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Lot 78
A sapphire and diamond cluster ring, centred with a pair of rectangular step-cut sapphires, bordered by round brilliant-cut diamonds in channel setting, between tapered sapphire set shoulders, white precious metal mounted, stamped '18K', total diamond weight approximately 0.20ct, ring size NCondition report: Sapphires are mostly well matched, of dark blue hues, some stones with colour zoning that is just visible to the unaided eye. All sapphires have chips, nicks and surface wear. Diamonds are well matched, bright and lively, with estimated VS2 to SI2 clarity and H to J colour, assessed mounted. The ring mount is of modern manufacture with scuffs, scratches and nicks/chips throughout and a patchy yellowish finish to the shank, suggesting wear to the rhodium plated finish. Shank also stamped 'AM' and numbered. Length of central panel 1cm. Gross weight approx. 4gm.
Lot 80
A collection of antique and later jewellery, to include a Victorian conch shell cameo brooch, the oval cameo carved to depict the profile of a bacchante, framed by beads and foliate scrolls, a smaller conch shell cameo brooch, a Victorian silver and hardstone panel brooch, modelled as a cross, (later fitting), a 19th century half pearl and hairwork memorial brooch, (later fitting), three white paste buckles, two stick pins, an enamel buckle, and a stainless steel cased wristwatch signed E. Bucherer, with unassociated bracelet, (all half pearls untested for origin), first brooch length 5.9cm (11)
Lot 81
A collection of antique cameos, comprising a coral corallium rubrum cameo brooch, carved to depict Dionysus, the Greek god of Wine, holding a thyrsus, with white paste border, a shell cameo brooch, carved to depict Zeus and Hera, the Greek King and Queen of Olympus, gilt metal mounted, a smaller shell cameo brooch, carved to depict Hermes, the Greek messenger of the gods, also gilt metal mounted, and a shell cameo panel, with ropetwist wirework edged buckle mount, first brooch length 4.1cm (4)
Lot 83
An enamel and half pearl pendant, centred with a circular green enamel panel with half pearl highlight (panel loose), within a white enamel hoop-shaped border spaced by further half pearls, suspended from a later unassociated silver-gilt brooch surmount of Celtic design, (half pearls untested for origin), pendant length only 3.3cmCondition report: The green enamel panel is loose from the mount and requires repair. Surface wear, scuffs, chips and nicks to green enamel. Chips, losses, pitting and scuffs to white enamel. Greyish discolouration and fractures to half pearls. The pendant mount is possibly gilt metal, with dark grey areas to the sides, either as a result of wear to the gilding or due to possible dark solder repairs. The mount has chips, dings and scuffs and is missing a panel/glazed aperture to the back. The unassociated brooch surmount has general surface wear and the pin is stiff to operate. Combined gross weight (including later silver-gilt surmount) approx. 13gm.
Lot 93
A collection of jewellery, comprising an oval shell cameo brooch, the foliate scroll decorated mount stamped '18CT', a coral corallium rubrum bead multi-strand collar necklace, with belcher-link extension chain, two panel brooches, a micromosaic hat pin, and an amber coloured bead necklace, first brooch length 5.4cm (6)Condition report: Approximate gross weights only: cameo brooch 16gm, coral necklace 21.5gm, amber coloured necklace 19.4gm.
Lot 98
A collection of jewellery and watches, comprising a yellow precious metal fancy-link bracelet, designed as a series of openwork scrolled links, highlighted with turquoise coloured cabochons, (two cabochons deficient), a French green and white paste ribbon bow panel brooch, with boar's head mark and lozenge-shaped maker's mark, two white paste clip brooches, a white metal open face pocket watch, a silver mesh-link purse, a cabochon set stick pin, a wristwatch by Lanco, two wristwatches by Casio, assorted further jewellery and costume items, first bracelet length 19.5cmCondition report: Gross weight of first bracelet only: 9.2gm (metal standard untested).
