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Click here to subscribeGeorgian country-made oak side table, single frieze drawer, cabriole legs, width 79cm, depth 56cm, height 69cm.Condition report:Obvious plank joins to the top. The top is heavily marked with historic burn marks, rings, and a very dark 10cm diameter patch near the front centre. The patina throughout is very patchy. The drawer is sound. Remodelling and repairs to the underside.
Unique Art Mfg Co (USA) Tinplate Clockwork L'il Abner & His Dog Patch Band, detailed tinprinted novelty toy featuring clockwork Piano with Abner, Pappy, Mamma and Daisy Mae figures, fixed key mechanism and start/stop switch, generally G, Mamma lacks her baton arm, Pappy lacks one drum stick, working at time of cataloguing
Alps (Japan) Battery-Operated Drumming Clown Charlie, clown figure with plastic head, illuminating nose, red jacket and striped trousers, detailed tinprinted base, removable drum kit, in original box, with similar loose Alps The Happy Fiddler Clown, F-G, both working at time of cataloguing, Charlie with small patch at base of jacket corroded, box P, lid extensively repaired (2)
A group of four Derby porcelain patch figures late 18th century, comprising a figure of Britannia, c.1770, 24.5cm high, a hunting pair, comprising a gentleman with a rifle, and lady holding a bird, both with dogs at their feet, 17cm and 17.5cm high, and another modelled as a lady holding a basket of eggs, 17.5cm high (4)Condition ReportBritannia) Hairline cacks to the dress and base. Losses to the bocage.Hunting pair) The gentleman's head has a restoration crack around the neck. Losses to the bocage.Single figure) Hairline cracks to the dress.
An M.P.P. Micro-Press 5x4 Camera, body G, bellows extends and locks, not light tested, rangefinder patch is clear and moves with the front standard, focal plane shutter cocks and operates, the front standard has a Compur-Rapid shutter, sticks at slow speeds, needs to be tightened into the lens board, and a Schneider-Kreuznach Xenar f/4.7 135mm lens, optics F with haze, rear viewfinder stiff to open, ground glass is present.
An M.P.P. Micro-Press 5x4 Camera Body, body G, bellows extends and locks, not light tested, rangefinder patch is clear and moves with the front standard, focal plane shutter needs attention, the front standard has no lens, board, or shutter, rear viewfinder opens but no ground glass present, leather handle on left of body is missing.
An M.P.P. Micro-Press 5x4 Camera Body, body G, bellows extends and locks, not light tested, rangefinder patch is clear and moves with the front standard, focal plane shutter cocks and operates, the front standard has no lens, board, or shutter, the mechanism to operate the front shutter is missing, rear viewfinder opens and ground glass is present.
An M.P.P. Micro-Press 5x4 Camera, red, body G, small amount of peeling of leatherette to front, bellows extends and locks, not light tested, rangefinder patch is clear and moves with the front standard, focal plane shutter cocks and operates, the front standard has a Synchro-Compur shutter, sticks at slow speeds, and a Schneider-Kreuznach Xenar f/4.7 135mm lens, optics F with haze, rear viewfinder opens nicely, ground glass is present. In a semi-rigid leather case, with six film plate holders, two lens boards, one fitted with and Epsilon shutter, working and a Wray f/6.3 89mm wide-angle lens, number 102670, optics G with light haze.
A Linhof Super Technika III Large Format Camera, black, serial number 45029, body G, front standard extends and locks, bellows not light tested, rangefinder patch visible, with a Schneider-Kreuznach Xenar f/3.5 105mm lens serial number 3112666, optics G with light dust, shutter working, a Schneider-Kreuznach Tele-Xenar f/5.5 180mm lens serial number 2843026, optics G with light dust, shutter working, a Schneider-Kreuznach Angulon f/6.8 65mm lens serial number 3893188, optics G with light dust, shutter sticky at slow speeds, in a wooden fitted case with 2 Linhof roll film backs several plate holders, and some filters, and instructions.
