There are 534325 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeHandmade, hand painted Santa in red suit and hat carrying tea light lantern with his reindeer close by. Green mittened hands are extended holding bird. All set on square wooden base. Limited edition 528 of 1000. Ulbricht tag. Issued: 20th centuryDimensions: 8"L x 7"W x 19"HEdition Number: 528 of 1000Manufacturer: UlbrichtCountry of Origin: GermanyCondition: Age related wear.
Capture the timeless charm of winter with Mickey donning a cozy coat, scarf, and boots, as he checks his mailbox beside a vintage light post. Marked Telco. This item has its original box. Dimensions of the box: 18"L x 9.5"W x 25.5"H. Issued: 1995Dimensions: 15"L x 8"W x 23.75"HManufacturer: TelcoCountry of Origin: ChinaCondition: Age related wear. Mistle toe garland has fallen off part of the mailbox.
Light pink and yellow dress, red cape, and black hat. Royal Doulton backstamp. Produced exclusively for UK International Ceramics. Artist: D. AndrewsIssued: 1997Dimensions: 2.5" L x 2" W x 4" HEdition Number: 963 of 2500Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Adorable Little Souls Artist / Painter girl doll named Marjorie with painting, brush, pin, brooch, starfish, and scarf. Comes with a light purple hat and boots with shoelaces. Blonde straight hair. Artist: Gretchen WilsonIssued: c. 2003Dimensions: 6.5''L x 12''W x 24''HEdition Number: 6 of 1000Manufacturer: Little SoulsCondition: Age related wear. Boots are discolored.
Tissot Seastar gentleman's automatic presentation wristwatch, silvered dial with baton hour markers and date aperture, on a leather strap, boxedCondition Report:Movement functioning, dial good, light scratches to the crystal, presentation inscription to stainless steel back, case diameter = 34mm excluding crown
Girard-Perregaux gentleman's 14ct gold manual wind wristwatch, back case No. 448937, silvered dial with Roman numerals hour markers, Swiss hallmark, on black leather strapCondition Report:Back case only approx 4.6gm (approx 34.85gm gross), movement functioning and clean, dial with double very light line running from 2-6 o'clock, case with some scratches and marks around case opening, hands moving freely, case diameter = 34mm (excluding crown)
18ct gold three stone sapphire and diamond ring, square cut blue-green sapphire spaced by round brilliant cut diamonds, hallmarked London 1987, total diamond weight approx 0.60 caratCondition Report:Approx 3.4gm, size O1/2, sapphire measures approx 5.55mm x 6mm x 3.12mm, approx diamond colour H/I, approx diamond clarity SI1/SI2, light abrasion to the facet edges of the sapphire
Rolex early 20th century 9ct gold manual wind wristwatch, white enamel dial with Arabic numerals and subsidiary seconds dial, Glasgow import mark 1924, on expanding gold bracelet, stamped 9ctCondition Report:Approx 19.1gm, bracelet magnetic (springs), movement functioning and clean, some light brown spots to dial around the seconds dial otherwise good, case diameter = 26mm (excluding crown), replacement crown, case closes tight, few scratches to case, bracelet not Rolex
Early 19th century gold double cameo necklace, graduated oval cameos depicting classical and later male and female double portrait busts, within fancy foliate frames picked out in blue and white enamel, casedCondition Report:Approx 44.4gm, tested 9ct, length = 32cm, drop length = 6cm, very light wear to the cameos, the central cameo drop is attached with a hook and can be removed, the ends of the necklace includes hoop bars for attaching a ribbon
David Bates (British 1840-1921) "Near Malvern" Signed and dated 1893, oil on canvas.21 x 28.5cm (framed 33 x 41.5cm)The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. There are areas of minor craquelure across the painting. The painting is ornately framed but not glazed. The frame has some knocks and losses.
A Late Victorian or Edwardian Doll's House A Late Victorian or Edwardian Doll's House, with four rooms and central staircase, removeable fireplaces and stairwell, together with various light fittings, doors and other appointments.79cm x 80cm x 57cm.In need of some restoration, roof quite warped; additional images available via this link: https://we.tl/t-et07mFvU42
English School (18th century style) Portrait of a gentleman, half length, in a wig and brown coat Unsigned, oil on canvas.74.5 x 61.5cm (framed 92 x 79.5cm)The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. There is craquelure across the surface of the painting. The painting is ornately framed but not glazed. The frame has some scuffs and knocks commensurate with age.
