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Click here to subscribeEdward Tayler (British 1828-1906)Portrait of a lady in a black hatWatercolour 33 x 25cm (12 x 9¾ in.)Condition Report: The colour is perhaps a little down, and there is some very light possible discolouration to the sheet. One or two very light, isolated spots of brown but this is barely noticeable. Otherwise the work appears to be in good original condition commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer
Edward Tayler (British 1828-1906)Portrait of a girl holding flowersWatercolour 44.5 x 34cm (17½ x 13¼ in.)Condition Report: The colour is a little down particularly to the greenery and the roses in the background. This has the effect of making the pigment look a little uneven in places. There is also some very light discolouration to the sheet. There are a number of light brown spots to the sitter's face and neck, as well as one or two further scattered spots throughout. There is a small tear to the lower right corner (approx 5mm) and some light undulation to the sheet under the glaze. Unexamined of our glazed frame.Condition Report Disclaimer
Jules (Jean-Francois-Hyacinthe) Laure (French 1806-1861)Girl with King Charles spanielOil on canvas Signed and dated 1832 lower left 125 x 99cm (49 x 38¾ in.)Condition Report: The canvas has been lined. Fine surface cracks are visible in places but the paint layer appears to be stable if a little thin. Under ultra-violet light there are scattered spots of restoration but they're don't appear to be any major damages or repairs. Areas of old and discoloured varnish are visible and it seems to have been partially cleaned before a new layer of varnish has been applied. It can be hung without any further attention. It is presented in a European giltwood and composition frame which has minor abrasions to the edges. Condition Report Disclaimer
Henry Bright (British 1810-1873)Feeding time Oil on board Signed and dated 1857 mid left 52 x 69cm (20¼ x 27 in.)Please note: The cataloguing should read oil on board and not as stated in the printed catalogue. Condition Report: The picture is on board and not canvas as stated in the catalogue. The paint layer has fine cracks but is stable and appears to be in excellent original condition with the surface impasto well preserve. Under UV light there are no visible signs of damage or restoration. The varnish layer is uneven and discoloured and it has a layer of surface dirt. It is presented in what is most probably it's original gilded frame which has chips, losses and some blistering to the lower edge. It has an old Christie's stencil on the reverse of the board 378fCondition Report Disclaimer
British School (19th century)Portrait of a Queen, possibly a young VictoriaOil on canvasIndistinctly signed and dated lower left 52 x 36cm (20¼ x 14 in.)Please Note: This work is indistinctly signed and dated 1869 lower left Condition Report: The canvas is unlined. Fine surface cracks are visible but the paint layer appears to be stable. Under UV light there are two areas of inpainting, the first is a broad area above the figures head and the second is in a vertical line, approx. 10 cm long, to the right of the figure. These seem to be cosmetic and are on top of the varnish layer giving a matt appearance. It is presented in a Gothic Revival frame which has minor scuffs and abrasions. Condition Report Disclaimer
English School (19th century)Portrait of a ladyOil on canvas, oval 73 x 59cm (28½ x 23 in.)Condition Report: The canvas has been lined. Light surface dirt, scratches and craquelure throughout. Some of the craquelure has previously been filled and this is visible in natural light. Stretcher marks partially visible. Inspection under UV reveals scattered retouching, in-filling and a green varnish throughout. Overall the work appears to be in reasonable restored condition commensurate with age.Condition Report Disclaimer
Follower of Claude Joseph VernetA rocky coastal inlet with figures at a fountain, a hilltop villa beyondOil on canvas127.6 x 101.6cm (50 x 40 in.)Provenance: Removed from a London Belgravia property, designed by Nina Campbell in the 1970's. Condition Report: Canvas has been relined. Rubbing to the framing edges. Craquelure, flaking and cupping with some associated small loss, although these are hardly noticeable, throughout. Yellowing varnish and surface dirt, with a build up of varnish in some areas, most notably to the lower edge. There is also evidence of retouching, in natural light, along this lower edge. Inspection under UV reveals light scattered retouching and infilling. Condition Report Disclaimer