A Wirgin Edixa Stereo II Camera, silver, body P, some leatherette has peeled off, but is all present, rangefinder patch visible and working, irises working, meter responds to light, shutters not working even when advanced using the internal wheel, with Steinheil Cassar f/3.5 35mm lenses, optics F, and instructions.
A Beier Rifax Medium Format Folding Rangefinder Camera, 1937, black, serial no. 3286790 (to the side of Compur shutter), with Leitz Elmar f/4.5 10.5cm lens, serial no. 112553, (1932) camera body G-VG, RF patch visible, not tested for accuracy, newer-style body, lens optics VG, some light haze present
A Group of 35mm SLR Cameras, to include a Minolta Dynax 5000i, body F-G, some whitening of grip, shutter fires with battery inserted, a Minolta Dynax 500i super, body G, shutter fires with battery inserted, with f/4-5.6 35-80mm zoom lens, a Minolta Dynax 404si, body G, shutter fires with battery inserted, a Pentax MZ-5, body G, shutter not firing, with a Tamron 171D 28- zoom lens, barrel G, optics F, have a fungus patch, a Nikon AF-S 18-55 kit lens, barrel G, optics F-G, and a Olympia SLR-look camera.
A Linhof Technika Press 23 Camera Outfit, to include a Press 23 camera, beige, body F-G, some colouration to the leatherette, rangefider patch visible, with a Carl Zeiss Planar f/2.5 100mm lens, serial number 1593124, chrome, barrel G, optics F with haze, in a Synchro-Compur shutter, not working, a Carl Zeiss Biogon f/4.5 53mm lens, serial number 3859846, optics F with haze, with Synchro-Compur shutter, speeds all the same, a Carl Zeiss Sonnar f/4.8 180mm lens, chrome, serial number 3509380, optics VG, shutter sticky at slow speeds, in a wooden fitted case with film cartridge, hand grip, lens hood and finders for different ranges, and some filters.
A BOXED STEIFF HAMLEYS 'RICHARD STEIFF ONE HUNDRED YEARS 1902-2002 CELEBRATION BEAR', no 660825, the jointed teddy bear with golden mohair 'fur', growler, gold coloured ear button and white label, limited edition with certificate numbered 553/1500, and birthday card, height of bear 32cm (1) (Condition Report: teddy bear appears in good general condition, with no obvious damage, but possibly a small manufacturing fault resulting in a small patch of missing fur near the seam on its lower back, area approximately 12mm x 8mm at the widest point, the outside of the box with visible mould marks and wear)
THIRTEEN BOXED LILLIPUT LANE SCULPTURES, comprising 15th Anniversary Collectors Club Special Edition The Enchanted Garden L2410 2001 has certificate of authenticity, 2001 Anniversary Cottage The Old Mill at Dunster L2396, 2002/2003 Club Special Edition Two Pints Please with deeds L2497, 2001/2002 Club Special Edition Old Scrumpy Farm L2394, 2009/2010 Collector's Club special addition Fruits of the Forest 2009 with deed, Club Symbol of Membership included are 2001/2002 Little Scrumpy L2395, 2002/2003 Gold Top L2495, 2004/2005 The Toy Box L2684, 2005/2006 Cabbage Patch Corner L2831, 2006/2007 Sugar Mouse L2932, 2007/2008 Afternoon Tea L2992, 2008/2009 Nutkin Cottage L3081, 2009/2010 Fruits of the Sea L3174 (no deeds with this house all others in this collection have deeds), (13), (Condition Report: overall condition is good very slight signs of rubbing on some but hardly noticeable, boxes and deeds general wear see details in description for specific items)
Dutch School, 17th century Portrait of a boy, half-length in a white shirt and red cloakoil on canvas, oval72 x 59.5cmProvenance: Christie's, 26 March 1902, lot 44, as 'Boy in Red Cloak'.Condition ReportOverall: 86 x 73cmCraquelure and light surface dirt. Some patches of restoration are visible to the background. Thinning to the paint in places, please refer to illustration. There is a 7 x 5cm patch repair verso. Not examined under UV light, for a full report please contact the department.
