Circle of Charles Jones (1836-1892) Hounds in a yard Monogrammed, oil on board, together with a companion by the same hand, 23.5cm by 33.5cm (2) Picture A (with two standing hounds and one lying): Panel enclosed in paper at reverse, but no movement/splits evident from face. No cracking or losses evident. A small clump of brown fibrous material pocking up from behind the slip and the bottom edge (see images). Three tiny white spots on the surface in the wall above the standing back standing hound's rump. Scattered minor surface accretions and dust and a dirt layer. Fairly matte but even surface gloss.Picture B (with two sitting hounds and one standing): Panel enclosed in paper at reverse, but no movement/splits evident from face. No cracking evident. One small approx 1cm minor indentation to the bottom edge, just inside the slip, no major loss of paint. A tiny white scratch to the left corner, and tiny scuff two inches left of the monogram. Scattered brown surface accretions, and brown speckles, dirt layer. Fairly matte but even varnish layer.
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Frederick Daniel Hardy (1826-1911)The LetterSigned and dated 1890, oil on panel, 19cm by 14cm Provenance: Rowles Fine Art, PowysPrivate Collection, North YorkshirePanel mostly covered at reverse, but no splits evident at face. A couple of small holes to the reverse of the panel, which is held flat in frame. Paint and ground layers stable, no cracking or lifting. There has been minor fresh abrasion/transfer to the upper layers down the right hand side from contact with the rebate. There is what seems to be the imprint of canvas to the sky in the window (see images), highlighted by dirt in the hollows. No major losses apparent, but a line of dark brown opaque retouching to the mid & lower right edge through the fireplace and teapot (see images), and to the bottom two inches of the left edge and a small patch to the top left corner. Slight abrasion, unretouched to the darkest area of the fireplace, and possibly to the wall which may have some slight reinforcing. An even surface and varnish layer, with a slighly milky wipe mark bottom left visible in reflected light. A layer of surface dust.
Follower of Jacob van Walscapelle (1644-1727) Dutch An abundant still life with silver plate and spoon, a cut lemon, oysters, wild strawberries, a vine and grapes, pink Roses, cherries, and glassware, with butterflies and insects Oil on panel, 40cm by 33cm Frame size: 54cm by 47.5cm The panel is one single board, with a horizontal batten in the middle of the back, minor old knocks to all sides, and canvas stuck to the back of the panel. There are no splits visible, and the panel is held flat in the frame.There is a fine brittle age craquelure throughout, all stable with no elevation or history of flaking. In passages the cracks are wider, and these have been suppressed in a campaign of retouching, slightly discoloured (see images). The cracks are most evident in raking light and a higher concentration through the table top and plate. Small scattered retouchings to suppress the cracks in the background, and small retouched losses to the right of the righthand glass, further retouched losses in the left hand glass, and above this near the top edge. A small newer unretouched loss to the left of the lefthand glass. There is a diagonal line of retouching running towards the top left corner from the top of the vineleaf, a retouched loss to the end of the vineleafe above the grapes and further small scattered minor retouched losses. Some retouching to cracks in strawberrys, lemon, and a small filling and retouching to the right end of the cherry stem. There is a larger brown retouching above the oyster.Possibly some minor losses to the delicate glazes, but mostly intact.There is what appears to be a retouched or removed? signature or inscription above the butterfly on the left. Visible clearly in UV (see images) and as a pale milky patch in normal light. Wipe marks in the varnish bottom left and right. An old varnish layer, slighly opaque in places.Examined in frame.
