There are 534325 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeEnglish School (19th century) A rural landscape with cart on a tracksigned indistinctly lower rightoil on panel13 x 19.5cmOverall in good, stable, clean condition. Examination under UV light reveals very minor, scattered retouchings and remnants of old varnish to the darker passages of the painting.
Colin Graeme Roe (British, 1858-1910) 'Waiting for the Shepherd'titled and signed to stretcheroil on canvas50 x 40cmPaintwork and canvas overall in excellent, original, clean condition with no restoration visible under UV. Light craquelure visible commensurate with age. Some minor surface dirt. Evidence of very light scuffing/abrasion to the far right hand side of the picture (in the shadowed area) but this appears to be in the varnish layer and has not damaged the canvas. The frame in good, stable condition with light wear.
Captain J. O. Mennie (19th century) Four views of the Palace of Mir Khudadad, Khan of Kalat, Pakistanvariously inscribed and dated 1886watercolourvarious sizes, the largest 12 x 27cm;together with two further studies depicting a bungalow at Nasirabad and 'Karez' (6)Provenance: Crossbrook, Hilton, CambridgeshireJ. O. Mennie is recorded as having served in the Bombay Light Infantry in the late 19th century.
John Frederick Herring Snr. (British, 1795-1865) A sow and piglets before a pigstysigned to the sty 'JFHerring Senr.' and dated 1853oil on panel25 x 30.5cmThe painting is executed in oil on an artists’ board with a stamp for Roberson & Co on the reverse. The support and paint layers are in a good, stable condition overall. There are two areas of overpaint on the pig which are discoloured and matte compared to the rest of the painting. The varnish is semi-matte and slightly yellowed with age. There is a light layer of surface dirt present.
Workshop of Sir Peter Paul Rubens (Flemish, 1577-1640) The Garden of Love oil on panel the reverse marked with the coat-of-arms of the City of Antwerp, stamped with the panel maker's initials FDB (for Francois de Bout), and further bearing the monogram of King Philip IV of Spain contained within a fine 18th century carved giltwood frame 72 x 100cm The present painting is very possibly the preliminary worked up modello despatched by Rubens to King Philip IV of Spain for approval, prior to his completing and sending to Madrid, his 1632-4 masterpiece ‘The Garden of Love’ (on canvas, 198 by 283 cm) which is today in the Prado Museum, Madrid. Evidence to support this probability is the fact it is painted on an Antwerp panel with not only the brand of the city’s panel makers guild but also the initials of Francois de Bout (Fig. 1), a celebrated panel maker active there from the 1630s. As well, and even more compelling, is the fact that the reverse of the panel bears the cypher of Philip IV himself (Fig. 2). It is highly unlikely that the present painting would have, on approval by the king, been returned to Antwerp for reference, in the completion of the final work. Another ‘ricordo’ of the composition would have been retained in the studio. Indeed, the presence of the royal cypher on the reverse implies that it remained in Spain and must have only sometime after the finished autograph masterpiece’s arrival, at some unknown date left the Royal Collection. Rubens and his studio’s processes in presenting designs to patrons was never the same. As Friso Lammertse and Alejandro Vergara note in the catalogue of the exhibition ‘Rubens, Painter of Sketches’ ( Madrid Prado Museum and Rotterdam Museum Boijmans van Beuningen, 2018) on pages 49-50: “Four centuries on the written sources allow us a glimpse of the artist and the way his designs were created…The impressions that emerge…must be handled with circumspection…His working method, depended on the end product…all called for a different approach. This…was dictated by whether or not assistants would be working on a particular piece…He must also have had to deal with his clients and patrons in different ways, depending among other things on their personalities and status.” In the case of Philip IV, who ordered and commissioned large numbers of works from Rubens (whom he had ennobled in 1624 and who stayed at the Spanish court from 1628-9), he would have known that this preliminary design was Rubens’ own, not necessarily at this stage of the commission from his entire hand but that the final work itself would most certainly be so. Indeed, the finished work is considered one of Rubens’ supreme late masterpieces and was so admired by Philip that when first inventoried in 1666 (number 67) it was revealed to have been hanging in the recently deceased King’s bedroom. It is interesting that even at this late stage of the composition being resolved, there is at least