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Click here to subscribeWW2 Australian Battledress Jacket And Trouserskhaki green woollen, single breasted, closed collar, short jacket. Lower extended belt. Pleated chest pockets with hidden button flaps. Internal Australian label dated 1942 ... Khaki green woollen, wide leg trousers. Right hip with first aid pocket. Front of left leg with large patch pocket. Waist belt loops. Ankle with tightening straps. Minor moth nips. PAYMENT BY BANK TRANSFER ONLY
Two WW2 Pattern American Uniformsconsisting khaki, OR's service dress, open collar tunic. Patch chest pockets and lower hidden pockets. Brass, US Artillery collar badges. Gilt US buttons ... Matching service dress trousers ... Khaki garrison cap ... Khaki, OR's "Ike" short jacket. Pleated chest pockets. Brass US Engineer collar badges ... Matching trousers. 5 items. PAYMENT BY BANK TRANSFER ONLY
1941 Pattern ATS Sergeant's British Troops Low Countries Service Dress Tunickhaki woollen, single breasted, open collar tunic. Patch chest pockets with buttoned flaps. Lower hidden pockets with plain flaps. Both arms with braid Sergeant stripes surmounted by printed British Troops Low Countries formation badges. Both shoulder straps with brass ATS titles. Brass General List buttons. ATS cord lanyard. Internal issue label dated 1942. Minor moth nips. PAYMENT BY BANK TRANSFER ONLY
WW2 Pattern Airborne Troops Denison Camouflaged Smockgreen, brown and tan, half zip front smock. Patch chest and lower pockets, all with brass press stud fastened flaps. Lower crotch strap. Lower smock tightening straps. Cuffs with tightening straps. Two internal, open end pockets. Internal issue label "Smock Denison Airborne Troops". Dated 1946. Zip stiff. Some service wear. PAYMENT BY BANK TRANSFER ONLY
Two Post War British Combat Smocksconsisting "Parka Middle" in heavy green cotton. Angled top pockets and lower patch pockets, all with buttoned flaps. Synthetic fur lining. Issue label dated 1954 ... Similar 1952 pattern Parka with fixed hood and fishtail rear. Synthetic fur lining. Issue label dated 1952. 2 items. PAYMENT BY BANK TRANSFER ONLY
Pair 1937 Pattern Battledress Trouserskhaki woollen, wide leg trousers. Right hip with first aid pocket. Front of left leg with large patch pocket with hidden button flap. Seat with hidden pocket with hidden button flap. Waist with three belt loops. Label absent. PAYMENT BY BANK TRANSFER ONLY
WW2 Dated 1940 Pattern Battledress Jacketkhaki woollen, single breasted, closed collar, short jacket. Lower extended belt. Chest patch pockets with buttoned flaps. Both arms with embroidery CMP titles over embroidery 50th Inf Div formations and braid, Lance Corporal stripes. Internal issue label dated 1943 with a later 1945 Inspection WD stamp. PAYMENT BY BANK TRANSFER ONLY
Royal Engineers Officer's Battle Dress Jacket And Trouserskhaki woollen, 1937 pattern, single breasted, closed collar, short jacket. Lower extended belt. Pleated chest pockets with hidden button flaps. Both arms with printed Royal Engineer titles over felt Arm Of Service bars. Embroidery Captain's rank. Internal label faded ... Khaki woollen, 1940 pattern, wide leg trousers. Right hip first aid pocket. Front of left leg with large patch pocket with buttoned flap. Label absent. 2 items. PAYMENT BY BANK TRANSFER ONLY
Jason Wason (b.1946) Studio pottery dark bronzed vessel with lugs and incised bands to upper Raku fired stoneware Impressed artists seal 17cm high, 22cm diameter (ARR)Condition Report: 1cm x 2mm patch on one handle has either taken a knock or fault in the making (appears white). No other damage or restoration found.
