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Lot 48
Signed, titled and annotated by the artist on verso, with gallery label - "The Unicorn Gallery, Wilmslow', oil on board.29.5cm x 23cm (11.5in x 9in)Footnote: "A Manchester city street in the 1930's. The sky is heavy with snow and the road a light covering of snow on the ground picking out the railway bridge and that most famous city landmark the Refuge insurance building."Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed.
Lot 49
Signed, titled and annotated by the artist on verso, oil on board.29.5cm x 23cm (11.5in x 9in)Footnote: "This is Mount Street - Manchester in autumn - it's early but already darkness is falling - the light building is the Central Library and the dark building on the right of the picture is the famous Midland Hotel - the city's main hotel since approx 1907."Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed.
Lot 70
Peter Brook (British 1927-2009) Pennine Way – Evening Light. Signed and titled, oil on board.50.5cm x 70.5cm (19.75in x 27.75in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed.
Lot 82
Signed and titled on the mount, ink drawing, together with a copy of Scottish Mountain Drawings, Volume Four - The Central Highlands by Alfred Wainwright, featuring this drawing illustrated as number 258.12cm x 19.5cm (4.75in x 7.75in)Qty: 2Condition report: The drawing is in good, original condition. There are some lights spots of browning across the lower half of the drawing and some very light time staining and yellowing around the edge of the paper near the mount board. There is some foxing across the mount. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 88
Originally purchased from the artist's widow Valerie and verified on verso, with gallery label - 'Jo Bennett Original Pictures' on verso, pencil drawing.24.5cm x 38.5cm (9.75in x 15.25in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The drawing is in good, original condition. There is some very light time staining and yellowing around the edges of the paper and some creasing across the sheet. There are some minor spots of foxing and browning across the paper. The drawing is framed and glazed.
Lot 245
An 18th century wine bottle, with seal reading J. Pitfield, 1784, 23 cm highReport by RBGenerally good condition, unable to see any crack when held up to a light, there is a small oval imperfection/chip just to the left of 1784 on the main bottle, which should be visible from the photographs, bottle neck good, general wear and scratches
Lot 5
Robert Watson (1865-1916), sheep in a moorland, oil on canvas, signed and dated 1897, 49 x 74.5 cmReport by RBThis painting is from Sandford Manor House, and appears to be largely in original condition, not having been cleaned and re-lined, there is some cracking to the left of the sheep, generally a bit dirty and would benefit from a light clean, the slip and frame looks original, and as is often the case there are a few sections of the gesso missing, and some rubbing to the gilt decoration, and with a hole to the top right hand corner, no idea what this is doing here, and if the picture is hung it is not easy to spot
Lot 590
A Victorian breakfront walnut open bookcase, on plinth base, 189 cm wideReport by RBFrom a local farmhouse, arrived in the back of a trailer.Generally pretty good, quite light in colour, a little occasional wear, and scratches, all consummate with age.Very much in a good honest and market fresh condition
Lot 87
George Manchester (1922-1996), landscape with figure, oil on board, monogrammed, gallery invitation verso, 22 x 36 cmReport by RBPicture is generally good, but might benefit from a light clean, frame looks original, with notes to the back looks to have had a varnish in June '77, the frame is nicotine tinged which is also on the image, the invitation is from the Chairman of the Greater London Counsel...Greater London Picture Show Jubilee Exhibition...19th April 1977 at The County Hall
Lot 2119
Victorian silver pair cased pocket watch by Maughan Beverley, case by Robert John Pike, London 1873 and a silver pocket watch by Richard Grunert Beverley, case by The Lancashire Watch Co Ltd, Chester 1894 - Condition Report The pair cased � scratches to the glass, dial no cracks but some yellowing. Scratches to the silver cases, couple of very small dents to the outer case but not significant. Ticking away � movement running freely. The Richard Grunert - dial no cracks but some yellowing. Glass is clearer on this but still some light scratches. Ticking away � movement running freely.
Lot 100D
Ladies Rolex Oyster Perpetual Datejust Superlative Chronometer wristwatch, the dial set with diamond dot chapter markers, with stainless steel bezel and bracelet, C1990, in box with booklets. Winder missing, serial no. E713333. Does not appear to be going. Watch appears to have had light use. 2.5cm diameter, stainless steel.