Edward Armfield (1817-1896) Terriers playing in a barnsigned 'E. Armfield' l.r., oil on canvas50 x 90cmCondition ReportOverall: 63 x 104cmRelined. Light surface dirt. The background appears to have some heat damage with small bubbles and blisters to the paint lower centre, around the window, and to the upper right corner, please see images. There appears to be a repaired L shaped tear measuring 14cm x 10cm crossing the black dog and above the white dog in the centre, which corresponds to a patch repair to the reverse, please see additional images. Examined under UV light no retouching fluoresces however a thick layer or varnish makes reading difficult and may obscure earlier restoration.
CHANEL Mantel, Gr. ca. 36. Cremefarbener Tweed mit gehäkeltem Dekor in Schwarz an den Säumen, vier aufgesetzten Taschen. Gürtel und Kamelie anbei. Tragespuren deutlich vorhanden, Verfärbungen unter den Armen, Änderungen, teilweise entferntes Etikett im Nacken und Pilling. | CHANEL coat, size approx. 36. Cream-coloured tweed with crocheted decoration in black on the hems, four patch pockets. Belt and camellia attached. Signs of wear clearly present, discolouration under the arms, alterations, partially removed label at the neck and pilling.
A Fine Regency Rosewood and Brass-Inlaid Library or Centre Table, early 19th century, inset with a leather writing surface with anthemion gilt-tooled border, the central section with a sliding and removable games board enclosing a velvet-lined interior flanked by D-end sections with hinged lids, the middle section with a mahogany-lined frieze drawer, on standard end supports with sledge bases, scrolled brackets and brass cast feet and castors 138cm by 60.5cm by 72cmProvenance: A Private Estate, North Yorkshire. With original invoice,Tennants Fine Art Sale, 2 November 1990, lot 858 (ex. Otterington Hall, North Yorkshire) The leather has various faults (as photographed) as well as some ring marks and splitting. Both end compartments have some movement (as photographed). There are small sections of veneer missing, with some small areas of patch repair. There are some faults to the brasswork where it is lifting in several places, mainly around the curved section. There is evidence of glue to the curved section also. The base is in better condition, with just some general scuffs and bruising. Please see further images.
A Staffordshire Enamel Patch Box, late 18th century, the hinged cover inscribed A Present from Ripon4.5cm wideA Similar Patch Box, inscribed A Trifle from Bradford on a pale blue ground4.5cm wideAnother Patch Box, decorated with a sheep in landscape within a beaded border4.5cm wideA Halcyon Days Box, decorated with sheep4.5cm diameter (4)Ripon - cover with a sereis of arching hair cracks to the top right and a sloiver of lost enamel, another fine crack to the left and pitting. Main body with two rim chips and other minor fine cracks. Mirror with heavy loss to the silvering.Bradford - some minor fine cracks, main body with small filled rim chips on the inside, mirror in good order. Beaded box - arch shaped hair crack to the bottom middle of the cover. Polished metal mirror heavily pitted. Chip losses to the rear of the base and some other hair cracks. Halcyon - minor scratches to the underside.
A Chinese Porcelain Figure of Guanyin, Qing Dynasty, probably Kangxi, seated wearing long flowing robes 20cm high A Chinese Porcelain Incense Burner, modelled as fruit and tendrils picked out in manganese 6cm wide, on hardwood standProvenance: By repute The Schiller Collection Figure - firing cracks to the reverse. Right hand detached and with loss to index and third fingers. Some other minor flakes. No restoration. Unglazed patch front centre on the robes.Incense burner - handle sprig restored. Crazed. Minor flakes to the leaf edges.