Karl Friedrich Boser (German 1809-1881)PosiesOil on canvas Signed and dated 1855 lower centre 71 x 57cm (27¾ x 22¼ in.)Condition Report: The canvas has been lined. Light craquelure and surface dirt throughout, with one or two light surface scratches. There is a small area of loss (approx 3cm) below the signature (this is visible in the catalogue and online illustrations). Light rubbing and abrasions to the framing edges. Inspection under UV reveals a small area of retouching to the aforementioned area of loss. There are other areas of flaring however this appears to be a specific pigment original to the work rather than any obvious evidence of restoration or repair. Traces of a green cloudy vanish also visible which may possibly be masking any further over-paint. Overall this work appears to be in good restored condition commensurate with age.Condition Report Disclaimer
Johann Cornelius Mertz (Dutch 1819-1891)The secret couple Oil on panelSigned and dated 1859 lower right, further signed and dated to label inscription verso 79 x 62.5cm (31 x 24½ in.)Condition Report: The panel has been cradled and is a little loose in its frame. Craquelure, surface dirt and abrasions throughout the panel. There is an uneven varnish throughout and this is visible in raking light. There also appears to have been a slight reaction to the darker background pigments which adds to the uneven surface texture. Light rubbing and abrasions to the framing edges. Inspection under UV reveals light retouching and in-filling throughout together with a green cloudy varnish.Condition Report Disclaimer
Attributed to Jakob de Wit (Dutch 1695-1754)PuttiGraphite and chalk20 x 14.5cm (7¾ x 5½ in.)Condition Report: Light undulation to the sheet. Horizontal crease running the width of the sheet 1cm from the top and another 1cm from the bottom, with associated small tears to the left edge. Mounting tape visible to the upper corners. Stain to the lower right corner, which may be glue residue and a very small tear. A couple of spots of staining to the upper right quadrant. Condition Report Disclaimer
Circle of Ferdinand Bol Portrait of a ladyOil on canvas 71 x 58.5cm (27¾ x 23 in.)Condition Report: Canvas has been relined. Very fine craquelure throughout. Yellowing varnish and surface dirt throughout, most notable to the sitter's ruff. Retouching visible in natural light scattered across the background. Also visible to the right of the sitter's head which corresponds to the rectangular patch repair visible to the reverse approx. 9 x 16cm. Three very small losses to the sitter's left shoulder just below the ruff with associated cupping. There is a white surface scuff to the sitter's right wrist. Inspection under UV reveals a green masking varnish and retouching scattered throughout. Condition Report Disclaimer
Follower of Charles Robert Leslie Portrait of an elegant woman, seated at her jewellery box Oil on panel 35 x 29cm (13¾ x 11¼ in.)Please Note: this lot should be catalogued as Follower of Charles Robert Leslie and not as stated in the printed catalogue Condition Report: Rubbing to the framing edges, especially visible to the left edge, with associated losses. Mount coming loose from frame. Patches of craquelure scattered and light surface dirt throughout. Three scratches to the upper left quadrant, one with associated losses. Surface scratch diagonally across the sitter's face from her right shoulder, this shows in raking light. Inspection under UV reveals a green masking varnish and no obvious evidence of restoration or repair but this may be distorted by the layer of varnish. Condition Report Disclaimer
English School (17th century)Portrait of a gentleman, possibly the Duke of MarlboroughOil on canvas, oval Inscribed to label attached to stretcher verso 64 x 51cm (25 x 20 in.)Condition Report: The canvas has been lined. Light surface dirt, uneven varnish and craquelure throughout. There seems to have been a reaction with the darker background pigment which has caused the paint surface to become uneven in some areas. Light abrasions to the framing edge. There are some light scattered areas of retouching that are visible in natural light, including to the sitter's lower face. Inspection under UV reveals scattered retouching throughout as well as a light green cloudy varnish.Condition Report Disclaimer
Lemuel Francis Abbott (British 1760-1803)Portrait of Charles FuhrOil on canvas 63 x 52.5cm (24¾ x 20½ in.)Provenance:Sale, Knight Frank Rutley, 18 December 1957, lot 112Thomas Agnew & Sons, Ltd., London (no. 19006)Purchased from the above by A.A. Stuart Black, 27 August 1958Sale, London, Bonhams, 10 December 2003, Lot 16Exhibited:London, Thomas Agnew & Sons, Ltd., September 1958, cat no. 30 (exhibition entry attached to stretcher verso) Charles Fuhr was a merchant and co-owner of the trading house of Hibbert and Fuhr. He owned the Fairyhill Estate in Portland, Jamaica. Condition Report: The canvas has been relined and is on it's original stretcher which is providing good support. There is some fine surface cracking, but the paint layer appears stable. Under UV light there are broad, but well executed, areas of retouching along all four edges and it is possible that the canvas may have been extended in these areas. There are also numerous lines and spots in the background and on the sitters jacket and in the darker areas of the collar. There also appears to be older and more miner spots of restoration on his face. It has a layer of uneven and discoloured varnish and some surface dirt. It is presented in a 19th Century Carlo Maratta type frame. Condition Report Disclaimer
