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Lot 632
An Art Deco style lamp modelled as a sailing boat, modelled with a painted black hull and chromed sails, 47cm high CONDITION REPORT: Please note that this is not period Art Deco but in the style of. There is a rough patch to the top of the main sail on the back where another piece may have attached. Patina of light scratches and wear to the chromed surface throughout. Wear to the paint on the hull throughout. Some wear around the screws where they join the sails, the screw heads for the sails to the boat at the bottom are filed and rusted philips head examples. Overall fair. Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 266
A George III gold sovereign dated 1820, weight 8gms CONDITION REPORT: There is a small scratched patch at about 2'oclock on the reverse side, there is a small speck of dirt? within this. Light grazing to the cheek of George. Light wear to the surface throughout with some light scratches, perhaps two or three tiny marks to the edge of milled edge. There are some small dirt / black marks to the cheek ofthe King and one to the fold of the hair. There is a small blemish to the bottom of the 'S' of Geogrius. There are some black marks to the back of the coin also - one of which was a line across the rump of the horse. It does not appear that the coin has been in a mount.
Lot 269
A 19th century 'Lund' style ivory chess set within stained pine box, comprising sixteen red stained pieces and sixteen ivory pieces, tallest 11cm high CONDITION REPORT: There are no makers marks on the chess set or on the box. White set:The cross at the top of the king is slightly darker in colour - there has been a glue repaired break where one of the four sections of the cross has come away.Queen - lacking ball / leaf detail to the top of the crown and maybe should have had others to the side?Knight - slight grazing to both earsKnight - minor grazing to mouthRook - two small hair lie cracks to topRook - small chip to the desk section below the4 castellated section. Red set:Some rubbing to the red staining on all pieces.Queen - lacking the ball / leaf detail to the top of the crown and another to the side of the crown. Also with some hair line cracks to the ball top and within the turning. Bishop with a stained / worn patch to the top. (possible repair here?)Both knights with minor grazing - one also with a repaired break where the head meets the turned section.Rook - repair to two of the castellated sections and to the disc section of the top beneath this. A small chip also to this Rook and some staining loss. Rook - some grazing to castellated section. Pawn - very small chip to centre of turned section. Pawn - black stained patch to the mid section. PLEASE SEE EXTRA IMAGES. Please note: Trevanion & Dean does not ship items containing ivory outside the EU.
Lot 543
An 18th century Staffordshire enamel patch box, three novelty metal vesta cases formed as books and seven assorted snuff boxes including a Tunbridge inlaid example, a toleware box and a silver plated one of circular form with tortoiseshell top etc (11). Condition Report. To be used as a guide only. Staffordshire box with heavily damaged top and cracked mirror. All others with wear but free from any major defects.
Lot 771
A George II mahogany bachelors chest. Incorporating a brushing slide and with four graduated drawers raised on ogee bracket feet, 76cm wide, 46.5cm deep, 77cm high. Condition Report. To be used as a guide only. Patch of veneer missing from the top front right. Splits to both sides. A lot of cock beading lacking and some veneer from the carcass front. Some moulding missing from both back feet. Strip of the back boards missing.
Lot 96
A large Chinese Qianlong punch bowl with orange peel textured glaze. With an internal cell border and red monochrome landscape vignette. The exterior finely painted in coloured enamels with a continuing landscape with a coaching scene, 39.25cm diameter. Condition Report. To be used as a guide only. Badly broken. Glued back put with one filled patch lacking.
Lot 306
A rare Bow figure of a putto holding a dog and decorated with applied flowers c.1758 along with three Derby figures of putti holding baskets of flowers, patch marks c.1765. Bow figure 11.5cm (4). Provenance; Frank Wheeldon collection. Condition Report. To be used as a guide only. Small losses throughout to the applied work. Bow figure with some pitting. No breaks or repair.
Lot 315
A Lowestoft mug with scrolling handle having kick out terminal. Painted in coloured enamels with a Chinese family in a continuing garden landscape under a gilt, red and black enamel cell border c. 1780, 8.75cm. Condition Report. To be used as a guide only. Staining to the base inside and out, small stained patch on the side of the body. No chips, cracks or repair. Very slight wear to the gilding. Enamels bright.
Lot 12
Germany.- Gerning (Johann Isaak von) A Picturesque Tour along the Rhine, from Mentz to Cologne, first English edition, list of subscribers, 24 finely hand-coloured aquatint plates after C.G.Schutz, folding engraved map with routes hand-coloured at end, occasional light spotting or offsetting to text but plates very clean, frontispiece with very slightly worn patch, contemporary cloth, rebacked preserving original spine with roan label, rubbed and faded, [Abbey, Travel, 217; Tooley 234], 4to, 1820.