A MONUMENTAL CHARLES II PANELLED OAK CHEST OF YORKSHIRE TYPE, CIRCA 1660 87cm high, 207cm wide, 74cm deep Condition Report: Chest with the marks, knocks, scratches and abrasions commensurate with age and use. The expected old splits, chips, and losses. Evidence of old worm, resulting in fragmentary losses in places. Hinges, lock, and hasp are old replacements. No key is present but lock is open. Later supporting blocks to the underside of the top. Two later turned stretchers to the inside of the chest. Two squares of later timber can be seen to the front of the chest from where the stretchers have been fixed. There back also has bolts visible from where these stretchers and the later hinges have been secured. The upper corners of the interior of the chest with later metal brackets to help secure. Patch repairs and filled holes to the top. Boards to the floor of the chest are old replacements. Some old dowel and nail repairs to joins. Old repairs to inlay and mouldings in places - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Mixed Lot: An antique bovine apple corer, Victorian mother of pearl carving depicting Joseph, Mary and the baby Jesus, circa 1860, a mid 19th Century metal snuff box, a Georgian enamel patch box (a/f), a Victorian striped metal double sovereign case together with a metal watch holder, supporting a gun metal cased fob watch (a/f)
DEATH OF WILLIAM PITT, 1806, a bronze medal by P. Wyon, fashioned as a box, bust left, rev. Britannia weeping beside tomb, 52mm, 69.81g (cf. BHM 617; cf. E 976); together with a gilt-bronze cliché, c. 1800, unsigned, bust right [2]. Very fine, second with small patch of verdigris, contained within dark-lacquered frame with glass lunette £100-£120
A Yak-3 WW II Air Fighter model 1:72 made in USSR, Soviet KGB style flask 6oz, Soviet military collapse cup with keychain, Cuban Airborne jump badge, Russian Imperial crest, guard's 'On Duty' breast shield badge, group of sixteen officers and enlisted men qualification and excellence badges, replica KBG book, German archive photographs, Soviet Army Parade type shoulderboards, Artillery and missile Defence collar tabs, stripe patch. (Qty)
36inch sighted barrel stamped JH over P, replaced barrel tang, bevelled lock with brass pan, stamped US over DERINGER over PHILADA and dated 1841 at the tail, full stocked with regulation steel mounts, the wrist with peep sight, the butt with patch box, steel ramrod. Strong main spring but does not register FC or HC, relatively clean bore with patches of pitting.
18inch sighted multi-stage blued barrel fitted with rear ladder sights, case colour hardened lock with Maynard's tape primer, stamped with a crown over VR and patent details, the wooden butt with patch box and stamped RDMR for Royal Devon Mounted Rifles, carbine No 14 F. Troop. Works on FC and HC with a clean bore and good traces of original finish.
32inch sighted damascus barrels fitted with rear leaf sights and engraved LANCASTER'S PATENT SMOOTH BORED RIFLE, border engraved back action locks and hammers, half stocked with chequered wrist, the butt with patch box engraved FROM ROBT BARNETT TO JNO MCNAB AUGUST 1853, brass topped wooden ramrod. Works crisply on FC and HC.
30inch multi-stage browned damascus barrel fitted with rear leaf sights and signed BECKWITH LONDON, platinum lined breech and touch hole, border and foliate engraved stepped lock signed BECKWITH, rainproof pan, ring neck cock engraved to match, set trigger half stocked with border engraved brass mounts, the trigger guard decorated with a stand of arms, the butt plate tang decorated to match and engraved LONDON, the patch box with barley corn engraved border, horn topped wooden ramrod, wrist pinned, contained in its green baize lined mahogany case complete with sling, flasks, mould etc
29.75inch browned Damascus barrels inlaid with gold and platinum at the muzzles and breeches, similarly inlaid Damas Extrafins on the sighting rib, very finely engraved back action locks decorated with scrolling vines and game shooting scenes, the mythical beast hammers decorated to match, border and vine engraved white metal mounts, the very finely carved wooden stock decorated with a bearded man to the underside, and a serpent and fowl to one side and inset with a white metal patch box to the other, this decorated with a wolf, contained in its red velvet lined close fitted mahogany case complete w commensurate accessories.
A collection of silver novelty items,to include a double sovereign case, 5.5cm wide, two patch boxes, marked 925, the largest 3.2cm wide, a small pin cushion, modelled as a pig, 2.5cm wide, a silver and tortoiseshell pin dish, 9cm wide, and an etched glass dish, with a silver pedestal, 9cm diameter (qty.)Condition ReportNo chips to the glass. Tarnishing and wear throughout.