one noticeable pentimenti, where the nose of the leftmost female below the upper arch has been altered (Fig. 3). There is too a fingerprint in the hair of the lutanist below her (Fig. 4) and, as well, under-drawing can be discerned around putti in the upper left and right corners (Fig. 5 & Fig. 6). The presence of these, quite apart from the King’s cypher to the reverse, do suggest this is not just a later studio repeat version of the Prado picture. There are apparently no known oil sketches for ‘The Garden of Love’, the composition no doubt having already been resolved by the time this worked up smaller scale modello was initially sent to Spain. The King needed to see a resolved composition and not small ‘sketchy’ preliminary ideas which were generally Rubens’ initial ‘thoughts’ for his own and the studio’s use. An exceptional and very large chalk drawing (56.3 by 31.7 cm.) however, by Rubens for the figure of his wife on the left most side of the composition, is today in the Städel Museum, Frankfurt. The painting is executed in oil on a wooden panel support formed from four boards in vertical alignment. The original tool marks are present on the reverse of the panel. The joins have been reinforced with thick paper and wooden buttons in areas. The panel has a slight horizontal curvature and is stable overall. The paint layers have been thinly and sketchily applied and are in a very good, stable condition overall. Small areas of retouching are present across the surface, mainly covering wear and abrasion, following the horizontal woodgrain. The retouching is finely handled and well matched to the original. The varnish is clear and even with a light layer of surface dust.
Follower of Sir Anthony van Dyck Portrait of a manoil on canvas50.5 x 35cmRelined. Overall in stable, restored condition. Surface dirt and light wear. Craquelure throughout commensurate with age. Examination under UV light reveals scattered retouching to the face and broader overpaint to the upper left hand section in the sitter's hair and background. The frame with losses as illustrated.
English School (c. 1900) A pair of equestrian studies of 'Victory' and 'Top Hole'each signed with initials CW and dated (19)07titled on plaques to frames and versooil on board16 x 16cmProvenance:Property of the late Gabriela GrilloFramed beneath glass. Unexamined out of frames. Paintings appear in very good, original, clean condition with no losses, restoration or other damage. Light craquelure visible commensurate with age, particularly to the darker passages.
Attributed to Walter Weedon Grossmith (British, 1854-1919) Hampsteadattributed, titled and dated 1874 on plaque to frameoil on board11 x 20cmThe presumed artist, Weedon Grossmith, was also a noted author, actor and playwright.Appears in very good, original condition with no damage to the paint surface or panel and no restoration visible under UV light.
Thomas Sidney Cooper RA (British, 1803-1902) Cattle and sheep in a sunset river landscapesigned lower left 'TSidney.Cooper.' and dated 1863oil on panel45 x 60cmThe painting is executed in oil on a wooden panel support. The panel has a Roberson supplier label on the reverse. The panel is in plane and the paint layers are in a good, stable condition. There is some abrasion along the lower edge caused by poor framing. There are localised areas of overpaint in the sky which have slightly discoloured. The varnish has yellowed with age and is slightly dull. There is a light dirt layer across the canvas with a few dark spots and accretions.
§ Leonard Russell Squirrell RWS (British, 1893-1979) King's College, Cambridge, from The Backs signed lower left 'L.R.Squirrell' and dated 1941 watercolour 25.5 x 47cm; together with a pencil study of the same subject, with colour annotations, 19 x 21.5cm (2) Watercolour in very good, clean condition with no damages to the paper apparent. Colours vibrant. Signature clear. Unexamined out of frame. The frame with light wear, total size 50 x 70cm.Pencil drawing with scuffs and small damages to the paper as illustrated. Unexamined out of frame. Framed size 33 x 37cm.
English School (19th century) Portrait of a huntsman with his dog in a landscape, a country house beyondoil on canvas60 x 50cmAn identification of the house as Belford Hall, Northumberland, has been suggested.Relined. Overall in good, stable, clean, restored condition. Remnants of old varnish visible under UV light in the darker passages of the painting. Evidence of a repaired tear to left hand side of the image in the sky, but otherwise the paintwork appears predominantly original with only very small scattered retouchings. The frame overall in good, stable order with light wear and some minor losses, the most significant to the bottom right hand corner (see images).
