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Lot 607
A GILT METAL AND GLASS HUNG TWELVE LIGHT CHANDELIER, the upper tier of six sockets with electrical fitments, the lower tier without, all on scrolling branches issuing from a central rod, hung overall with faceted glass bead swags and moulded peardrop pendants, height overall: Approximately 92cm, width: 64cm
Lot 609
A GILT METAL AND GLASS ADORNED TWELVE LIGHT CHANDELIER, the later electrical fitments in urn sockets with crenellated and Greek key cut glass drip pans, on scrolling foliate arms around a metal circlet, with reeded glass stem; hung overall with faceted glass beads and pendants, height overall: Approximately 110cm, width: 63cm
Lot 613
A GEORGE IV GILT METAL AND GLASS HUNG SIX LIGHT CHANDELIER, circa 1820, of 'inverted trumpet' form, the later electrical fitments in cut glass drip pans adorned with faceted pendants, issuing around a circlet, the stem rising to a coronet above, hung overall with faceted glass bead swags, with faceted sphere terminal, height overall: 98cm, width: 59cm
Lot 744
A PAIR OF GILTWOOD TWIN LIGHT WALL APPLIQUES IN EMPIRE STYLE, of recent manufacture, modelled as opposing, each with tied ribbon finial above a spreadeagle on a plinth, above acanthus mouldings, each with twin brass arms scrolling out to the foliate carved sockets; the backplates carved as tasselled swags, height: 102cm, width overall: 45cm, - 38cm excluding fabric shades, protuberance overall: 26cm, - 22cm exc. shades
Lot 746
A PAIR OF SUBSTANTIAL GILTWOOD FRAMED GIRANDOLES, IN ROCOCO TASTE, of recent manufacture, of loosely rectangular form, each with maiden's mask cresting above a scrollworked top, the sides with entwined and fruiting grapevines; each with a moulded and cut glass five light candelabrum issuing from the plate, with obelisk finials and hung overall with faceted glass lustres, (the sconces disassembled and unillustrated), height: 214cm, width: 105cm
Lot 263
A collection of unboxed and unchecked Lego City, including 2 x Container Stacker 7992 with manuals, Garbage Truck 2 x 7991 with manuals, 2 x City Tow Truck 7638 with one manual, 2 x Tipper Truck 4434 with manuals, 3 x Light Repair Truck 60054 with one manual, 2 x Repair Truck 3179 with one manual
Lot 491
Capt. Science (Cartoon Art Productions, Glasgow); The New Spaceman, No. 3 (Thomas Hatton/Gould-Light Co.); Pete Mangan (L. Miller), No. 51; Space Adventures, No. 51; The Man From Planet X, Fawcett Movie Comic, No. 56; Space Commander Kerry, No. 51; and other British Science Fiction comics. (13)
Lot 1123
Interesting German electric master wall clock by Telefonbau Normalzeit, the rectangular dial plate bearing the maker's monogram logo (TN inside a diamond surround), within a key locking light grey case, 14" high (pendulum); also an ATO Junghans electric mantel clock within a glazed case, 8.5" high and a Tempex Bakelite cased mantel clock, 7.75" high (3)
Lot 192
the contours of the three-legged chairs designed to fit exactly around the table, branded marks 73 x 106cm (5)In good overall condition, some light scuffs and marks, particularly to chair backs, commensurate with age and use. Extends to app. 155cm/ Top surface is clean with significant marks.
Lot 230
Still life of flowers in a blue jug signed 'H Raeburn Dobson' (lower right) oil on canvas 60 x 45cmCondition report: Oil on canvas attached to a wooden stretcher. On the reverse of the canvas is an artists' supplier stamp for Roberson & Co. The canvas has good tension and is in plane. The paint layers have been built up in thick layers which are in a good condition overall. Under ultraviolet light, a thin varnish is evident although the surface of the painting has a matte appearance. There are a few glossy accretions and some dirt on the surface of the painting. The gilded frame has been given a decorative, painted finish.
Lot 231
Shipmeadow Loch, 1928 signed with initials (lower left) oil on board 25 x 34cmFootnote: Exhibited: London, Arts Exhibitions Bureau, Priestman (details untraced)Condition report: Oil on board. The painting and support are in a good condition overall. There are a few small losses at the lower right corner and a white drip at the left hand side. Across the surface is a light build up of dust. The frame has been painted white with a distressed finish.