Lot 51
18ct gold sapphire and diamond ring, the sapphire approximately 10mm x 8mm encircled by twelve small round diamonds approximately 0.6ct total, ring size T, 4.6g. Nibbles around facet edges of the sapphire, also some light scratching/grooves to the table. No significant condition issues. Not known if it is a natural sapphire.
Lot 100
with tea caddy top above brushing slide, on bracket feet, bearing maker's label 'Giles Grendey, St John's Square, London' 78 x 87 x 55cmFootnote: Giles Grendey (1693-1780) was one of London’s foremost furniture makers in the mid 18 th century. Apprenticed at the age of sixteen to the prominent London joiner, William Sherborne, Grendey went on to establish his own business in 1726 and is known to have been operating from his workshops and warehouses in St John’s Square, Clerkenwell by 1731, where it is believed he remained until at least 1755. Much of Grendey’s furniture can be attributed to him by the large number of labelled pieces and his notable clients included Sir Richard Colt Hoare (1758-1838) of Barn Elms, as well as Lord Scarsdale (1726-1804) of Kedleston.Condition report: some small areas of loss of veneer to frame and drawer edging, crack to veneer top left of frame by brushing slide, brass to bottom key hole missing, light marks and scratches to top, front and sides
Lot 103
Portrait of a lady, presumed to be Sarah, wife of Charles Johnstone of Pontefract, head and shoulders, in white with red-lined shawl, in a painted oval stone cartouche indistinctly signed or inscribed lower right on the stone cartouche oil on canvas 75 x 62cmFootnote: The sitter was the great-grandmother of John Gardner of Chatteris, who died in 1804. Provenance: By descent from the sitter to the Gardners of the Manor House, Chatteris, until removed in 1908 by Algernon Dunn Gardner (1853-1929), great-grandfather of the present owner, to Denston.Condition report: Oil on canvas which has been lined, the picture is in plane with good tension. There are a few small losses in the background above the sitter's head. Old retouchings to the left of the sitter have darkened. The varnish is dull, yellowed and collected in the texture of the paint surface creating a slightly mottled effect to tee flesh tones. There is a light layer of surface dust. The frame is in a good condition.
Lot 12
' Fvrentis Anno MDCCLXXIX Vesvvii Prospectvs ' hand-coloured engraving on laid paper, unframed 68.5 x 51.5cm (pl.), 77 x 56cm incl. marginsFootnote: Antonio Piaggio, a Vatican priest and scholar, was first sent to Naples in 1753 by the Vatican to unroll and transcribe papyrus scrolls discovered during the excavations at Herculaneum. Piaggio was later employed between 1779 until his death, by Sir William Hamilton (1730-1803) the antiquarian and British Minister at Naples, to observe and record the activities of Mount Vesuvius. Based at the Basilica of Santa Maria in Pugliano, on the western side of Vesuvius, Piaggio produced eight notebooks of drawn studies and written observations. Hamilton later donated Piaggio's notebooks to the Royal Society where they are to this day. The great eruption of Mount Vesuvius that began in August 1779 gave rise to Hamilton hurriedly bringing out as Volume III a Supplement to his famous Campi Phlegraei (Volumes I and II published in 1776). In it under "References to Plate 1" (the frontispiece comprising six vignettes) Hamilton points out that vignette 4 of the great eruption of the night of August 8th, was taken from a drawing made by "Piaggi" [sic] and he points out that "A large, and magnificent copper Plate from the said original drawing, is now sold at Naples" (see also, Noah Heringman, Sciences of Antiquity: Romantic Antiquarianism, National History and Knowledge , 2013, p. 113-114). It is almost certain that the present lot is the Piaggio engraving cited by Hamilton.Condition report: Unframed, colours good. Frayed and worn edges with several minor tears. Light staining to the paper near the lower left corner and around the top right corner. A central horizontal fold. A diagonal crease across the top right corner.
