A late-Victorian walnut pedestal desk in the manner of James Shoolbred & Co. - the moulded rectangular top over a central kneehole with drawer, flanked by pedestals each with four graduated drawers, all oak-lined and with original brasses, raised on turned feet. (LWH 129 x 64 x 71cm.)* Condition: The desk is very solid, free from movement and is free from any woodworm. The drawers run smoothly. The top is faded to both sides and the back, with a darker patch in the centre. There is also fading to the kneehole drawer and right hand pedestal. There are two dowelled repairs visible to the top, which correspond with the kneehole drawer upper runner to either side. The kneehole drawer and three short drawers have a horizontal split to the liner. The desk was originally fitted with castors.
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Automobilia: an early 20th century Brevette nickel and chrome plated brass motorcar clock - the signed, 23 mm white, Roman enamel dial with red 'XII' and Arabic five-minute markers, in a 40 mm bun-form case with convex magnifying glass, overall depth 37 mm* Condition: Winds and runs, but does eventually stop after a few minutes, so probably requires minor attention to cleaning/oiling. Good condition overall, with no damage to dial. Hands set correctly. Case has a patch of scratching to the plating and another worn patch nearby. Some wear and blistering to the chrome plated mount.
An original vintage City of Birmingham illustrated map poster by W. H. Price, c.1949 - issued by the City of Birmingham Information Department, the central map with illustrated landmarks and portraits of notable figure's from the city's history, with a compass rose and city arms, bordered by pictorials of other famous landmarks including Bourneville, Aston Hall, Botanical Gardens and the County Cricket ground, plus the arms of the Lords of the Manor of Birmingham and its boundaries, 68 x 92.5cm., unglazed gold painted frame.* Condition: Paper with some toning throughout and slight fading, some insect holes around margins, a patch of thin white paint splashes to right hand side, a few scratches and small abrasions to surface of paper. A little cockling to the sheet. Fair to good overall.
Paul MOUNT (1922-2009) Winterreise (1998) Oil on canvas, signed, inscribed and dated '98 to verso, 50 x 55cm, 56 x 61cm framed.Illustrated 'Paul Mount: Nancherrow Studio', with introduction by Ronald Gaskell. Image number 57.Together with catalogue. This is in good condition with sensitive restoration. The tear that is evident from the strip patch on the back is hard to see from the front
A tweed ladies coat by Jenn Barnes, made in Britain: the black tweed mix has blue/beige/mauve/pink flecks, size 18, fully lined, full length with two patch pockets, 1980s. A man's tan leather jacket by Major Design MDK with concealed zip, two slit pockets and two concealed pockets, stand-up zip collar, two toggle fastenings, stud fastenings, size 42"/44", suede inner lining to collar, fully lined. A man's red lightweight jacket by Liberty, fully lined, flap pockets, 3 buttons on cuffs, lapels, and a man's canvas Land's End green gaberdine jacket with green plaid lining, brown corduroy collar, 2 patch pockets, 2 slit pockets, size 42/44". (4)
TWO ART DECO DIAMOND AND ONYX BAR BROOCHES CIRCA 1920 The first signed POLAK.AINE PARIS, with a central millegrain set old European cut diamond, estimated to weigh 0.33 carats, to two channel set calibré cut onyx bars, and old European cut and eight cut diamond accents, with partial French dogs head poinçon, numbered 8556; together with a further onyx and diamond bar brooch, the central old European cut diamond upon a polished onyx panel, to old cut diamond and calibré cut onyx arms, in a gold backed platinum setting, unmarked Size/dimensions: first 7.4cm long; second 5.9cm long Gross weight: 9.6 grams Condition Report: First- missing a tiny support roundel to one arm, a couple of small lead solder repairs, some small knocks to the wire frame back, signature clear, all stones present and correct, diamonds bright and lively, principal diamond colour estimate I-J, clarity VS Second- there is a small patch of lead solder behind the panel, the diamonds are bright and lively, all present and correct Condition Report Disclaimer
