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Click here to subscribeA pair of George III ebonised and polychrome painted chairs, circa 1800, each rectangular overscrolling back with twin pierced bar splats, the central splat painted with a tablet of flowers, each with a woven seat and on turned tapering legs and stretchers, together with another pair of George III ebonised chairs, circa 1810, of similar design, with caned back panel and seat, on outswept ring turned tapering legs
A French ormolu mantel clock Unsigned, mid 19th century The circular eight-day countwheel bell striking movement with Brocot-type pendulum regulation and circular cast gilt dial modelled as a radial panel centred shield decorated with shells and with cartouche Roman numerals within the shaped circumference, the drum-shaped case with superstructure cast as a winged swan over cornucopian handles and cast dolphin support to sides onto a stepped skirt base with block feet, 29cm (11.5ins) high.
A George III ivory veneered and yellow metal mounted tea caddy, last quarter 18th century, of decagonal section, the hinged pyramid top with yellow metal swing handle, yellow metal banding and yellow metal hinge, the front with inset yellow metal oval panel, above a tortoiseshell banded base, the interior with subsidiary cover, 12cm high, 11cm wide
A late George III tortoiseshell veneered and ivory banded tea caddy, early 19th century, of rectangular section, the domed cover with spherical brass finial above radiating ivory stringing, the front with inset white metal vacant oval panel, raised on four silver plated spherical feet, the interior with twin subsidiary tortoiseshell veneered covers, 16.5cm high overall, 15cm wide
A Dutch walnut and seaweed marquetry press cupboard, circa 1750, the moulded cornice above a pair of profusely decorated doors incorporating geometric panels of seaweed marquetry within borders of oyster veneer, each central panel incorporating marquetry moths incorporating green stained bone elements, opening to three open shelves, two of which incorporate fitted drawers, the stand with three further drawers above arched stretchers and octagonal tapering legs on a plinth base, 211cm high, 179cm wide, 58cm deep
A Victorian Scottish silver mounted horn snuff mull,unmarked,monogrammed and with applied shield inscribed 'Presented to Mr. C Lau Alford 1853',8.5cm long, anda silver snuff box,maker's mark I.C unidentified, 18th century,of cartouche shape, the cover inset with an aventurine glass panel, within a chased floral border, monogrammed with gilt interior,7.5cm wide (2)
A Victorian silver albert pattern caddy spoon,by George Unite, Birmingham 1840,9.5cm long, a silver mounted cut glass scent bottle,with centre silver panel with bright cut decoration around a blue glass centre,10.5cm long, anda silver mounted dirk,by Joseph Cook & Son, Birmingham 1913,the handle carved with thistles and basket weave and surmounted by an orange paste, the silver mounts with engraved celtic knots,15.5cm long (3)
A Continental, cased, Victorian, two colour gold brooch and earring split pearl suite,an elongated triangular form brooch with a bloomed central panel, star set with a split pearl, applied to a rose gold ground. A row of claw set split pearls below and textured scroll to one side, together with a pair of matching offset square earrings. Tested as approximately 14ct gold
A portrait miniature pendant,the ivory panel painted with a young girl and signed Englehart(?), within a split pearl border with a ribbon, grain set with graduated rose cut diamonds. Chain drops, one with a rose cut diamond, to pearl pendant terminals, pearls untested, with a split pearl bale. Glazed locket, back marked 9ct. Fitted box with strut back
A French Art Nouveau gold and pearl necklace,with a centrepiece of graduated open panels. The central openwork panel with a daisy flower head to the centre of a twig type frame, daisies to each side with a leaf below, to an articulated pearl drop. Pairs of graduated panels to each side with pearls on wire between to a fetter chain back. French poinçon for 18ct gold standard. Partial maker's mark only.