Daniel Gardner (British 1750-1805)Group portrait of three children playing at a balcony in a garden, with a spanielOil on canvas 76 x 64cm (29¾ x 25 in.)Provenance:Sale, Christie's, London, British Pictures 1500-1850, 23 November 2005, lot 30 Condition Report: Relined. Craquelure throughout. Rubbing to the framing edges. Inspection under UV reveals a thick green varnish. There is evidence of extensive restoration to historic repairs where the canvas appears to have been slashed in a number of different areas, most concentrated to the left hand side. These repairs are visible in raking light. Condition Report Disclaimer
Abraham Brueghel (Flemish 1625-1690)Still life with flowersOil on canvasSigned lower left38 x 30cm (14¾ x 11¾ in.)Provenance:MacConnal Mason & Son Ltd., LondonWe are grateful to Fred Meijer of the RKD-Netherlands Institute for Art History, The Hague, for endorsing the attribution to Abraham Brueghel, based on high resolution digital photographs.Condition Report: The canvas has been relined and is on a new stretcher which is providing good support. There is some minor abrasions to the edges. Fine surface cracking and very small areas of paint shrinkage are visible in background areas. Under UV light there are some scattered areas of retouching in the background, the largest is in a vertical line which runs down the right hand edge (in line with the stretcher) and through the fig in the lower right corner. The other areas of retouching appear to be cosmetic and are most probably excessive. It has a layer of uneven and discoloured varnish and some surface dirt. Condition Report Disclaimer
English School (18th century)Francis Annesley (1663-1750) of ThorganbyInscribed Francis Annesley Esq lower right and further inscribed verso Oil on canvas 76 x 63.5cm (29¾ x 25 in.)Francis Charles Annesley (1663-1750) of Thorganby, son of The Hon. Francis Annesley (1628-1686) and Deborah Annesley (Lot 41), daughter of Reverend Henry Jones, Bishop of Meath. Grandson of Sir Francis Annesley, 1st Viscount Valentia, who purchased Bletchingdon Park in 1716. Francis Annesley (1663-1750) was educated at Trinity College, Dublin and admitted to the Inner Temple in 1684 becoming a bencher in 1713. Annesley was a member of both the British and Irish Parliaments between 1705-1714 and a Director of the New East India Company from 1700. By 1710, Annesley had shifted both his personal and political career to England and went on to marry three times. Portraits from the Annesley FamilyThe following five portraits depict members of the Annesley family who lived at Bletchingdon Park. The portraits have remained in the family and have been passed through generations to the present owner. Bletchingdon Park is a Grade II listed Palladian estate in Oxfordshire. The house was sold by the Coghill family in 1716 to Lord Valentia and remained in the family until 1948. The house which stands today on the park was built by James Lewis for Arthur Annesley, 5th Earl of Anglesey (6th Viscount Valentia). Since 1948 the estate has passed through a number of ownerships including William Astor, Hon. Robin Cayzer, Lord Rotherwick and Dr. Michael Peagram. Condition Report: The work has been lined. Heavy craquelure, surface dirt and surface scratches throughout. There is a small area of over-paint above the sitter's head which is visible in natural light and likely applied to stabilise an area of cupping to the original pigment. There are some scattered and isolated spotting of in-filling which are visible in natural light. Inspection under UV reveals scattered retouching and in-filling together with a thick green cloudy varnish throughout. Please note the varnish layer may be obstructing the true extent of restoration.Condition Report Disclaimer
English School (17th century)Deborah Annesley née JonesOil on canvas Inscribed Deborah Annesley Wife of the Honorable Francis Annesley Esq lower left and further inscribed verso 76 x 63cm (29¾ x 24¾ in.)Provenance:By descent to the present owner Deborah Annesley née Jones, born in Meath, County Meath, Ireland and daughter of Henry Jones, the Bishop of Meath. Deborah was the wife of The Hon. Francis Annesley and mother of Francis Charles Annesley, of Thorganby Esq. (Lot 40)Portraits from the Annesley FamilyLot 40-44 depict members of the Annesley family who lived at Bletchingdon Park. The portraits have remained in the family and have been passed through generations to the present owner. Bletchingdon Park is a Grade II listed Palladian estate in Oxfordshire. The house was sold by the Coghill family in 1716 to Lord Valentia and remained in the family until 1948. The house which stands today on the park