§ Charles Frederick Tunnicliffe OBE RA (British, 1901-1979) A Suffolk Punch plough teamsigned lower right 'C F Tunnicliffe'oil on canvas board51 x 61cmExhibited:The Art Exhibitions Bureau, Suffolk Street, London, The Whitehead Collection, No. 14Provenance:Phillips, London, 21st November 1995, Lot 12, where acquired by the present vendorThe painting is executed in oil on artists’ board formed of canvas laid onto hardboard. The support and paint layers are in a good, stable condition overall. There are some localised areas of overpaint mainly located in the sky. The work has a thin varnish layer and a semi-matte appearance. There is a light layer of surface dirt and a few fly spots and accretions on the surface.
A pair of ebonised nursing chairs, early 20th century, upholstered in a blue fabric with floral motif, on turned front legs and castors76 x 60 x 65cmFrames are sound and the legs and castors seem to be original and in good condition. Upholstery has some sunfading but the difference in tone to the blue is only visible when the back cushions are removed. Very small hole (3mm) on the side of one but otherwise only light staining.Both stamped 278 to the back left leg.
Circle of Michael Dahl (Swedish, 1659-1743) Portrait of a woman in a yellow dress inscribed 'Casandra' lower right oil on canvas, unframed 75 x 63.5cm Relined. In stable, restored condition. Examination under UV light reveals significant scattered retouching throughout, though retoration appears generally well matched to the original. Surface dirty and would benefit from a clean.
A pair of cast iron garden seats together with a pair of garden chairs, 20th century, of Gothic design, the rectangular pierced backs with quatrafoil and lozenge motifs90 x 100 x 53cm seats89 x 66 x 52cm chairssome light rust spots, possible crack to on of the chair fronts but still structurally solid, the set generally in good overall condition
Captain J. O. Mennie (British, 19th century) 'Panorama sketch of Lusbeyla Valley as seen from top Dhuni or Kanraj Kotal'signed lower left '...Mennie / Captain', annotated throughout, titled upper right and further inscribed 'Sketched from top of Dhuni Kotal, Dec 3rd 1886'pencil, watercolour and ink15 x 59.5cmProvenance: Crossbrook, Hilton, CambridgeshireJ. O. Mennie is recorded as having served in the Bombay Light Infantry in the late 19th century. This watercolour depicts a view in Lasbela, Balochistan, Pakistan.
Sebastian Theodorus Voorn-Boers (Dutch, 1828-1893) Still life of peaches, grapes and a butterflysigned lower centre ‘S The Voorn Boers' oil on panel 19 x 25cmIn good, clean, stable ready-to-hang condition. Panel in good, stable condition. Examination under UV light reveals some scattered retouching (see final image).
Webley & Scott, a model 700 12 bore boxlock ejector gun, No. 130619, with 26" barrels, the frame with scroll engraving and retaining some case hardening, 14 1/2" stock, nitro proofProofed at .729 in both barrels, measures .730 in each. 2 3/4" chambers. Some light pitting just beyond the chambers. Some scratches and minor chips to woodwork, but no apparent cracks. Choked app. Full and Half. Some light surface scratching to outside of barrels. Min. walls app. 30 thou. Action tight.
A Victorian burr walnut piano top davenport, the pop-up top section with pierced brass gallery, the lift up piano top enclosing a fitted interior, with acanthus carved scrolled supports on squat bun feet 99 x 58 x 57cm Provenance: Property of the late Gabriela Grillo Pop up action in working orderSome light scratches to top and desk lid, some areas of cracking to false drawer side, some small areas of loss of veneer to top left side of gallery, some loss of moulding to back left foot, other small areas of wear commensurate with age and use, overall condition good
Continental School (circa 1900) A set of four floral studiesoil on ebonised panels, unframedeach 60 x 24cmProvenance:Property of the late Gabriela GrilloPanels overall in stable condition with no warping but have light surface scuffs, craquelure and marks throughout. Paintwork predominantly in good condition on all except the third panel which has suffered from circular pitting which has corroded the paintwork (see images).