John Bogle (1746-1803): Portrait Miniature of a Young Man, believed to be Francis Napier, 8th Lord Napier of Merchistoun, wearing a white stock and cream jacket, initialled and dated I.B (17)77, oval, on ivory 3.5cm by 2.7cm, in a rectangular gold locket with foliate repousse coverWith Non-Transferable Standard Ivory Declaration Number Z2ZGBBDN Ivory leaf with slight warping but free of splts. Slight loss to colour. No notable signs of wear or mildew, save for one small white patch lower left, visible in the main image. Metal free from holes and splits. General wear. Cl0sing tightly. Missing strap as per image.
A George III Mahogany Straight-Front Chest of Drawers, late 18th century, the moulded top above a pull-out green baize brushing slide and two short over three long oak-lined drawers, on scrolled and pierced bracket feet91cm by 46cm by 81cmGood uniform colour. The top does have some scratches (some deep). The top section also has a patch repair. The brasses have been replaced with previous handle marks visible to the drawer fronts. With some small faults around the drawers. The drawers are all open and run freely (but no key). There are some small patch repairs to the dustboards. Please see further images.
Follower of William Hogarth (1967-1764) Portrait of Carlisle Spedding Esquire, of Whitehaven, head and shoulders, With inscribed label verso identifying the sitter, oil on canvas, 74cm by 61.5cm Carlisle Spedding (1685-1755) was principal Colliery Steward for the Lowther family from c.1730-1755, based at Whitehaven, West Cumberland Old, fairly stiff lining. Two keys missing, fair tension. Original tacking margins removed. Brittle age and impact craquelure throughout, and slight stretcher bar marks. All raised (see image in reflected light), but secure at present and not flaking. Crude, matte overpaint to top edge at left, down the left hand side, and a smaller patch bottom left. All ontop of the current varnish, and slightly smeared at top. Further scattered small older retouchings including to tiny losses at bottom edge and a small loss to the left of the right eye. Brushy, larger patches of overpaint to the dark 'knot' at the front of the necktie, and in patches at the top of the background. A little thinning/abrasion to the hair, and in places in the thinner parts of the background and drapery. Difficult to see in the darker areas due to opacity of old varnish.Old thick dirt and varnish ingrained in troughs of paint. Upper varnish is a bit yellowed, and a little scuffed/matte in places. Scratches in the surface at bottom right, along all edges and a patch in the top right corner, at right edge and in the cravat. A few matte splash/drip marks, light surface accretions.
Jacob Silven (1851-1924) Swedish Nocturne scene with fishermanSigned and dated 1889, inscribed artist's name to frame on reverse, oil on canvas, 78cm by 119cm Unlined, one key missing, slightly lacking in tension. One corner draw/undulation in top left corner. Gap at the bottom of the canvas. One small puncture to the canvas from a blow from the reverse in the top left quadrant, with associated loss of paint and ground, unrestored. A futher larger dent in the top right quadrant. There is a network of raised brittle age craquelure and impact cracks.There are patches which have flaked. Some have been crudely/partially retouched. The paint and ground layers in these areas are not stable (see images). Notable areas include to the left of the moon and long horizontal impact cracks in the sea. Slight stretcher bar marks. Light abrasion/rubbing aroudn edges.There are futher passages of broad strokes of retouching to abrasion/opened cracks in the boat and figures, the bottom of the sky and touches in the water. The overpaint is slightly grey and matte. There is a futher patch of overpaint top left corner.There is a thick old varnish layer, yellowed and fairly matt. There are a few minor splashes and drips and one white patch in the sky.