was built by James Lewis for Arthur Annesley, 5th Earl of Anglesey (6th Viscount Valentia). Since 1948 the estate has passed through a number of ownerships including William Astor, Hon. Robin Cayzer, Lord Rotherwick and Dr. Michael Peagram. Condition Report: The canvas has been relined. Fine surface cracking is visible in places and the paint layer is a little thin and flat with the canvas weave showing through. Under UV light there are scattered spots of restoration, particularly to the edges and background as well as fine spots on the figure. This all seems to be cosmetic and does not cover major losses or damages. It has a layer of uneven and discoloured varnish and some surface dirt. It is presented in a giltwood and composition frame which has several losses to the composition decoration. Condition Report Disclaimer
English School (18th century)Portrait of the Reverend Francis Annesley (1699-1740)Oil on canvas Inscribed to stretcher verso 76 x 63cm (29¾ x 24¾ in.)Provenance:By descent to the present ownerThe Reverend Francis Annesley (1699-1740) was the eldest son of Francis Charles Annesley of Thorganby (Lot 40) and his first wife Elizabeth, daughter of Sir Joseph Martin. Rev. Francis Annesley was educated at Christ Church, Oxford, admitted to St. John's College Cambridge in 1719 and concluded his education at Trinity College, Dublin in 1725. Despite marrying Elizabeth Sutton in 1721 divorce was granted in 1725 on grounds of 'unlawful familiarity and adulterous conversation with Don Rodrigo a person of foreign birth'. In 1729, Annesley married Anne, daughter of Robert Gayer. Portraits from the Annesley FamilyLot 40-44 depict members of the Annesley family who lived at Bletchingdon Park. The portraits have remained in the family and have been passed through generations to the present owner. Bletchingdon Park is a Grade II listed Palladian estate in Oxfordshire. The house was sold by the Coghill family in 1716 to Lord Valentia and remained in the family until 1948. The house which stands today on the park was built by James Lewis for Arthur Annesley, 5th Earl of Anglesey (6th Viscount Valentia). Since 1948 the estate has passed through a number of ownerships including William Astor, Hon. Robin Cayzer, Lord Rotherwick and Dr. Michael Peagram. Condition Report: The canvas has been lined. Light surface scratched, dirt and craquelure throughout. Stretcher mark partially visible. Inspection under UV reveals scattered retouching throughout together with a green cloudy varnish. Overall this work appears to be in good restored condition commensurate with age.Condition Report Disclaimer
Circle of Michael Dahl Portrait of William Annesley (c. 1710-1770), 1st Baron Annesley and 1st Viscount GlerawleyOil on canvas Inscribed Mr William Annesley, Fifth Son of Francis Annesley Esq lower left and further inscribed to stretcher verso 76.5 x 64cm (30 x 25 in.)Provenance:By descent to the present owner William Annesley (c. 1710-1770), 1st Baron Annesley and 1st Viscount Glerawley and son of Francis Charles Annesley of Thorganby (Lot 40). William was a barrister at law in Dublin and served as MP for Midleton, Cork between 1741-58. William married Anne, eldest daughter of Marcus Beresford, 1st Earl of Tyrone in 1738. Portraits from the Annesley FamilyLot 40-44 depict members of the Annesley family who lived at Bletchingdon Park. The portraits have remained in the family and have been passed through generations to the present owner. Bletchingdon Park is a Grade II listed Palladian estate in Oxfordshire. The house was sold by the Coghill family in 1716 to Lord Valentia and remained in the family until 1948. The house which stands today on the park was built by James Lewis for Arthur Annesley, 5th Earl of Anglesey (6th Viscount Valentia). Since 1948 the estate has passed through a number of ownerships including William Astor, Hon. Robin Cayzer, Lord Rotherwick and Dr. Michael Peagram. Condition Report: The canvas has been lined. Craquelure and light surface dirt and surface scratches throughout. Inspection under UV reveals scattered retouching and in-filling, together with a green cloudy varnish throughout. The work appears to be in good restored condition, commensurate with age.Condition Report Disclaimer