Lot 134
with cross-banded frame, between ring turned column supports raised on reeded splay legs with lion's paw castors 165 x 72 x 65cmCondition report: some light overall wear to finish, old repair to bottom right edge of mirror frame, cap of brass pivot screws missing, loss to very top of left finial, mirror plate old
Lot 135
a pair of doors opening to reveal an arrangement of drawers 103 x 66 x 47cmFootnote: Provenance: with Henry Samuel, 484 Oxford St, LondonCondition report: light old scratches to front of one door panel, very small area of damage/ loss to centre of front edge above door panels, key to lock broken
Lot 137
with baroque carved wooden supports decorated with grotesque masks and fruit, flanked by winged mermaids on hippocampus feet, the top currently supported on a later trestle base 85 x 263 x 91cmCondition report: Marks, dents, scratches and some dry areas of polished top, scratches to fore edge of top, some old worming to underside of top, visible join of planks, old white paint to one of the supports, old worming to supports, light wear to trestle base
Lot 148
the 27 1/2" barrels with sunken top rib, the frames with best bouquet and scroll engraving, well figured 13 7/8" walnut stock including rubber recoil pad, nitro proof, within a leather motoring caseCondition report: Proof Diameter = .615 (20), Measures .616 in the right and .617 in the left. Min wall thicknesses are 30+. Generally in very good condition, some hardening colour remains, engraving is crisp, well figured stock, a few scratches and marks. Not an assisted opener. Some light internal pitting only.
Lot 151
Nos. 17837 and 17838, circa 1912, with 28” barrels, the frames and fences with classic bouquet and scroll engraving and with gold inlaid ‘safety’ catches, 14 1/2" stocks including a wood extension to the No. 1 gun, nitro proof, within a canvas and leather double motoring caseCondition report: 17837 R/H - Proof dia. .729 – Measures .735 (Nitro proof) – Min. wall thickness: 0.0027 L/H - Proof dia. .729 – Measures .738 (Nitro proof) – Min. wall thickness: 0.0030 2 ½” chambers With replacement fore-end, stock well worn and with extension, a slight crack appearing through the hand. Action well worn with no case hardening remaining. Light pitting. 17838 R/H - Proof dia. .729 – Measures .734 (Nitro proof) – Min. wall thickness: 0.0030 L/H - Proof dia. .729 – Measures .736 (Nitro proof) – Min. wall thickness: 0.0029 2 ½” chambers Re-stocked and cracked through the hand, action well worn with no case hardening remaining.
Lot 3
The Holy Family; the Virgin and Child being brought a basket of fruit by the Infant St John the Baptist, St Elizabeth kneeling to the right, a mountainous landscape beyond, St Joseph seated in the left distance in a wood oil on canvas 134 x 131cmFootnote: Provenance: Austrian private collection until sold, London, Christie's, 13th July 2001, lot 236; when acquired by the present owner The figure of the infant Baptist here, derives from a painting by Titian - dated by Wethey (Titian, Catalogue Raisonne , 1969, vol. I, pl. 42) to circa 1535 - now in the Dijon Museum, in which instead of holding a basket of fruit, he is caressing a lamb; the figure of St Elizabeth in the present painting is indebted to Titian's Mater Dolorosa of 1554, now in the Prado, Madrid (Wethey, pl. 97).Condition report: Oil on canvas which has been lined. There is a horizontal seam along the lower edge with fill and retouching. The paint layer has a network of prominent age cracks, there is an area of slightly raised paint at the upper right corner. Some cracks have developed a slight bloom. The paint layer is a very worn in areas. Small damages have been filled and retouched. The most recent areas of retouching are slightly matte compared to the surrounding paint layers. The varnish is semi-matte and even, there are a few light scuffs across the surface. The gilding on the frame is slightly raised and flaking, old losses have been toned.
Lot 72
with pagoda top hood, with simulated tortoiseshell finish, the 12inch brass dial signed in the arch 'Josh. Allsop, East Smithfield, London', with Indian mask spandrels, seconds dial and date aperture, 4 pillar 8 day movement, on a restored plinth base 239 x 47 x 22cmCondition report: Case - some loss to gilt image on the door, small loss to edge of door, some loss to gilt image of bottom panel, some loss to gilt floral roundel of hood, old worm and loss of gilt/paint of three ball finials, come other light wear to case
Lot 98
with cross-banded frame, between ring turned and spiral column supports on a raised platform base with splayed legs and lion's paw castors 175 x 81 x 52cmCondition report: some light scratches overall, some separation to banding of mirror frame, some small loss and damage to one pivot screw, some lifting of veneer to central section of platform, small area of veneer missing from bottom of platform, old screw holes to reverse of main frame, some cracking to back panel
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534297 item(s)/page