to the naked eye. Overall the work appears to be in good restored condition.Condition Report Disclaimer
Lot 309
Attributed to Thomas Griffiths Wainewright (British 1794-1847)A Landscape Moonlight EffectOil on panelTitled and inscribed (to label affixed verso)25 x 35cm (9¾ x 13¾ in.)UnframedProvenance:John Graham Esq of Skelmorlie Castle, AyrshireCondition Report: Craquelure throughout. The panel support appears to be in good overall condition. Under UV light there are scattered areas of retouching, the largest of which to the tree centre right, this is also partially visible in natural light. There is a further similar patch to the cottage lower right. Some light surface scratching throughout. Would benefit from a clean, as the varnish is very uneven.Condition Report Disclaimer
Lot 14
After Sébastien BourdonThe Sacrifice of Noah Oil on canvas 70.5 x 99cm (27¾ x 38¾ in.)Provenance:Private collection of the Earl of Cholmondeley Purchased from the above by the present owner's fatherThence by descent to the current owner After the original work by Bourdon, painted circa 1640, and now in the collection of the Musee des Beaux Arts d'ArrasCondition Report: The canvas has been relined. Some minor surface dirt and patches of craquelure throughout. Strecther marks visible in a raking light. Inspection under UV reveals an area of retouching to the upper centre which is also visible in natural light, together with scattered retouching throughout as well as a green cloudy varnish. Overall this is in restored condition ready to hang.Condition Report Disclaimer
Lot 53
Willem van Bemmel (German 1630-1708) Figures in an extensive landscapeOil on canvasInitials in ligature and dated 1667 (lower left)78 x 103cm (30½ x 40½ in.) Willem van Bemmel was born in Utrecht, and with his brother Jacob, studied under Herman Saftleven. He made a Grand Tour to Italy, spending 1647-9 in Venice before moving to Rome where he stayed for six years and became a member of the Bentvueghels (Dutch for Birds of a Feather) painting society of mostly Dutch and Flemish artists active in Rome. After Italy he spent time in London before returning to Germany. He was known for his Italianate landscapes such as the present work and was the father of the German Von Bemmel painting family of Nuremberg. From Rome he crossed the Alps to NurembergCondition Report: The canvas has been relined. Craquelure throughout. Stretcher marks and associate cracking visible. Some light rubbing and abrasions to the framing edges. Inspection under UV reveals scattered retouching and a green cloudy varnish; the varnish possible obscuring further retouching.Condition Report Disclaimer
Lot 58
Circle of Sir Anthony van Dyck (Flemish 1599-1641)Charles I on horsebackOil on canvas139 x 107.5cm (54½ x 42¼ in.)Provenance:Richard Cosway, 20 Stratford Place, Oxford Street, LondonSale, Mr George Stanley 'A Catalogue of the Pictures of Richard Cosway, Esq. R.A.', 17-19 May 1821, lot 105, 150 gns.The collection of Mr EmmersonSale, Phillips, 15-16 June 1832, lot 131 (£64)The collection of The Blackett Family of Matfen HallLiterature: J. Smith, A Catalogue Raisonne of the works of the most eminent Dutch Flemish and French Painters, vol. III, 1831, page 104, no. 366. Matfen inventory, no.8 The Walpole Society, Vol. LXVI, 2004, p.202 The Cosway Inventory of 1820This depiction of King Charles I is one of the most celebrated and well-known images of him. He was a fine horseman and the symbolism of his pose perhaps suggests he was a ruler who can tame a powerful animal and control the passion and disorder in his kingdom (K. Sharpe, Politics and Ideas in Early Stuart England, London, 1989, pp.44-7). It relates to Sir Anthony van Dyck's Charles I on Horseback with M. de St Antoine in The Royal Collection which is dated 1633. It was painted on a monumental scale (142 x 102 in.) and hung at the end of the Gallery at St James's Palace, a position for which it was probably designed. It has been suggested that our picture may have once been of a similar scale and reduced because the outer parts of the composition were unresolved. The scale of the figure of Charles corresponds directly to that in the autograph version and the idea of it being a fragment is further supported by it not being a standard size. A more typical 50 x 40 in. canvas would suggest that it is a later replica. The modelling of the horse and figure is well resolved whereas the plain background may be either an unfinished ground layer waiting to be painted or possibly a layer of blue (spelt) used in the seventeenth century that tended to deteriorate. The reason why the full-size picture was