Mixed collection of decorative enamel and other patch and pill boxes to include Halcyon Days examples in the Bilston and Battersea enamels series, other porcelain examples, a 19th century lacquered example decorated with a seated Cavalier King Charles spaniel to the cover, also together with a Chinese carved hardstone brush washer and a small pair of cylindrical vases (group)
A Mid 17th Century English Joined Oak Wainscot Armchair, with single panelled back support, the carved top rail with stylised flowers, branches and fan-shaped corners with punch-ground decoration below, the stylised back panel above downswept arms and boarded seat with wavy-shaped seat rail, on turned baluster forelegs joined by an H stretcher60cm by 44cm by 114cmVarious old decay, mainly around seat, legs and underside as photographed.top rail repaired, seat split with two patch repairs.chair is structurally sound, however, rather dark/varnished finish
A George III Mahogany Bureau, late 18th century, the fall front enclosing a good fitted interior of six drawers, pigeon holes and blind fret sliding compartments around a central cupboard door, with two short over three long oak-lined drawers below, on bracket feet102cm by 55cm by 108cmGood quality timber. In good uniform colour. Generally in good condition, with the exception of the fall which has a small split (as photographed) - this split is visible through to the verso. The fall front has a recent leather insert, which is in good condition. There is evidence of minor repair work around the brass hinges. Some small faults around the escutcheon. With key. Later brass handles. Locks have been removed. Small faults to the cock beaded drawers. The dustboards have some small scuffs around the base sides. There is a minor natural? gap and patch repair above the escutcheon (as photographed).
A George I Walnut Crossbanded and Featherbanded Bureau, early 18th century, the fall front enclosing an attractive fitted interior with sliding well and later leather writing surface, the two small frieze drawers above two short over two long oak-lined drawers, on bracket feet95cm by 53cm by 103cmReasonable uniform colour throughout. The left-hand side panel has a split (as photographed). The right-hand side has a natural? split. The fall front has a split to the interior. Later hinges with patch repairs (as photographed). The interior is rather ink stained. Later brasses. Some old decay visible between the two small drawers. Previous handle marks are also visible on the two small drawers. Some old worm to the drawer linings. Some old decay to the underside with strengthening work to the bracket feet.
A George II Figured Walnut and Boxwood-Strung Straight-Front Chest of Drawers, circa 1740, the moulded top above a pull-out brushing slide and four graduated oak-lined drawers with later brasses, on a moulded base with scrolled bracket feet80cm by 48cm by 82cmReasonable colour and cosmetically good condition. Small faults throughout consistent with age, including small splits, and patch repairs. Minor splits to drawer fronts (as photographed). Underside with strengthening work and later additions to bracket feet, some minor old decay.
A George II Walnut, Crossbanded and Featherbanded Bureau Bookcase, circa 1730, the moulded cornice above glazed doors enclosing a fabric-lined interior with two shelves with pull-out candle slides, the fall enclosing a good fitted interior of pigeon holes and small drawers all around a central cupboard door above a later leather writing surface, two short over three long graduated oak drawers with engraved brass backplate handles below, on bracket feet105cm by 60cm by 211cmSlightly faded, but uniform condition. With later glazed doors. Several minor shrinkage splits throughout. Small sections of moulding missing and some small veneer losses, consistent with age. The left-hand side panels with some splitting (as photographed). The right-hand side is in similar condition. The second to bottom drawer has a patch repair. The fall front has numerous scratches below the escutcheon.
A Regency Mahogany and Ebony-Strung Octagonal Library Table, early 19th century, with an inset green leather writing surface above eight oak-lined frieze drawers divided by small triangular drawers for pens and inkwells with sham drawers below, on a turned support with four reeded legs, brass-capped toes and castors107cm diameter, 76cm highThe top with some general scuffs and some marks. The surface is slightly uneven, possibly due to some shrinkage/movement underneath, but overall, reasonable. The table has numerous scuffs and scratches throughout, and there is also a small section of veneer missing (as photographed). The section of timber missing to the top is missing. There are further patch repairs, mainly above the drawers. The legs are heavily scuffed and bruised. There is also a section of veneer missing between the two drawers (as photographed) - we have this piece.
Circle of Herman van Swanevelt (1603-1655) Dutch Soldiers at rest in a rocky landscape Oil on canvas, 66.5cm by 116cmOld reline. Covered in a fairly thick layer of dirt and discoloured varnish. Varying sized craquelure throughout surface which is more pronounced in places, particularly around the central area. Slight stretcher shadow especially along upper horizontal. Obvious vertical seam running the full width of the canvas approximately 4cm from left hand side edge (see image). Vertical surface nick or scratch to lower edge, no more than 0.5cm in length and roughly 30-35cm from lower left hand corner. Other minor imperfections /abrasions to parts of edge. Sporadic retouches of varying sizes through sky and mostly left hand side cloud. Some likely general strengthening to the shadows and vegetation of the left hand side, with the dark pigments to denote the broken tree truck situated towards the lower left hand corner mostly repainted or consistently strengthened. The shadows immediately above and left of the rocky outcrop within the foreground have also received a consistent amount of retouching. Further strengthening through the central part of the composition with some more sporadic strengthening to some of the hanging foliage within the central area. Fairly delicate retouches to the shadows and outline to the centrally positioned soldier with a further somewhat more consistent patch of strengthening to the dark space between receding foliage between the central and right hand side figure. The underside of the rock before the far right hand side figure has been strengthened or been painted. And the foliage above and right of this figure group would apparently have had some general redefining. Two further patches of retouching and strengthening immediately left of the right hand side rocky outcrop, the largest being no more than 1cm by 2cm overall. Any other retouching or intervention less notable or less apparent. Otherwise in a broadly stable state of preservation and a condition consitent with the painting's age.
