English School, late 19th centuryBaskets of rosesa pair, signed with initials 'MS' l.r., oil on panel84 x 27.5cm (2)Provenance: Bracken Knoll, Highgate, London, N6.Condition report: The paintings are executed in oil on wooden panel supports. The support and paint layers are in a good, stable condition overall. The surfaces have suffered from knocks and dents. Both paintings have a thick varnish layer which have discoloured with age and have mottled, brown spots across the surface. There are several scuffs and scratches present
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A Roman-style mosaic panel,20th century, depicting a villa within an avenue of trees,94cm wide194cm highCondition report: light wear, knocks and scratches, fiberglass backed, appears to be machine cut pieces of stone or composite glued in place and grouted to the edges, no obvious method of mounting, adaption would be required
Italian School, 16th centuryMadonna and Childoil on panel36.5 x 26cm, unframedCondition report: The painting is executed in oil on a wooden panel support. The panel is formed from a single board with a horizontal batten across the centre. The panel has developed a slight curvature. The paint layer has suffered from losses, following the vertical grain of the panel. There are a few localised areas of raised paint. There is extensive overpaint covering areas of loss and abrasion. The varnish is clear, even and semi-matte
After Sir Peter Paul RubensThe Assumption of the Virginoil on panel105 x 74cmThe original painting is in the Museum Kunstpalast, Düsseldorf.Condition report: The painting is executed in oil on a large wooden panel formed from three boards in vertical alignment. The panel joins show signs of movement which has been reinforced in the past with canvas strips and horizontal battens attached to the reverse. The battens appear to be restraining the panel, along the lower edge the panel is distorted and one of the wooden battens has a split following the line of the panel join. There are also smaller splits forming along the lower edge and adjacent to the joins. The paint along the panel joins is raised and in some areas is flaking. At the lower right corner the paint layer is blistering with losses starting to form. Overpaint is present along the joins and in other areas of the painting, covering wear and reinforcing the figures. The varnish is clear and semi-matte. There is a layer of dust across the surface
After TitianThe Assumption of the Virgininscribed 'J S Lister...bought at Venice, April 1879' verso, oil on canvas laid on board, arched top54 x 29.2cm The original painting is in the Basilica di Santa Maria Gloriosa dei Frari, Venice.Condition report: At the reverse of the painting a wooden panel can be seen with horizontal battens at the top and bottom edges and a butterfly insert securing a split in the panel. This split has not come through to the front surface of the painting, although a concave deformation is visible in this area. The painting was not examined out of the frame but it seems probable that it has been painted onto paper or a fine textile support which has then been laid onto the panel. Drying cracks are evident in many passages of the paint layer, which would have formed as the oil film dried. There are a few scattered losses, although the paint layer appears stable and secure overall. The painting has a thick varnish layer which has yellowed with age and degraded, notably along the lower edge where the varnish is becoming opaque
Ana Maria Powell (fl.c.1810)'From Herculaneum'signed 'A M Powell' and dated 1811 l.r., oil on panel30.2 x 45.5cmCondition report: The painting is executed in oil on a wooden panel formed from a single board. The woodgrain runs horizontally and the panel has a slight curvature. The paint layer is in a good, stable condition. A few losses have been caused by impact to the surface. Drying cracks have formed in some paint passages causing an uneven surface. The varnish layer is matte and yellowed. There are minor areas of overpaint covering small losses to the paint layer.
French School, 19th centuryAn elegant lady at a pianoindistinctly signed 'Jules ....' l.l., oil on panel52 x 37.5cmCondition report: The painting is executed in oil on a wooden panel. The panel appears to be formed from a single board and has a cradle attached to the reverse made from horizontal and vertical battens. The panel is flat but the cradle is causing stress to the wooden board, small splits are forming along the upper edge following the edges of the vertical battens. The paint along the splits is raised with scattered losses. The rest of the paint layer is in a good, stable condition. Drying cracks have formed in areas, this will have occurred as the paint layers dried. The dark wall in the background has been completely overpainted. Other areas of overpaint are present across the surface covering drying cracks and minor abrasion. The varnish is even, glossy and yellowed. There is a light layer of surface dust present. Please see additional images.From the collection of a private client for the past 50 years.