Y TWO GEORGIAN TORTOISESHELL AND HAIR WORK PATCH BOXES CIRCA 1810 Both boxes composed of polished tortoiseshell, each with an inlaid lid with a plait of hair under glazing, with gold trims, each opening to reveal a mirror and small compartment Size/dimensions: first box 7cm long; second 6.3cm long Gross weight: 47.8 grams Condition Report: The boxes have damage, one is missing a button. Gold trim is coming away in places. a couple of chips to tortoiseshell, some small cracks, one has cracks particularly to the bottom of the box by the hinge Condition Report Disclaimer
A GEORGE II SILVER TANKARD POSSIBLY BY RICHARD BAYLEY, LONDON 1736 With a scroll thumb piece to the ogee domed cover, a scroll handle, a girdle and on a circular foot 17cm (6 3/4in) high 590g (19 oz) Condition Report: Marks obscured Slightly wobbles Sings of possible erased engraving, thin patch of silver to the body Slight play to the hinge Cover sits well Light scratches and wear commensurate with age and use Condition Report Disclaimer
A PYU AGATE 'TIGER' TALISMAN, 200-100 CEBurma / Myanmar, Pyu city states (200-1000 CE). Carved as a recumbent tiger with the front paws extended. The opaque agate of red color with a milky white and amber patch. Central drilling showing ancient toolmarks and allowing for suspension as a pendant.Condition: Good condition with expected age-related wear. The stone with natural imperfections.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 11.7 gDimensions: Height 1.7 cm, Length 4.4 cm
A PYU JASPER 'TIGER' TALISMAN, 200-100 CEBurma / Myanmar, Pyu city states (200-1000 CE). Carved as a tiger with the back arched and the front paws extended forward as it is preparing to pounce its prey. The opaque jasper of a dark red color with purple inclusions, as well as a white patch with multicolored stripes to the hind paw and tail. Central drilling showing ancient toolmarks and allowing for suspension as a pendant.Condition: Good condition with minor wear and few small chips. The stone with natural imperfections.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 45.7 gDimensions: Height 2.6 cm, Length 8.2 cm
A PURPLE SILK EMBROIDERED KIMONOJapan, 20th century. Finely woven in couched gold threads and satin stitch depicting wildflowers along a riverbank. The shoulders with kiku (chrysanthemum) flowers, and the sleeves similarly decorated with wildflowers. A red silk and cushioned lining to the interior.Condition: Minor wear, few loose threads, small tears, and a patch resewn to the shoulder, presenting very well.Provenance: From an Austrian private collection.Dimensions: Length 153 cm, Width 120 cm (across sleeves)
A HARDSTONE 'PIG-DRAGON' CARVING, ZHULONG, POSSIBLY HONGSHANChina, possibly Hongshan culture, c. 4000-3000 BC or later. The jade is carved as a coiled, stylized mythical animal, with incised circular eyes below pricked ears, and pierced with a circular aperture to the center between a slit and a smaller aperture for suspension. The opaque stone is of a rich dark brown color with brown and ochre shadings and a small pale celadon patch.Condition: Good condition with wear, signs of weathering and erosion, natural fissures.Provenance: Estate of Wolfgang Zacke (1942-2022), co-founder of Galerie Zacke, thence by descent.Weight: 471.2 gDimensions: Length 11.9 cm
A Second War O.B.E., United States of America Medal of Freedom group of seven awarded to Lieutenant-Colonel H. P. Croom-Johnson, Queen’s Westminster Rifles and King’s Royal Rifle Corps, later Assistant Director-General of the British Council, for which work he was subsequently awarded the C.M.G. and C.B.E. The Most Excellent Order of the British Empire, O.B.E. (Military) Officer’s 2nd type, breast badge; 1939-45 Star; Italy Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; Efficiency Decoration, G.VI.R., 2nd issue, Territorial, reverse officially dated ‘1948’; United States of America, Medal of Freedom, with Bronze Palm, nearly extremely fine (7) £400-£500 --- C.M.G. London Gazette 1 January 1964: ‘British Council Representative in India.’ C.B.E. (Civil) London Gazette 10 June 1954: ‘Controller, Finance Division, British Council.’ O.B.E. (Military) London Gazette 21 December 1944: ‘W/S Major (T/Lt-Col), K.R.R.C., H.Q. 6 Base Sub Area.’ M.I.D. London Gazette 24 August 1944 (Italy). U.S.A. Medal of Freedom with Bronze Palm London Gazette 23 May 1947. Efficiency Decoration London Gazette 13 February 1948. Henry Powell Croom-Johnson was born on 15 December 1910, eldest son of Hon. Sir Reginald Croom-Johnson, sometime Judge of High Court, and Lady (Ruby) Croom-Johnson. He was educated at Stowe School and Trinity Hall, Cambridge, and was assistant master at Bedford School between 1932 and 1934. He was appointed 2nd Lieutenant (late Officer Cadet Corporal, Cambridge University O.T.C.) in March 1932 for service with the Bedford School Contingent. He joined the staff of the British Council in 1935, and became secretary to the Lecture Committee in 1936. Appointed 2nd Lieutenant, 16th London Regiment (Queen’s Westminsters) in February 1937, and to Lieutenant in December 1937. He served with the Queen’s Westminsters and King’s Royal Rifle Corps, 1939-46, on the staff in Sicily, Italy and Greece (Despatches, O.B.E., Lieutenant-Colonel). Rejoining the British Council in 1946, he was appointed controller of the Finance Division in 1951, and controller of the European Division in 1956. He was the British Council Representative in India from 1957 to 1964; appointed Controller of Overseas Division ‘B’, 1964, and was Assistant Director-General of the British Council from 1966 until his retirement in 1973. Lieutenant-Colonel Croom-Johnson lived at Ravenscourt Square, London, and died on 22 March 1994. Sold with two fibre identity discs, a named cloth patch for “D” Company, 1st Bn. The Queen’s Westminsters (Captain), and a large quantity of metal and cloth insignia, badges and buttons relating to Stowe School O.T.C., The Queen’s Westminsters and the King’s Royal Rifle Corps, mostly those which he wore whilst in service but some purchased later to represent the history of the regiments he had served in. Together with copied research which includes recommendations for the O.B.E. and U.S.A. Medal of Freedom.
λ TWO TREEN LIGNUM VITAE DICE SHAKERS19TH CENTURYof tapering form with a central band, a lignum vitae barrel-shaped spill holder, a yew-wood scent or ointment bottle case and cover, another in lignum vitae with a removeable base, a rosewood go-to-bed and a mahogany patch box and cover with a white metal plaque (7)Provenance The Geoffrey Chesters Collection of Treen.
Circle of Pietro Longhi- a full length oil on canvas portrait of a dwarf female opera singer (Clorinda).People with dwarfism have a long history of being associated with Royal courts and the aristocracy. In Europe they were admired and used as a display of status. Pietro Longhi depicts dwarfs in four genre paintings, 'The Tooth Drawer', 'The Lady's Toilet', 'The Interrupted Game of Cards' and 'The Visit from the Domino'. This arguably highlights their presence in 18thC aristocratic Venetian households. The singer is depicted wearing an extravagant pannier dress with red and white ruched sleeves and jewelled and tasseled decoration an ermine cape around her shoulders. Plumes of feathers adorn her head, in one hand she holds a jewelled scabbard and the other she brandishes a sword. An engraving of the opera singer Julie d'Aubigny depicts a similar style of dress and she has become famous historically for her sword skills off stage. This portrait could be based on her particular representation of the character of Clorinda.Portrait of female dwarfs are much less frequent than their male counterparts. Her status as an opera singer adds additional intrigue as to her identity. There were close links between Carlo Goldoni and Pietro Longhi. Both Pietro and his son, Allessandro, carried out commissions for the Grimani family who also had theatres in Venice. Provenance- the painting has been part of the private collection of Georgina Fairholme since the 1960's and was reputedly acquired in America. Georgina was a celebrated interior designer and worked with clients such as Jackie Onassis bringing English sophistication into American homes.There is craquelure all over the surface and possible areas of overpainting to the right hand space as well as an old graze scar. A small dent in the canvas to the left hand space near the sword. An old repair patch to the reverse. The frame has gilding and moulding loss and old woodworm in some areas. There is just one old label remaining with the number that looks to be 8128. 63cm x 48cm image size.