A Regency mahogany marble topped console table, the rectangular white marble top above a mirrored back panel flanked by downswept supports on a plinth base87 x 107 x 42cmMarble is modern, so too is the mirror backMinor chipping to the marble edge, some minor discolourationFrame with general wear to include light scratching to the frieze, water spots and discolouration to the base, knocks to the base with some losses to the veneerSee images
A George III style mahogany waterfall three-tier open bookcase, with long apron drawer, on ring turned feet capped with brass castors117 x 78 x 36cmSome light fading of colour to fronts of shelves and drawer and also to right side, small losses to legs commensurate with use, back left leg loose
A pair of deep two seat sofas, modern, the rectangular backs over slightly concave seats, upholstered in a blue and white striped fabric with repeating star detail and bullion fringe81 x 170 x 97cmProvenance:Private collection, 58 Melton Court, London, SW7These sofas are overall in good, clean and sound condition, and with comfortable quality upholstery.The loose seat cushions have feather and down fillings and zipped covers. Overall the upholstery has seen some light wear in places but really with only minor staining and surface dirt (there is one large stain, but this is only visible on the base when both cushions are removed) Small ink stain to inside of one arm, only visible when cushion is removed.
Oliver Clare (British, 1853-1927) Still life of plums signed lower right 'OLIVER CLARE' oil on board 17 x 22cm In very good, original, clean condition with no damage or restoration visible under UV light. The reverse of the original panel has been sealed within the frame. Unexamined out of frame.
A set of eight mahogany and satinwood inlaid dining chairs, Regency period including one carver of later date, the floral carved top rails over satinwood inlaid rectangular plaques, with stuff over seats on reeded tapering legs 86 x 57 x 51cmsome dry cracking to arms of one carver, replacement of venerer to top of one back bar, some slight lifting to satinwood ovals to backs, one chair with front stretcher missing, some light marking to seats
Emil Volkers (German, 1831-1905) Study of a horse’s headsigned upper left 'E Volkers'oil on canvas14 x 18cmProvenance:Property of the late Gabriela GrilloUnlined. Predominantly in excellent, original, stable condition. Examination under UV light reveals small area of retouch to the upper right background and likely strengthening of the far left hand edge. Light surface dirt and would benefit from a clean.
§ Raoul Millais (British, 1901-1999) 'Belle of All with her filly foal Alycidon'signed lower right 'Raoul Millais' and dated (19)59oil on canvas51 x 61cmProvenance:J. J. Paterson, LondonThe painting is executed in oil on a linen canvas support. The canvas is in original condition and unlined, the canvas tension is good but slightly slack with minor undulations. The paint layer are in excellent condition, stable with no evidence of flaking or loss. An uneven varnish layer is present, probably artist applied. The surface is semi-matte with a light layer of dirt.
Henry Pether (British, 1800-1880) The Thames at Twickenham by moonlight, with the Rose & Crown and St Mary's Church beyondinscribed 'Pether' to the stretcheroil on canvas61 x 91.5cmProvenance:Within the family of the present vendor for over 70 yearsLike his father Abraham and older brother Sebastian, Henry Pether became renowned for his moonlit scenes. However, in contrast to his relatives, who commonly composed imaginary capriccios, Henry Pether executed realistic studies of known locations in England, France and Italy. Twickenham was a favourite subject of the artist which he painted on a number of occasions. A similar composition to the present work, with slight differences, exists in the Orleans House Gallery, Twickenham, of which it has been written:"In Twickenham by Moonlight the English picturesque style has been combined with the romanticism of artists such as Caspar David Friedrich (1744–1840). The interplay of light and shade is here examined to full effect, creating a hermetic, contemplative mood. The landscape is dominated by the Thames, which reflects the subtle glow of the full moon above." (Mark De Novellis, Highlights of the Richmond Borough art collection, 2002, p. 61)The main 15th century medieval tower of St Mary's Church, depicted in the present work, still exists today. The church's original nave collapsed in 1713 and Sir Godfrey Kneller, then churchwarden, played an active role in its reconstruction. Kneller's remains were entombed within the church upon his death a decade later.It is likely that the right hand side of the composition depicts Eel Pie Island with Ham House beyond.The painting is executed in oil on a canvas support. The edges of the canvas have been reinforced with an open weave fabric. Small tears and damages to the canvas have been repaired from the reverse with silk fibres. The paint layers are in a good, stable condition. There is a network of age cracks across the surface, some of which is slightly raised but secure. Small damages have been repaired, the overpaint is reasonably well matched to the original and the appearance of the painting is good from a normal viewing distance. The varnish is clear and even.
