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Click here to subscribeAn early 20th century oak dresser; the superstructure with wavy cornice above shelves and the lower section with three graduated centre drawers flanked by two fielded panel cupboard doors, on baluster turned front supports united by a potboard-style dresser (137.5cm wide x 50cm deep x 214cm high)
A late 16thC to early 17thC, and later, heavily carved oak large inverted breakfront pedestal Sideboard, the upper part with central square panel mounted with the Royal Stuart James I coat of arms, approx. 50cm x 50cm, flanked by carved female and male figures each approx. 53cm high head to toe, above similar female and male figures on door fronts beneath, each approx. 58cm high head to toe; all wearing clothing that was fashionable in the late 16thC, the lower female figure wearing a crown and holding an orb, the other female figure carrying a pair of gloves and holding a pendant at her breast, the lower male figure slightly larger than the other figures, wearing a crown and holding a sword in his left hand, the other male figure carrying a book. The whole piece constructed from carved patterned panels, friezes carved with mermaid angels, pillars, pilasters and decorative devices, W 279cm x H 250cm x D 71cm. Provenance: Sand House, Sidbury, East Devon - Owned by the Huyshe family since 1560; the house was rebuilt by Roland Huyshe in 1594 during the reign of Elizabeth I. It is believed, by family tradition, that there was a grand fireplace surround, with oak panelling and carvings, installed at around this time. A descendent modernised and remodelled the property in the mid 19thC. It is thought that the grand fire surround was dismantled and pieces from the surround, together with wall friezes and panelling, were made into this sideboard which has remained, from that time until this, at one end of Sand's Tudor Great Hall.
oval, the pull-off cover with reeded silver rim and a mother-of-pearl and silver inlaid tortoiseshell panel, centrally engraved 'W. Madgwick 1730', the base with silver sides and a tortoiseshell base10cm wideProvenance: Bonhams, London, 4 June 2008, lot 52.There are apparently no hallmarks. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the engraving. There are some chips to the tortoiseshell around the silver inlay. The tortoiseshell plaque is slightly loose within the cover.
oval and on four tapering panel feet, with reeded rim, engraved with foliage centring a cartouche with an engraved crest18cm wide, 4oz 15dwt, 147grProvenance:Woolley and Wallis, 16 April 2013, lot 1093.Fully marked underneath. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the engraving. Rocks slightly when placed on a flat surface.
oblong casket-form and on four panel feet, the hinged cover engraved with lines and centring an inscription, opens to reveal two differing silver-mounted glass ink-bottle and a central circular box, contained in fitted velvet-lined and brass-mounted oak boxthe inkstand 25.7cm wide, weighable silver 57oz 7dwt, 1,784grThe inscription reads ‘Presented to Matthew Holbeche Bloxam, Esquire by the Justices Attending The Rugby Bench, on his Retirement from the Office of Clerk To the Petty Sessional Division, As a Token of Personal Regard and in Testimony to the Accuracy, Punctuality, and Sound Judgement With Which for Upwards of 40 Year He Fulfilled The Duties of Their Legal Adviser July 18th 1871’.Fully marked on back and part marked inside cover. Further marked on base and cover of circular box and on neck mount and cover of glass bottles. The marks are generally clear. With retailers label inside cover of wood box. There is some surface scratching and wear to the silver overall. The wear is noticeable as a softening to the engraving. The two glass bottles are differing in shape and colour. One bottle is cut-glass and the other is moulded glass. There are chips and scratches to the bottles overall. There is some bruising to the internal supports for the bottles. There are some scuffs, marks and discolouration to the wood box.
tapering oval and on four panel feet, with two angular handles, the conforming detachable cover with reeded loop handle27.5cm wide, 33oz 12dwt, 1,046grFully marked near rim and on cover bezel. Further part marked on handle. There are some overall surface scratches and wear, consistent with age and use. There are some areas of heavy bruising to some of the lobes and some repairs in these areas.
oblong and on four stepped block feet, the front and back each with a glazed panel revealing a playing card, the hinged cover opens to reveal two decks of Victorian playing-cards in spring-loaded red leather compartments13cm highFully marked on base. The cover further part marked. There is some wear to the marks in places, particularly the marks on the cover which are only partly visible. There is some overall surface scratching and wear, consistent with age and use. There are also some minor bruises, particularly noticeable on the clasp. There is some wear and damage to the red leather inside. The spring underneath the leather compartment is possibly replaced. There is some wear to the playing cards. The spring is a bit strong and the clasp is slightly loose so the cover has the tendency to spring open.
square and with shaped corners, with fluted panel feet and reeded rim20.5cm square, 12oz 11dwt, 452grFully marked underneath. The marks are clear. Further stamped 'Reproduction 1732' and numbered 32757. There is some minor surface scratching and wear, consistent with age and use. There some minor areas of pitting to the surface.