Gustav Dore & Blanchard Jerrold, London, A Pilgrimage, illustrated by Gustav Dore, Grant & Co, 1872, folio, recently rebound in half leather.Condition report:All of the full-page illustration plates have a large patch stain in the top left corner, which bleeds through to the following page or two. As you progress through the book, the size of the stain patch gets smaller, but still evident towards the leaves at the very back. Some page margins have slight tears and dirt and staining through thumbing. Rebound, with a few light surface scratches to the leather. Shipping quotes are available on the tab "Shipping Estimate" below (on the Gildings website)
Jack Daniel's 'Old No 7' brand Tennessee Whiskey, 1954 Gold Medal Replica Bottle, 75cl, 45% vol. in carton.Condition report:Capsule remains intact. There is a large patch of adhesive at the bottom of the right hand side of the bottle (presumably from a store security tag, or similar). Level is good.
§ An Archie Shine rosewood sideboard, 1970s, designed by Robert Heritage (1927-2008), retailed by Heal's, with four parallel frieze drawers, each with recessed handles, over a pair of sliding doors, opening on to shelving, raised on cylindrical supports, 211cm wide46cm deep80cm high Purchased in January 1978 from Heal's on 196 Tottenham Court Road, London. Original purchase tag retained and present.Condition ReportWIth some minor scratches and marks throughout commensurate with age and use. The top with with a small patch of fading over the second drawer from the left.CITES A10 No. 23GBA10ZQG412
Schuco - Others - Two vintage teddy bears and a vintage toy monkey. Lot consists of a large golden teddy with jointed arms and legs, plastic eyes, plastic nose, measuring approximately 79cms in height; with a smaller jointed brown bear with plastic eyes and nose measuring approximately 30cms in height; together with a jointed mohair monkey with vinyl face and plastic red collar - similar to Schuco, measuring approximately 26cms in height. Theres a small patch of balding to the larger bears face , with damage to plastic nose - otherwise conditions generally Good. (3) (This does not constitute a guarantee) (K)
SOL LEWITT (AMERICAN, 1928-2007)Colors with Lines in Four Directions signed and numbered 'Lewitt Hc 3/5' (lower right margin) screenprint in colours 116 x 116cm Literature Krakow 1990.10Condition ReportCreases to margin corners; surface abrasion of the upper central border and patch of staining, upper left, visible on close inspection.
After Giulio Romano (c.1499-1546) Italian"The Dance of Apollo and The Muses"Oil on panel with gilding, 35.5cm by 79cmWe would suggest that this work is late 19th/early 20th century in date.Panel appears to be sound and free from cracks. There are several holes to reverse caused by screws, suggesting the panel was once cradled. Four 'V' shaped tool marks, one in the middle of each of the four edges (see images).General surface dirt. Several surface scores throughout the background. Sporadic indentations to panel across the background, with associated paint losses. Frame rubbing to edges. Notable patch of discoloured (later) paint to upper left hand corner. Paint shrinkage in evidence, mostly to the lower third of the panel. Evidence of bitumen in the paint which is beginning to split and discolour.Little to discern under UV, although that does not proclude that some restoration has taken place.For further information please contact the department.