Adolphe Valette (1861-1942) French "Rocher Corneillee, Le Puy" 1925 Signed, signed, inscribed and dated to label verso, oil on board, 31cm by 40.5cm Provenance: The Perera collection, No. 18 Purchased from Andre Valette (artist's wife) Exhibited: City of Salford Art Galleries, 21st September - 28th October 1984, Salford Portsmouth City Museum, "Adolphe Valette", 12th February - 27th March 1983 From what is visible the panel looks in good condition, flat with no splits apparent from the face. There are a series of unretouched losses to the right hand side of the picture through the right hand house (see images), caused by damage rather than instability of the paint. Very minor marks around other edges perhaps from a previous frame rebate. Minor stable drying cracks in line with the grain of the panel particularly to the top mid left of the sky and middle of the left edge. Minor small scattered losses to the sky top left corner, bottom left corner and in the grey shadow under the wheelbarrow, unretouched. There is an uneven spotting accretion across the whole surface (see images) perhaps mould? There is no apparent restoration, in good, stable condition.Examined in Frame
Ernest Higgins Rigg (1868-1947)Working horse going into a stableSigned, oil on panel, 31cm by 45.5cmPainted on a one-board panel, held flat in frame with no splits of worm damage apparent. Pinpoint unretouched losses to the left edge, top left corner has minor strokes of retouching to losses/disturbances to the paint that seem to have occured when paint was not fully dry. Tiny old unretouched lot to bottom right, and old minor retouched losses to the edges with traces of gold all associated with an old frame rebate. A 1.5cm horizontal protuberance of white paint (?), to back of farmer's legs, with associated retouching., and further very minor scattered retouchings throughout including to horses head.A good, even glossy varnish layer.Examined in frame.
Attributed to John Samuel Raven (1775-1847) "A Scurry" Oil on panel, 18.5cm by 91cm Provenance: Arthur Ackermann & Son, Ltd. London One panel, chamfered on all sides, and with one hole in centre of panel (see images). The panel is loose in the frame which has caused minor abrasion of the surface layers at the edges. No splits visible, and a flat even profile.There is a fine scale craquelure to the thicker passages of the sky largely in the central portion of the painting and above the trees. All flat and secure with no apparent history of flaking.There are several scattered losses 0.5 to 1cm in the sky, filled with a slighly yellow material and then retouched (retouching slighly discoloured).There has been a history of abrasion/wear to upper paint layers throughout, with associated retouching and reinforcing (see images). The retouching is slighly opaque and discoloured in places. For example in the sky, the dark underlayers are showing through, which have been partially supressed with small brushstrokes. See also the bay horse which has been reinforced, and around the head of the largest grey horse (see images). The darker areas have had the upper layers worn too, leaving a slighly mottled appearance. There are bands of retouching at each side of the panel.There is are tiny scattered matt drips, but largely a good even varnish. The trees on the left look slightly milky, possibly residue of an earlier varnish.Examined in frame
Stanley Royle ARA, ARWA (1888-1961) Harbour with fishing village beyond at dusk, probably Mevagissey Oil on board, 28.5cm by 39cm The edge of the panel are not visible at the reverse. The panel is flat with no distortions or curvature. There are three small 1cm cracks in the paint running with the direction of the grain - one centre top, one centre bottom and one bottom left. All are slighly raised, with a worn spot perhaps from an attempt to consolidate/flatten in the past. Appear stable at present. Cotton wool trapped in the bottom one (see images). Slight further lump/disruption to paint at the bottom left corner and top left corner.There are further tiny losses under the upper varnish along the top edge, with a larger loss to the right. A small loss/indentation to the left of the top chimney. A small accretion with matte patch middle of the right edge, and above this is a blow which has crushed/flaked the paint slightly 1cm long (see images), and a similar larger blow lower left edge which has a few minor unrestored losses.A few further scattered tiny losses in the houses. One dent in the grey roof of the house on the skyline with yellow windows. Appears original paint extends into this. The house below has a slight matte patch.There has been some transfer of other coloured paint, likely from the artist's studio; orange at the bottom edge, and white at the top centre edge, in the boats/harbour wall, and tiny bit at the bottom edge.A fairly even surface gloss with some slight matte patches.