A Reproduction Circular Wall Clock A Reproduction Circular Wall Clock, the 10 1/2" dial set with Roman numerals and bearing stamped mark for Sillett, Bland & Co. of Croydon, with single drum and fusee movement, retaining key and pendulum. Light general wear to case, no particular damage to note.
An Early 20th Century Mahogany Room Screen or Divider An Early 20th Century Mahogany Room Screen or Divider, composed of four substantial and solid panels displaying matched veneers within ebony stringing, each with a carved shell to the shaped top.Each panel 53.5cm wide, 2.5cm deep, 183.5cm highSome crazing and bubbling/lifting to veneers, otherwise light general wear but overall solid and stable.
A Victorian "Admiral Lord Nelson" Salt-Glazed Character Jug An "Admiral Lord Nelson" Salt-Glazed Character Jug, circa mid-late 19th century, modelled after that produced by Doulton & Watts of Lambeth, faintly impressed "Nile 1798" to central medal and "Trafalgar 1805: England Expects Every Man to do his Duty" to base, otherwise unmarked.22.8cm highSmall underglaze hairline likely from manufacture to hat, firing crack around lower handle joint, otherwise light general wear but free from damage or restoration.
A Large Royal Doulton Flambe Jar with Cover A Large Royal Doulton Flambe Jar with Cover, titled "The Drinking Pool", with printed and impressed marks to base.29cm highChip to cover rim underside with small loss to outside rim, several surface flaws including a small hole/cavity, glaze imperfections and small light scratches.
English School (early 19th century) Silhouette monochrome portrait profile of a gentleman Unsigned, oval, watercolour on ivory, in an ebonised rectangular frame with gilt metal mounts.(GOV.UK self-declaration form completed for the sale of this item - Submission reference TWRWFT4U) 8 x 6.5cm (framed 14 x 12cm) The painting is in good, original condition. There are some light areas of browning across the ivory. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Albert Wainwright (British 1898-1943) "La Mer est Plus Belle" and one other Unsigned, titled and dated September 1937, watercolour and ink (2).22 x 16cm (framed 37.5 x 31.5cm) and 22 x 17cm (framed 38.5 x 32.5cm)Qty: 2The paintings are in good, original condition. There are some minor spots of foxing and light creases across the paper. There is a small tear in the lower right-hand corner of one sheet. The paintings are both framed and glazed. The frame has some minor scuffs and knocks.
A Late 19th century French Enamel and Gilt Brass Musical Trinket Box modelled as a Piano A Late 19th century French Enamel and Gilt Brass Musical Trinket Box modelled as a Piano, circa 1890-1900, hand-painted with scenes featuring ladies and cherubs, the hinged cover enclosing a similar scene, raised on front lyre stand and three tapered legs, with clockwork movement, apparently unmarked.14cm long, 8cm highNo guarantee of working order, some small losses to decoration and light overall general wear, see additional images.
A Meiji Period Japanese Satsuma Vase A Meiji Period Japanese Satsuma Vase, of inverted baluster form, decorated with two main panels featuring immortals and Japanese macaques respectively, interspersed with panels featuring Buddhist and Chinese emblems including the lingzhi fungus, the shoulder featuring two taotie masks, signed to base beneath Shimazu crest.17.8cm highSome wear to gilding, particularly the banding around the body; crazed; light general wear but no damage or restoration.
A George V silver swing handled basket, A George V silver swing handled basket, pierced design, signed Crichton Bros London & New York, London Assay Office, London, 1917, dimensions 29.5 x 25 x 9.4cm, gross weight 25.08ozt.Overall condition goodLight scratches and discolouration in keeping with age and useMarks clear and legible
Walter Williams (British 1935-1906) "River Landscape with Boys Fishing" Unsigned, oil on canvas.44 x 65cm (framed 58.5 x 79.5cm)The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. The varnish has yellowed universally and the surface appears to be grubby. There is craquelure across the surface of the painting. The painting is ornately framed but not glazed. The frame has some knocks and losses.