Lot 99
A collection of jewellery, comprising a diamond four stone ring, 18ct white gold mounted, an opal panel ring, 9ct gold mounted, an opal five stone ring, also 9ct gold mounted, an opal single stone bar brooch, stamped '9C', with base metal pin, a rock crystal locket pendant, a gilt metal locket pendant, a 9ct gold wedding band, a 9ct gold multi-band ring, and two 9ct gold cased lady's bracelet watches, each with gilt metal bracelet, first ring size J½ (10)Condition report: Approximate gross weights only: diamond ring 2.8gm, opal panel ring 2gm, opal five stone ring 0.7gm, bar brooch 2.3gm, rock crystal locket 12.5gm, gilt locket 1.9gm, wedding band 2.4gm, multi-band ring 3.9gm, Omega watch 14.2gm (including bracelet and movement), Avia watch 9.9gm (including bracelet and movement).
Lot 258
Ten vintage bracelets, a Czechoslovakian gilt metal bracelet set with greenpaste, 17mm wide length 16.5cm; a faux rectangular cornelion twelve panel bracelet with clear paste, 22mm, 17cm; a red paste articulated bracelet, 19mm, 17.5cm;link bracelet with five plastic cameos, four row shell bracelet, 35mm, 18cm; two art Deco style bracelets, one turquoise colour, one red; enamel bracelet with ten splatter links, gilt bracelet with ten blue opaque glass discs.
Lot 273a
19th century Continental gilt white metal and enamel vinaigrette of cushion form having top and base panels hand painted with lovers and embracing cherubs, the hinged lid opening to reveal a circular pierced gilt grille with sponge, and stamped 'AG' and 'A'. Slight defects to the enamelled panel of lovers, 20mm diam, 10mm deep and mounted on an unmarked white metal long and short link chain
Lot 3053
A Georgian Gilt Metal Masonic Pendant Locket/Jewel, circa 1800-1820, of oval form, the fascia applied with masonic symbols in cut card, gilt metal and sequins on a painted field, enclosed by a gilt and black verre eglomise panel, the reverse backed in card later numbered 1737, with silk ribbon bow to the suspender loop, 6.5cm by 4.5cm.
Lot 3064
A Quantity of Militaria, including a French campaign eating set comprising bone handled folding knife, fork and spoon, combined condiment holder, corkscrew and tumbler in a leather case, a copper powder flask, a pair of box spurs, Silver War Badge, a cockpit instrument panel, a Radiant Night marching compass, two Scottish swagger sticks, a leather show stick, puttees books etc
Lot 3180
A Late 19th Century Nepalese Kukri, the 29cm curved steel blade with three narrow fullers to the back edge, with nickel bolster, ivory knopped grip and wood pommel, the silver scabbard pierced and embossed with foliage, inset with a foliate chased gold panel and blue velvet panels, 43cmCondition report: Small areas of black patching to the blade. Small dents to the silver scabbard.
Lot 3223
A Bambara Chi-Wara Female Antelope Crest Headdress, Mali, the tips of the tall wrythen fluted horns with leather and hair tassels, a calf standing on her back, 77cm; a Luba Female Votive Figure, D.R.C., carved in bas relief on a pierced arched rectangular panel standing with arms upraised and wearing a bead necklace, 33cm by 22cm (2)Condition report: 1 - Tip of calf's horns and ears chipped. Base has a small piece of wood missing to left side. Waxed patina.2 - Grain splits through body and arched top.
Lot 3235
A 19th Century Berber Wood Powder Flask, Tafilalt, Morocco, carved from a single piece of wood, the semi-drum shaped receptacle with large cork stopper to one side, the opposing side carved in low relief with cross within a circular panel, the shoulders set with steel suspension loops and leather thong, with tapering hexagonal charger, lacks metal rim and stopper; 13cm diameter, 24cm high including charger.Condition report: Nice patina, the nozzle is missing its metal collar. Some bruising, but no damage.
Lot 112
Kris mit goldfarbener NagaIndonesien/Java, 20. Jh., Dolch mit geflammter Klinge (11 Luk), mit fließender Pamorstruktur und goldfarbener Naga, die Heftzwinge verziert mit kl. Glassteinen, das Holzheft geschnitzt mit leicht abgewinkeltem Knauf und floralen Partien, die Holzscheide vorderseitig mit geschnitztem Panel aus Blätterwerk und mit zwei aufsteigenden Nagas, rückseitig mit Garuda, L: 36/47 cm (+ Scheide). Scheide rückseitig mit kl. Löchlein. Provenienz: Stuttgarter Sammlungsnachlass Otto Heck, erworben in den 1960er-1980er Jahren.
