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Click here to subscribeANDREW LAW (SCOTTISH 1873-1967) DEAN PARK, KILMARNOCK Oil on panel board, signed, 22 x 28cm (8.5 x 11") Condition Report:On very close inspection very light, approx. vertical indent line, in proximity to lower right edge, only visible viewing against light. Panel and pigment in good condition and no significant issues
JOSEPH CRAWHALL RSW (BRITISH 1861-1913) FIGURE STUDY HEAD AND SHOULDERS WEARING A HAT Sepia ink drawing, 5 x 5cm (2 x 2") Inscribed with a personal message on the wooden backing panel 'Alan, ...' Provenance: The Artist's Family Condition Report:On close inspection the odd tiny spec and loose hair fragment with discolouration in the paper around the edges
SIR DAVID MURRAY RA HRSA PRI RSW (SCOTTISH 1849-1933) SUNSET LANDSCAPE Oil on panel board, signed and inscribed 'To John Miller Xmas (18)91', 13.5 x 20.5cm (5.25 x 8") The Fine Art Society Ltd label verso Condition Report:On very close inspection extremely fine cracking in the pigment lower left edge area and a very slight incised horizontal line in pigment upper right quarter section, overall in fairly reasonable condition.
E BARNES (BRITISH 19TH CENTURY) PAIR OF DUCKS WITH DUCKLINGS Oil on panel board, signed and dated 1868, 30.5 x 40.5cm (12 x 16") Condition Report:On close inspection there are two small areas of pigment loss to the left of the head of the upper placed duck and some craquelure evident in areas of the same duck's neck and head
LILIAN STRANG NEILSON (SCOTTISH 1938-1998) SUNRISE OVER A SEAWALL, CATTERLINE Oil on board, signed lower centre, 106 x 121cm (41.75 x 47.75") Title inscribed to label, and date (1963) inscribed in ink verso Condition Report:Painting shows signs of marking, lifting collage areas, wear and damage to board. Edges of wooden panel are jagged, some splintering wood and peeling paint particularly below artist's signature. Collage and mixed media element of work does have intended scratched/rougher areas, but some wear may be related to age and handling also. Please refer to images and request any further photographs if required.
A SPIDER & FLY BROOCH the spider is set with turquoise and pearl and the fly with a ruby and pearls, mounted in yellow metal throughout, length of spider pin 3.8cm, fly brooch 3cm, weight 4.9gms, together with a 15ct gold turquoise set heart shaped pendant with locket back with hair art enclosed behind glazed panel, dimensions 1.7cm x 1.3cm, weight 3.1gms Condition Report:Available upon request
A YELLOW METAL & PEARL GUARD CHAIN WITH GARNET CLASP the bright yellow metal rope chain, is interspaced with pearls. The shield shaped clasp is set with a foiled back garnet, with engraved detail and a locket back containing hair art under glazed panel, dimensions 3cm x 1.8cm. Length of the chain approx as it is doubled up 62cm, weight 21gms Condition Report:One end of the chain needs attention its hanging on by a thread, no hallmarks anywhere
A COLLECTION OF ANTIQUE JEWELS a yellow metal bombe shaped brooch set with turquoise, with granulation and wire work details. dimensions 1.8cm x 1.3cm, weight 3.4gms. A yellow metal locket brooch with pink guilloche enamel, and a black enamel frame, with plaited hair art under glazed panel, dimensions 1.8cm x 1.3cm, weight 2.5gms. a yellow metal bar brooch with pearl 'cherries' and further set with a rose cut diamond, length 4.8cm, pearls approx 4.4mm, weight 2.6gms. Finally a gilded white metal leaf brooch set with turquoise, dimensions 3cm x 2cm, weight 4.1gms Condition Report:" tiny turquoise missing from the bombe brooch, gilding pretty much gone from the leaf brooch, otherwise all items light general wear
A VICTORIAN TOOTH & HAIR MOURNING LOCKET in yellow metal with black champleve enamel decoration to the case. Inside the locket is an inscription ' My only child born 1st October 1831, died 9th March 1857 at Bushire Persia. Lieut. 78th Highlanders' with a lock of hair. The outer case is set with a yellow metal mounted baby tooth, under glazed panel. Dimensions with bail, 4.6cm x 2.6cm Condition Report:Some small looses to the enamel, none full thickness. Where the tooth is is a bit dusty inside.
LUDWIG BRUCK-LAJOS (HUNGARIAN 1846-1910) YOUNG LADY IN A FLORAL BONNET, PARIS Oil on panel, signed and inscribed 'paris', 53.5 x 44cm (21 x 17.25") Condition Report:As a result of the panel having slightly slipped inside the slip there are framing lines, where the edges have disturbed the pigment, visible along top ang left edges. Generally in good condition and no significant issues.
ELIZABETH MARY WATT (SCOTTISH 1886-1954) MERMAID Mixed media on panel, signed and dated 1933, 24.5 x 29.5cm (9.5 x 11.5") Condition Report:On inspection there are traces of a white pigment located in the lower right quarter section and in general there are a few very light scratches to the surface.