Charles Towne (1763-1840)Landscape with figure tending sheep and cattle Signed and inscribed, oil on panel, 16.5cm by 21.5cmCovered in a layer of dirt and discoloured varnish. Fine stable cracquelure mostly throughout, likley old clean, possibly slightly abraded surface in parts. Very slight convex bow to panel which is not presenting any immediate risk of splits or any associated concerns. Minor rubbing to extremities, evidence of fine relatively consistent retouching to part of the sky. Otherwise in a broadly good and stable state of preservation.
Attributed to John Frederick Herring Snr. (1795-1865)"The Flying Dutchman"Indistinctly signed and dated 1849, oil on canvas laid onto panel, 65cm by 83cm Provenance: Tennants, Summer Fine Art Sale, The Property of the Lady Clarissa Colin, 25th July 2014, Lot 568The Flying Dutchman (Bred 1846) winner of the Derby at Epsom and the St Leger at Doncaster 1849. Rider - G Marlow, trained by J. Fobert. In 1850 won the Emperor of Russia's Cap at AscotRepaired horizontal split just below centre secured with three wooden staples (see images). Covered in a thick layer of dirt and discoloured varnish. Vertical dark abrasion/scuff approx 0.5-1cm away from left-hand side edge mostly contained to lower 50%. Areas of fine stable cracquelure. Vertical narrow patch of slightly abraded paint approx 1.5cm in length (images can be supplied). Due to having been laid onto a panel the surface does have a tendency towards exaggerated flatness. Small loss to upper left-hand corner including panel, some general retouching to edges slightly more consistently to lower left-hand corner, possible strengthening to the outline, nose, mouth, horses head and neck. Sporadic and fine retouching through old cracquelure within horses left shoulder, some likely over painting within the upper clouds approx 15cm from upper right-hand corner and no more than 8cm by 5cm overall approx.
Attributed to George Morland (1763-1804)Piglets drinking in a stableIndistinctly signed, oil on panel, 10cm by 13cmIn an overall good state of preservation. Cleaned a re-varnished, retains a reasonable amount of brushwork and impasto. Some minor re-touching to the darker shadows and outlines of the wooden slats of barn, odd dash within the water trough and around the animals mouths, the pig in the forefronts belly and some of the general definition elsewhere in a delicate manner. There is also a degree of very fine and subtle cracquelure. The two - 3 fine mostly horizontal lines evidently running from left-hand side edge are either the result of the surface slightly cracking in a uniform way or possibly the grain of the wood showing through. Some light surface dirt and discoloured varnish.
Robert Gemmell Hutchinson (1855-1936) ScottishAn apple a day - young child seated in an interior eating an apple with a churnsigned, oil on panel, 19cm by 13.5cmProvenance; Aitken. Dott & son, Edinburgh Glazed. In an overall good and original state of preservation. Isolated areas of fine, stable craquelure. Some small losses to inner edge of frame. Not examined out of the frame.
Abraham Hulk Snr. (1813-1897) Fishing smacks in inclement weather Signed, oil on canvas, 19cm by 29cm Fairly stiffly relined, (please note this is on canvas not panel) cleaned and revarnished. Now with general surface dirt and discoloured varnish in evidence. Surface somewhat flattened, paint thin in places as a result of the restoration process. Some frame rubbing to edges most notably to top and bottom edge. There is little to discern in the way of any retouching or intervention under a UV light accepting the possibility of any barrier varnishes or the like. Otherwise in a broadly good and stable state of preservation.