Lot 117
A good Second War ‘1944’ D.F.C., ‘1940’ D.F.M. group of six awarded to Wellington and Lancaster navigator, Flight Lieutenant A. H. Bird, Royal Air Force Volunteer Reserve, who flew in at least 50 operational sorties, mostly with 149 (East India) and 101 Squadrons, and including the first Thousand Bomber Raids to Cologne and Essen whilst attached to No. 15 O.T.U. Distinguished Flying Cross, G.VI.R., reverse officially dated ‘1944’; Distinguished Flying Medal, G.VI.R.; (520519. A/Sgt. A. H. Bird. R.A.F.) 1939-45 Star; Air Crew Europe Star, 1 clasp, France and Germany; Defence and War Medals 1939-45, mounted for wear, generally very fine (6) £3,600-£4,000 --- D.F.C. London Gazette 14 November 1944. The original Recommendation states: ‘Flight Lieutenant Bird has won the admiration of his Squadron by his resolute determination and cheerful courage throughout his second operational tour of duty. Undismayed by the strongest enemy opposition, he has, at all times, continued to display outstanding navigational skill and ability. He has also rendered valuable assistance to younger and less experienced navigators.’ D.F.M. London Gazette 22 October 1940. The original Recommendation states: ‘Sergeant Bird’s work as an Observer in this squadron has been exemplary and deserves special recognition. He has been employed continuously on night operations since April 1940 and has now completed 26 operational flights. In every one of these operations, his navigation and bomb aiming have been excellent. Many of the recent operations in which he has participated were made in unfavourable weather conditions, often necessitating flying in the face of intense and accurate anti-aircraft fire. Under such conditions, Sergeant Bird’s conduct and bearing have been excellent. In spite of very heavy anti-aircraft fire, he has on many occasions accurately directed his pilot onto the target and has often asked the pilot to make a second and even a third bombing run in order to make a more accurate sight on the target. By such devotion to duty in the face of severe opposition and by the industry that he always displays in his navigational and bombing duties, Sergeant Bird has been largely responsible for making his crew the most efficient in ‘A’ Flight. Remarks by Station Commander: An exceptionally capable Air Observer. On the night of 1st/2nd August 1940, in extremely poor weather conditions, he navigated his aircraft to the target, the oil plant at Kamen. He did excellent work in locating the target. Bombs were dropped very accurately and large fires started which acted as a beacon for following aircraft. Very strongly recommended.’ Alfred Herbert Bird enlisted in the Royal Air Force Volunteer reserve in 1939, and carried out his initial training at Air Navigation School, Cheltenham from May 1939. After further postings, including 11 F.T.S. Shawbury, Bird spent November 1939 - February 1940, briefly at 148, 75, 215 and 214 Squadrons. Bird was posted for operational flying as a Navigator to 149 (East India) Squadron (Wellingtons) at Mildenhall in April 1940. A night-bomber unit, Bird was crewed with Flying Officer R. A. Cruickshank (later D.F.C. and Bar, and killed in action) as his pilot, and flew in at least 28 operational sorties with the Squadron, including: Stavanger; Aachen; Namur; Dinant, 25 May 1940 ‘Road Bridge Destroyed. Convoy Hit’ (Log Book refers); Dunkirk, Heavy Gun Positions, 2 June 1940; Dusseldorf; Abbeville; Soissons; Les Andeleys; Milan, 16 June 1940, ‘Caproni Aircraft Works Hit. Thunderstorm Over Target’ (Ibid); Hann Marshalling Yards; Bremen; Delenhorst; Duisberg; Bremen; Dortmund, 25 July 1940, ‘Flak Splinters Through Bombing Panel’ (Ibid); Kamen Synthetic Oil Plant, 1/2 August 1940, ‘Target Destroyed’ (Ibid); Homberg; Soest; Frankfurt, Deschaffen Aerodrome; Mannheim; Kiel; and Baden-Baden. Having completed