Arthur A Friedenson (1872-1955) Landscape with windmill Signed, oil on canvas, 39cm by 54.5cm Provenance: Walker Galleries, Harrogate Relined, cleaned and revarnished. Some surface dirt and discoloured varnish now in evidence. Some parts of the impasto slightly flattened as a result of the restoration process. The canvas is apparent in parts, most likely by execution by the artist. Isolated areas of fine, stable craquelure, most notably across the lower right hand side of the moored shipping vessel, with one small area slightly lifting. Some fairly sporadic retouching and strengthening through sky with further retouching and strengthening along outline and far right hand side of windmill, in addition to a further patch to the left of this, which is approximately 1.5cm-3cm overall. Likely restrengthening through the water, the lower bough of the moored vessel, the sail, elements of the landscape and trees along horizon and left hand side. Otherwise in a stable and presentable state of preservation.
Attributed to Louis Marie Lemaire (1824-1910) French Cockerels and chickens in a farmyardSigned, oil on panel, together with a companion, 25cm by 37cm (2) Both signed. Frames in broadly good state of repair, however there is presently two splits either side of the decorative central motif at a particularly vulnerable position on the example featuring the prominent black cockerel (see image). Further cracks to same position of the companion work. Each in a broadly good and stable state of preservation Relatively light surface dirt and discoloured varnish. The example featuring the white chicken foraging a worm: the odd, subtle horizontal surface crack to panel/paint. Relatively light surface dirt and discoloured varnish, but with likely old clean and revarnish. Paint possibly a little thin in places as a result of the cleaning process. Sporadic and delicate retouches and strengthening to the plumage to the standing cockerel and background, mostly to the breast and wing area and to a lesser extent his tail. Further minor and sporadic retouches through the yellow straw denoted within the left hand side. Small patch of retouching no longer than 1cm in length just right of centre lower edge. Further more established area of general strengthening to foreground approximately 5cm to the left of this. Fine infilling to horizontal surface crack right hand side and left hand side approximately centre. Some sporadic retouches and general infilling to strengthen the shadowy parts, outline and definition of the doorway, timber and elements of foliage within central background. Other nominal retouches elsewhere. Second example featuring the prominent black cockerel: Likely old clean with some possible slight thinning to areas of paint. Some light surface dirt and discoloured varnish now in evidence. Patch of retouching and strengthening to the shadows and fence within background right hand side, darker parts of the shadow belonging to the resting hen within the lower right hand corner. Other minor retouches and strengthening to darker parts of shadows i.e. between the two hens to the left of the standing black cockerel, and minor parts of the foliage upper left hand corner, the doorway and the darker tones and shadows within the vegetation in that general area. Retouch to upper foliage and minor retouch to lower edge, left hand side, in addition to one or two minor parts of centrally positioned bird's plumage, etc.
British School (18th Century) Portrait of a young girl, three quarter length standing, with a basket of flowers Oil on canvas, 64cm by 57cm Provenance: Purchased on Jersey as by Edward Byng The frame is plausibly 18th century. It is certainly a good quality, hand carved frame of some age, which would appear to have been around the painting for some time. In fully restored condition. Stiffly relined, cleaned and revarnished. The canvas and surface is somewhat flattened and the paint is thin in places as a result of the restoration process. Areas of varying sized, stable craquelure. Some surface dirt and discoloured varnish. There is a reasonable amount of retouching and general infilling to old craquelure throughout the background. The top of the young girl's hair and the slight right hand side of her forehead has two more notable areas of retouching and restoration, possible to old damages. There is a further slightly more concentrated, essentially vertical area of retouching running from the right hand side of her top lip to her chin. Further more delicate but consistent infilling mostly throughout the craquelure of her face and hair, and to a lesser extent through her decolletage area. Further fairly consistent infilling to old craquelure through the red satin shawl, her dress and bodice, her right hand and arm, and elsewhere. The lower left hand corner has consistent infilling with additional more concentrated retouching to corner, and to a lesser extent upper left hand corner. The shadow between her bodice and the red shawl is generally strengthened, as is the outline of her neck and shoulder. A more concentrated, essentially vertical patch of repainting towards the lower left hand corner, approx. 3cm in length within the red shawl. This may be a more notable historic damage as are one or two of the more significant linear patches of evident retouching and restoration. For more information please contact the department.