Circle of Paulus Moreelse (1571-1638) DutchPortrait of a lady, seated in a chair wearing a white ruff and black silk attire, holding a Bible Indistinctly inscribed and dated 1614, oil on panel, 75.5cm by 59.5cmBears Christie's stencils 337SK and 127JC to reverseChristie’s King Street on 27th February 1970 lot 20 for Gns 280 (£294) as “Cuyp”In restored condition. Two old vertical supportive plasters to reverse of canvas (see images). Cleaned and revarnished. The paint is thin in places particularly within the dark cloth immediately below and left of the lady's ruff, her left sleeve, parts of the hands (where the grain of the wood is more apparent) and elsewhere. Some areas of restoration infilling/overpainting has deteriorated and is visible by eye - especially in changing the finish or appearance of the varnish and surface mostly within the upper background. There are numerous retouches and swathes of overpainting with the background, likely of different dates in addition to her attire in general and where shadows and definition and the small slashes to the sleeves have been generally strengthened. Further areas of vertical retouching in line with the supportive plasters to the reverse and old splits to panel. The face displays more sensitive, delicate and smaller areas of retouching to old flaked paint in addition to the cap, ruff and the hands to a certain extent. Areas of fine stable craquelure. Diagonal scratch/scuff across her lower right shoulder, further very minor scuff approx. left hand collarbone, 2-3 tiny losses above her left hand. There is little to determine in respect of the signature and date under UV but appears abraided/interfered with by eye. Otherwise in a stable state of preservation.
Manner of Campin (c.1375-1444) Flemish Lamentation of ChristOil on panel, 30.5cm by 20cm Fully cradled panel. Covered in a thick layer of dirt of discoloured varnish. Covered in essentially fine stable cracquelure throughout the surface except at Christ's right pectoral and under arm which is more pronounced and has a more precarious appearance. Further vertical minor arranged area of cracking below Christ's right knee and a further slightly more evident crack to surface across middle of Christ's right foot etc. Slightly loose in frame with no particular signs of rubbings or abrasions by eye. Evidence of strengthening and retouching to the inner and outer outlines and definition of all three halos. Fine and sporadic retouches to old flaked paint or cracquelure within the mostly lower parts of the green robe worn by the left-hand side figure with one slightly larger patch just right of the foot and is no larger than 0.5-1cm overall. This is visible by eye. The retouching to the outer parts of the white fabric worn on the heads of the two right-hand side figures also shows signs of intervention likely of a different date. The small figure/s present between the two halos of the two right-hand side figures is possibly a later invention. Minor retouching to the lower and central parts of the crucifix with some possible retouching and overpainting to the upper vertical and horizontal. No evidence of retouching of a result of historical cracks to panel which appears stable at present. A degree of very minor rubbing to extremities
A Chinese Embroidered Silk Panel, Qing Dynasty, worked in colours and metal threads with peacocks amongst flowering branches122cm by 51cmMounted on a stretcher, but not framed, some fading and discolouration throughout, the silk backing perished in numerous spots with tear and patches lacking throughout, another patch detached but retained, next to the largest bird
Tent Wall-HangingProbably North Africa, mid/late 20th centuryComprised of eleven bottle green and deep burgundy niches beneath a reciprocal border panel, 730cm by 200cm approxThese panels were made and used throughout the Islamic world, from North Africa to India, to add decoration to the wall of large tentsThe backing, in good condition throughout
A Victorian Gilt and Gesso Firescreen, mid 19th century, the floral wool work panel within an acanthus decorated C scroll frame, with glazed panel and fabric panel to the verso, on an acanthus decorated baluster support with three scrolled cabriole legs and compressed feet50cm wide, 120cm high
A Good Brass Carriage Timepiece with Finely Engraved Panel Scenes, circa 1870, the elaborate floral and scroll engraved case, case sides and back door with fine engraved scenes of buildings, with boats and figures, top carrying handle, floral engraved silvered dial with Roman numerals, single chain fusee movement with a platform lever escapement, 16cm high over handleCase with small surface scratches, case very slightly discoloured in parts, dial is slightly discoloured, movement plates with slight staining marks, movement winding smoothly and in going order.