his first tour of operations, Bird was posted as an instructor to No. 15 O.T.U. at Harwell in September 1940. Whilst stationed with the latter, Bird took part in the Thousand Bomber Raid to Cologne, 30 May 1942, and the 2nd such raid to Essen, 1 June 1942. He was posted to 1667 Conversion Unit in December 1943, and briefly to 550 Squadron, prior to returning to operational flying with 101 Squadron (Lancasters) at Ludford Magna in January 1944. Bird was primarily crewed with Squadron Leader C. B. Morton (’C’ Flight Commander) as his pilot, but also flew on a number of operations with the Squadron C/O Wing Commander R. I. Alexander as his pilot. Bird flew in at least 20 operational sorties with the Squadron, including: Berlin (6), including 30 January 1944, ‘3 Combats On Bombing Run, 2 Ju. 88’s. 1 Me. 110. Strikes On All 3 Aircraft’ (Log Book refers); Stuttgart; Frankfurt (2); Nuremburg; Aachen; Freidrichshaven; Maintenon (Group Captain King being his pilot for this raid); Rennes; Orleans; Duisberg; Dortmund; Bourg-Leopold; Les Hayons and Dom Leger. After completing his 2nd tour of operations, Bird was posted to 21 O.T.U. at Moreton-in-Marsh in July 1944. He advanced to Flight Lieutenant, served in the Training Branch, and relinquished his commission in June 1966. Sold with recipient’s Royal Air Force Observer’s and Air Gunner’s Flying Log Book (31 May 1939 - 2 August 1945); MOD Letter addressed to recipient on the occasion of relinquishing his commission, dated 20 May 1966; named Buckingham Palace enclosure for D.F.C., enclosure slip for campaign award and three group photographs.
Lot 219
A Royal Worcester cabinet platepost-warpainted with a central still life panel of fruit by H. Henry between broad acid-gilt decoration to the remainder of the plate, artist signed, printed factory mark in gold and with a gilt-lined foot rim, 27.2cm diameterCondition report: In a good condition with no cracks, chips, damages or any repairs. There are a couple of slightly darker marks to the gilding around the rim, but not particularly disfiguring - please see additional images. The painted panel remains in a good condition with no rubbing or scratches.
Lot 237
Thomas Henry Kendall: The Chapel Street Ceiling (part)Comprising eight Californian red pine and mixed wood coffered panels, the geometric mouldings having floret bosses at the intersections, 284x145cm, 190x166cm (x2) 234x167cm, 282x166cm (x2), 210x144cm and 190x145cm, a triangular section, 157x176x235cm, eight moulded dentil ribs, 197cm (x3), 147cm (x3) and 148cm (x2), and four drop pendents, 30cm, together with a moulded window arch, 292cm wide x 102cm high, with its two supporting half-column Conrinthian pilasters, 135cm high, and other elements.Footnote: Footnote: The ceiling and window mouldings are illustrated in The Conoisseur Magazine of 1956 in an article by Denys Hinton A.R.I.B.A. and briefly described, "The rooms themselves have an architectural quality . . . and resemble a provincial version of Sir John Soane's Museum. Two semi-circular arched windows spring from attached Conrinthian columns, in timber . . . beneath a heavily coffered ceiling in woods of four different colours . . ."Condition report: This lot has been left in 'as found' condition for the purposes of sensitive restoration. It does not constitute the whole ceiling from the Chapel Street showroom but a part thereof. Dry stored since 1957 and so all elements have degrees of surface dust and grime. General wear and discolouring throughout. A few small areas of old worm. Some missing and loose elements to all items including dentil blocks and some of the carved florets. Ceiling panel red pine planks fair with splits to some. Two of the columns are good, one column lacking its capital and there is an associated spare capital carving. Arch has stress splits to each end. Please refer to images.