abandoned are not known, but it would have been a very substantial commission with a limited number of houses or institutions able to accommodate a picture on such a scale. The onset of the Civil War in 1642 may well have also been a contributing factor. None-the-less it is a fascinating insight into 17th Century Royal portraiture. The picture was formerly in the collection of Richard Cosway, the leading portrait painter of the Regency period, who in 1785, was appointed Principal Painter to the Princes of Wales. Together will his wife Maria they were very close to the Prince, and he was a frequent visitor at Maria's glittering salons and concerts. Condition Report: The canvas has been lined and is on a later stretcher which is providing good support. Under UV light there are scattered spots and lines of restoration, these are mostly in background areas and to the edges, and some finer work to the figure, including the face. This is all well executed however and not apparent to the naked eye. Condition Report Disclaimer
Lot 153
Edmund Blair Leighton (British 1853-1922)The Cliff Path Oil on canvas Signed with initials and dated 93 (lower left)27 x 20cm (10½ x 7¾ in.)Provenance:Sale, Christie's, London, Victorian Pictures, 5 March 1993, lot 139Purchased from the above by the present owner Condition Report: Unexamined out of glazed frame. Some light rubbing and abrasions to the framing edges. Inspection under UV light reveals no evidence of restoration or repair. Overall the work appears to be in good condition.Condition Report Disclaimer
Lot 222
John Frederick Herring Junior (British 1815-1907)A Peaceful Day In The FarmyardOil on canvasSigned (lower left)55 x 90cm (21½ x 35¼ in.)Provenance:Burlington Paintings, LondonCondition Report: The canvas has been relined. Some evidence of old craquelure. Inspection under UV light reveals scattered retouching throughout. Overall in good, restored condition.Condition Report Disclaimer
Lot 32
Jan Fyt (Flemish 1611-1661)Head of a wolf Oil on canvas 35.5 x 35.5cm (13¾ x 13¾ in.)This picture relates to two studies of wolves by Fyt in the National Galleries of Scotland (NGS 529 and 530) which were both purchased for 14 Guineas in 1866, at the sale of a certain Mr Farrar. The sculptor William Brodie RSA (1815-1881) and the painter William Borthwick Johnstone RSA (1804-1868), both members of the RSA Council (the latter being its treasurer) recommended the paintings as 'very desirable addition[s] to the collections'. We are grateful to Fred G. Meijer for his help in preparing this catalogue entry. Condition Report: The canvas has been lined and appears to have been folded/cut/creased in a T shaped pattern which runs from the top left corner horizontally across the top of the canvas and vertically through the right of the dog's ear. This is really only visible in raking light and has been carefully retouched and restored. Inspection under UV reveals retouching to the aforementioned area, and a thick layer of varnish which may be hiding further restoration.Condition Report Disclaimer
Lot 324
λ John Arthur Machray Hay (Scottish 1887-1960)Portrait of a lady wearing a purple dressOil on canvasSigned (lower left)75 x 62cm (29½ x 24¼ in.)Condition Report: The canvas has not been lined. Discoloured varnish and surface dirt throughout. Some scuffs and abrasions to the lower edge with some associated minor paint losses. Inspection under UV reveals no signs of restoration or repair. Would benefit from a light clean.Condition Report Disclaimer
Lot 289
Paul Alexandre Alfred Leroy (French 1860-1942)An Oriental beautyOil on panelSigned (centre right)40 x 25cm (15½ x 9¾ in.)Provenance:Sale, Woolley & Wallis, Old Masters, British and European Paintings, 6 March 2019, lot 421Condition Report: Some light surface dirt. Inspection under UV reveals some possible retouching to the framing edges and lighter spots to the face however it is unclear whether this is original pigment as the spots do not flair strongly. Otherwise, in good condition commensurate with age. Condition Report Disclaimer
Lot 270
David James (British 1853-1904)The Tide Race Macrahanish Bay, Campbeltown Oil on canvasSigned and dated 90 (lower right); further signed and inscribed (verso)75 x 122cm (29½ x 48 in.) Condition Report: The canvas has not been lined. Craquelure throughout and some areas of discolouration to the varnish. Inspection under UV light reveals no evidence of retouching or repair. Overall the work appears to be in good original condition.Condition Report Disclaimer
Lot 134