Circle of Michael Dahl Arthur Annesley (1712[?]-1786)Oil on canvas Inscribed Arthur Annesley Sixth Son of Frances Annesley Esq lower left and further inscribed to stretcher verso75 x 63cm (29½ x 24¾ in.)Provenance:By descent to the present owner Arthur Annesley (1712[?]-1786), inherited the Castlewellan and Thorganby estates from his father Francis Charles Annesley (Lot 40) in 1710 and 1719. In 1737, Arthur inherited the personal and unentailed property of the 5th Earl of Anglesey, Arthur Annesley, 6th Viscount Valentia. By 1742, Arthur had purchased Bletchingdon Park from the 6th Earl of Anglesey, Richard Annesley (c. 1693-1761) known as The Lord Altham, an Irish peer and governor of Wexford. Portraits from the Annesley FamilyLot 40-44 depict members of the Annesley family who lived at Bletchingdon Park. The portraits have remained in the family and have been passed through generations to the present owner. Bletchingdon Park is a Grade II listed Palladian estate in Oxfordshire. The house was sold by the Coghill family in 1716 to Lord Valentia and remained in the family until 1948. The house which stands today on the park was built by James Lewis for Arthur Annesley, 5th Earl of Anglesey (6th Viscount Valentia). Since 1948 the estate has passed through a number of ownerships including William Astor, Hon. Robin Cayzer, Lord Rotherwick and Dr. Michael Peagram. Condition Report: The canvas has been lined. Light craquelure, surface dirt and surface scratches throughout. There is an area of vertical scarring to the right or the sitter's head running the length of his body, possibly caused by previous damage and subsequent repair. This is visible in natural light. Inspection under UV reveals scattered retouching and in-filling, together with a green cloudy varnish throughout.Condition Report Disclaimer
Manner of Sebastian PetherMoonlit landscape with abbey ruinsOil on canvas51 x 61cm (20 x 24 in.)Condition Report: The canvas has been relined. Surface cracking is visible, but the paint layer appears to be stable. Under UV light there are some areas of inpaint in the lower left corner and along the left edge, in the darker pigments. The varnish is slightly discoloured. Condition Report Disclaimer
Follower of Jan Brueghel the Younger The Garden of Eden, with the Fall of ManOil on copper 29 x 36cm (11¼ x 14 in.)Provenance:Sale, Sotheby's, 1950sThomas Agnews & Sons, Ltd., London (stock no. 2510)Private Collection, Nigel Warren, purchased from the above on 24 November 1958Thence by descent to the Estate of Christopher and Rosemary Warren The Garden of Eden or sometimes titled, Paradise Landscape, can be analysed as a catalogue of exotic animals or a miniature encyclopaedia. Jan Brueghel was the pioneer of the paradise landscape which was to become a popular subject matter that was copied throughout the 17th century right up to the present day. Most notable of Brueghel's followers was Roelant Savery (Dutch 1576-1639). What shaped the Breughel artistic dynasty was their dedication to the observation of rare species and specimens from life. Jan Brueghel lived in Antwerp inspired by exotica on display at the port of Antwerp. His position as painter to the Archdukes granted him access to their zoological menageries. It is recorded that the Archduke purchased a toucan in 1615 after which the bird began appearing in the work of Jan Brueghel. Individual aspects are closely observed to life and yet the scene is completely fantastical, requiring an acceptance that all God's creatures can appear in one place side by side. In the far distance are two figures which represent Adam and Eve and their disobedience. When the couple are said to have eaten the forbidden fruit of the tree of knowledge of good and evil God punished the couple by evicting them from the Garden of Eden. The present lot is an accomplished example of the Garden of Eden with the Fall of Man and has remained in private collection since 1958. Condition Report: The copper panel is slightly uneven, but is providing good support. There are several minor dents and abrasions to the edges and the lower left corner is missing, but these very minor defects are not visible under the frame edges. There are fine surface cracks, but the paint layer appears to be stable and in excellent original condition. Under ultra-violet light there is a small spot of inpainting in the centre of the lower edge (approx 2mm square) and possibly some earlier restoration along that edge and in very small spots on the tree trunk, but these are not visible to the naked eye. It has a thick layer of uneven and discoloured varnish and surface dirt and would benefit from a light clean. It is presented in an 18th Century English, carved and gilded frame which has minor abrasions to the edges. Condition Report Disclaimer
Manner of Sebastian PetherMoonlit river landscapeOil on canvas51 x 61cm (20 x 24 in.)Condition Report: The canvas has been relined. Fine surface cracking is visible but the paint layer is stable. Under UV light there are small areas of restoration to some of the edges, but these are not visible to the naked eye. The varnish is slightly discoloured. Condition Report Disclaimer