John Philip RA (1817-1867) The Little Musician Signed and dated 1843, oil on canvas, 59.5cm by 49.5cm Original canvas covered in a fairly thick layer of dirt, discoloured varnish and bloom. Slight stretcher shadow, especially upper horizontal. Fairly evident crazing to varnish upper section, and more pronounced in the darker shadows against upper edge. Vertical line of small losses immediately right of the seated boy's instrument and approximately running a full length of 8cm (see images). Paint slightly lifting in an area behind and above the seated boy in and around the hanging cupboard which, is the result of deteriorated later paint and restoration. With some further general strengthening seemingly through the darkest tones and shadows within the lower left hand area. Further small patch of retouching to the seated boy's right hand cheek, which is no more than 0.5cm in diameter. Odd further, relatively minor and scattered retouching across the remaining composition. Further varying sized areas of craquelure, some more pronounced than others such as that within the more thickly applied white paint below the birdcage. Odd minor imperfection elsewhere consistent with age of painting and evident condition.
Walter Ernest Webster (1877-1959) Girl in a blue dress playing music Signed, oil on canvas, 112.5cm by 69.5cmWith likely indistinct Christie's stencil verso Original canvas. Covered in a layer of dirt and discoloured varnish. Pronounced craquelure in several areas which remains effectly stable (see images). Unless the blue pigment is behaving in a specific manner under UV, there is potentially later reinforcement through her right hand sleeve and parts of the skirt as shown on images. With likely patch of strengthening within the black of her lower skirts to the right of the striped pattern. Tiny amount of transferred gilt paint to upper left hand corner and odd general surface imperfection, etc.
Attributed to Hugh Barron (c.1746–1791) Portrait of Mr Peter Galhee, full length standing in a landscape, wearing a powdered wig, white shirt and neck tie, with a yellow waistcoat and a green overcoat, holdng a tricorn hat and leaning on a stick Oil on canvas, 125cm by 100cmProvenance: Clarendon Gallery Ltd., London With Christie's stencil to stretcher DN50 Relining of some age, which retains a reasonable level of flexibility to the canvas. Likely old clean and revarnish. Some surface dirt and discoloured varnish now in evidence. Some flattening to original impasto and paint is possibly slightly thin in places as a result of the restoration process, ie right hand side foliage and tree trunk branches. Stretcher shadow in parts and areas of varying sized craquelure which is more pronouced in line with parts of the stretcher and also in the background to gentleman's right hand and lower right arm. Push mark from back to front within the shadow of his pointed left foot with small losses and borderline perferation of canvas, which is approximately 5-6cm in length overall (see image). Three patches of retouching or overpainting towards upper left hand corner of varying sizes, the largest being approximately 3-4cm by 3cm overall. Further patch of retouching/restoration within the sky just left of the gentleman's right hand side of face, which is approximately 4cm in overall diameter (see image). Minor retouches and strengthening to his left hand side lapel, right hand side shoulder and elements of his overcoat, more consistantly within the lower inside. Small retouch just below his left hand side knee within the upper part of the right stocking, which is approximately 1-1.5cm in diameter. Some broader general strengthening to foreground and the line of trees and foliage in mid distance, in addition to a patch of consistant strengthening to the slither of landscape to the right of the far right hand side tree. Relatively small area of restoration and retouching within the central part and the immediate sky of the outer foliage of the far left hand side tree. Other relatively minor and sporadic retouches elsewhere, etc (see addition images under UV). Some of the restoration has deteriorated and is mildly visible by eye. For more information please contact the department.
Alfred Pollentine (1836-1890)"The Grand Canal, Venice" Signed, signed and inscribed verso, oil on canvas, 39cm by 59cmGlazed. Original canvas - which having opened the enclosing paper shows that it is signed and inscribed by the artist with the title now shown and amendment to cataloguing. Small vertical patch of re-touching within the sky centre approx 2-3cms above the buildings and approx 0.5-1cm in length. Light surface dirt and discoloured varnish. Otherwise seemingly in a broadly good and original state of preservation.