Margaret Lindsay-Williams, British act. 1910-1960- Portrait of Amalia Acquaviva d'Aragona, head and shoulders with armorial; oil on panel, signed and dated indistinctly, bears inscribed name of sitter, 40.5x30.2cm, (may be subject to Droit de Suite) Note: Amalia Acquaviva d'Aragona was born 12 August 1811 Naples and died 9 July 1860 Sorrente, aged 48. CONDITION REPORT: mounted in a gilt composition frame with some minor losses darkened varnish, could perhaps benefit from a general clean pencil inscription to the reverse bearing artist name otherwise appears in overall good original condition
Amendment: Please note that this plaque is copied from a painting by Charlotte Jones ( 1768-1847) of Princess Charlotte Augusta of Wales, daughter of George IV, wife of Prince Leopold of Saxe Coberg, King of Belgium, A Paris porcelain plaque of a lady of rank, 19th century, wearing an Empire line white dress, with ermine and velvet cape, leaning on a classical stone pedestal, the top laid with crowns and coronets, with an extensive view of a cathedral behind, signed to bottom right Lefevre J Fcant de porcelain Rue Amelot, in an ornate carved gilt wood frame, surmounted by a coronet, with rich scrolling and acanthus carved detail, labels to back with inventory numbers 1160 and labels for the Dublin Industrial Exhibition Palace Loan Museum of Art Treasures, the plaque 30cm x 20.5cm, the frame approximately 63cm x 45cm CONDITION REPORT: carved giltwood frame: with losses to the front edge of the decoration as follows: top left corner, centre left. bottom centre and both corners crown top centre losses to right-hand side most of the front surface of the frame with later over-painting in gold coloured paint; some original gilding is retained on the sides of the frame some flaking to the gilding and gesso on the back edges and sides mahogany backing panel in good condition bearing original exhibition label porcelain plaque: defect with glaze skip lower left corner and lesser example top right corner otherwise in good condition
Bertram Walter Priestman RA, British 1868-1951- "The Steamer, Belle"; oil on panel, initialled and dated 10, 19.5x25.2cm (may be subject to Droit de Suite) Provenance: 20th Century Gallery, London. Note: An illustrated catalogue on the artist's work accompanies this lot CONDITION REPORT: In a moulded, gilded composition frame initialled and dated lower right Illustrated catalogue included with painting lot, and detailed with photograph label attached verso from gallery with details of painting and artist plus catalogue no: 38, stock no: SA0483 no visible defects in very good condition
Jeremy Gardiner, British b.1957- "Durdle Door to Bats Head", 2009; acrylic and jesmonite on poplar panel, 58.4x104cm (may be subject to Droit de Suite) Exhibited: Chichester, Pallant House Gallery, "Jeremy Gardiner: A Panoramic View", 13 March-31 May 2010 Note: While incorporating the Modernist tradition of artists like John Tunnard and Ben Nicholson, Jeremy Gardiner's interpretation of the landscape is also informed by science, new technologies and direct physical engagement with ancient landscapes. Gardiner has spent several decades exploring the Jurassic Coast, the 95-mile long stretch of coastline running from Orcombe Point in East Devon to Old Harry Rocks in East Dorset with a geology which spans 185 million years of earth's history. Gardiner is interested in the relationship between landscape and time, and in an attempt to emulate the effects of geological time, his working method involves scouring, building up layers of paint, collaging and sanding down. CONDITION REPORT: in a glazed, white painted wooden box-type frame titled, dated and signed on reverse in black pen poplar panel is irregularly shaped, dimensions are at widest/longest point no visible defects or damages in very good condition
Sir James Jebusa Shannon RA RBA RHA, British 1862-1923- Portrait of a lady, quarter length, in a fur trimmed coat and feathered headdress; oil on panel, signed, 74x60.7cm, (unframed) Note: Born in Auburn, New York, Shannon came to London in 1878. He studied at the National Art Training School (later the Royal College of Art) under Sir John Poynter and made his debut at the Royal Academy in 1881 with "The Honourable Horatia Stopford", a portrait of Queen Victoria's Lady-in-Waiting, commissioned by the Queen herself. This marked the beginning of a highly successful career as a society portraitist for Shannon, competing successfully with artists such as John Singer Sargent for the leading commissions. CONDITION REPORT: unframed signed lower centre right 'Mrs Fay Lancaster' in pencil on reverse of board some knocks and scuffs to edge of panel minor loss to paint surface in top left corner areas of craquelure, predominantly in the background examined under uv lamp, some evidence of overpainting in the background and to her coat there also appears to have been some minor retouching to her feathered headdress otherwise in good condition
Francis Swaine, British c.1720-1782- Moored Shipping; oil on copper panel, signed and dated 1778, 20x24.7cm CONDITION REPORT: in a neoclassical gilt composition frame with cavetto sight, lambs tongue sight edge signed and dated lower right examined under uv, evidence of areas of overpainting and restorations (approx. 15%) across the copper panel this is mainly lightening and darkening of the shadows, particularly in the sky, the sails of the left boat and in the lower right corner appears to have been subject to a revarnish at the same time otherwise good general condition
Georges Croegaert, Belgian 1848-1923- "Dreams Of The Orient"; oil on panel, signed and inscribed, 46x56cm Provenance: Sotheby's, London, 14 February 1979, lot 201 CONDITION REPORT: in a gilt composition reverse profile frame, circa late 20th century the panel is adapted to fit the frame with two rounds of cork secured on left and right edges of reverse panel is very slightly bowed examined under a uv lamp, areas on the right cheek, lips, and to a lesser extent the right arm, appear a lurid orange colour darker areas of shading also appear, in the red fabric hanging behind the figure and by the raised hand it is not clear whether this is later painting by the artist or areas of overpainting although under inspection with the naked eye, these paint surfaces appear consistent with the surrounding areas in good general condition
Paul Fischer, Danish 1860-1934- "Gadeparti fra København, vinter"; oil on panel, signed, 19x24.7cm CONDITION REPORT: in a gilt composition frame signed 'PAUL FISCHER' lower left examined under uv lamp, no evidence of restorations or overpainting the support appears to be plywood, the surface grain is beginning to open up although not immediately noticeable with some associated minor losses otherwise in good original condition
George Armfield, British 1810-1893- Terriers ratting and Spaniel and terrier waiting; oils on panel, two, both signed, 19.9x17.9cm, (2) (in matching frames) CONDITION REPORT: Both in gilded wooden frames with gilded slip inserts. Both appear to have been re-varnished more recently. Both signed. Painting with two terriers has suffered from some gold paint being applied accidentally on the top edge - possibly during a retouch of the frames. Panels appear to be bowing inwards slightly. One has a hairline crack down the centre. (the one with the brown and white dog in the middle) Under UV the painting of the two terriers appears to have no re-touching. The other painting with the brown and white dog shows signs of re-painting about the dogs head and flecks of paint on the coat of the animal. Otherwise both in good general condition.