Circle of Richard Wilson (British 1713-1782)Villa Emiliana near Rome Oil on canvas Inscribed and titled to label verso 37.3 x 47cm (14½ x 18½ in.)Provenance:James Orrock, Edinburgh, by 1903; his sale, Christie's, London, 6 July 1904 (=2nd day), lot 308 (28gns. to Agnew)Literature:B. Webber, James Orrock, R.I. Painter, Connoisseur, Collector, I, London, 1903, p. 54, illustrated Condition Report: The canvas has been relined and is on it's original stretcher which is providing good support. There is fine surface cracking but the paint layer appears to be stable and generally in good overall condition Under U V light there are some very small scattered spots of retouching and some broader areas along the left and right edges, which have most probably been caused by old frame abrasions. These are well executed and are not visible to the naked eye. It has a thin layer of surface dirt and some discoloured varnish. It is presented in a 19th Century, Carlo Maratta type frame, which has old chips, losses and repairs. Condition Report Disclaimer
Circle of William Shayer Snr. (British 1787-1879)Figures and cart on a beachOil on board 29 x 24cm (11¼ x 9¼ in.)Condition Report: Craquelure, surface dirt and surface scratches throughout. The varnish is starting to yellow around the framing edges and there is a splash of white paint to the lower left corner (approx 3mm diameter and visible in the catalogue and online illustrations). Inspection under UV reveals no evidence of restoration or repair, however in natural light some of the craquelure appears to have been previously filled.Condition Report Disclaimer
Pieter Gerardus Van Os (Dutch 1776-1839)Cattle and livestock by a country cottageOil on canvas Signed and dated 1829 lower left 54 x 64cm (21¼ x 25 in.)Provenance:The Estate of Lady Dodds Condition Report: The canvas is unlined and on it's original stretcher which is providing good support. There is fine surface cracking but the paint layer appears to be stable and in excellent original condition. There is a small circle of restoration (approx 7mm wide) in the very centre of the picture which may cover a very small repaired hole or area of paint lost. There are also some small scattered spots of restoration at the edges. It has a layer of old discoloured varnish which makes it difficult to read clearly under UV light and there may be some additional thin lines of of cosmetic retouching in the sky, but these are minor. Condition Report Disclaimer
Willem Vester (Dutch 1824-1895)Cows in a river landscapeOil on canvas Signed lower left 44 x 71cm (17¼ x 27¾ in.)Condition Report: The canvas is unlined but has a thick and uneven layer of wax on the reverse.. Extensive surface cracking and stretcher marks are visible across the image and the paint layer is lifting in places. Under UV light areas of restoration are visible in places, most noticeably in the sky. It has a layer of uneven and discoloured varnish and surface dirt. Condition Report Disclaimer
James Charles (British 1851-1906) Cows in a meadow landscapeOil on canvasSigned lower left43 x 58cm (16¾ x 22¾ in.)It has been suggested that this painting is comparable in character to several of James Charles' works painted during his visits to Montreuil-sur-Mer and La Madeleine, Pas de Calais, in the spring/summer of 1902 and 1904 - where the Poplars were as tall and slender and the surrounding meadows as flat. The lie of the land is also remarkably similar to that of a work known as 'At Montreuil'.Condition Report: Light surface dirt and varnish throughout causing some discolouration. Paint splatters/pools of varnish scattered across the canvas, very minimal. Patches of craquelure scattered throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Circle of Peter de Wint (British 1784-1849)Gathering woodWatercolour 37 x 54cm (14½ x 21¼ in.)Condition Report: A light blue gouache/bodycolour appears to have been added to the upper right section of this sky. This was possibly done as a previous attempt at restoration as there is an area approx 10cm in diameter where there are patches to the sheet which appear to have been lost. This has been over-painted with the aforementioned gouache which then also extends to the upper right corner and sides. There is also a small patch of pigment to the upper left corner. This is not particularly noticeable until you are quite close to the picture. Otherwise, the colour is good and the work appears to be in relatively good condition commensurate with age. Some slight undulation to the sheet caused by framing. Unexamined out of glazed frame.Condition Report Disclaimer
Thomas Rowlandson (British 1757-1827)A forest danceInk and watercolourSigned and dated 1817 lower right14.5 x 23.5cm (5½ x 9¼ in.)Condition Report: The sheet has been laid down and there are traces of a light brown adhesive to the extreme edges. The colour has faded and there is some discolouration to the sheet. Areas of light brown staining can be seen to the outside 2mm of the sheet's edge. The extreme corners with some light wear, most noticeably at the lower left. There are a number of pin holes to the mounting sheet and a number of brown spots of foxing to the card mount. The work would benefit from reframing.Condition Report Disclaimer