Follower of Melchior de Hondecoeter (1636–1695) Dutch Cocks Fighting With extensively inscribed, indistinct label verso, oil on panel, 85cm by 117.5cm The panel, which has dropped in the frame to leave a gap at the top, comprises pieces of wood; three roughly equal sized boards, the outer two chamfered top and bottom, with a later 1.5inch batten along the bottom edge and a 3 inch piece of wood at the top possibly a later addition. Both the top and bottom pieces of wood have a square insert/peg, with the one on the top protruding through cracked paint at the face. Evidence of old instability and splitting. All joins likely to have been opened and reglued, and there is a split running 1/4 of the width of the panel from the left edge when looking from the reverse, repaired with a canvas strip but slightly open at the end and likely mobile. Seven old fixed battens at the reverse, both with and across the grain, with the panel thinned in places to accommodate them (see image). No other splits noticable with panel in frame. The plane of the panel is distorted and undulates with the splits/joins (see images). From the face, the top join is filled and retouched but has opened slightly across the whole length with tiny pinpoint losses to the restoration. The second join has been opened 2/3rds of the ledge, filled and retouched and now slightly open. Bottom join has been filled and retouched across whole length with some minor cracking to the filling. The split has cracked through the restoration, and appears raised but stable.The narrow board at the top has some larger scale stable cracking to paint and ground, but the rest of the painting largely has minor cracking associated with the panel grain - some slighly opened through cleaning in the past but all stable and not elevated. Minor losses to joins likely, now covered in filling and retouching. Scattered minor losses from past flaking, all stable. There are likely successive campaigns of restoration, with more extensive overpainting in the sky and foliage in the tres, as well as to joins/split and the scattered losses. There has been abrasion to the sky, and to the trees/landscape as well as the more delicate glazes of the birds - for example see image of bird's head. Large patches of reinforcing and thin overpaint to the ground, for example the reddish patch below the hen on the right. The bottom batten has a thick line of overpaint across the width of the painting. There is less retouching on the birds themselves. Most of the retouching/overpaint is under a thick old varnish layer, with remnants of a thick yellowed varnish left on which gives the painting a mottled appearance and is slightly shiny in reflected light. A light layer of dust and debris.Not examined in UV. Examined in frame.
Jan Jacob Coenraad Spohler (1837-1894) Dutch "Winter" "Summer" Signed, oil on panel, 20.5cm by 15.5cm (2)Provenance: MacConnal-Mason, London Winter: The edge of the panel are concealed at the rear by no splits, damages or movement visible. Only fine vertical stable cracks inline with the wood grain evident. Scattered careful retouching to small losses inluding one above the tower, and one above the right hand skaters. Some abraision/wear to the brown tones and thin upper glazes and the sky. A careful campaign of retouching to the abrasion, (see images under UV), all of which are slightly matt in reflected light. Slighly uneven surface gloss where there is abrasion/retouching, with a light layer of surface dirt.Summer: The edge of the panel are concealed at the rear by no splits, damages or movement visible. Only fine vertical stable cracks inline with the wood grain evident. Scattered careful retouching to small losses. Some abraision/wear to the brown tones and thin upper glazes and the sky. A careful campaign of retouching to the abrasion, (see images under UV), all of which are slightly matt in reflected light. And slighly heavier reinforcing to the top of the righ hand windmill and in tops of buildings. Slightly uneven surface gloss where there is abrasion/retouching, with a light layer of surface dirt.
Follower of Pieter Hardimé (1677-1748) Belgian Still life of Convolvulous, Roses and Sweet Peas, arranged in a vase Oil on panel, 30cm by 24cmOne panel, edges covered with paper at reverse but no splits apparent from the face. Good, even plane with no warping.Fine scale brittle age craquelure to the paint and ground in places and a more apparent very fine network of cracks which appear to be in the thick varnish layer. This makes the surface slighly crizzled rather than glossy.No major losses to paint and ground apparent, all paint layers stable with no history of flaking.There has been some abrasion to the upper paint layers, most apparent in the left hand side, where the orangy ground shows through the upper paint layers. The whole top left corner has been overpainted in a murky brown. There is also a splattered brown encroaching into the flowers in this area (see images). There is some abrasion to the bottom left flowers, and to the butterfly on the right, and rose leaves bottom right. Some possible small reinforcing retouchings scattered.The cracked varnish layer/s are thick and yellowed.Examined in frame.
