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Click here to subscribeAN ITALIAN PIETRE DURE INSET SCAGLIOLA PANEL, of rectangular form, with a musical trophy above a beribboned foliate festoon, in a faux porphyry reserve within a black fossil marble border; within an associated giltwood frame of 16th century cassetta type, the panel height: 44cm; width: 67cm, dimensions overall: 54 x 78cm
A CONTINENTAL WALNUT AND CROSSBANDED CHEST OF DRAWERS, probably Austro-German, mid 18th century, the top with ebonised ovolo edging to the sides and serpentine front, above four drawers, all with twin brass swing handles and a central escutcheon raised on a low relief cartouche panel, on bracket feet, height: 90cm, width: 128cm, depth: 59cm
A VICTORIAN WALNUT PARTNERS' DESK, Last quarter 19th century, the rectangular top with gilt tooled green leather inset writing surface, with ogee moulded edges, above three frieze drawers to front and back, on twin pedestals each with four graduated and cockbeaded drawers to one side and an arch panel door to the other, with foliate carved mounts flanking to top and bottom, on plinth bases, height: 77cm, length: 173cm, width: 95cm
A GEORGE III MAHOGANY AND GLAZED BREAKFRONT BOOKCASE, late 18th /early 19th century, with Gothic arcaded cornice above a frieze of scrolling foliage and flower heads in low relief, the four glass doors with entwined serpentine astragals with floral embellishments at the intersections; the base section with four panel doors, on a plinth base, height: 232cm, width: 250cm, depth: 58cm. Provenance: Formerly from a Country House on the Surrey/Sussex border.Â
A DIRECTOIRE HARDWOOD AND GILT BRONZE MOUNTED SECRETAIRE A ABATTANT, late 18th century, the white marble top and brass gallery with projecting ears at the front corners, above a frieze drawer, above a fall front with fitted interior and twin panel doors enclosing two drawers; flanked to each side by fluted quarter column pilasters, on toupie feet, height: 144cm, width: 92cm, depth: 37cm
A SET OF EIGHT REGENCY MAHOGANY AND UPHOLSTERED DINING CHAIRS, seven circa 1815, one of the two elbow chairs later made, all with brass strung panel toprails and openwork backsplats of confronting scrollwork, the green velvet seats above reeded sabre front and splayed back legs, elbow chairs, height: 89cm, width: 56cm. Provenance: Lord Valentine Thynne, youngest son of the 6th Marquess of Bath.Â
A REGENCY MAHOGANY CELLARET, IN THE MANNER OF GILLOWS, circa 1815, of sarcophagus form, the hinged pyramidal cover with pyramid finial and lobed borders, with panel front and sides, the base on four lobed bun feet with recessed brass castors, the interior bereft, with original drainage hole, height: 62cm, width: 61cm, depth: 44cm
AN EDWARDIAN MAHOGANY, MARQUETRY AND GLAZED CABINET BOOKCASE, early 20th century, the cornice above a foliate decorated frieze within a crossbanded border, above twin doors with arched astragals, opening to shelves within, the conforming base section with twin drawers above twin panel doors, all with conforming marquetry, height: 202cm, width: 95cm, depth: 43cm
AN OAK AND BEECH BAR BILLIARDS TABLE, early 20th century, fully reconditioned by Bar Billiards Ltd of Ascot, the cushion sides and playing surface with green baize, the front with a trade plaque for the above, above the sprung metal ball release handle, a raised score guide panel at the far end, with metal cue rests to one side, on four knop turned and waisted legs; with four cues, a wall mounting score marker, balls, mushroom table obstacles, coin box and coins, height: 106cm with hinged score guide panel up, length: 195cm, width: 94cm
A DIRECTOIRE FRUITWOOD SECRETAIRE A ABATTANT, late 18th century, the white and grey streaked marble top with eared front corners, above a frieze drawer, a fall front enclosing a fitted interior and twin panel doors below, all flanked by fluted three quarter pilasters, on short straight tapering legs, height: 157cm, width: 94cm, depth: 40cm
A FINE DUTCH OAK AND ELM SCHRANK, late 17th /early 18th century, the cleated rectangular top above a slide with twin wrought iron loop handles, the front with a central pair of marquetry panel doors, flanked by niches with scallopshell overhangs, and interspersed with fluted columns, above four frieze drawers, on four bun feet, height: 112cm, width: 131cm, depth: 64cm