An Arched George II Mahogany Bureau Bookcase, circa 1750, the broken moulded pediment and turned finial above a sun burst marquetry panel, the moulded cupboard doors with later mirrors enclosing an arrangement of shelves, pigeon holes and small drawers all around a central arched cupboard door with pull-out candle slides below, the fall enclosing an attractive fitted interior, the base of four oak-lined graduated drawers, on bracket feet, 105cm by 58cm by 240cmGood quality timber. Slighty faded but uniform colour. There is a section missing to the moulding on the mirrored doors. There is also a small section of moulding missing above the lock where it has been forced open. Small section of timber missing on the corner of the fall. Small scratches (some deep). Side panels with general strengthening work around the bracket feet and small sections of moulding replaced around the base. Interior is generally good with just some deep scratches. The drawer are oak lined and run freely. Brasses seem to be original. The upper section interior is in good condition with the exception of the backboards which have some splitting.
An Imposing 19th Century Dutch Mahogany and Pine-Lined Press, the moulded pediment above a panel decorated with ebonised leaves and scrolls, and moulded cupboard doors with column supports with gilt metal capitals, the base with three long drawers all between fluted stiles163cm by 55cm by 249cmProvenance: Sir Graham Wylllie CBE
A Good Pair of Louis XV/Transitional Style Rosewood, Kingwood, Amaranth and Tulipwood-Banded Vitrines, late 19th century, with one original and one later violet brocatelle marble tops of breakfront form, the strung friezes and chiselled ormolu guilloche patterned mouldings above a central glazed door with moulded corners surmounted by acanthus leaves, with a parquetry decorated panel below flanked by conforming side panels above a leaf cast base, on square tapering legs119cm by 35cm by 160cm
A Barr, Flight & Barr Worcester Porcelain Inkstand, circa 1800, with swan neck handle over three inkpots and covers in a lobed base, with foliate and gilt crowned SB monogram in a panel, on a oeil de perdrix ground within gilt foliate borders, incised B and script mark18cm wideSome damage and repair.
Have I Got News for You - Two background panels televised for all 10 episodes of HIGNFY series 62, broadcast from October-December 2021, both of these panels have been signed by Ian Hislop and Paul Merton (Team Captains). Each board measures 150cm x 75cm (2). Provenance: These boards have been consigned by Hat Trick Productions and 100% of the proceeds will be going to Camden Giving. https://www.camdengiving.org.uk/Have I Got News For You is a British television panel show, produced by Hat Trick Productions for the BBC, which premiered on 28 September 1990.
Terrrahawks - Battlehawk replica model made by David Sissions in the 1980's similar to those used in the production of Terrahawks, the 1980s British science fiction television series produced by Thunderbirds creator Gerry Anderson in conjunction with Christopher Burr. It is constructed from fibreglass and features a silver and orange paint finish with detailed panel lines and weathering, approx. 52 cm long. No copyright is assigned with this item.
A Sèvres Porcelain Plate, date code for 1767, painted with scattered flowersprays within moulded feuille de choux borders picked out in blue and gilt, painted marks in blue, 24.5cm diameter; A Later Decorated Sèvres Porcelain Saucer, painted with birds in branches in a landscape vignette within scroll moulded borders hung with flower swags and with lattice, bears painted marks, 24.5cm diameter; A Sèvres Porcelain Plate, circa 1795, painted with scattered sprigs within a foliage meander and blue and gilt line border, painted marks in blue, 24cm diameter; A Paris Porcelain Plate, 18th century, painted in Cantonese style with dragons on a gilt ground within lattice panel borders, incised marks, 21.5cm diameter; and A Similar Plate, painted with leopards climbing trees, 24cm diameter (5)
A Chinese Kraak Porcelain Dish, early 17th century, typically painted in underglaze blue with geese in a river landscape within a panel border of foliage and precious objects, 36.5cm diameter; A Provincial Porcelain Saucer Dish, Ming Dynasty, late 16th/early 17th century, painted in underglaze blue with a dragon amongst cloud scrolls, 25.5cm diameter; and A Similar Small Plate, painted with a stylised bird within a barbed rim, 20.5cm diameter (3)
A Samson of Paris Porcelain Plate, late 19th century, painted in Chinese famille rose style with figures in a fenced garden in a scroll panel on a gilt scroll ground with flowersprays and panels of auspicious objects, 24cm diameter; and A Similar Plate, painted in Chinese Imari style with birds amongst blossoming branches on a scroll panel within underglaze blue, iron red and gilt scrolling foliate borders, 23cm diameter (2)Samson plate, free from chips, cracks and repairs, similar plate, large rim chip, short hair crack to the rim
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