British School (18th/19th century) Portrait of a lady, half length, wearing a white bonnet tied with black lace and a matching crimson silk dress Oil on canvas, 71cm by 61cm Slightly loose in frame. Scuff/abrasion with fairly superficial losses towards upper right-hand corner with slightly curved superficial scratch within background to the right above the lady’s head. Further small losses within background in general, with a more pronounced damage and associated patch repair to reverse within the background to the right of the lady’s chest area (see images). Covered in a layer of dirt and discoloured varnish which has an especially speckled nature across her bonnet and face in particular. Original canvas somewhat loose on stretcher. Some possible likely strengthening through background. Areas of generally small-scale stable craquelure, which has a larger-sized characteristic across her forehead and right cheek. Other minor imperfections to surface consistent with age.
After Sir Thomas Lawrence PRA FRS (1769-1830) Portrait of Sir Henry William Paget, 1st Marquis of Anglesey. Indistinctly signed, inscribed to canvas and stretcher verso, with 1846 artist's letter affixed to canvas verso, oil on canvas, 47.5cm by 37cmProvenance: Dutton Manor, Lancashire Glazed. Covered in a layer of dirt and discoloured varnish. Slightly loose in frame. Frame rubbing to edges. Patch of apparently stable, finely spaced cracqueure to lower left hand corner, other more minor patches elsewhere. Possible surface bloom to right edge. There is clear evidence of bitumen in the paint which is splitting and shrinking, notably to the sitter's hair, sash, collar, sleeves, tunic, etc. Other more minor patches elsewhere. Areas of splashed paint? to background or possibly underside of glass. Black line approximately 3cm in length running vertically at centre of left edge. Line of approximately seven push marks, approximately 3cm above sitter's head, from back to front. Slight stretcher shadow. Little to discern under UV, although this does not procude that some restoration has taken place. Frame's condition commensurate with age. Several knocks, chips and scuffs, including significant loss of gesso along right hand edge, approximately 15cm in length. The four joins of the frame are coming apart, etc. For further information please contact the department.
~ In the Dutch 17th Century style Massacre of the innocents Oil on canvas, 54.5cm by 70.5cmProvenance: Terry Family of York (Terry's Chocolates) Reline of some age. Likely old clean and revarnish. The surface is somewhat flattened and the paint in this/abraded in places as a result of the restoration process. Varnish now in a deteriorated and discoloured state, with notable opaque quality in parts, especially background. Likely restoration through the legs of the woman positioned towards the lower right hand corner with further strengthening through the foreground. Further esentially vertically arranged patch of restoartion and repainting between the two feet of the centrally positioned lady wearing classical costume, which is approx. 1cm in width and 5cm in length. Further strengthening of a more linear and finer quality through the lower part of the red fabric worn by the same figure. The detailing and outlining of her belt also shows general strengthening, in addition to other elements of her costume, headress and hair. Small area of overpainting or retouching at the left hand side shoulder of right hand side female figure, and throughout the soldier immediatley to her left, in addition to notable parts of the other two standing soldiers. Much of the background also likely strengthened in a consistent fashion. Slight stretcher shadow. Visible old damages to approx. centre above the figure group (see images), one being of a vertical formation, the other to the left of this and in a longer and slightly more curved formation. Areas of craquelure throughout. In a relatively poor and restored condition.
Rowland Henry Hill (1873-1952)Windmill (Ugthorpe Mill?)Signed and dated 1927, mixed media, 25cm by 33cmGlazed. Slight cockle to sheet. Time staining and yellowing to sheet, most notable throughout the sky although not exclusively. Pronounced patch of discolouration immediately to the left of the windmill, in the sky. The odd sporadic, small-sized foxing spot in evidence. Colour depth remains good. Possibly a small patch of surface bloom to the right lower hand side of the mill, and possibly elsewhere. Not examined out of the frame.