Follower of Sir Godfrey Kneller (1646-1723)Portrait of a lady, three-quarter length seated, wearing a burnt orange dress with white chemise, and holding a sprig of flowers in her lapPortrait of a lady, three-quarter length seated, with her attendant servant Oil on canvas, 32cm dia. (oval) (2)Provenance: A Private Estate, North YorkshireLady in Blue and Red:Lined, three keys missing, one stuck behind bottom stretcher bar. Good tension. Original tacking margins removed. Old brittle age and impact cracks throughout - stable and not elevated. Minor pinpoint old losses, and one old unrestored loss above the sitter's head. There has been a campaign of fairly delicate but widespread retouching to cracks and abrasion, with the majority in the flesh tones (see images in UV light). Possibly an older campaign of restoration in the darker areas not visible. Fairly extensive abrasion to the delicate red layers in the drapery which have largely been removed, and some to the flesh and blue glazes. Some of the red has been suppressed in places by retouching. Partially cleaned in the past, old ingrained dirt and yellowed varnish left on in the darker passages and removed in the paler ones. This is opaque in patches. A good even upper varnish layer, not appreciably yellowed. Light surface drit and a few minor scuffs including one small spot to right of head.Lady and Attendant: Old lining, original tacking margins removed. Good tension, all keys present, but loose in the frame. Feint stretcher bar marks. Old brittle age and impact craquelure throughout - not elevated and all secure. Scattered small restored losses including two to the finger tips, a few in the background, and two in the red attendant's drapery. There has been a campaign of fairly delicate retouching to cracks, abrasion and minor damages, including a larger patch of restoration in the cheeks which appears in natural light as a peachy colour. The bulk of the retouching is to the flesh tones (see images in UV light). The picture has been partially cleaned in the past, with the old yellowed varnish removed in the flesh tones and paler passages, and left on elsewhere. There is possibly an older campaign of restoration below this, but not noticable/visible. The older varnish is yellowed and ingrained with dirt and there are some opaque patches. There has been some abrasion to the paint and ground layers, particularly visible in the flest tones, but there is some on other passages too. An even upper varnish layer, no noticable surface dirt and some minor rubbing of the varnish visible as white spots at the edges.
William Miller Frazer RSA (1864-1961) "The Falls of Dochart, Killin" Signed and dated 1919, oil on canvas, 48.5cm by 60cm Provenance: Bourne Fine Art, Edinburgh Unlined. Minor damages to rear turnover margins. All keys present. Fair tension. Quantity of dirt and debris behind stretcher. One small loss to paint and ground beneath the top canopy of the tallest tree, unrestored. One small patch stable drying craquelure to bushes on right. A couple of small patches of slighly sharp cracks in sky, likely from blows, but majority of paint good and stable. No apparent restoration. Good even varnish, not appreciably yellowed. A few tiny white dots on surface.
Manner of Jacob van Walscapelle (1644-1727) DutchAn 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 insectsOil on panel, 40cm by 33cmFrame size: 54cm by 47.5cmThe 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.
Attributed to Magnus Hjalmar Munsterhjelm (1840-1905) Finnish Nocturne landscape Initialled, with indistinct pencil signature/inscription to reverse of frame, oil on canvas, 30cm by 53cm Unlined, minor old damages to turnover margins. All keys present, slighly slack. Old patches of adhesive to the reverse, including one to a break in the canvas (see image in transmitted light), 1 inch long. The break has some surrounding overpaint, but not fully restored. A fine brittle age craquelure throughout, with some slighly elevated larger cracks in thick paint including to the moon. The rest of craquelure looks mostly secure and not too elevated, but appears whitish in the darker passages, particularly the left hand side. It is not clear if this is due to abrasion over the slightly raised cracks, or crazing of an old varnish which makes it look opaque and white where it is scattering the light. Slight stretcher bar marks.Scattered old losses throughout to the paint and ground. Crudely retouched and not fully restored. Larger losses include a cluster of losses in a patch above right of the reflection of the moon in the near body of water, a horizontal line above the treeline below the moon, two in the sky, a horizontal line in the foliage lower right, to the right of the tree trunk on the right, along the top and right edge, and a 3 inch scratch through the trees on the left. Futher smaller scattered retouched and unretouched losses.Abrasion and thinning ot the foliage/grass, particularly to the trees, and in places to the sky, which has a greyish/greenish remnants of paint in places. Most not suppressed by retouching. (see images).There is also a thick layer of fibers and dust in the varnish, remants of cotton wool from restoration? Some ingrained dirt, and a fairly glossy varnish. Likely remnants of an older varnish in places.