Sauveur Bernay-Theric, French 1874-1963- Mediterranean harbour scene with shipping; oil on panel, signed, 16x23cm (may be subject to Droit de Suite) CONDITION REPORT: in a gilt composition frame circa early 20th century frame now over painted in gold coloured paint losses to the gesso upper right and corners chipped original taping on the reverse under inspection with uv lamp there is no evidence of over-painting or restoration overall in good condition
Attilio Pratella, Italian 1856-1949- "Via di Napoli"; oil on panel, signed, 22x34.8cm (may be subject to Droit de Suite) CONDITION REPORT: in a grey stained and parcel gilt bolection frame frame in good condition panel held in place within the frame with applied fillets of wood panel only very slightly warped along edges under inspection with uv lamp there is no evidence of retouching or over-painting in very good original condition
Attilio Pratella, Italian 1856-1949- "Marina"; oil on panel, signed, 22x35cm (may be subject to Droit de Suite) CONDITION REPORT: in a grey stained and parcel gilt bolection frame frame in good condition panel held in place within the frame with applied fillets of wood panel only very slightly warped along edges under inspection with uv lamp there is no evidence of retouching or over-painting in very good original condition
Brian Willsher, British 1930-2010- "Braz Mark"; wooden sculpture, signed and titled to underside of base, height 80.5cm, (may be subject to Droit de Suite) CONDITION REPORT: one upright panel has not been attached to the wooden base (will need affixing), the other has been screwed onto base otherwise appears as in original condition
London trolleybus items obtained by vendor in 1961/2 comprising two bell-pushes (one bakelite, one chrome), a bakelite horn-push (marked on rear '1274' which was the last trolleybus into Isleworth depot) and an extract from a destination blind, the 'private' panel. All in ex-use condition. [4]
1950s London Transport DESTINATION BLIND PANELS for the side/rear intermediate box for an RT-type bus. The destinations are for the old incarnations of routes 4 and 17 and these panels are therefore likely to have been from a display at Old Kent Road (P) garage in the 1950s. In worn condition, the top panel is detached. [1]
1902 District Railway 'POCKET REFERENCE MAP OF LONDON & ENVIRONS' with cover illustration of steam train in tunnel with motto 'Time is money'. Map shows extension to Uxbridge etc as dotted line. Opens out to 17" x 11" (44cm x 28cm). In used condition with wear and short fold-partings, one panel repaired with archive tape. A scarce issue. [1]
London Transport 1940/50s enamel bus stop timetable panel HEADER PLATE. This is the early post-WW2 design featuring the updated version of the LT bullseye design and was the final issue of these plates before they were discontinued in the 1950s. Measures 8" x 3" (21cm x 7cm). In very good, ex-use condition with just a few tiny edge-chips which have been touched in. [1]
London Transport Underground 1950S/60S enamel FRIEZE PANEL from Blackfriars station shared by the District & Circle Lines and featuring the colours of both lines plus a 'bullseye' logo for the District. It is unusual for these panels to include the bullseye. 64" (163cm) long and in very good ex-use condition with a few edge-chips touched in. [1] [See lot 352 for a matching Circle Line frieze plate.]
Collection of masonic silver gilt and other medals inc 9ct gold bar brooch in enamel panel, 1927 founders medal for C Dalby Fidelity Lodge no.4902 1935 benevolent steward's medal, 1928 Royal Masonic Insitution For Boys steward's medal, Let Us Rise Up And Build lapel badge and a rigid Henry Holmes masonic benevolent 1923 medal and another
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