Lot 234
Reading in Bed signed with initials (lower left) oil on board 29.5 x 39.5cmFootnote: Provenance: Acquired directly from the artist by Marjorie Florence Crossley Thence by family descent to the present owner Exhibited: Liverpool, The John Moores Liverpool Exhibition, 1957 Cambridge born Marjorie Crossley (1905-2001) was both an accomplished painter and sculptor. She was President of The Artworkers Guild, Associate (and later Treasurer) of the Royal Society of British Sculptors and a Member of Council (and later Vice-President) of the Artists General Benevolent Institution.Condition report: Oil on board. On the reverse of the board is a previous composition of a woman's face which has been paint out. Overall the support and paint layer are in a good condition. There is a light layer of dust across the surface.
Lot 247
Mont de Neuville signed 'Sickert' (lower right); inscribed 'Mont de Neuville' (lower left) oil on board, circa 1913-14 18.5 x 23cmFootnote: Provenance: With Savile Gallery, London Quintin Booth, from whom acquired by Monty and Barbie Passes in 1962Condition report: Oil on wooden panel or artists' board mounted in the frame with a second wooden board backing. The paint layer is in a good condition overall. The thin varnish layer has discoloured over time but is even. There is a light layer of surface dust. The gilding on the frame has a thick toning layer or varnish which has cracked and is flaking in many areas.
Lot 265
A ferry, possibly at Bury signed 'Dunlop' (lower right) oil on canvas 49.5 x 59.5cmCondition report: Oil on canvas attached to a wooden stretcher. The canvas a supplier's stamp for Winsor and Newton on the reverse. The canvas tension is slightly slack and stretcher bar marks are stating to form where the canvas is in contact with the wooden stretcher behind. The paint layers are in a good condition overall with a light layer of surface dust.
Lot 269
London Square II signed with initials (lower right) oil on board 31.5 x 40cmFootnote: Provenance: The Artist Thence by descent to the present ownerCondition report: Oil on canvas laid to card. The thin support is bowed forward in the frame. There are a few light scuffs to the paint layer but overall the picture is in a good condition.
Lot 272
Mother and Daughter oil on board signed with initials (lower left) 32 x 42cmFootnote: Provenance: The Artist Thence by descent to the present ownerCondition report: Oil on hardboard. The paint layers are in a good condition overall. There are a few scuffs which have caused losses to the upper paint layers. The white spots across the surface are later, possibly house paint. A few small dents in the surface and a light layer of dust.
Lot 282
Half length portrait of a seated young man in a green kaftan signed and dated 'Gilbery 70' (lower right) oil on canvas 72 x 62cmFootnote: Born in London in 1913, Michael Gilbery’s extraordinary talent for painting was first recognised when he was 17 years old when he exhibited a portrait of his father at the Royal Academy. After completing his secondary education, Gilbery was offered a scholarship to study at Central St Martins, and later at the Royal Academy, where he studied under Sir William Rothenstein, Gilbert Spencer, and Roland Pitchforth. Gilbery's portraits are noted for their fastidious attention to detail, offer a fascinating insight into the changing trends, in both fashion and portraiture from the 1930s onwards. Gilbery, born Goldberg, is also remembered for his sensitive and nuanced depictions of Jewish life.Condition report: Oil on canvas attached to a wooden stretcher. The canvas tension is sound but in all four corners there are undulations. The paint layer is in a good, stable condition. There are a few light scuffs to the surface and remnants of an old paper label at the lower right corner. The decorative frame is in a good condition.