A LOUIS XV CARVED GILTWOOD AND COMPOSITION FRAMED WALL MIRROR, third quarter 18th century, with openwork cresting of scrolling foliage around two doves to an oval panel, the rectangular plate with trailing vines in moulded recessed relief to the top and side fascias, the bottom fascia with a patera flanked by running husks, above twin uprights, height: 110cm, width: 49cm
Five vintage pressed glass elasticated panel bracelets, blue floral bracelet 20mm wide, red and blue nine panel floral bracelet, 25mm, simulated coral and black bead, 18mm, eleven opaque blue glass rectangular panels with aluminium spacers, 20mm, thirteen pearlised floral panels, 20mm, probably all Czechoslovakian, three Art Deco buckles, two clear glass and one mottled brown cylinders, 60-70mm/
1930's and later costume jewellery decorated in enamels, Staret flower brooch with large amethyst paste to centre, 80mm, 1950's Matisse-Renoir, copper tone and turquoise leaf brooch, 55mm, Sarah Coventry pink flower brooch, 60mm, Coro green leaf and turquoise flower bud brooch, 80mm, gilt metal bar brooch with three foxtail chain tassels, Czechoslovakian filigree brooches, 75mm bar brooch with matching earclips, pair of 1930's pink dress clips, six panel bracelet with blue enamel leaves and clear paste flowers.20mm wide, 19.5cm, "Pat.Pend."
Rosewood Nicole Freres music box, with 13 1/8" cylinder and tune sheet (not inscribed), stamped Nicole Freres Geneve, no. 41967 on the bed plate, the hinged top inlaid with a central panel depicting an eagle with outstretched wings over a torch and quiver of arrows, within boxwood stringing, 20 5/8" wide overall *This music box bears the repairer's label of Keith Prowse & Co
Good walnut eight day longcase clock, the 12" square brass dial signed Sam Stevens, London on the brass chapter ring enclosing a matted centre with subsidiary seconds dial, ringed winding holes and calendar aperture, the movement with outside countwheel, the case with long beaded moulded edged door fitted with a lenticle and the hood surmounted by a flat stepped cornice over a blind fretwork carved panel, 82" high (pendulum and two weights)
The Village, Cushendun signed 'J H CRAIG' (lower left) oil on panel 24 x 34cmFootnote: Provenance: George Connell, Belfast Sale; Christie's, London, 19 May 2000, lot 30, where acquired by James 'Jimmy' Benson OBECondition report: Oil on wooden panel which has been left exposed in the lower half of the painting and acts as a mid-tone in the composition. Dents appear to have been present in the wooden panel before the paint layers were applied. Along the right edge scores in the paint and panel have darkened over time. At the lower edge and left hand side is white abrasion caused by framing. The paint layers are in a good condition overall. There is a layer of varnish which has yellowed with ago but is glossy and even . A few fly spots are present on the surface. The painting is framed in a gilded frame with glazing.
Mont de Neuville signed 'Sickert' (lower right); inscribed 'Mont de Neuville' (lower left) oil on board, circa 1913-14 18.5 x 23cmFootnote: Provenance: With Savile Gallery, London Quintin Booth, from whom acquired by Monty and Barbie Passes in 1962Condition report: Oil on wooden panel or artists' board mounted in the frame with a second wooden board backing. The paint layer is in a good condition overall. The thin varnish layer has discoloured over time but is even. There is a light layer of surface dust. The gilding on the frame has a thick toning layer or varnish which has cracked and is flaking in many areas.
Landscape with Trees signed 'Sadler' (lower right) acrylic on board 20 x 25.5cmCondition report: Acrylic or oil on panel. There is some abrasion at the edges of the painting At the top right corner is a vertical scratch which has removed the upper paint layers. The painted backboard has a few dents and dust. The painting is mounted on a block of wood.
Preparing the boats signed 'C E Blackburn' (lower left) oil on canvas laid to board 42 x 42cmCondition report: Oil on canvas which has been stretcher over a wooden panel. The canvas is in plane and the paint layers are in a very good condition overall. The frame has a damage along the lower edge and minor chips and losses.