A pair of Chinese famille verte porcelain ginger jars in the Kangxi style, each painted with semi-naked boys riding lotus stems amongst foliage 21cm highUsual light rubbing to the enamel in places. Slight discolouration in pleaces, especially towards the rims. One of the wooden bases is broken with a section missing at the rim.
§ Ethel Moorhead (Scottish, 1869-1955) Portrait of Dr Alice Moorhead (1868-1910), the artist's sister, with her Scottish terriersigned with initials centre leftinscribed verso 'Royal Society Academy 1912 / Little... / Ethel Moorhead'oil on canvasthe frame labelled with information on artist and sitter34 x 44.5cmProvenance: Margaret Moorhead Langwill (wife of the archivist F. G. Emmison), the sitter's daughter, By whom gifted to Gwen Curnock,Thence by descent to the present vendorLots 102 and 103 are rare surviving examples of the painting of Ethel Moorhead, most famous for her work as a suffragette. In 1914, she became the first Scottish suffragette to be forcibly fed and also gained renown for throwing an egg at Winston Churchill. As an artist, she is believed to have studied in Paris under Alfons Mucha before entering Whistler's studio, the Atelier Carmen. She also edited This Quarter, an arts journal which published the work of James Joyce, Ezra Pound, Ernest Hemingway, Francis Picabia and Man Ray.The sitter, Ethel's older sister Alice, was also famous for her pioneering work as one of the first practising female physicians and surgeons in Scotland. In 1894, she established the first all female practice in Scotland, before setting up Dundee Women's Hospital and Dispensary, primarily a maternity hospital exclusive to female staff and patients. Tragically, Alice herself died during childbirth in 1910. Her daughter, Margaret Moorhead Langwill, inherited the present portraits.The painting is executed in oil on a finely woven canvas support which is unlined. The canvas tension is slightly slack with minor undulations. The paint layers are in a stable condition. Drying cracks have formed across the surface as the paint layers have dried. There is some abrasion around the edges from framing and a diagonal scuff at the left side. There appears to be a few small areas of overpaint, on the scuff and left edge. The varnish is probably original and appears slightly dull and milky with a light layer of dirt.
Edwin Henry Boddington (British, 1836-c. 1905) Evening at Medmenham, Buckinghamshiresigned lower right '...Boddington' and dated 1880oil on canvas34.5 x 44cmProvenance: Crossbrook, Hilton, CambridgeshireRelined. Overall in very good, stable condition. Paint surface in good condition with original impasto still present. Light craquelure throughout commensurate with age. Minor surface dirt. Examination under UV light reveals some very minor scattered retouching.
Charles Jones RCA (British, 1836-1892) Cattle and sheep in a highland loch landscapesigned with monogram lower rightsigned verso and dated 1875oil on panel25 x 35cmProvenance: Crossbrook, Hilton, CambridgeshireFramed and glazed. Dirt and fly spots beneath glass, principally around the slip. Light spotting to the paint surface in the sky. Otherwise paintwork appears in very good, original, stable condition with no damage or restoration. 45 x 56cm framed. The frame with minor losses.