Thomas Creswick RA (1811-1869)Rustic family at rest beside a stream in an extensive landscapeSigned, oil on canvas, 69cm by 89.5cmProvenance: A Private Estate, North Yorkshire. Mandell's Gallery, LondonLined, with loose cotton secondary canvas at the reverse. All keys present. Good tension, but a little stiff. Sky is fairly pressed in areas from lining process, or an attempt to reduce raised cracks. Particularly evident in the centre top right of tree. Patches of large-scale brittle age craquelure throughout, slightly raised in the sky in places (see images in raking light) but stable. A few scattered tiny unrestored losses including a scratch to the left of the central gatepost, and a white loss below the gate. Ther has been slight abrasion to delicate glazes and outer leaves on the trees. Some reinforcing retouching to the trees, plus some light retouching in the sky, particularly to darker cracks and minor staining in sky. Futher small patches of overpaint, including to the back of the pink bonnet. One large band of possible overpaint or artist's reworking (or a combination) runs horizontally across from the end of the fallen tree to the left edge. From the shape, and remnants of paint under the upper layer, it is possible that the fallen tree extended across the painting - this may have been reworked by the artist and then as the pentiment became more visible over time and with cleaning further suppressed with overpaint. It is a little more visible in the condition report images than in person. The picture has been partially cleaned in the past, with older varnish left on in the darker passages. An even upper varnish, not yellowed. Very light surface accretions - a few fly spots, a brown drippy mark to left of tower, and a yellowish patch of residue at the bottom of the sky on the left.
Philip Alexius de László PRBA (1869-1937) Hungarian/British Portrait of Admiral Sir Hedworth Meux, head and shoulders, in Naval attire Signed and dated 1926, oil on canvas, 65.5cm by 47.5cm We are grateful to Katherine Field, Senior Editor of the Philip de László catalogue raisonné for identifying this portrait. The catalogue is currently presented in progress online: www.delaszlocatalogueraisonne.com The reverse of the stretcher is covered by an old cotton canvas. Flat, even picture plane. Minor small areas of brittle age and drying cracks (e.g. top of cap badge), all stable and not elevated. One 1.5cm filled and retouched loss in the sitter's left shoulder, and a smaller retouched loss to his right shoulder and a further tiny loss above this in the background. Possibly micro-flaking along the collar? A white material sits in the canvas troughs to the left of the cap, with a smaller patch on the right, and futher patches down the left side of the drapery and in the bottom left quadrant. There is mould growth on the inside of the glass in places. A slightly uneven surface gloss - it is more matt in places where the paint is leaner and thinner. Not appreciably yellowed.
Amos Watmough (Exh.1884-85) Two heavy horses and a dog at an open doorway Signed and dated (18)85, oil on canvas, 49cm by 59cm Unlined. Three keys missing and the canvas is fairly slack. The canvas is saturated with varnish at the reverse, and there is dirt and debris behind the stretcher. There is blue material pushing through the canvas top right from a filling/retouching, and a lump of material middle bottom associated with a tear/puncture and restoration at the face.There is brittle age and impact cracking throughout, which has had a history of flaking and loss. Numerous losses of paint and ground, some retouched but not filled, others unrestored. Futher sharp lifting points indicate the paint and ground layers are not currently stable. Where the losses have been retouched, the brush strokes are unnecessarily large and extend onto original paint. The retouching associated with the mid bottom tear/puncture too is extensive and appears as a pinkish patch between the bay horse's legs. Ingrained dirt and varnish in the sky and ground. A thick, glossy upper varnish, likely slightly yellowed, and light surface dirt and accretions.