Pink Floating Form, c.1964 oil on board 34 x 27cm, unframedFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Card mounted into a wooden panel. There is damage to the edges of the card, some of which appears to have been present before the paint layers were applied. The delicate surface has suffered from wear and abrasion and is slightly polished in areas. There are a few scattered losses and staining on the surface.
Pink Form, c.1964 oil on board 31 x 25cm, unframedFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Paint on card mounted into a wooden panel. The edges of the card are slightly damaged. The delicate surface has suffered from wear and abrasion and is slightly polished in areas.
Pink Form, c.1964 oil on board 30.5 x 28cm, unframedFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Paint over newspaper on card mounted into a wooden panel. The delicate surface has suffered from wear and abrasion and is slightly polished in areas.
Pink Form, c.1964 oil on board 28 x 26cm, unframedFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Paint on card mounted into a wooden panel. There is a build up of dirt on the paint surface. The corners of the card have suffered some damage. Minor scuffs to the paint surface.
Floating Forms, c.1964 oil on board 31.5 x 26cmFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Paint on card mounted into a wooden panel. The delicate surface has suffered from wear and abrasion and is slightly polished in areas. There is a build up of dirt. The painting has a simple metal frame attached to the edges of the wooden panel.
Pink Form, c.1964 oil on board 31 x 25.5cm, unframedFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Card mounted into a wooden panel. There is damage to the edges of the card, some of which appears to have been present before the paint layers were applied. The delicate surface has suffered from wear and abrasion and is slightly polished in areas. There are a few scattered losses and staining on the surface.
Pink Form, c.1964 oil on board 31 x 25.5cm, unframedFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Card mounted into a wooden panel. There is damage to the edges of the card, some of which appears to have been present before the paint layers were applied. Pencil marks are evident below the paint layers. Near the top there is some slight cracking in the paint layer, although this is stable. The delicate surface has suffered from wear and abrasion and is slightly polished in areas. There are a few scattered losses and staining on the surface.
Floating Forms in Pink, c.1964 oil on board 24 x 30.5cmFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Paint over paper and textile on card mounted into a wooden panel. There is some wrinkling in the paper support caused when it was applied by the artist. The diagonal scoring in the lower right corner is also intentional by the artist. The delicate surface has suffered from wear and abrasion and is slightly polished in areas. There are a few scattered losses and staining on the surface. The painting has a thin metal frame screwed into the sides of the wooden panel.
Black and White Abstract signed and dated 'OCT 64' to the reverse gouche on board 26 x 21cmFootnote: Provenance: Acquired from Jim Ede by Peter SimpsonCondition report: Card mounted onto panel. The card appears acidic, possibly caused in part by the wooden backing. The pencil lines were applied before the paint layers. There are a few small losses to the surface of the paint and card. Some water damage and staining and small dents at the left hand side. The painting is held in a simple wooden frame nailed into the wooden support from the sides.
Floating Forms in Orange and Pink oil on board 25.5 x 32.5cm, unframedFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Paint on card mounted into a wooden panel. There is damage to the edges of the painting and paper and the wood support is degraded with large areas of loss. The delicate surface has suffered from wear and abrasion and is slightly polished in areas.
Peach Form oil on board 32 x 25cm, unframedFootnote: Provenance: Acquired directly from the artist by Peter Simpson We are grateful to John Blackburn for his assistance in cataloguing this lotCondition report: Paint over newspaper on card mounted into a wooden panel. The delicate surface has suffered from wear and abrasion and is slightly polished in areas. The paint layer has a lot of fluff caught in the surface.
Snowballing, 2006 signed to the reverse oil on canvas laid to board 15 x 27.5cmFootnote: Provenance: The John Ady Collection The present lot will be sold for the benefit of Kettle's Yard, University of CambridgeCondition report: Oil on canvas stretched over a wooden panel. The support and paint layers are in a good condition. The painting is framed in a large wooden frame with white painted finish.
Lopside, 2005 oil on board 19.5 x 12.5cmFootnote: Provenance: The John Ady Collection The present lot will be sold for the benefit of Kettle's Yard, University of CambridgeCondition report: Oil on panel set into the painted frame. Overall the support and paint layers are in a good condition. There is a layer of dust across the surface.
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