Lot 243
A 19th century Syrian, square, hardwood and walnut occasional table, inlaid with bone and white metal and profusely inlaid with mother-of-pearl floral sprays and foliage, the top with a large inset panel, with scrolling foliate borders above conforming fielded panelled sides, each with a lower ballustraded section with a shaped apron below, raised on turned feet, minor damage and losses, 61cm wide x 61cm deep x 70cm highCondition report: Overall - pretty good condition, save for some small chips, including the feet and missing one balustrade and several mother-of-pearl leaves, including one on the top. Evidence of old woodworm.
Lot 269
A French ormolu and porcelain clock garniture, late 19th centuryThe clock with urn finial above an arched case with leaf-capped scroll spandrels, on a plinth base with further small vases, raised on toupie feet, inset with Sevres-style porcelain, a panel forming the dial finely painted with a bucolic scene, the segmented chapter ring with black Roman numerals around a vignette of putti amid clouds, all within gilt borders on a bleu celeste ground, the flanking ewers, possibly associated, of amphora shape and decorated with flower sprays, clock 48cm high, ewers 32cm high.
Lot 283
A good George III mahogany, serpentine fronted chest of drawers, or commode, crossbanded and inlaid with floral marquetry and boxwood stringing, the moulded top with a central oval panel above 4 well-figured, graduated and cock-beaded long drawers, flanked on each side by a canted corner inlaid with a trailing floral festoon, the sides of the commode curved, raised on shaped bracket feet, inlaid with stringing and unusually the each front canted corner inlaid with a stylised acanthus-type flower, some minor damage, losses and restoration, 109cm wide x 64cm deep x 97.5cm highFootnote: It is common to find the canted corners of these late 18th century chests showing blind fretwork, but unusual to find them inlaid. It is still more rare to see marquetry decoration and more rare still to see the canted corners of the bracket feet inlaid with marquetry. This example has both these features. it begs the question, who made this. Lot 64 sold on the 18th of November 2009 at Bonhams Bond Street for £19,200 (including premium), shares very similar marquetry canted corners. The floral pendants are strikingly alike, but there are no other significant comparisons to be made.Clearly, the maker of this commode was of note. Whether it was someone like Henry Kettle, who incorporated oval medallion inlaid tops and inlaid canted corners on his George III serpentine fronted mahogany commodes (see lot 44 in Bonhams' Bond Street sale on the 11th of march 2015), it is difficult to say.Henry Kettle was based in 18 St Paul's Church Yard, London, from circa 1773. In 1774 he took over Philip Bells' business (number 23 St Paul's Church Yard). He is known to have operated until circa 1797 and to have made shaped chests, or commodes, as well as wardrobes, Pembroke tables and bookcases. He supplied Saltram house, Devon and Wolverley House in Worcestershire; other commissions included Longford Hall, Salop. Condition report: Some damage including chips along back edges and especially lower edge of moulding beneath bottom drawer and 14cm vertical crack back of left side. Dents consistent with age and use, including canted corners and top. Top with old patinated ring stains and marks and slight loss of colour.Losses, including 3cm x 2cm patch back left of top, 6cm section back of right side edge and much of border veneers of bracket feet. Water staining on feet.Restorations, including 5cm x 5cm rectangular patch and 2cm circular patch front left of top and left side of oval panel. Later handles, but sensitively done and so no visible dowels etc.Overall lovely colour, figuring and originality.
Lot 292
A Victorian, Louis XV style, marquetry and inlaid walnut veneered and gilt metal mounted serpentine table, the cyma reversa moulded top inlaid with a vase within an oval panel, bordered by kingwood crossbanding around a boxwood and ebony strung band, the shaped frieze with conforming stringing and a central drawer, raised on square cabriole legs terminating in sabots, 128cm wide x 81cm deep x 72cm high.Condition report: The top has a section of veneer raplaces obove the central medallion. There are a few very small veneer patches to the top and some very small chips to the edge. Some typical very fine fractures all around the moulded edge. Two fine splits to the frieze adjacent to one support. Minor cosmetic marks and signs of age and use throughout.