After Anthony Van Dyck Children from the Lomellini Family portraitOil on canvas 76 x 64cm (29¾ x 25 in.)A detail after the work hanging in the National Galleries of Scotland. Condition Report: The canvas does not appear to have been lined, however there is a card back-board covering the entirety of the work verso. Stretcher marks, light surface abrasions and craquelure visible. There is a small (approx 4cm) area of possible repair upper right above the girl's head. There is a very small area of loss (approx 4mm) above the boy's head. Inspection under UV reveals scattered retouching and in-filling throughout together with a green cloudy varnish.Condition Report Disclaimer
Francis Cotes (British 1726-1770)Portrait of a boy, possibly Peter Benet Legh (b.1742)PastelSigned and dated 1751 lower right,57 x 52cm (22¼ x 20¼ in.)The identity of this sitter in this lot has not been fully established, however, according to Neil Jeffares, it is thought to be a portrait of Peter Benet Legh (b.1742). Little is known about Legh other than being the cousin of Newton Thomas Peter Legh (1753-1779), MP for Newton. It is believed the sitter died young and it is possible that this is a posthumous portrait copied from a miniature which is recorded in the collection at Lyme Park, Cheshire; Legh's family home. Condition Report: Small white spots of surface mould visible throughout the sheet. It is possible that some of this might be removed using a soft brush. Light undulation to the sheet under the glazed frame. Otherwise the work appears to be in good condition commensurate with age.Condition Report Disclaimer
Follower of Rembrandt van RijnPortrait of a gentleman, possibly the artistOil on panel 70 x 54cm (27½ x 21¼ in.)Provenance:Mr Ernest Innes, Private Collection, LondonSale, Christie's, London, The sale of the collection of Mrs. C. Innes, 13 December 1935, lot 90Sale, Sotheby's, London, 7 July 1954, lot 147P. F. Toms Esq., Private Collection, Bournemouth Literature:Burlington Magazine, October, 43, 1923, p.153-158, illustrated pl. II B. Albert Blankert, Ferdinand Bol (1616-1680), Rembrandt's Pupil (Doornspijk 1982), catalogued [R]ejected 51, So-called Self-PortraitCondition Report: Panel has been strengthened. Panel does not sit flush to the frame and is visibly bowing. Two vertical cracks running the length of the panel, each 1/3 in from the two outer edges of the panel. Retouching visible in natural light to these cracks. Light rubbing to the framing edges. Very fine craquelure throughout and paint shrinkage most notable to the right hand edge. Inspection under UV reveals a layer of yellowing varnish and extensive retouching scattered throughout, especially to the vertical cracks as mentioned above. Condition Report Disclaimer
Attributed to Deborah Goldsmith (American 1808-1836)A portrait of a mother and child, seated in an interior & A portrait of a gentleman, seated in an interiorPencil and watercolour, a pair17.5 x 16.5cm (6¾ x 6¼ in.); and 15.5 x 13.7cm (6.1/8 x 5.3/8 in.) (2)New York State, Maryland, or Southeastern Pennsylvania, circa. 1830.Provenance:Thomas K Woodward, New York CityDavid A. Schorsch. Greenwich, ConnecticutRalph O. Esmerian. New York CityDavid Wheatcroft, MassachusettsAustin T. Miller, OhioPurchased from the above by the present owner in 2005To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector. Condition Report: Man: The work has been stuck down to the card mount using tabs. The colour is good although there are some brown spots visible to the blue background around the sitter's head. Some light, fine craquelure to the black pigment areas, predominantly in the gentleman's coat and the left edge of the table. Otherwise light wear commensurate with age. Lady: The work has been hinge mounted along the upper edge using two bits of white mounting tape. The colour is good although there are brown spots to the sky around the sitter's head. Some light, fine craquelure to the black pigment, namely in the sitter's dress. There is a small white scratch to the upper left corner (approx 2cm). Light wear and some very light scattered staining to the extreme edges, otherwise light wear commensurate with age.Condition Report Disclaimer
Good silver service of 'Old English' pattern comprising twelve of each tablespoons, dessert spoons and forks, hors d'oeuvres forks, tea spoons, table and cheese knives with two sauce ladles and a soup ladle and two serving spoons, Sheffield 1929, contained in mahogany canteen, rising top and a drawer, 3,770g excluding cutlery.CONDITION REPORT: Light scratches to cutlery consistent to age. Canteen chip to front, sides and corners. Interior wear. Light scratches to cutlery consistent to age. Complete as described plus twelve table forks. Box probably original but has been re-polished and re-lined. EP tea knives in corner.
A gilt metal five branch hanging light in Neo-Classical style. Ornamented with ram masks and husk swags and having frosted and cut glass shades, approximately 60cm x 48cm not including chain and rose. The lamp is lit but wired with 2 core bell wire so need a qualified electrician to re wire to current standards. All shades in good order. Gilding bright. No pieces missing. Rose may be a replacement.