† James Gillray (British 1756-1815)A Phantasmagoria; -Scene- Conjuring-Up an Armed Skeleton (BM 9962)Etching and aquatint with hand-colouring, published by J. Gillray, London, 180335.5 x 25.5cm (13¾ x 10 in.)Together with two other prints by James Gillray; St. George and the Dragon (BM 10424), etching and aquatint with hand-colouring, published by H. Humphrey, London, 1805; and The King of Brobdingnag, etching and aquatint with hand-colouring, 1803, published by J Gillray, Dublin, 1803. Unframed (3)Condition Report: Phantasmagoria - Image is good. Surface dirt to the sheet throughout. Staining particularly noticeable to the lower left edge. Light scattered foxing. A diagonal brown blemish a 1/3 of the way down the left edge. Losses and rubbing to the corners. George and dragon - a number of repairs to the edges visible both recto and verso. Light handling creases throughout. Old tears especially to the right edge. Image is good. Gulliver- repairs to upper edge. Staining throughout especially to the lower right quadrant. Light discolouration to the image. Condition Report Disclaimer
Lot 296
Sir Oswald Birley (British 1880-1952)Corsican landscape Oil on canvasSigned, inscribed, and dated 1920 (lower right)46 x 61cm (18 x 24 in.) UnframedCondition Report: The canvas has been lined. Light craquelure and surface scratching throughout. Inspection under UV light reveals retouching throughout, including restoration to several punctures and tears, largely at the left of the canvas.Condition Report Disclaimer
Lot 40
Follower of Sir Anthony Van Dyck Portrait of a musician believed to be Nicholas Lanier (1588-1666)Oil on canvas81 x 65cm (31¾ x 25½ in.)Condition Report: The canvas has been lined, and the reline is visible along the framing edges. Light scattered craquelure and thinning paint in places throughout. Stretcher marks visible. Some retouching visible to the naked eye. UV light reveals significant retouching and a green cloudy varnish throughout. Some patches to the canvas verso, possibly the result of damp.Condition Report Disclaimer
Lot 168
Carl Christian Constantin Hansen (Danish 1804-1880)A knightOil on paper laid down to canvas52 x 27.5cm (20¼ x 10¾ in.)Condition Report: Oil on paper laid down to canvas, and not as stated in the printed catalogue. The canvas can be seen at the framing edges. Some small tears to the paper sheet but this has not gone through to the canvas - the largest approx. 4cm long by the sitter's right arm. Some light surface dirt and a layer of dirty varnish throughout. Inspection under UV light reveals scattered retouching throughout the image.Condition Report Disclaimer
Lot 346
Copley Fielding (British 1787-1855)Fairy IsleWatercolourSigned (lower left)47.5 x 64.5cm (18½ x 25¼ in.)Provenance:Sale, Sotheby's, London, 18th and 19th century British Drawings and Watercolours, 15 March 1990, lot 88Condition Report: Unexamined out of glazed frame. The colours are a little down, with some light discolouration to the sheet, but generally this work appears to be in good original condition.Condition Report Disclaimer
Lot 329
Jean Henri Zuber (French 1844-1909)Boulevard Deufert, ParisWatercolourSigned and dated 1880 (lower right)24 x 34cm (9¼ x 13¼ in.)Provenance:The collection of Mr Arthur Chasseriau, ParisExhibited: Hazlitt, Gooden and Fox, 19th Century French Drawings, 13th June - 14th July 1979, No. 80Condition Report: There is some light discolouration and staining to the sheet, most notably to the framing edges. The colours in the pigments also perhaps a little down. There is some undulation to the sheet under the glaze. The work is unexamined out of its glazed frame, which has some chips and losses commensurate with age.Condition Report Disclaimer
Lot 326
Francois Clement Sommier, called Henry Somm (French 1844-1907)Jeune femme au grand chapeauWatercolourSigned (lower left)30 x 20cm (11¾ x 7¾ in.)Provenance:Hazlitt, Gooden and Fox, London Condition Report: Unexamined out of frame but the sheet does not appear to be laid down. It is also slightly lose in its mount. Some very light fading to the blue pigment. Unexamined out of glazed frame.Condition Report Disclaimer
Lot 98
Follower of Giovanni Paolo PaniniA capriccio of Roman ruinsOil on canvas72.5 x 97.5cm (28½ x 38¼ in.)Condition Report: The canvas has been relined. Light stretcher marks visible. There is some light surface dirt throughout and this is ingrained in the pigment. Some of the paint wearing thin in places. Some light craqulure scattered throughout. UV inspection reveals retouching throughout and a green cloudy varnish. The work has previously been restored and is now ready to hang.Believed to have been painted in the 19th century.Condition Report Disclaimer
Lot 101