Lot 297
A 20th century French style mahogany four-poster bed, the ogee shaped headboard between tapering turned and knopped uprights, the matched footboard with moulded panel between reeded and knopped uprights, the moulded cornice supporting a padded canopy and embroidered textile pelmet, 140cm wide x 206cm long x 202cm high.Condition report: Headboard and footboard appear to be from similar but, nevertheless, different beds. Fair condition throughout with some cosmetic marks, dents and scratches to the wood elements - not disfiguring - consistent with age and use.
Lot 63
An Art Deco diamond and sapphire bracelet, designed as seven graduated openwork panel links set with a central oval or round mixed cut sapphire within rose cut diamond surround, each interspersed with square cushion cut diamond and sapphire links, set in white metal with integral box link clasp and attached safety chain, weight approx 21.7g (missing one rose cut diamond)Condition report: Largest sapphire measures approx 6.7mm x 6.1mm x 4mm deep, largest diamond measures approx 5mm x 5mm x 4mm deep, clarity range of larger diamonds estimated VS2-SI2, colour estimated H/I/J, smallest square cushion cut diamond measures approx 2.7mm x 2.7mm x 1.7mm, rose cut diamonds range from approx 0.01cts to 0.03cts, small repair to the link that's attached to the clasp link- some mis-shape/twist to the bar mount either side of a circular sapphire which has then had a small solder repair where it attaches to the central diamond on the link, some abrasion to the sapphire facet edges, a few small inclusions (both mineral and fractures) seen with 10x but not with the naked eye, sapphires are a bright medium blue one rose cut diamond (located next to the largest sapphire) is missing, general wear, appears to be testing as white gold and steel but cannot guarantee, clasp in working order but quite loose (can be opened without push mechanism), bracelet measures approx 9mm wide and 16.5-17mm long, refer to images
Lot 10
Anglo-Dutch School, circa 1700 Ferrying passengers; and Figures resting in a river landscapeoil on metal15.5 x 20.5cm, a pairCondition report: 28 x 33cm (framed)Both paintings are executed in oil on copper panel supports. There are some minor deformations to the copper panels but overall they are in a good condition. The paint layers have suffered from small scattered losses, but overall they are stable and secure. The scene with the bridge has extensive overpaint which has slightly darkened in the sky. Both pictures have a thick varnish layer which is glossy, even and yellowed. There are some light scuffs to the surface and abrasion around the edges with some accretions including house paint.
Lot 100
Follower of Guillim Scrots Portrait of King Edward VI (1537-1553) bust-length, in a black doublet encrusted with gold braid, wearing the chain of the Order of the Garter and bejewelled black hatoil on panel55.5 x 43cmFootnote: The present painting is based upon an official portrait of Edward VI (1537-1553) painted by the Flemish artist, Guillim Scrots (sometimes William; active 1537–1553). It is highly likely that the original version was produced in 1550 during the marriage negotiations between Edward VI and the daughter of Henri II of France, Elisabeth of Valois. This composition became a popular image and many contemporary and later versions were made, all with subtle differences. Perhaps the most notable of these is the full-length version in the Royal Collection that was acquired by Queen Victoria in 1882.Condition report: Framed 68 x 56cmThe painting is executed in oil on a wooden panel support with the wood grain running vertically. The panel has a slight convex warp. There are vertical splits running down the panel from the upper edge. The split at the centre of the painting has been reinforced from the reverse with a trip of canvas. The paint along this split is slightly raised. The rest of the paint layer is in a good, stable condition overall. Areas of overpaint are mainly located in the sitter’s face and along the splits. The overpaint is finely applied and reasonably well matched to the original. The varnish is even and semi-matte with a layer of surface dust present.Technical Notes*Panel The panel comprises three radially cut oak boards. Visible working marks on the reverse indicate that the panel has not been thinned. Dendrochronological examination was carried out by Ian Tyers on the two wider boards. One board was too narrow with insufficient rings to be of use. Both boards are oak which originated in the eastern Baltic, although from different trees. They had a last heartwood ring dating to 1569. There was no sapwood. A probable first usage date could be given after 1577. It is possible that the painting might date up to the last use of Baltic oak in c.1650, however, the earlier date seems consistent with our observations of the painting technique and materials, and it is likely that the painting dates from the late 16th or possibly early 17th century. Paint and ground layers A pale coloured ground lies over the panel, over which a thin streaky grey