Circle of Jasper van der Lanen (Flemish, 1585-1634)A river landscape with figures, cattle and goatsoil on panel43 x 60cm Condition report: The painting is executed in oil on a wooden panel support. The panel is formed from two boards in horizontal alignment and has a modern cradle system on the reverse with horizontal battens and partial vertical attachments. The panel join shows signs of movement with slightly raised paint and overpaint present. There are horizontal splits at the top edge and the paint surrounding the splits is raised with scattered losses. There are also losses to the paint layer along the left hand edge. Areas of overpaint are mainly located to the raised paint and splits. The varnish has yellowed with age but is glossy and even with a light layer of surface dirt present
Benjamin Barker of Bath (1776-1838)A wooded landscape with a figure, cattle and sheep, a church in the distanceoil on panel18.2 x 24.2cmCondition report: The painting is executed in oil on a wooden panel support. The panel is formed from a single board with canvas reinforcement attached to the reverse. The support and paint layers are in a good condition overall. Fine drying cracks have formed in some of the darker paint passages. The varnish is degraded, yellowed and no longer adequately saturating the paint layer below. There is a thick layer of dirt present on the surface.The gilt composition frame is probably contemporary with the picture, some brittleness with resulting losses, see illustration. Additional images uploaded.
A Shibayama-style inlaid ivory tray, Meiji period (1868-1912), Japanese, carved to the centre with a boy and a bird, the raised edge inlaid in mother-of-pearl, coral and tortoiseshell with peonies, chrysanthemums and blossoms, on short bracket feet,20cm wide15cm deep1.5cm highIMPORTANT NOTEThis lot contains ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.If you are a UK buyer, we request that you collect your purchase as soon as possible following the sale due to ongoing changes to ivory regulations.Condition report: Slight staining, discolouration and dirt. Slight separation to joints and some gap between the top edge of the centre panel and the rim. A few small minor losses to inlay. Light surface wear and scratches. 206g
A small George III mahogany waterfall bookcase,third quarter of the 18th century, the galleried upper section above a pair of fielded panel doors, raised on five tapering square supports terminating in brass caps and castors, 82.5cm wide28cm deep110cm highCondition report: Some slight fading and discolouration, but overall of good colour and patina. General knocks, surface scratches and wear. Splits and repairs to backboards. Small split to one side. Joints generally solid. General wear to caps and castors.
An embroidered picture,19th/20th century, entitled 'Manners Maketh Man', depicting a standing figure with an ass's head above a verse 'A Piece of Antiquity', mounted with a raised mahogany frame formerly a pole screen,52 x 38cm,together with another embroidered picture,19th century, depicting a young mother and child in a cottage doorway, a shepherd driving sheep towards a church beyond,40 x 31cm (2)Condition report: 1. Panel good, a little faded. Frame with obvious losses and repair.2. Embroidery a little fadedd, but good. Frame with losses to top and bottom edge, some scuffs.
A Victorian embroidered picture,depicting a brother and sister in a garden feeding a cat and dog, worked 'F. P. M. Roosens' underneath, the gilt gesso frame glazed,panel 16.5 x 31cmframe 40.5 x 44.5cmCondition report: Panel good.Gilt gesso frame over painted gold, ebonised border with wear and with 9cm loss to beaded border.
A Norfolk needlework sampler,early 19th century, 'by Mary Randal Aged 9 Years 1803', embroidered with a stag hunt, birds in trees, baskets of flowers, and a verse: 'Give me O Lord thy early Grace Nor let my Soul Complain That the Young Morning of my Days Has all Been Spent in Vain',panel 50 x 42.5cm, in Hogarth frameCondition report: Re-stitched areas to lower left border, within verse and in other places, edge has become un-stitched in several places, colours faded. Evidence of pest. Needs close examination. Not examined out of frame.
A pair of painted and parcel-gilt mirrors, of recent manufacture, in the French trumeau style, each set with a relief-cast plaster panel depicting a goddess among putti, above a rectangular plate, 76cm wide124cm high (2)Condition report: General light wear overall. Some rubbing, knocks and surface wear, some of which is likely intentional in order to present them in a state of distress.