A George III Mahogany Tripod Occasional Table A George III Mahogany Tripod Occasional Table, with piecrust rim and birdcage action, raised on a fluted column to outspread knee-carved supports.73cm high, the top 80.5cm diameterA split to the top as noted in images, otherwise generally light surface wear including some abrasions as to be expected.
A Pair of Japanese Meiji Period Satsuma Pottery Vases A Pair of Japanese Meiji Period Satsuma Pottery Vases, square-section form on circular feet, decorated with alternate scenes of bijin amongst cherry blossom and mountain landscapes, both with shimazu crest and four-character marks to bases, both with associated hardwood stand.19.3cm highBoth tightly crazed, some light rubbing, light general wear and some very minor imperfections, free from damage or restoraiton.
English School (18th century) Portrait of a lady Unsigned, oil on canvas.59.5 x 50cm (framed 68 x 58cm)The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of extensive cleaning and overpainting. There is craquelure across the surface of the painting. The painting is ornately framed but not glazed.
A Victorian Imari Pattern Part Tea Service by Davenport A Victorian Imari Pattern Part Tea Service by Davenport, pattern no. 2614, comprising ten teacups (and two matched teacups), twelve saucers, twelve side plates, cream jug, two sugar bowls (one af) and two sandwich plates.One sugar bowl badly cracked, one sandwich plate with chip to underside, otherwise light general wear.
English School (19th/20th century) Portrait of a standing black horse in a rural landscape Unsigned, oil on canvas.60 x 73.5cm (framed 79.5 x 93cm)The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. There is craquelure and splitting across the surface of the painting and some minor flecks of paint loss in two small dents near the centre of the painting. The varnish has yellowed slightly in areas across the painting. The painting is ornately reframed but not glazed.
A Wedgwood Black Pinstripe Jasperware Twin-Handled Urn with Cover A Wedgwood Black Pinstripe Jasperware Twin-Handled Urn with Cover, late 20th century, raised on socle base, impressed factory marks and potter's initials "HB", together with two further black jasperware bowls of graduated size, both bearing similar classical relief decoration and impressed marks to bases.The urn 21.5cm high, the larger bowl 30cm diametreQty: 3General light surface wear but no visible damage. All would benefit from a clean.
Christian Wilhelm Ernst Dietrich (German 1712-1774) Rural idyl with figures and sheep Unsigned, oil on canvas.36 x 57.5cm (framed 58 x 80cm)From the Foley Collection, 1919.The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. The varnish has yellowed universally. There is craquelure across the surface of the painting. The painting is ornately framed but not glazed. The frame has some knocks and losses.
An Early-Mid 19th Century Mahogany Drop-Dial Wall Clock by Muston & Gath of Bristol An Early-Mid 19th Century Mahogany Drop-Dial Wall Clock by Muston & Gath of Bristol, the painted 12" dial set with Roman numerals, single fusee and drum movement, the case with carved scroll detail, with pendulum.61cm longNot tested and no guarantee of working order or keeping of time; the painted dial crazed with four previous winding holes visibly painted over; the case itself with some light wear but overall in good condition.
Shipping Interest - A Rare German Verre Eglomise Advertising Sign with Inset Barometer for Norddeutscher Lloyd Bremen A Rare German Verre Eglomise Advertising Sign with Inset Barometer for Norddeutscher Lloyd Bremen, circa 1910, displaying a steamer above gilt lettering, the barometer inscribed in German and with skeleton movement, stamped to reverse "W. Ludolph 777 Bremerhaven".38cm long, 24cm wideThere is a small chip or nibble to the top left corner, otherwise light general wear, barometer not tested and is offered with guarantee of working order.
Sciolari Roma Set of Five Italian Neo-Classical Style Gilt Metal Wall Lights Circa 1960s, all twin-branch with foliate and scroll detail, beaded brackets and removable sconces, three retaining original paper labels.Each 22.5cm wide, 22cm highNot tested and rewiring to current safety standards is advised, no guarantee of working order; light general wear commensurate with age, some light scratches, pitting and rubbing but no damage to note.