Lot 5
Asia.- M'Leod (John) Voyage of His Majesty's Ship Alceste, to China, Corea, and the Island of Lewchew, third edition, engraved portrait frontispiece, folding engraved map with vignette, 5 hand-coloured aquatint plates, frontispiece lightly offset on title, small marginal tear at fold of map, later ink inscription to front free endpaper, contemporary half calf, spine gilt with red roan label, rubbed, small worn patch to upper joint, 8vo, 1819.
Lot 362
Collection of over 170 Robertson Golly Badges, including REV Gomm Ltd, Fattorini & Sons, H W Miller Ltd, JR Gaunt London plus later manufacturers, cloth golly patch,4 x key rings, on one Golly Brooch display red felt roll up mat, plus another homemade mat and one spare hessian golly brooch mat (approx 180 items)
Lot 420
British Transport Commission Police Badges, Kings crown, black star helmet plate chrome BTC centre, Queens crown black star helmet plate chrome BTC centre, Kings crown BTC senior officers cap badge, Queens crown senior officer cap badge, blue enamel BTC centre, plus 2 x Queens crown British Transport police cap badges and British Transport police dog section patch (7 items)
Lot 453
Isle of Man Police Queens Crown Helmet Plate, chrome two part badge (missing rear lug fixings) Metropolitan police EIIR QC chrome helmet plate, chrome rose top for helmet, R.U.C QC cap and collar insignia, N.S.W. Police cloth shoulder patch, New York city state police cap badge (missing rear fixing) Palestine Police broach (missing fixing to rear) 2 x USA police lapel badges (one missing fixing to rear) 2 x IPA lapel enamel badges, SUC war savings enamel badge, Ulster Covenant jubilee enamel badge 1912-1962, Ulster Volunteer force copy badge and one other lapel badge (17 items)
Lot 173
A Mamiya C3 TLR Outfit, serial no. 217066, grey, shutter working, body F, age related wear, with Mamiya-Sekor lenses, a 8cm f/2.8 lens, no. 355593, barrel, F, elements G, some internal dust, a 135mm f/4.5 lens, no. 1102934, barrel F-G, elements, F, small patch of fungus and some cleaning marks, together with a pair of light meters, addition handle grip and maker's case
Lot 106
A Zeiss Contaflex TLR Camera, serial no. Y84352, chrome, shutter working, meter responding, body F-G, small patch of vulcanite missing around viewfinder release button, some cloudiness to brightline finder, some corrosion to black painted parts, Carl Zeiss Jena 5cm f/2 Sonnar lens no. 1731612, 1936, barrel VG, elements, VG, with leather maker's case and lens hood
Lot 273
A Collection of Leitz Lenses, Elmar 5cm f/2.8, serial no. 1636425, with Uva filter, ITOOY lens hood, barrel G, elements, F-G, light haze and dust internally, very minor patch of separation, with maker's caps and lens bubble, Elmar 90mm f/4.5 no. 1712114, barrel F, some light scratches and marks, elements, F-G, moderate haze, with maker's caps, Hektor 135mm f/4.5, with 12575 N lens hood, body G, elements P-F, significant scratches, with maker's caps
Lot 260
A Leica IIIf Red Dial Delayed Action Camera, serial no. 686211, chrome, shutter working, 1954, body F-G, age related marks to top plate and some brassing, small patch of vulcanite missing next to slow speed dial, with a 5cm f/1.5 Summitar lens, no. 820167, barrel G, elements, F, haze, some cleaning marks and paint flaking to edge of elements, with maker's cap
Lot 43
Antigua. 1862-1951 used collection on black leaves. A small but useful range of QV (some stuck down), KE VII one of each colour including SG 37-40 (38 with a minor toned patch on reverse), 48; 1921-9 one of each value used; 1932 Tercentenary set with 1d poor and 5/- with short perfs at right; KG VI basic stamps complete with 1_d lake-brown. Also the 1922 Barbuda set, the 3/- fine, but the 4/- with surface defect and 5/- with slight colour loss
Lot 169
An enamel and diamond slider together with a small collection of other enamel pieces, the pierced rectangular slider with black spot on white enamel edge holding a diamond set initial; together with a turquoise enamel, mother of pearl and seed pearl dress set (double-ended cufflinks and three buttons) in period fitted leather case; a white spot on turquoise guilloche enamel small pencil case with lead pencil; a silver octagonal patch or snuff box with enamel lid of blue guilloche centre and white border, gilt washed interior, Birmingham hallmarks 1909; and a silver gilt powder compact in the form of a stopwatch with both sides enamelled in teal guilloche with white rim, London import hallmarks 1910 (5)
Lot 369