WILLIAM BIRNIE RSW RGI (SCOTTISH 1929-2006) FROM THE ENDRICK Oil on panel, signed lower right, dated (19)89, 59 x 54cm (23.25 x 21.25") Title inscribed verso Condition Report:On inspection there are some surface scratches and faint dots apparent on the left side of the painting, the panel is slightly loose in the frame. The framer's tabs are touching the painting at the very bottom. Overall the panel and the paint seem to be in good order with no significant issues.
An 18ct gold signet ring, designed as a shield-shape panel, with grooved sides and slightly tapered band, hallmarks for Birmingham, ring size Y, 11.2gCondition- Overall good to fair condition- Some marks and scratches, in keeping with age and general wear- For enquiries about this lot please contact David Pregun at david@kinghamsauctioneers.com
Intaglio 18ct yellow gold ring, the oval blue glass panel with Roman centurion's head intaglio, rubover set, rope twist surround, applied scroll and rope twist decoration to the mount, stepped shoulders with rope twist design, the shank with inlaid rope twist detailing, size of head approx 22.5 x 17.5mm, ring size R
Art Deco diamond and black onyx unmarked yellow gold and platinum set stick pin, the circular head set with twenty-five small round eight cut and rose cut diamonds, circular black onyx panel, millegraine detailing; together with a sapphire and diamond unmarked yellow gold and platinum set stick pin, the central square mixed cut blue sapphire measuring approx 4.5mm x 4.5mm, total of ten small round eight cut diamonds set to chevron shoulders, millegraine detailing (2)
David Roberts (British, 1796-1864). Oil on panel painting depicting an interior scene of a cathedral, with groups of figures praying and walking toward the altar. The scene is dramatically lit by the sunlight angling in from the tall windows along the right side of the composition. Signed along the lower left.Sight; height: 15 1/4 in x width: 11 1/4 in. Framed; height: 23 3/4 in x width: 20 in.
El-Fayum portrait of a lady. Ancient Egypt, Er-Rubayat period, P. Romano, ca. 121-245 AD.Wood and pigments.In good state of preservation.Carbon 14 test attached.Provenance:- Found in er-Rubaiyat, Egypt, before 1903.- Theodor Graf (1840-1903), Vienna.- Private collection of engineer Claes A. Philip (1912-2000, Sweden), acquired by inheritance. He was a passionate collector of antiques, old paintings, Asian works of art, European furniture and decorative arts. His eclectic home was spectacularly presented in Trollesund Säteri until 1965, thereafter at his home in Stockholm. Behind the frame is a label as an exlibris of the collection, as well as a handwritten note cataloguing the piece.Enclosed are old photographs of the piece in the collector's home, as well as a copy of the collection's inventory page with the piece.Publications:-PARLASCA, Klaus. Ritratti di Mummie. Repertorio d'arte dell'Egitto Greco-Roman. Volume IV. Rome. Series B.N.823 fig. 3.Size: 34 x 17.5 cm.The present panel was part of the first collection of portraits of El Fayum assembled by the Viennese antiquarian Theodor Graff in the late 1880s, an important compilation that introduced this genre of portraiture to the Western world. Theodor Graff was a carpet and art dealer who, in 1887, acquired more than 300 portraits of mummies such as the one presented here. He exhibited the pieces in various places in Europe and America to great public acclaim, selling them to various institutions and private collectors. The success of his collection led him to supply portraits to the most important international museums, from the British Museum in London to the Metropolitan in New York.The Fayum portraits are realist-style paintings on wood that originally covered the faces of mummies from the Roman province of Egypt. They are part of the tradition of panel painting, a highly respected discipline in the classical world, and are the only major ensemble of this tradition that has survived to the present day. It was continued in the Byzantine and Western traditions of the post-classical world, including Egyptian Coptic iconography.They have been found throughout Egypt, but are most common in the Fayum region, and date from the Roman period, from the 1st century BC onwards. Although it is not known for certain when their production ended, research suggests that it was around the middle of the 3rd century. Often, given the realism of these portraits, they can be dated by the type of hairstyle, jewellery or clothing.These portraits covered the faces of mummified bodies, complementing the traditional cartonnage of Egyptian mummies. They usually depict a single person, showing the face or head and upper torso, always with a frontal view. Stylistically, these images are directly inherited from the Greco-Latin tradition rather than the Egyptian one. In fact, the population of the Fayum area grew considerably as a result of a wave of Greek immigration during the Hellenistic period.In terms of technique, there are two groups of portraits: those painted in encaustic, using wax, and those painted in tempera, although they are always on wood.These works are of exceptional historiographical interest as they illustrate the meeting point between Greek painting, Roman realist portraiture and Ancient Egyptian religion. In fact, the Egyptians believed that their funerary portraits should be as realistic as possible so that they could be clearly recognised after death.
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