Lot 284
Portrait of Elizabeth (Bessie) de Cuevas Faure signed and dated 'Leonor Fini / 1950' (lower right) oil on canvas 55 x 33cm, unframedWe are grateful to Richard Overstreet for confirming the identity of the sitter of the present portrait, which is reproduced in Leonor Fini Catalogue Raisonné of the Oil PaintingsA certificate of authenticity will be provided with this lotFootnote: Provenance:Bessie de Cuevas, ParisThence by descent Hubert Faure, LondonLiterature:Richard, "LF essentially Parisienne," The Queen, London, Dec 20, 1950Overstreet and Zuckerman, Leonor Fini Catalogue Raisonné of the Oil Paintings, 2 vol., Scheidegger & Spiess, Zurich, 2021Argentine born and of mixed Slavic, Argentine, Italian, and Spanish heritage, Leonor Fini was raised by her mother in Trieste, Italy and is today remembered as a fashion icon, feminist hero, and one of the most influential female artists of the mid-twentieth century, with her career in the visual arts encompassing everything from portraiture and product design to set and costume design for stage and screen. Independent and headstrong like her mother, Fini was expelled from three schools resulting in the cessation of her formal education during her adolescence. Free from the constraints of schooling, Fini, aged just 13, began training herself as an artist, sketching cadavers from the local morgue, devouring tomes from her Uncle’s vast personal library, and studying the Old Masters on display in museums throughout Europe. In 1931 Fini moved to Paris where her magnetic and eccentric presence quickly won her many friends and admirers, including Max Ernst, Henri Cartier-Bresson, Man Ray, Jean Cocteau and Salvador Dali. Although she was enthusiastically welcomed into Surrealist circles, and frequently contributed to Surrealist exhibitions, Fini refused to align herself with any one movement and instead, cultivated her own singular brand of Modernism, incorporating surrealist motifs with a disparate spectrum of influences, including the Pre-Raphaelites, Mannerists and old Flemish masters.Condition report: Oil on canvas attached to a wooden stretcher bar with a horizontal cross bar. The canvas tension is slack, leading to undulations across the surface and stretcher bar marks where the canvas is in contact with the wooden frame behind, leading to cracks in the paint layer. There are numerous scuffs and scratches across the surface, the deeper ones causing loss to the paint layer. In the area of the sitter's face, an impact from the reverse has caused a convex deformation to the canvas and paint layer. In the sitter's right eye is a brown accretion or fly spot on the surface. Under ultraviolet light it is evident that there is some reworking to the face and chest of the sitter. Further examination would be needed to determine if this is by the artist's hand or if it is later restoration.
Lot 295
The Lonely Coffee Drinker signed 'R.Oliver' (lower left) oil on board 28.5 x 26cmCondition report: Oil on artists' board. The paint layer is in a good condition overall. There are some thin white accretions on the surface and a diagonal scuff. There is a light layer of surface dust across the painting and the frame.
Lot 302
Marshland signed 'Sadler' (lower left) acrylic on board 30 x 35.5cmCondition report: Acrylic on board. The support and paint layers are in a good condition overall with a light layer of surface dust. The picture is mounted onto a painted backboard which has suffered from dark scuffs and abrasion.
Lot 303
Inner City II signed and dated 'Sadler / 98' (lower left) acrylic on board 30 x 40.5cmFootnote: Exhibited Studio Exhibition, 2001Condition report: Oil on board. The paint layers and support are in a good condition overall. There is a light layer of dust across the surface. The picture is attached to a piece of mount board which has slipped in the frame. The mount board has foxing across the surface and the frame has some staining.
Lot 308
Fishing boat off the French coast signed 'Doyly. John' (lower right) oil on board 49 x 64cmCondition report: Oil on hardboard. The artist has used the textured side of the hardboard which is evident in the brushwork. The paint layer has been thickly applied in broad strokes, overall it is in a very good condition. There is a light layer of surface dirt. The gilded frame is also in a sound condition.
Lot 322
Abstract figural study; with a further figural study to the reverse signed and dated 'Adams / 57' (lower right) oil on canvas 53 x 26.5cmCondition report: Oil on canvas attached to a wooden stretcher with a horizontal cross bar. The reverse of the canvas is also painted with an earlier composition and the paint layers on the front are thickly applied, leading to a stiff canvas. The canvas is in plane with good tension and the paint layers are in a good condition overall. There is a pin hole at the upper left corner and a light layer of surface dirt. The frame has been painted grey with a distressed finish.
Lot 339
The Young Cellist initialled 'SEVD' (lower right) oil on board 21.5 x 14cmFootnote: Provenance: With Artique Galleries, CambridgeCondition report: Oil on board. Drying cracks have formed in the bright red strokes of paint as it has dried. Overall the painting is in a good condition. There is a light layer of dust on the surface.