A collection of audio / visual equipment, components include a Yamaha CDR-HD1500 HDD/CD Recorder, w.43.5, d.39.5, h.11.5cm, a Yamaha Aventage RX-A1030 Natural Sound Receiver, w.43.5, d.38, h.18cm, a Sony X55ES High Density Linear Converter, w.43, d.35.5, h.12cm, a Sony TA-E1000ESD Preamplifier (missing front panel), w.43, d.33, h.15cm and a Pioneer DVR-LX70D HDD/DVD Recorder, w.42, d.34.5, h.8cm. (5)PLEASE NOTE These items have NOT been Pat tested and would need to be tested by a qualified person before use.
A collection of table salts sellers to include a Birmingham silver mounted shell salt H x 3.5cm , a London silver George III cauldron salt with gadroon border raised on three pad feet H x 4cm D x 6cm London 1784 and associated salt spoon a Birmingham silver drum mustard with blue glass liner and spoon with pierced and engraved fish panel to front H x 4cm and a Birmingham silver bean handled coffee spoon with enamel back 103g (a lot)
A Edinburgh silver circular pill box with pull up top and celtic plat border D x 3cm, a modern Dutch white metal oval shaped and engraved pill box with inset Delft windmill ceramic panel L x 6cm and a Dutch style white metal oval chased pill box with children eating and C scroll border engaved verso with letters and dated M E 1909 H x 2cm L x 4cm (3) 65.9g
A Gothic revival oak ecclesiastical throne chair, late 19th century, the arched crest rail with cruciform surmount above a panel carved in low relief with Apha / Omega symbols, flanked by two architectural finials and over substantial open arms with acanthus carved terminals, the seat and buttoned back upholstered in red velvet, and all raised on square section and chamfered supports. H160cm.
A collection of Lapis Lazuli mounted white metal jewellery to include a thong style necklace L x 29cm, triangular style panel drop necklace L x 18cm, polished nugget style pendant, horse mounted brooch and pendant, butterfly brooch, oval panel necklace a/f and five various pairs of earrings and three odd earrings (a lot)
A 1960s Danish teak low chest of three long drawers, having curved integral elongated handles, raised on turned slightly tapering supports, h.79cm, w.75cm, d.44.5cmStands well and is structurally sound.Drawers run smoothly.Colour nice and original throughout.Approx. 6cm horizontal scratch to centre of back panel.
John Syer Jnr (British 1846-1913): Sail and Steam Boats off Tynemouth Priory, oil on canvas laid on to panel signed and dated '77, 40cm x 60cmCondition Report:Overall good condition. Repaired tear across the left-hand boat's sail and associated overpainting, some further overpainting visible under UV light. Would benefit from a light clean.
Henry Dawson (British 1811-1878): Fishermen in Discussion on the Beach, oil on panel signed and dated 1856, 28cm x 47cm Provenance: private collection, purchased David Duggleby Ltd Whitby 3rd April 2006 Lot 21Condition Report: Excellent condition, cleaned, shows no signs of over-paint under UV light. Well presented, ready to hang
Maxwell Doig (Northern British 1966-): 'Telephone Engineer 2', mixed media on canvas laid on to panel signed and dated ‘99, further signed titled and dated 1999 verso 37cm x 40cm Provenance: exh. Hart Gallery, Nottingham, label versoCondition Report: Excellent condition, well presented - ready to hang.
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360412 item(s)/page