Sonia Lawson (b.1934)Leyburn ShowWatercolour, 28.5cm by 19.5cmGlazed. Some dirt and debris trapped under the glass. Executed on rough/coarse paper. Possible very faint cockle. Possibly tinted/buff paper. Some time-staining/overall yellowing to sheet. Patch of paint to lower left corner above signature of an ochre tone that rather stands out, likely by design. Title slighly obscured by mount. Colour depth remains good. Possible very minor water spot to cloud, upper right corner. Overall appears sound. Not examined out of the frame.
Thomas Cooper Gotch NEA, RBA, RA, ROI (1854-1931) Study for The Poulton Sisters Portrait (1931) Oil on canvas, 49cm by 39cm Provenance: Christie's anonymous sale 1987, lot 177 The finished oil for this subject was sold Christie's, 12th November 1985 and offered at Sotheby's, London, 6th November 1995, lot 249 In a mostly good and original state of preservation. Covered in a fairly thick layer of dirt. Probably unvarnished. Slight push mark from back of canvas to front, in a mostly horizontal fashion within the hair and background immediately above and left of the standing figure's left hand side ear, and approximately 1-1.5cm in length. Pin hole immediately above same standing figure's head, approximately 0.5-1cm away from upper edge. 2-3 further pin holes along right hand side edge. Somewhat more pronounced hole to canvas approximately 2cm away from lower edge and 5-6cm from lower left hand corner. Some general flaking and losses to lower left hand corner. A further patch on the edge of the standing woman's hairline and within background, and also towards the upper right hand corner and left of the seated figure's left hand side hand and more sporadically within her lower skirt, and lesser so the skirts of the standing figure (see images). Slightly curved abrasions possibly into wet paint within upper left hand corner (see images). Some other minor losses and abrasions in general to the edges. Canvas is also apparent in other areas as a result of the sketch-like quality of the work. Very subtle stretcher shadow in parts.
A George III Mahogany Straight-Front Chest of Drawers, late 18th century, with two short over three long graduated oak-lined drawers between quarter-cut reeded column stiles, on bracket feet98cm by 54cm by 81cmIn generally good condition, with the exception of the top which has numerous deep scratches and a fine split (as photographed). The left-hand side panel, as well as the right-hand side panel are also split. The drawers are open and run freely. Some general scuffs around the drawers and the moulded base. There is a patch repair on the bottom drawer (as photographed) - this has been done to a good standard.
A George III Mahogany and Tulipwood-Banded Linen Press, late 18th century, the moulded cornice above two cupboard doors with oval panels enclosing sliding trays, the base of two long oak-lined drawers, on bracket feet 132cm by 63cm by 201cmProvenance: Dutton Manor, Lancashire Slight variations in colour. Slightly faded. The cupboard doors are of sound condition and are straight. The interior with only two sliding trays. The end panels to the base section with some natural small splits (as photographed). The moulding has a small patch repair and there are some faults to the dustboards (as photographed). End panels split. Various handle marks visible to the drawer fronts (as photographed).
A George III Mahogany Serpentine-Front Bachelor's Chest, late 18th century, the moulded top above a pull-out brushing slide with four oak-lined graduated drawers below, on bracket and castors 75cm by 41cm by 73cm The top section with various scratches, some small splits and a patch repair (as photographed). The back boards are later. The bracket feet have some repair work and glue throughout. There are numerous scuffs and deep scratches to the drawer fronts and the dust boards - there is splitting around this section also.