imprimatura has been applied. This can be seen through the paint in normal light, and also in digital infrared photography indicating the presence of carbon containing pigments.Underdrawing in a dry medium is visible in the face and neck in normal light, and appears much more intense with digital infrared photography. The drawing delineates the features and indicates modelling for example in the cheek where there are hatched lines. It is likely that the drawing has been transferred from a pattern, as was typical practice for the time. The paint layers do not follow the underdrawing exactly. It is possible that there is underdrawing in the torso, but it is masked by the black of the drapery.The paint layers have been built up in thin even layers, using what appears to be a limited range of pigments, and simple paint structure. The background has been laid in first, with a reserve left for the face. The hat, with reserves left for the jewels, then the face has been added, followed by the pillar and clothing, again with reserves left for the two jewels at the neck. The highlights on the costume, jewellery and curtain were then applied in a more bodied lead tin yellow, and the black pattern on the curtain in a more bodied black paint. The colour of the pigments are typical of the period, and the use of lead tin yellow to imitate gold rather than using real gold, indicated a date in the later 16th century. This sequential pattern of painting, rather than working up the whole picture at once, is typical of painting practice of the period.Other versions Catherine Macleod writes that a new portrait type emerged when Edward was about thirteen years old, and at least five full length versions are now known. Of these five, she considers the Louvre version the prime copy by Scrots. The Hampton Court version was the most widely copied in England, and is the one to which ours is closest. SummaryThe materials and techniques are consistent with late 16th and early 17th century Anglo-Flemish Painting.*The above report was completed by Katherine Ara Paintings Conservator & Restorer in December 2010
Lot 11
Charles Leickert (Belgian, 1816-1907) Winter scenes - Figures skating and sledging on a frozen river with a windmill beyondeach signed and dated 'C. Leickert 1889' (lower right)oil on panel23 x 29.5cm, a pairCondition report: 35 x 41cm (framed)Both paintings are executed in oil on wooden panel supports. The panels and paint layers are all in a very good, stable condition overall. The varnish layers are thick and uneven becoming yellow with age. There are a few light scuffs and scratches to the surface.
Lot 195
An elm country rocking chair, 19th century, the stick back with out scrolling arms supported by turned columns terminating on a solid wood seat raised on shaped rockers87 x 50 x 64cmProvenance:Birling Ashes, KentCondition report: General wear consistent with use, some scratches and knocks the frame especially the rockers and seatThe seat looks to have been re-enforced due to the back panel warping slightlySee photos
Lot 214
A George III mahogany and brass peat bucket, of navette form with brass swing handle37 x 37 x 27cmProvenance:Crepping Hall, SuffolkCondition report: Liner very dented and slightly mishapen, it is split to one corner of the baseBrass work has been cleaned, some screws look to have been replaced especially around the handleCoopered brasswork possibly re-attached due to differing colours to the woodOne wooden panel slightly loose, no signs of wormNo signs of worm, general wear consistent with age and use
Lot 26
Attributed to Francesco Londonio (Italian, 1723-1783) Shepherds resting with their herdoil on panel40.5 x 58.5cmCondition report: Oil on a wooden panel formed from a single board with a horizontal woodgrain with a vertical addition at the right hand edge. The panel is reinforced by two vertical battens which are slotted into channels at the reverse. The panel is in plane and in a good condition. The vertical join is apparent in the paint layer but stable. There are a few woodworm exit holes present in the support but this does not appear to be active. The paint layer is in a good condition overall. Areas of overpaint are present, mainly reinforcing the outlines of the figures and animals in the composition but also covering the join and areas in the background. The varnish is even and semi-glossy.
Lot 265
with gilded ormolu mounts with central glazed panel door with an inlaid figural panel below, flanked by concave glazed and panelled sections190 x 117 x 48cmCondition report: One leg broken due to extensive historic worm, carcass warped therefore the glass shelves do not fit, interior fabric tatty
Lot 292
the celestial blue ground bodies reserved with two oval panels, one painted with Watteauesque scenes, the opposing panels with rustic scenes of cottages in a landscape, within gilt beaded borders, 16cm highCondition report: One of the white jewelled beads is missing half of the enameling and is also missing the larger white bead in the cresting The other vase has lost the to beads in th ecresting above the painted panel.