A Pair of Large Wedgwood Blue Jasperware Twin-Handled Urns with Covers A Pair of Large Wedgwood Blue Jasperware Twin-Handled Urns with Covers, both decorated with classical frieze and raised on socle bases, one boxed.30.5cm highSome very light surface scuffs as per usual but no damage and in good condition.
A George III silver twin handled sugar bowl, A George III silver twin handled sugar bowl, Henry Chawner, London, 1794, gross weight 10.57ozt.Overall condition fair to goodSits very slightly off straightMarks slightly worn but legibleMonogrammed L to frontSilver gilt interior in good conditionScratches, light dents and discolouration in keeping with age and usePostage is £20 for this item to a UK address
Attributed to George Armfield (British 1808-1893) Three terriers and a fox Unsigned, oil on canvas.50 x 75cm (framed 77.5 x 103cm)The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. There is extensive cracking and craquelure across the painting with the stretcher marks visible running parallel to the edges of the canvas. There are one or two scuffs and areas of paint loss across the canvas. The painting is ornately framed but not glazed. The frame has some knocks and losses.
λ DUNCAN GRANT (BRITISH 1885-1978) STILL LIFE WITH JUG Oil on panel Signed with initials (upper right) 26.5 x 19cm (10¼ x 7¼ in.)Provenance: Belgrave Gallery, London Painted in Grant's studio at Charleston, the Italian jug is seen on the mantel shelf, viewed from below. The work shows the decorated mantel from the studio of Duncan Grant & Vanessa Bell at Charleston Farmhouse in East Sussex. The ceramic is very similar to the work sold by Dreweatts in October 2023, Vanessa Bell's Still Life of Narcissi which was also perched on the corner of the mantelpiece, from the collection of Robert Kime. We are grateful to Richard Shone for his kind assistance in cataloguing this lot. Condition Report: There is a fine vertical line of craquelure running through the cream jug and fireplace, approximately 15cm long. There is a crack to the panel running vertically top to bottom through the handle of the jug. Associated retouching is visible in natural light. Some light rubbing to the extreme edges with a small loss to the lower section of the left edge. Inspection under UV reveals a thick layer of varnish and retouching to the aforementioned long vertical crack. Condition Report Disclaimer
λ ENRICO BAJ (ITALIAN 1924-2003) PERSONNAGE Oil on canvas, laid to board Signed (lower right) 128 x 105cm (50¼ x 41¼ in.)Painted in 1957. The authenticity of the work has been confirmed by Roberta Cerini Baj. Condition Report: Some fine cracking to the thick impasto, hardly noticeable. In generally good original condition. No evidence of retouching visible under ultraviolet light. Condition Report Disclaimer
JEAN-EUGÈNE CLARY (FRENCH 1856-1929) THE GREAT BRIDGE, ROUEN Signed (lower left) Oil on canvas 61 x 100.5cm (24 x 39½ in.) Condition Report: The canvas is not relined. Ultraviolet light reveals some scattered retouching throughout, notably to the edges and in the sky. Otherwise, in generally good condition.Condition Report Disclaimer
λ ALFRED REGINALD THOMSON (BRITISH 1894-1979) A COSTER AND HIS DINAH Oil on canvas Signed (upper right) 51 x 61.5cm (20 x 24 in.)Painted in 1923. Provenance: Sir William Orpen, Private Collection by 1934 Francis Howard, Private Collection Sale, Christie's, 25 November 1955, lot 194 Sale, Christie's, 11 July 1974, lot 164 Leva Gallery, London Exhibited: London, Royal Academy, 1923, no. 646 (as 'Lady and Gentleman') Vienna, Galleries of the Secession, 1927, Exhibition of British Art (as 'Portrait of a Lady and a Gentleman') Literature: 'The Artist', Vol 23, June 1942, 'A. R. Thomson R.A. by F.G.Mories, pp. 91-93 (illustrated p. 91 as 'Lady and Gentleman') Condition Report: The canvas is relined. Ultraviolet light reveals scattered retouching throughout, but in overall good restored condition.Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) SPHERE WITH STRAP Plaster and bronze with gold patina 28 x 25cm (11 x 9¾ in.) exc. base Provenance: Direct from the artist's studio collection Condition Report: Apart from some light surface dirt and verdigris to crevasses, the work appears to be in good original condition.Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) RESPONSE Plywood, stainless steel and resin 300cm (118in.) High inc. base Executed in 2011. Provenance: Direct from the artist's studio collection The concept for the present work began in 2008 when Alan Grieve, chairman of the Jerwood Foundation approached Angela Conner about the possibility of a collaboration for Ragley Hall. In 2011 Response was installed at Ragley Hall on long term loan to the Jerwood Sculpture Collection. Conner was initially inspired by the beautiful architecture of the stable blocks built in 1751 by James Gibbs. Conner wanted the site specific sculpture to 'echo the disciplined elegance of the courtyard's building, but in a contemporary manner.' Conner's response resulted in this kinetic sculpture which was designed to move gently with the breeze and by applying a metallic finish to the surface Conner wished to emphasise the playfulness of light through shadow and reflection. This theme of dividing light and dark through kinetic sculpture was one Conner returned to over a number of years, developing both large scale sculptures and maquettes. Condition Report: Some wear and flaking to the silver paint, notably to the edges of the plywood panels. General wear and tear consistent with the nature of the work and exposure to outdoor elements. Surface dirt throughout which would benefit from a light clean. Condition Report Disclaimer
λ SVEN BERLIN (BRITISH 1911-1999) HEAD OF A WOMAN Oil on board With studio stamp (verso) 51 x 40.5cm (20 x 15¾ in.)Provenance: The Artist's Estate Condition Report: Light surface dirt throughout. Inspection under UV reveals a thick green varnish but no obvious evidence of restoration or repair. Condition Report Disclaimer
λ ROY TURNER DURRANT (BRITISH 1925-1998) LANDSCAPE Oil on board Signed and dated 54 (lower left) 38 x 46.5cm (14¾ x 18¼ in.)Provenance: Acquired directly from the artist by the present owner Condition Report: Some light surface dirt and possible areas of yellowing to the varnish. Otherwise, in good original condition.Condition Report Disclaimer
λ JOHN NASH (BRITISH 1893-1977) WOODED LANDSCAPE WITH A ROAD Pencil, watercolour, pen and black ink Signed and dated 1919 (lower left) 34 x 34cm (13¼ x 13¼ in.) Provenance: From a Private Collection After the harrowing experience of the war years, Nash was keen to return to civilian life and re-engage with depicting the English landscape. In the summer of 1919 he and his new wife, Christine, spent time at Whiteleaf, Princes Risborough, where the present work is likely to have been painted. John's brother Paul, a constant painting companion throughout his life, also joined him there for several weeks in July. It was the beginning of enduring relationship with the Buckinghamshire landscape with the Nashes settling near Aylesbury in 1922. Nash frequently painted the surrounding landscape and Chiltern hills. It was a pivotal time in Nash's life with both he and his brother steadily establishing themselves as leading artists of the day. John had his first solo show at the Goupil Gallery in 1921 with an exhibition that totalled an impressive ninety works. At this time, John and Paul's work could scarcely be differentiated and although it was Paul who would go on to garner the greatest critical acclaim, John's work has always had a significant place in the portrayal of rural England. In his book Modern Masterpieces: An Outline of Modern Art (1940), critic Frank Rutter enthused: "John Nash has developed his unique aesthetic viewpoint and distinctive technical method steadily and logically until he has become one of the most sensitive and beautiful landscape painters of our time". Condition Report: The sheet is laid down at the edges to a further sheet of paper. There is glue residue visible, most notably to the upper left and right corners. There is light undulation to the sheet throughout. There are pinholes to the four corners with an associated tear to the lower right corner with some possible retouching. There is a horizontal line of staining to the upper edge and the upper section of the right edge. There is an additional pinhole to the lower right quadrant approximately 5cm from the lower edge. When unframed, there is a pencil sketch to the verso with annotations. There is discoloration to the verso of the sheet, not visible recto. Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) CLASSICAL WAY Bronze Signed and numbered 12/16 (to underside) and engraved inscription to plaque 37 x 53cm (14½ x 20¾ in.) exc. base Edition 2 of 5. Provenance: Direct from the artist's studio collection 'One of the reasons I love riding is that I love the way a pair of fine reins can control the movement of a massive form.' Angela Conner Please note that this work is signed and numbered 12/16 (to underside). Condition Report: Some light surface dirt with green verdigris to one side of the horse's torso and legs. There is a small patch of white ingrained dirt/verdigris to the opposite side on the horse's mane, under the raised hoof and to the horse's underside. The engraved plaque is loose from the base. Otherwise, in good original condition.Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) PAT DOHERTY Resin 36cm (14in.) High Provenance: Direct from the artist's studio collection Pat Doherty is a prominent Irish businessman and property developer who is known for his ownership of Harcourt Developments, a leading international property construction and management company. Doherty commissioned many works by Conner, including three garden sculptures for the development of Park West Business Park, Dublin - one of which is the tallest sculpture in Europe. Condition Report: Some light surface dirt with some marks and scratches commensurate with material used. Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) YALTA MEMORIAL Bronze and stone on a marble turntable base Signed, dated 1987 and numbered 4/16 35cm (13¾in.) High exc. marble base Provenance: Direct from the artist's studio collection In 1981, Conner was commissioned to produce the Yalta Memorial Statue to commemorate the hundreds of thousands of people sent back to the Soviet Union and Yugoslavia by the United Kingdom between 1944 and 1947. The sculpture was located opposite the entrance to the Victoria & Albert Museum, London. Unfortunately, not even a year after its erection, plans for its rebuild were made following a series of attacks and vandalism made to the sculpture. A new memorial was produced by Conner in 1986 for the same location in South Kensington, Yalta Memorial Statue (2nd), depicting 12 heads of tragedy - anger, pain, horror, determination. The funds were raised through the support of the Duke of Devonshire who held a party to launch a series of lithographs for sale which Conner produced examples of which are presented as Lot 30 and 31. Condition Report: Some light surface dirt. In good original condition.Condition Report Disclaimer
λ LUCY KEMP WELCH (BRITISH 1869-1958) GETTING IN THE HARVEST Oil on board Signed with initials (lower left); further signed, titled and dated July 1938 (to artist's label verso) 59 x 42.5cm (23 x 16½ in.)Provenance: Sale, Christie's, London, 7 November 1991, lot 70 Condition Report: Framed under glass. No evidence of retouching visible under ultraviolet light. The work appears to be in good original condition.Condition Report Disclaimer
λ CLAUDE ROGERS (BRITISH 1907-1979) SELF PORTRAIT Oil on canvas Signed and dated 37 (upper right) 80.5 x 46cm (31½ x 18 in.)Provenance: The Artist's Estate Acquired from the above by the present ownerExhibited: London, New Burlington Galleries, London Group, 37th Exhibition of Painting & Sculpture, 1938, no. 118 Sudbury, Gainsborough House, Claude Rogers 1907-79, October-November 1985, no. 4 London, Ben Uri Art Gallery, Claude Rogers: Paintings and Drawings, November-December 1992, no. 9 London, Belgrave Gallery, Claude Rogers and Elsie Few, 2002 (illustrated on the cover of exhibition catalogue) London, Ben Uri Gallery, Uproar! The first 50 Years of The London Group 1913-63, 2013-14, no. 37Literature: Philip Vann, Face to Face - British Self-Portraits in the 20th Century, 2004 (illustrated p. 160) S. Macdougall & R. Dickson (eds), Uproar! The First 50 Years of The London Group 1913-63 (illustrated p. 142) The 1992 Ben Uri exhibition catalogue notes that the picture was painted at Rodwell House, Baylham, Suffolk, while Rogers was staying with Helen Anrep and recovering from pneumonia. Condition Report: The canvas is not relined. There is some light surface dirt, but otherwise, in generally good condition. No evidence of retouching visible under ultraviolet light.Condition Report Disclaimer
λ PETER KELLY (BRITISH 1931-2019) INTERIOR IN THE MANNER OF VERMEER Oil on board Signed with initials (lower left) 34 x 27cm (13¼ x 10½ in.) Condition Report: Unexamined out of glazed frame. Light rubbing to the upper edge with a small line of gold pigment from the framing slip to the left side of the upper edge. Otherwise appears to be in good original condition. Condition Report Disclaimer
Loading...