Paul Seignac (1826-1904) French "Here Kitty" Signed, oil on canvas, 34cm by 25.5cm Provenance: The Willow Gallery, Surrey Unlined, all keys present, good tension. Brittle age craquelure throughout, slighly elevated in the bottom right quadrant, bottom left and top right corners (see images in reflected light), but all stable. Futher patches of tight wrinkling/drying cracks around he back of the chair and the girl's head.A few minor retouched damages, inlcuding a small dark retouching above the yellow sieve at top of dresser, a small retouched damage to left hand plate on dresser, a 1.5 inch scratch to brown pot on dresser, with a larger patch of brushy overpaint in the shadow above this. There are a few further touches of strenghtening overpaint to the girl's face, to the shadows of the hanging cages, and a larger patch of retouching to the bottom left corner to the left of the signature. Possibly a further older campaign of minor retouching including to a loss at the top of the fireplace, and in the yellow material on the chair.A little thinning/abrasion in places, such as the back of the girl's skirt and shoe, and in the darkest paint of the fireplace.A good, even varnish, and light surface dirt.
William Mellor (1851-1931)"Langdale Pikes, from Elterwater, Westmorland"Signed and inscribed verso, oil on canvas, 29cm by 49.5cmUnlined. Four keys missing, lacking in tension. Old patch of card nailed to top tacking margin - unclear what this is. Undulating canvas across the picture. Brittle age craquelure in places - finer in the darker passages and broader cracks in the lighter passages. Not elevated and all secure. One old puncture through the canvas in bottom right corner approx 2mm across, with associated loss of paint and ground. Minor small loss top right corner behind rebate. Line of dirt/gold along the top edge. A little ingrained dirt. Slightly darkened varnish. A series of dark drips/marks? to right of ducks. Light surface dirt
David Adolf Constant Artz (1837-1890) Dutch The Toy Boat - fisherman's wife with children on a sand dune Signed, oil on canvas, 97.5cm by 137.5cm Christies stencil 970A and another indistinct stencil to reverse Unlined. All keys present, but the canvas is slightly slack. Margins covered at reverse. There is a network of broad brittle age craquelure and impact cracks, mostly in the sky and water, and in the bottom corners. These are slightly raised, and visible in reflected and raking light (see images). They are secure and have not had a history of flaking. There are futher isolated minor cracks in the centre of the picture, with a few more visible ones in the dark passages. There is one patch of drying cracks in the girl's far shoe. There is an even, glossy varnish, slightly yellowed. Only minor dirt and debris as the painting is glazed.
A soft sculpture of a wizard wearing a long black robe with a gold-colored rope belt and a black satin hat. Xavier Roberts signature on the back. Artist: Xavier RobertsIssued: c. 1983Dimensions: 13"L x 6"W x 18"HEdition Number: 1853 of 2500Manufacturer: Cabbage Patch KidsCondition: Age related wear.
Handmade in Poland this vibrant pumpkin patch is in orange, green and yellow. Glitter accents make the colors pop. Waterford mark. This item has its original box: 6.25"L x 6.25"W x 5"H. Issued: 20th centuryDimensions: 4.25"L x 4.75"W x 5"HManufacturer: WaterfordCountry of Origin: IrelandCondition: Age related wear.
ANGELA CONNER (BRITISH B. 1935) CLASSICAL WAY Bronze Signed and numbered 12/16 (to underside) and engraved inscription to plaque 37 x 53cm (14½ x 20¾ in.) exc. base Edition 2 of 5. Provenance: Direct from the artist's studio collection 'One of the reasons I love riding is that I love the way a pair of fine reins can control the movement of a massive form.' Angela Conner Please note that this work is signed and numbered 12/16 (to underside). Condition Report: Some light surface dirt with green verdigris to one side of the horse's torso and legs. There is a small patch of white ingrained dirt/verdigris to the opposite side on the horse's mane, under the raised hoof and to the horse's underside. The engraved plaque is loose from the base. Otherwise, in good original condition.Condition Report Disclaimer
Group of mainly 18th century Worcester and other English porcelain wares, including seal marked worcester teapot, Fluted bodied jug, two teabowls etc (qty)Copeland teapot - lid small patch discolouration, small chip to spout with hairline, small scratch to body, restoration to knop on lidSeal marked Worcester group - chips to floral knop on lid, small chip to spout, rubbing to gilded line around base of lid and rim of standmilk jug with swirled body - rubbing to the enamel on the raised ribs of the bodyjug and sugar bowl with rose sprig and diaper pattern rose ground - rubbing to gilded rimblue and white group - rubbing to gilding on tea bowl see further images
Black and white canvas handbag with large pink flowers, interior pockets, magnetic closure, leather straps; 16"L x 4"W x 13"H. Length of shoulder straps is 11"L. Brighton leather patch stitched on the inside with registration number U130260. Magenta leather wallet with magnetic closure; 7.25"L x 1"W x 3.75"H. Issued: 20th c.Manufacturer: BrightonCountry of Origin: United StatesCondition: Age related wear.