A Chinese Bronze Censer, Xuande reign mark but not of the period, of cushion circular form with loop handle, six-character reign mark 18cm wideProvenance: Dutton Manor, Lancashire One small square patch repair to the side of the body showing inside and out (see image). General scuffs and wear. No breaks. No notable dents or mishappen form. 845 grams
A Derby Porcelain Allegorical Figure of Mars, circa 1770, on Rococo scroll base, patch marks18.5cm highA Bow Figure of a New Dancer, circa 1760, the girl modelled posed over a tall Rococo scroll base applied with flowers20cm highA Bow Porcelain Sparrowbeak Cream Jug, circa 1760, painted in coloured enamels with a bouquet and scattered sprigs under a red line border8.75cm high (3)Mars - heavy gilt loss, loss to the finial by his side. No repair.New Dancer - left hand re stuck. Some crude discoloured restoration to the backBow jug - Chip to the rim and another to the spout. Some glaze and enamel scratching. No restoration.
Fleming (Ian) Diamonds are Forever, very faint foxing marks to first few pages, facsimile dust-jacket, 1956; Thunderball, light spotting and partially removed ink ownership inscription on endpapers, facsimile dust-jacket, 1961; On Her Majesty's Secret Service, boards a little creased, dust-jacket, lightly rubbed at extremities, the odd chip and nick to edges, small patch of mottling to lower panel, 1963, first editions, original boards; and 2 others by Fleming, first editions, 8vo (5)
Rowling (J.K.) Harry Potter and the Chamber of Secrets, first edition, first printing, usual light marginal toning, neat ink ownership inscription to endpaper, original pictorial boards, slight shelf-lean, small patch of sunning along top edge, dust-jacket, light creasing to head and foot, an excellent example overall, [Errington A2(a)], 8vo, 1998.
Pain (William) The Builder's Companion and Workman's General Assistant, second edition, 88 engraved plates numbered 5-92 as issued, 5 folding, offsetting and spotting to plates, small patch of marginal staining to multiple leaves, some marking to margins most notable on title and endpapers, a few very small tears to fore-edge, creasing to front free endpaper, contemporary calf, re-backed and re-cornered, rubbed, folio, 1765.
Chamberlains Worcester plate from the Lord Dudley service Chamberlains Worcester plate from the Lord Dudley service circa 1820, decorated with central crest flanked by two angels, script Latin motto to base reading 'Comme Je Fus' (As I Was) the crest sitting within raised gilt band and blue and gilt border, printed mark to base, 23cm diameter. No damage or restoration. Crazing and with a stained patch to the right of the crest.
A late 17th century oak geometric moulded chest of drawers. A late 17th century oak geometric moulded chest of drawers in two sections, rectangular three plank top with a moulded edge above four twin mitre moulded long drawers, all fitted with brass drop handles and escutcheons, between bobbin applied mounts, raised on bun feet100cm wide, 54cm deep, 96cm highPurchased from Bonhams on 9th January 2008The chest of drawers is in good condition for its age with wear commensurate with age. The top of the chest has lost colour and has a patch of discolouration to the back left. No missing moulding. Later replacement handles. Woodworm at the back of the chest and also on the bottom two drawers. Modern drawer runners. Additional images uploaded on the website here.
William IV rosewood tilt-top breakfast table William IV rosewood tilt-top breakfast table, circular top raised on an octagonal faceted column and triform platform base with bun feet123cm wide, 121cm deep, 75cm highIn good overall condition, lovely colour throughout. Split to one edge where the veneer joins, likely caused by central heating. Top is completely removable if needed, both brass screws are provided for tilt-top action with handle clicking into place. No sections of veneer missing, some denting and light scratching to the top and column. Platform base with some patch repairs.
A George III enamel patch box and cover, A Trifle from Penzance. South Staffordshire or Battersea, with green base, width 4.3cm.The box is generally in very good condition, there are two small losses visible within and a hairline visible on one end, the mirror is reassuringly slightly foxed.
A late 18th century enamel patch box of Bilston type. The Most Noble Marquis of Wellington Salamanca, with a polychrome profile of Wellington based on the portrait by Carlo Amatucci. Chip to enamel, several tiny cracks, some fading to color, hinge is broken but clasp in good working order. Please see our website for additional images.
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