A George III mahogany longcase clock,by John Holmes, London, with a white enamelled dial and strike/silent, inscribed to the dial ‘Holmes, 156 Strand, London’, enclosing an eight-day movement, striking the hours, surmounted with a finial, with an arched top, fish scale side panels, and an arched case door with original receipt to the door,41cm wide25cm deep215cm highJohn Holmes worked from 156 Strand in London between 1761 and 1802. Holmes was regarded as one of the finest clockmakers of his time and F J Britten comments 'he seems to have been one among the leading mechanicians and when the turret clock at Greenwich Hospital was destroyed by fire in 1779, he was given the order for a new one. The Wetherfield Collection contains two long mahogany case clocks of his manufacture, one a particularly choice example of Chippendale dating from about 1770'. The Ludlum pendulum was used by Holmes and enabled the user to make very fine adjustments, and in turn, gave improved timekeeping.Condition report: Case: front has discolouration to concave surface of moulding beneath hood. Veneer on carcass around arched top of door with multiple cracks and jagged split. Veneer on door has extensive shallow cracking and small splits. Also some apparent later added colouration. Lower flame veneered panel has multiple vertical cracks which appear unslightly. Back of case has long vertical split and signs of old woodworm. Two wing pieces replaced at some stage. Moulding piece detached from one side but present. Hood - top split in two places. Both sides have splits emanating from top of brass grill 'windows', one side more pronounced.Dial: chip to right winding hole. Brass spandrels and flat plan backplate quite tarnished and original lacquer perished.Backplate: both main drum holes have been alternately rebushed (raised bush) and 'hammered'. Both weights very tarnished.
An ebonised bonheur-du-jour,late 19th century, French, the foliate-decorated frieze above pair of panel doors and drawers, with writing surface below, on slender tapering supports.80cm wide50cm deep142cm high Condition report: Minor splits to topMinor areas of veneers lifting finishMinor surface scratches
A carved ebony low chair,probably early 19th century, Indian, Coromandel Coast, the carved bar back decorated with mythical creatures and surmounted with figural finials, over a caned seat, on turned legs united by pierced and carved stretchers, the front legs capped with turned ivory roundels, all on brass castors,50cm wide43cm deep76cm high Literature: Amin Jaffer, 'Luxury Goods from India', 2002, pp. 46-47.Condition report: Restorations and repair, blocks beneath seat possible replacements, knocks chips and cracks, panel lost from the back previously arcaded, the casters and feet later, old vacant peg holes to reverse of legs, caning in good order.
A finely carved ebony armchair,18th century, Indian, Coromandel Coast, the shaped back with a turned arcaded panel surmounted by onion finials, over open arms and a caned seat with all-over relief carved decoration, on barley twist stretchered supports,51cm wide53cm deep73cm high Literature: Amin Jaffer, 'Luxury Goods from India', 2002, pp. 46-47.Condition report: Overall reasonable order, old knocks chips splits and loses, joints tight relief carving worn in places.
A Persian silk carpet,late 20th century, Isfahan, with a central panel and scrolling flowers, with a border of flowers, within a double guard stripe, 466 x 288cmCondition report: Some colour loss and fair overall condition - ends are shedding thread. Dirt and dust - would benefit from a good clean by a professional. Areas of west and lower pile throughout. One pale mark to one corner. Please see additional photos.
Leila Fanner (South African 1970 - ): GYPSY DANCER oil and collage on wood panel signed; signed, dated 2018 and inscribed with the title on the reverse 76 by 76cm excluding frame; 78 by 78cm including frame PROVENANCE Acquired directly from the artist, 2018 *NOTE: This lot is located at our Cape Town branch
A FRENCH EBONISED AND PORCELAIN-MOUNTED BONHEUR DU JOUR The upper section surmounted by a shaped cresting centering a flower-painted porcelain panel with a pair of cupboard doors below, mounted with "Sevres" portraits of women enclosing shelves flanked by a pair of reeded and beaded columns, with a detachable writing surface and depressions for ink wells, on fluted turned legs, the turned feet united by a platform stretcher with gilt-metal and porcelain panels throughout. 160cm high, 122cm wide, 51cm deep
Jonathan Chiswell Jones East Sussex studio pottery plate with central panel of a running hare surrounded by smaller panels of pomegranates in silver and copper lustre on a blue ground, incised no. CO/J2 and painted no. 3865, with painted mark, 28cm diam.Condition:Good condition. No cracks or chips.
Good Victorian coromandel wood tea caddy of rectangular form with inlaid brass panel inscribed "J. & A. H. Oct. 13th 1891", ribbon scrolls, escutcheon and Greek key pattern borders, the interior lined with satinwood and mahogany with two lift out caddies, the hinged lids with engraved plaques inscribed with initials B. and G., 25.5cm wide.
Indian Vizagapatam box of octagonal form decorated with micro mosaic star lattice work, 24cm wide; a small ebony box of rectangular form with carved floral panel and lattice borders, sliding lid and six internal compartments, 12.5cm long and a small Eastern copper plaque with repousse decoration of a deer surrounded by decorative borders, 23cm diam. (3).Condition:Vizagapartun - split to side of box Some inlay detached / missing. Knop splitCopper plaque - repair to rimEbony box - small splits and knock to one end

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