Circle of Richard Wilson (British 1714-1782)Figures in a landscapeOil on canvas49 x 66cm (19¼ x 25 in.)UnframedCondition Report: The canvas has been lined. Craquelure and spots of paint loss throughout. There is a thick layer of uneven discoloured varnish. Rubbing and abrasions to the framing edges. Inspection under UV light reveals retouching throughout, as well restoration to an old repaired tear in the lower left corner.Condition Report Disclaimer
Lot 157
Philip Richard Morris (British 1836-1902) Land A Hoy!Oil on canvas Signed with initials and dated 64 (lower right)44.5 x 53.5cm (17½ x 21 in.)Provenance:Sale, Christie's, King Street, Victorian Pictures & Drawings, 4 November 1994, lot 106 Purchased from the above by the present owner Condition Report: The canvas has been relined and is on a new stretcher. The paint surface appears to be in good stable condition. Inspection under UV light reveals scattered spots of restoration. Some white blooming to the varnish, and the work would benefit from a clean. Condition Report Disclaimer
Lot 204
John Brandon Smith (British 1848-1884)Highland river landscapeOil on canvasSigned (lower left)73 x 136cm (28½ x 53½ in.)Condition Report: The canvas has been lined. There are some spots of mildew to the canvas verso but this has not come through to the front. Inspection under UV light reveals some scattered retouching, notably to the lower left corner and several lines along the upper edge. Otherwise in good restored condition.Condition Report Disclaimer
Lot 108
After Sir Thomas LawrenceGeorgiana Agar-Ellis (later Lady Dover) and her son Henry Agar-EllisOil on canvas58.5 x 48.5cm (23 x 19 in.)Condition Report: The canvas has been lined. Craquelure throughout. Inspection under UV light reveals extensive retouching throughout but most notably to the background. There is also in-filling to the faces. Painted in the 19th century.Condition Report Disclaimer
Lot 198
British School (19th century)Extensive Landscape with Horse and RiderOil on panelSigned with monogram TSW and dated 1845 (lower right)36.5 x 56.5cm (14¼ x 22 in.) Condition Report: The work has been cleaned and re-varnished. Inspection under UV light reveals some scattered spots of retouching in the sky but these are very minor. The work is in a later 20th century frame which has minor abrasions (please now Dreweatts is not liable for any damage to frames)Condition Report Disclaimer
Lot 339
λ Antoine Bouvard (French 1870-1956)A pair of Venetian canal scenesOil on canvasSigned (lower right)Each 23 x 31.5cm (9 x 12¼ in.) (2)Provenance:Woolley and Wallis, Paintings, 19th September 2012, lot 301, as Noel Georges Bouvard.Condition Report: With bridge: The canvas has not been lined. Light surface dirt throughout, with some discoloration to the varnish. Inspection under UV reveals no evidence of restoration or repair.Without bridge: In a similar condition to the above. The canvas has not been lined. Light surface dirt and spots of surface dirt throughout. Some discoloration to the varnish. Inspection under UV reveals no evidence of restoration or repair.Condition Report Disclaimer
Lot 154
Michele Gordigiani (Italian 1830-1909)The Flower GirlOil on canvasSigned (lower left)108 x 81.5cm (42½ x 32 in.)Provenance:Sale, Leslie Hinderman, Old Master, 19th and 20th Century Pictures, 13 December 1992, lot 165Haynes & Son Were acquired by the present owner circa 1993Condition Report: The canvas has been lined. The work has been cleaned and re-varnished. Under UV light the work generally appears untouched. Dimensions including the frame are 130 x 102cm.Condition Report Disclaimer
Lot 217
Attributed to John Barwick (fl.1835-1876)Changing horses Oil on canvasSigned with monogram (lower right) 69 x 90cm (27 x 35¼ in.) Condition Report: The canvas has been lined, and is a little loose. An affixed card backing verso prevents further examination. Stretcher marks are visible. Craquelure and some surface dirt throughout. Inspection under UV light reveals scattered retouching throughout, most notably to the sky and some of this is partially visible in natural light, as well as a green cloudy varnish. Condition Report Disclaimer
Lot 92