Lot 341
From Heather's Garden signed, titled and dated '2012' to the reverse oil on canvas in a painted frame 36 x 36cmFootnote: Provenance: With Richmond Hill Gallery, London, where acquired by Peter SimpsonCondition report: Oil on canvas attached to a wooden stretcher. The canvas tension is slightly slack but in plane. The paint layer is stable. The frame has been painted, there is a light layer of dust across the surface and some scuffs.
Lot 359
Brown Form Over White oil on board 73 x 66cmFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Fine weave canvas laid onto board. At the lower edge small tears have formed in the canvas. The paint layer is in a good condition overall. The deep scores are part of the technique rather than later damage. There is a light layer of surface dust. The painting has a simple wooden frame, there is a split at the back of the upper member.
Lot 367
The Small Cream Square, 2010 (reworked 2012) signed and dated 'Blackburn '10.12' (lower right) mixed media on board 122 x 56cmFootnote: Provenance: With Lemon Street Gallery, Cornwall, where acquired by John Ady Exhibited: Kent, School of Arts, University of Kent in association with Osborne Samuel Gallery, John Blackburn, and God Cryed, 24th September - 14th December, 2012 The present lot will be sold for the benefit of Kettle's Yard, University of CambridgeCondition report: Oil and gesso on board with sections of canvas attached. There are light brown accretions across the surface, some glossy, which do not appear to be related to the composition. The canvas strip has been attached with an adhesive which is visible under the top section and is very yellowed. The deep brown/black paint across the middle of the composition has not properly cured and is still tacky to the touch. As a consequence there is a thick layer of dust stuck to the surface. The painting is float mounted in a wooden frame which has been painted white.
Lot 370
Charcoal/Sacking on White, 2005 signed and dated to the reverse charcoal and sacking on canvas 61 x 60cmFootnote: Provenance: The John Ady Collection The present lot will be sold for the benefit of Kettle's Yard, University of CambridgeCondition report: Canvas attached to a wooden frame with strips of fabric, hessian and charcoal marks. The canvas tension is good and the picture is in plane. The charcoal has spread slightly across the surface. There are a few light scuffs on the surface.
Lot 382
Stella, 1990 signed and dated 1990 to the reverse; further titled and dated to the stretcher acrylic and oil on canvas 73.5 x 101.5cmFootnote: Provenance: With Todd Gallery, London Literature: Luke Smythe, Gretchen Albrecht: Between Gesture and Geometry, Massey University Press, New Zealand, 2019, p.182 (ill.) One of the most celebrated contemporary New Zealand artists, Gretchen Albrecht has gained international recognition and has exhibited widely in both New Zealand and Europe since the 1970s. Throughout her career, Albrecht has developed an incisive and deeply personal visual iconography, utilising characteristic stained and shaped canvases, bold, wide brush strokes, and an evocative use of colour and geometry. The present lot, dated 1990, marks a departure from Albrecht’s earliest works, which were typically executed on semi-circular canvases.Condition report: Oil on canvas attached to an oval stretcher with a horizontal cross bar. The canvas tension is slack but the picture is in plane. Overall the paint layers are in a good condition. There is some abrasion around the edges of the work and a light layer of dust across the surface.
Lot 411
Stop, 2017 signed with monogram (lower left) oil on canvas 76 x 106Condition report: Oil on canvas attached to a wooden stretcher with a vertical cross bar. The canvas tension is good and the picture is in plane. The paint layer is a very good condition overall, there is a light layer of dirt across the surface. The frame has a gesso finish which has scuffs and darkened abrasions.
Lot 1001
An early 19th century silver pair-cased open-face key-wind Verge pocket watch, white enamel dial with hand painted centre decorated with The Ancient Order of the Foresters "Unitas Benevolentia Et Concordia", black Roman numeral hour markers, cylindrical pillars and pierced engraved balance cock, no. 8198, case maker James Heales, hallmarks Birmingham 1822 and 1841, outer case width 57mm, working orderGood overall working order, dial has a chip in the centre bit near the main stem and otherwise only has dirt specks around edge, glass and case have light abrasions all over with a few minor dents on caseback, case slightly rubbed on high points, hallmarks clear
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534338 item(s)/page