A NOVELTY SILVER GRENADE-PATTERN CIGAR LIGHTER, RETAILED BY ASPREY, LONDON, 1886 threaded wick nozzle, enamelled signal flags indicating 'I Will Carry a Light', weighted base with London hallmarks for Thomas Johnson and registered design no. 61858 for 1886, inscribed I will carry a light and signed Asprey & Son, 166 Bond Street -- 4½in. (11.5cm.) highCondition report: Fine overall condition.
A VERY FINE 1:36 SCALE ADMIRALTY BOARD STYLE MODEL FOR THE SIXTH RATE 28-GUN SHIP SIREN [1773] modelled in alder wood, fruitwood and ebony, the framed hull planked and pinned, with ebony main wale, gun ports with cast brass guns in trucks with tackle, finely carved figurehead with carved decoration along bulwarks and stern, with trophies of arms, scrollwork, caryatids, glazed stern with ionic pillar supports, oxidised brass stern light, the deck with details including bitts with belaying pins, gratings, stove pipe, belfry with bell, well deck with fitted pinnace over with bottom boards, seats, gratings etc., bound cutaway masts, capstan, double helm with 12 turned spokes, compass box, swivel guns etc., mounted on cradle stand to ebonised wooden display base, overall -- 15 x 48in. (38 x 122cm.)Footnote: H.M.S. Siren was one of the five ‘Enterprise’ class frigates ordered in 1770 to counter the so-called ‘Falkland Islands Emergency’ [a potential war with Spain following the Spanish seizure of the Falklands that year, having been partially occupied by English forces since 1766]. In the event, the situation was resolved by French intervention although the new building programme was allowed to proceed. Designed by John Williams, the order for Siren went to John Henniker & Co. at Chatham where her keel was laid in April 1771. Launched on 2nd November 1773, she was leisurely completed for sea in the Chatham Navy Yard and finally commissioned in August 1775 under Captain Tobias Furneaux. Measured by her builder at 594 tons, she was 120½ feet in length with a 33½ foot beam and mounted 28 guns, mostly 9pdrs. Her commissioning coincided with the growing unrest in Britain’s North American colonies and she was despatched to join the fleet then cruising off the eastern seaboard, but her career was to prove a short one. Whilst escorting a convoy en route to Rhode Island in heavy weather, she ran aground on Point Judith, Connecticut, on 6th November 1777, closely followed by a ship and a schooner. The schooner was soon able to free herself and attempted to haul Siren off to no avail. Rebel forces ashore then brought up some cannon and their fire became increasingly accurate on the stationary frigate with the result that Captain Furneaux ordered her to be abandoned as the number of casualties increased. The ship’s pilot and her Master were subsequently blamed for their negligence and were dismissed the service.
DER TAG: THE SURRENDER OF THE GERMAN HIGH SEAS FLEET, 21ST NOVEMBER 1918 a manuscript and watercolour plan showing the disposition of the Grand Fleet during the arrival of the German High Seas Fleet, each ship named and grouped by squadron, inscribed to top Der Tag by crossed Union and Naval Ensign flags, inscribed The Surrender of the German High Seas Fleet, 9 Battle Ships; 5 Battle Crusiers; 7 Light Cruisers; 49 Destroyers, Nov. 21st 1918. to the Grand Fleet -- 20 x 12in. (51 x 30.5cm.); framed and glazedCondition report: 23 x 15½in. framed size. Text somewhat faded, time-stained throughout.
THE BELL FROM THE COLLIER S.S. FIREDOG, 1942 cast in brass with moulded rim and stock, the name with black-filled lettering to front complete with green painted brass clapper -- 8 x 8in. (20.5 x 20.5cm.)Footnote: Firedog was built by S.P Austin & Son for the Gas Light & Coke Co. (which later became British Gas). Sold to the North Thames Gas Board in 1949. Sold for breaking up in Utrecht in 1959 and her hull was used as a sand store thereafter.Condition report: Wear commensurate with age.
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![Circle of Michael Dahl Arthur Annesley (1712[?]-1786)Oil on canvas Inscribed Arthur Annesley Sixth Son of Frances Annesley Es](https://cdn.globalauctionplatform.com/a8a72f35-e0b2-426c-9ced-ac500140c77f/b194c18d-bb27-4ea1-852e-ac7a0123976f/468x382.jpg)
![A VERY FINE 1:36 SCALE ADMIRALTY BOARD STYLE MODEL FOR THE SIXTH RATE 28-GUN SHIP SIREN [1773] modelled in alder wood, fruitw](https://cdn.globalauctionplatform.com/ae91f13b-8f93-4f7d-a9ee-ac630098dd45/46d10fba-9354-4421-a55b-ac63011e213c/468x382.jpg)