Giovanni Francesco Barbieri il Guercino (Italian, 1591-1666) Portrait of an Italian Cane Corso seated within a stone window opening, a mountainous landscape beyond oil on canvas 55.50 x 76.20 cmProvenance: Acquired by the vendor's great great grandfather in Rome in 1850; and thence by family descentOther Notes: This previously unrecorded painting is an exceptionally rare example of Guercino’s paintings of an individual animal and survives in excellent condition.In a valuation of the picture from the last century, it was given a generic attribution to Guercino. Guercino’s authorship was recently proposed by John Somerville and subsequently fully endorsed by Nicholas Turner on first-hand inspection of the painting, both before and after its recent cleaning by the Hamilton Kerr Institute (report available and also online). The attribution to Guercino has also been endorsed by Francesco Petrucci who has described it as “un vero capolavoro, molto impressionante, di grande potere inventivo e di qualità pittorica, incontestabilmente del Guercino, come giustamente riconosciuto da Nicholas Turner”.The style points to a date towards the beginning of the painter’s transitional period (circa 1625-1630) when his work began to show an increasingly classical influence, following his return to Cento in 1623 after a short stay in Rome (1621-1623).Though the painter included dogs in portraits and other compositions, Guercino’s only surviving animal painting hitherto was his famous portrait of the Aldrovandi Dog (Fig. 1) in the Norton Simon Museum, Pasadena, California, which is generally dated circa 1625.The present picture was probably executed at about the same time. Neither painting is recorded in Guercino’s Account Book (which was only started in January 1629).The robust physique and head of the dog has indicated to both the Kennel Club of Great Britain and its Italian counterpart, the Ente Nazionale della Cinofilia Italiana, that this dog is a Cane Corso, the progenitor of the present day Italian Mastiff. This was, and still is, a breed traditionally used as guard dogs and for hunting. The Italian name, Cane Corso, derives from the Italian word corso meaning ‘street’ or ‘way’. The ancient forebear of the Cane Corso was praised by the Romans for its courage, nobility and strength. When the Romans invaded Britain they found a mastiff-type dog already here and were so impressed, they took some back to fight in the Roman arenas. Over the centuries and certainly since Guercino’s own time, the breed has been bred - both in Italy and elsewhere - to have much longer legs and an even larger head. Today its overall greater size is reflected in its name ‘Mastiff’, rather than that of Cane Corso. In this painting, the dog is silhouetted against the sky and seems to be watching over a walled patch of ground, with flat open country beyond. Its owner must have held it in some affection, presumably commissioning Guercino to paint this dramatic close-up likeness of it. The animal’s body fills the foreground space and further emphasis is given to its commanding physical presence by the breath-taking description of the subtly changing colour and texture of its coat, its glistening eyes and the heavy jaws from which lolls its slightly moist, pink tongue.In the great Norton Simon picture, the dog is a brindle mastiff and though the Aldrovandi family coat-of-arms decorates its large collar, we do not, as here, know the animal’s name. The sweeping landscape in the Aldrovandi painting, against which the dog stands so majestically, competes with it for the viewer’s attention. To the right, the flat countryside may represent the Aldrovandi’s estates of Castello della Giovannina outside Cento, the distant tower perhaps that of the old castle. Guercino may have painted the Aldrovandi Dog as a gift for his friend and patron, Conte Filippo Aldrovandi, to whom he was much indebted. Whatever the circumstances, the Aldrovandi Dog is, in effect, two paintings - a portrait of a dog belonging to Guercino’s friend and a landscape that may allude to one of his estates.The combination of the two seems exceptional and had the picture been painted for one of Guercino’s regular clients (and after he began an account book in 1629), we can speculate that probably he would have been charged a double-price - for the animal and the landscape.The present painting, however, is a portrait of a dog without ‘extras’ and does not belong to the same category as the more deluxe Aldrovandi Dog in Guercino’s product range. The canvas is smaller and there is no extensive landscape background - only a glimpse of a distant countryside with trees and hills appearing between the animal’s left foreleg and the line of the wall to the right, giving a sense of context to the animal. Both pictures, however, share the life-like treatment of the dog, seen from a low viewpoint against a sinking horizon.The brushwork of the dog in the present picture is rapid, intuitive and brilliant. An idea of how the painter freely improvised the handling of the dog’s honey-coloured coat may be observed in the zig-zagging line running parallel to the lowest of the rolls of flesh at the creature’s neck - indicated with the pointed wooden end of the brush in