Lot 31
Music making angelsoil on panel, in giltwood Gothic style framesone with paper label to reverse 'FLOT & FINDEL, PICTURE DEALERS, FLORENCE' and with further handwritten ink inscription 'Captain Handrus'72.5 x 24.7cm, a pairProvenance:Christie's, London, 16th December 2008, lot 268;Birling Ashes, Kent Condition report: Several surface scuffs and light surface dirt throughout. The panels are a little loose within their frames. Few chips to the paint layer visible bottom left corners of each picture. The wooden panels measure 42 x 15.5cm whilst the measurement in the main catalogue entry - 72.5 x 24.7 includes the frame.
Lot 314
A simulated rosewood side cabinet, 19th century, the rectangular top with reeded edge above two frieze drawers and pair of glazed cupboard doors with pleated fabric flanked by verre eglomise panels raised on out swept bracket feet100 x 136 x 43cmCondition report: The top is quite scratched with general wear and paint loss, splits appearing at the far left and right cornersThe drawers work well however the handles have been adapted and replacedCupboard door hinges have been re-attached at a later date, the fabric is also a later additionThe long left glass panel is cracked at the top and the central small glass panel is also crackedThe carcass is 19th century however the feet and top appear to be later, so to is the painted decorationSee photos
Lot 32
Follower of Filippo Lauri Adoration of the Eucharistoil on panel, oval 17.5 x 22.5cmCondition report: 26.5 x 31.5cm (framed)The painting is executed in oil on an oval wooden panel formed from a single board. The paint layers are in a good, stable condition. There is some staining to the surface and drips of wax which have been partially removed. The surface is matte and there does not appear to be a varnish layer present. A thick layer of dirt sits on the surface, mainly around the edges.
Lot 4
St Martin's Gate, Norwichoil on panel48.5 x 36cmFootnote: Literature:cf. Harold Day, East Anglian Painters, 1968, p. 43According to Dr Kennedy Scott's letter dated 24th July 2002, in which he confirms the attribution to John Berney Crome, the present painting is one of three known versions of this subject.St Martin's Gate was a popular subject also painted by John Crome Snr., an example of which is in the Norwich Castle Museum & Art Gallery.Condition report: Framed 73 x 60cmThe painting is executed in oil on a canvas support laid onto a wooden panel. The adhesion between the panel and canvas appear and the paint layers are in a good condition overall. There are areas of overpaint across the surface, mainly located in the sky. The overpaint has been liberally applied but is reasonably well matched to the original. The varnish is clear and even.
Lot 418
A Meissen yellow ground can, cover and stand, late 18th century, painted with scenes of courting couples, within scrolling gilt borders, crossed swords mark in underglaze blue, stand - 13.5cm diameter; a Meissen yellow ground shaped square dish, the centre painted with an oval panel depicting a tavern scene, within gilt borders, crossed swords mark in underglaze blue 15cm diameterCondition report: The cover of the can has black pitting and the finial has been off and glued, rubbing to the gilding especially the handle, slight discolouration to the white part of the saucer, small niggle to the footrim of the sauicer. The dish is in good condition overall, the Meissen mark has been scratched through. a scratch to the painted panel and slight wear to gilding
Lot 44
John D Stevens (Scottish, 1793-1868) A maidservant with a bowl of fruitsigned 'J D Stevens' (lower left)oil on panel34.5 x 23.5cmProvenance:James Connell & Sons, Glasgow;Cheffins, Cambridge, 17th June 2015, lot 893Condition report: Framed 49 x 38.5cmThe painting is executed in oil on wooden panel support. The panel and paint layers are in a good condition overall There are stress cracks in the surface of the paint layer following the vertical woodgrain of the panel, but these are stable overall. The varnish is in a poor condition with scuffs and losses across the surface. There is a light bloom and some surface dirt present.
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