Circle of George Romney (British 1734 - 1802)Portrait of John SmithOil on canvas101.6 x 127cm (40 x 50 in.)Provenance:John Smith by descent Sir Thomas Spencer, BtSabin Galleries, London, 1960Purchase from the above, private collection, London Sabin Galleries, London, 1970Purchased from the above, present ownerExhibited:London, Sabin Galleries, "English Portraits Mainly Eighteenth", 1960, No. 21.London, Sabin Galleries, "English Portraits 1500-1830", 1970, No. 31. Literature:Lot 92 Alex Kidson, George Romney; A Complete Catalogue of his Paintings (2015), vol. 2, p.535, No. 1196A, as an autograph replica of the painting in the Barber Institute, Birmingham. Condition Report: The canvas has been lined and this reline is partially visible to the framing edges, whether there is also some rubbing and associated loss. Faint traces of old craquelure throughout together with some light surface dirt and one or two surface scratches and scuffs. Inspection under UV light reveals retouching throughout including a more concentrated area around the sitter's head and at the background pillar to the sitter's right (as you look at the work). There is also a thick green cloudy varnish which may be obscuring further retouching. Overall the work appears to be in good, restored condition.Condition Report Disclaimer
Lot 336
Follower of Charles-Francois DaubignySheep in a river landscapeOil on canvasBears `Daubigny' signature and date1844 (lower right)48 x 73cm (18¾ x 28½ in.)Condition Report: The canvas has been lined. Craquelure throughout together with a glossy varnish. Inspection under UV light reveals retouching to the landscape and trees. There is also in-filling to old craquelure throughout. In stable restored condition.Condition Report Disclaimer
Lot 234
Pongracz Ignac (Hungarian 20th Century)Portrait of the race horse SachertorteOil on canvasIndistinctly signed, inscribed, and dated 1925 (lower right)68 x 88cm (26¾ x 34½ in.) Condition Report: The canvas is unlined. Fine surface cracking along the upper edge and to the sky. One or two very small spots of paint loss, but generally appears to be in excellent condition. Inspection under UV light reveals no evidence of restoration or repair. Condition Report Disclaimer
Lot 219
John Ferneley Senior (English 1782-1860)A chestnut hunter in a loose box Oil on canvas Signed, dated and inscribed `Melton Mowbray/1844' (lower left)85 x 105cm (33¼ x 41¼ in.)Condition Report: The canvas has been lined. Some light surface dirt. Inspection under UV light reveals scattered retouching throughout, however the horse appears to be untouched. Overall the work appears to be in good restored condition.Condition Report Disclaimer
Lot 228
L. S. B Pollock (British 19th century)Tsar, Wagga, and SultanWatercolour and bodycolourSigned and dated 1876 (lower left); inscribed with dogs' names (to necks)54 x 73cm (21¼ x 28½ in.) Condition Report: Unexamined out of Perspex frame. Some undulation to the sheet, probably caused during the framing process. Some light cracking to the paint surface, most notably to the blue pigment in the upper right. Some other areas of minor surface scratching / scuffs scattered throughout.Condition Report Disclaimer
Lot 218
After Francis WheatleyThe Return from the ShootOil on canvas55 x 70cm (21½ x 27½ in.)After the original 1788 painting by Francis Wheatley now in the Museums Sheffield collection, accession number VIS.5305Condition Report: Depicts the Duke of Newcastle on a Chestnut horse. The canvas has not been lined. Stretcher marks visible. Rubbing, abrasions and associated losses to the framing edges and scattered throughout. Craquelure throughout together with a dirty varnish. Inspection under UV light reveals one or two minor spots of retouching.The accompanying frame is damaged and in several pieces, the work would benefit from reframing. Condition Report Disclaimer
Lot 125
English School (19th century)Early Mill TownOil on panel48 x 67cm (18¾ x 26¼ in.)Exhibited:Scottish Arts Council, English Naive Painting, (undated and unnumbered)Provenance: Crane Kalman Gallery, London It has been suggested that this view could be Pentith, with the distinctive shape of Blencathra/Saddleback in the distance. Condition Report: Craquelure scattered throughout most notably to the sky. There is a dirty varnish together with some surface dirt throughout. Some scuffing to the framed edges. UV light reveals significant in-filling to old craquelure throughout, and some of this is also visible in natural light.Condition Report Disclaimer
Lot 249
Attributed to Ernest Griset (French 1844-1907)Dinner time Oil on board71 x 38.5cm (27¾ x 15 in.)For comparable images, see 'Lionel Lambourne, Ernest Griset, Fantasies of a Victorian Illustrator, London, 1979, pp. _____Condition Report: Light surface dirt and very fine craquelure scattered in patches throughout. Light rubbing and abrasions to the framing edges particularly to the upper and lower edges. Inspection under UV reveals some light scattered retouching largely contained within the sky area.Condition Report Disclaimer
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