the wet paint. The brio with which the dog is painted, with a heavily laden brush, contrasts in texture to the smooth, thinly-painted compositional framework - such as the parapet on which the dog sits and the wall to either side. These neutral areas serve as a foil to the picture’s dominating central motif. Contrasting thickly-painted key figures in a composition with thinly-painted backgrounds is a consistent feature of Guercino’s working method.Midway between these two types of paint application is the fluffy white cloud that billows out from behind the dog in the Cheffins picture. The cloud bridges foreground and background space. At the base of the cloud - where it is seen against the animal’s body and the wall - the white paint is thickly applied and creates a strong contrast with these two areas. The white paint also hides rejected trials for the contour of the animal’s back and rump. As the cloud ascends in the sky, it becomes wispy and the paint texture lightens as the form mingles with the adjacent open sky. The spontaneous brushwork with which this floating mass of moisture is represented is an extraordinary performance, showing Guercino’s handling at its very best and at the same time it plays a practical role in holding compositional space together.In the Aldrovandi Dog and the Cheffins Cane Corso, Guercino painted the soft fur of the different dogs with wonderful command of his means, as well as summarising with great understanding their physical traits. In the present picture, the impasto in the painting of the dog is set against a mostly neutral background. Yet the personality of each animal is strikingly different; the Cheffins dog has an alert but biddable and affectionate countenance, so well understood by the artist. The Norton Simon dog is depicted as if akin to his owner’s social status, a great, grand and elegant hunting hound.Dottore Francesco Petrucci has requested the loan of the painting for his forthcoming exhibition, ‘Cani in Posa’, to be held at La Veneria Reale, Turin, from 18 October 2018 to 29 January 2019.We are grateful to Dr Nicholas Turner for his help in compiling this catalogue entry.Fig. 1 Giovanni Francesco Barbieri, il Guercino - Aldrovandi Dog - oil on canvas - © The Norton Simon Foundation, California, USA Condition report: Hamilton Kerr report and high resolution images available on request
Lot 399
Mather Brown (American, 1761-1831) Portrait of Sir Edward Astley, 4th Bt. (1729-1802) of Melton Constable Hall, Norfolk oil on canvas, unlined, oval 73 x 60cm (28 x 23in) Provenance: Westacre High House, Norfolk, and by descent to the present owner Literature: Sir Frederick Duleep Singh, Portraits in Norfolk Houses, Norwich: Jarrold and Sons, 1928, Volume 2, p.372; Dorinda Evans, Mather Brown (1761-1831) - An Early American Artist in England, Middletown, Conn. Wesleyan University Press, 1982, p.68 (in the Library at Westacre High House) Other Notes: Mather Brown was a portrait and historical painter, born in Boston, Massachusetts, but active mostly in England. Brown was the son of Gawen and Elizabeth (Byles) Brown, and descended from the Reverend Mr Increase Mather on his mother's side. He was taught by his aunt and around 1773 (age 12) became a pupil of Gilbert Stuart. He arrived in London in 1781 to further his training in Benjamin West's studio, entered the Royal Academy schools in 1782 with plans to be a miniature painter, and began to exhibit a year later. The present portrait was painted in 1790 when Sir Edward Astley was 61 years of age. Tax stamp on the back of the canvas. Canvas maker's stamp "J Poole, High Holborn, British Linen. 1508-23-85". Cleaned in June 1958. Cleaner reported: "Unlined canvas, two small patches on back of canvas". Chips to the frame. Two old repaired tears. Oil on canvas which is unlined. There is an artist's suppliers stamp for J Poole on the reverse and a tax stamp. The canvas has two patch repairs on the reverse. The painting is attached to a rectangular wooden stretcher, some keys are missing and canvas tension is slightly slack. Apart from the small tears in the canvas, the paint layer is in a good condition. There are small areas of retouching covering the areas of damage. The varnish is dull and yellowed, but even. There is a layer of surface dirt present. The frame is missing a section of the moulding along the upper edge. There are a few scattered losses to the gilding.
Lot 778
German Third Reich WW2 Attributed Army Chaplain’s Casualty Insignia. This small grouping is attributed to Stadtvikar Leutnant who died on the 3rd November 1941 in the fight towards Moscow. Comprising: Collar patch. ... Small cross stick pin, similar to that seen on the cap. ... Postcard photograph in uniform. ... Memorial Card. Overall GC (4 items) Instituted 15th January 1943.
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24353 item(s)/page