A Practical Guide for the Light Infantry Officer: comprising Valuable Extracts from all the Most Popular Works on the Subject, Capt. T H Cooper. This is a 1970 facsimile reprint of the 1806 edition. Hardback in dust jacket, in excellent condition. Numerous foldout plates at rear; The Battle of the Atlantic – The Official Account of the Fight Against the U-Boats 1939-1945, 1946, 1st edition, His Majesty’s Stationery Office, softcover, in very good condition. This is a very detailed account of the Battle of the Atlantic during WW2 with 8 charts showing details of ships and U-Boats sunk; and The R. A. F. in Action with 100 Photographs, January 1941, Adam & Charles Black, hardback in dust jacket, very good condition. This book contains some very interesting photographs from the first year of the Second World War, including photographs from the Battle of Britain and the first photograph of the bombing of Berlin. (3)
Christy Brown, Collected Poems, 1982, Secker & Warburg, 1st edition, hardback in dust jacket, very good condition; Masters of Irish Music, Liam Gaul, 2006, Nonsuch, signed by author, 1st edition, softcover, in excellent condition; Seamus Heaney, Electric Light, 2001, 1st edition, 2nd impression, hardback in dustjacket, in excellent condition; Yeats’ Ireland - an illustrated anthology, Benedict Kiely, 1989, Aurum Press, 1st edition, hardback in dustjacket, in excellent condition; Davis, Mangan, Ferguson? Tradition and the Irish Writer, Writings by W B Yeats and by Thomas Kinsella, Dufour Editions, 1970, 1st edition, hardback in dust jacket, in excellent condition; and James Joyce, Collected Poems, Viking Press, 1960, third printing, softcover, in good condition. (6)
Sebastian Barry Titles - Time Out Of Mind and Strappado Square, first edition, a clean unmarked copy in the dust wrapper, very uncommon, the book was withdrawn shortly after publication and only a few copies survive.; and The Engine Of Owl-Light, first edition, a clean unmarked copy in the dust wrapper (2)
Amazing Spiderman #26. Key Marvel 1st issue. (Marvel Comics, 1965) Featuring 1st appearance of Bennett Brant as Crime Master. Written by Stan Lee with wonderful art by Steve Ditko. Solid staples, cream pages, tanning to rear cover, light chips to rear cover. Solid staplers. Comes in bag and board.
32nd (Cornwall) Light Infantry glengarry badge c. 1874-81. Good scarce die-stamped brass crowned strung bugle; 32 between the strings. Brass loops North & South. VGC This is probably the actual piece photographed as No. 476 in "Head-dress Badges of the British Army". Provenance. Ex Hugh King Collection, Bosleys.
The Prince Albert's (Somersetshire Light Infantry), Victorian Officer's glengarry badge c. 1881-97. Fine gilt crowned Garter with black velvet lightly domed centre mounted with silver bugle strung from mural crown surmounted by JELLALABAD; Sphinx on EGYPT between the cords. Toned loops. Minor service wear, VGC.
106th (Bombay Light Infantry) Regiment Victorian British Indian glengarry badge c. 1874-1881. Good die-stamped brass crowned curled bugle horn with attendant laurel spray; 106 to voided centre Across the base of the laurels a tri-part scroll, BOMBAY LIGHT INFANTRY Brass loops East & West. Old repair to reverse orb and sceptre In 1861 the 2nd Bombay Light Infantry Regiment was transferred to the British Establishment as the 106th Bombay Light Infantry, becoming the 2nd Bn, The Durham Light Infantry in 1881.
2nd VB Oxfordshire Light Infantry Victorian glengarry badge c. 1887-96. Good scarce die-stamped white metal crowned circlet inscribed OXFORDSHIRE 2ND VOLR. BATTN; strung bugle horn to voided centre. Three loops. Toned but VGC. 2nd Oxfordshire RVC became a VB of the Oxfordshire LI on Friday 1st July 1881; redesignated as 2nd VB in December 1887 with HQ at Oxford.
2nd VB Oxfordshire Light Infantry Victorian helmet plate badge c. 1887-1901. Good scarce die-stamped white metal crowned star bearing laurel sprays and applied circlet OXFORDSHIRE 2ND VOLR.BATTN; strung bugle horn to voided centre. Three toned loops. GC 2nd Oxfordshire RVC redesigned as 2nd VB in December 1887.
Oxfordshire Militia Victorian glengarry badge c. 1874-81. Good scarce die-stamped white metal Ox crossing a ford resting on OXFORDSHIRE scroll. Three loops (top one replaced) VGC Raised in 1697, regimented in 1759 and reorganized 31st July 1778. Became 4th Bn, The Oxfordshire Light Infantry on 1st July 1881; redesignated 3rd Bn on Sunday 14th June 1908.
Ceylon Light Infantry Victorian Officer's first pattern helmet plate badge c. 1881. Fine rare British made silvered crowned star mounted with Garter resting in laurel sprays bearing tri-part scroll CEYLON LIGHT INFANTRY; elephant and palm tree to centre in place of the later Prince of Wales' plumes. Three loops. VGC Raised in 1st April, 1881 as a single battalion with 14 companies under the command of Lt. Col. John Scott Armitage. It was published in The Times of India 30th January, 1882 that HRH Albert Edward, the Prince of Wales, had agreed to become Honorary Colonel.
Loading...