Natural woven fiber with pearlescent leather, leather flower medallion and accented by animal print design. Leather shoulder straps and magnetic closure. Animal print fabric to the interior with pockets. Dust bag included. Brighton embossed leather name patch on inside. Dimensions: 17"L x 7.5"W x 11"HManufacturer: BrightonCountry of Origin: United StatesCondition: Age related wear.
Black background with bright blue orchids and pink blossom motif canvas handbag with black leather. Cinch top closure. Red fabric interior pockets with two zippered closures. Brighton leather patch stitched on the inside with registration number U095114. Dust bag included. Dimensions: 18"L x 3.5"W x 14"HManufacturer: BrightonCountry of Origin: United StatesCondition: Age related wear.
Woven straw bag decorated with colorful flowers and leather handles. Magnetic closure opens to canvas-lined interior with pockets. Brighton embossed patch. Dust bag included. Issued: 21st centuryDimensions: 15"L x 6"W x 10.75"HManufacturer: BrightonCountry of Origin: United StatesCondition: Age related wear.
Bright happy handbag with large red heart, flower and positive motif, interior pockets, magnetic closure, red leather straps and trim; 15"L x 4"W x 12"H. Length of shoulder straps is 9.5"L. Brighton leather patch stitched on the inside with registration number E866435. Thin card wallet; 4"H x 3.25"W. Zippered pouch 8"L x 3.75"H. Issued: 20th c.Manufacturer: BrightonCountry of Origin: United StatesCondition: Age related wear.
VINTAGE SINDY AND PATCH DOLLS, CLOTHING AND ACCESSORIES, early Sindy doll, marked 'Made in England' to back of neck, Patch doll in original dungarees and Gingham top, missing headscarf, with a quantity of Sindy labelled and other early clothing including Weekenders, Country Walk, Summery Days, Centre Court Tennis etc., all in playworn condition, outfits not checked for completeness, quantity of catalogues and literature, Hong Kong made plastic look-a-like doll, Sindy Wardrobe etc.
A WWII 1940 DATED BRITISH STEEL HELMET AND A COLLECTION OF LATER UNIFORMS AND HATS, the helmet was produced by RO & Co (Rubery Owen & Company) of Leeds and the marks are still legible inside the helmet, the uniforms include a 1949 Pattern Battledress Jacket and Trousers, the jacket has a West Midlands District formation patch on one sleeve and a Mercian District Territorial Formation patch on the other sleeve along with Staffordshire shoulder titles, the other uniform include a Number Two Dress Jacket and Trousers that are size 43, two khaki shirts, a Battle Dress Jacket without insignia, a Royal Air Force Great Coat, a Royal Navy Class, one over chest uniform cover, the other hats include two Navy hats and a leather flying helmet without any radio communications
A Derby figure of a Bacchic putto, c. 1765, holding a basket of grapes, his head crowned by a conforming garland of fruit and vine leaves, 14.5cm h, patch marks Some discoloured in-glaze firing hairline cracks to verso, light occasional crazing, one or two firing stresses. Typical nibbled/chipped losses to leaf 'bocage'. Extremities of some limbs with old restoration.
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