Manner of Giovanni Antonio Canal (Canaletto) (1697-1768) Italian Pageantry on the Grand Canal, VeniceOil on canvas, 59cm by 87cmFairly stiffly relined, cleaned and revarnished. Some relatively light surface dirt and discoloured varnish now in evidence. Some likely general strengthening throughout sky with some further delicate retouches evident, especially within sky immedately above the far horizon and to a lesser extent elsewhere, presumably to old craquelure. Further delicate retouches elsewhere and fine strengthening to reflections in particular, and less consistently to other isolated parts of the body of water. More concentrated patch of overpainting within the underside of the moored gondola to the right of that which bears the team of white shirt-wearing gondoleers on the right hand side of the composition, the patch of retouching being approximately 0.5cm wide by 1cm in length (see images). Otherwise in a broadly stable and presentable state of preservation.
A. Roland Knight (1879-1921) The day's catch, trout, creel and rod on the river bankSigned, oil on canvas, 34.5cm by 52cmIn restored condition generally. Stiffly re-lined, cleaned and re-varnished, surface is somewhat flattened and the paint is thin in places as a result of the restoration process. Some light surface dirt and discoloured varnish now in evidence. Some fairly minimal and delicate re-touching within the lower left hand corner, within the basket, and scattered elsewhere. Areas of fine stable cracquelure. Small patch of more seperated fine cracquelure just left of the lower fin of the centrally positioned fish.
George Augustus Williams (1814-1901)Snow-bound river landscape with figures at duskInitialled, oil on canvas, 59.5cm by 105.5cmIn fully restored condition. Slightly stiffly relined, cleaned and revarnished. Retouching to upper left hand corner and minimally along upper edge left hand side and upper edge right hand side, sporadically elsewhere to upper edge. Scattered and fairly minimal retouches to the sky, left hand side edge above vegetation, narrowly and inconsistently partially retouched. Further patch of slightly denser retouching or restoration left hand side approximately centre, which is roughly 0.5cm by 2cm in length. Small area of retouching below and marginally across the initials in the lower left hand corner, roughly 0.5cm by 1cm. Some general fine and delicate redrawing and strengthening through the foliage, the outline and partial detailing of the resting horse , the other animals and the figures on the left hand side. Larger patch of denser and more consistent over painting within the darker tones and shadows each side of the standing central figure, mostly at waist height and below. Some likely further delicate redrawing and strengthening to outline etc of the figures engaged in a snowball fight to the right hand side and the buildings beyond. Likely mostly vertical tear with horizontal cross-damage to approximate centre within the upper reaches of the centrally placed tree with evident associated retouching and restoration (see image). Surface dirt and discoloured varnish now in evidence. Odd minor loss and abrasion to top edge in general due to movement in frame. Small-scale stable craquelure throughout. The surface is slightly flattened and the paint slightly thin in places due to the restoration process, but otherwise in a broadly good and presentable state of presentation.
William Edward Webb (1862-1903) "A bit of Old Douglas" Signed, inscribed, verso, oil on canvas, 49.5cm by 65cm Original canvas. Patch repair to lower left hand corner (see image). Covered in a thick layer of dirt and discoloured varnish. Small pin hole or push mark towards upper left hand corner. Evident stretcher shadow with ingrained discoloured varnish and possible old discoloured retouching which is exacerbating the visibility of the stretcher shadow. Vertical patch of damage with associated retouching approximately 5cm along left hand side upper stretcher shadow with associated discoloured retouching. A further loss or damage approximately centre of left hand side edge and another slightly below with rudimentary visible retouching. Canvas slightly buckled and pushed generally along left hand side edge, with small area of further lifting paint in line below the two other aforementioned areas of damage and retouching. Patch of associated restoration and retouching to patch repair across the right hand side moored shipping vessel (see image), etc. Private collection. No notable provenace known to date.
Follower of Sir Godfrey Kneller (1646-1723)A portrait of a young lady, half length, wearing a loose gown and a satin shawl, standing before a landscape with her attendant spanielOil on canvas, 63cm by 60.5cm (oval)Old reline. The surface is slightly flattened and the paint is thin in places, most notably the vegetation and background. Covered in a layer of dirt and discoloured varnish. Some general rubbing/abrasions to outer edges as a result of historic and more recent movement in frame. Fairly pronounced large-sized craquelure, some of which may be beginning to lift, more notably to the vegetation and the sky and upper clouds on her right hand side, with one small loss in this area. Patch of noticeable restoration and retouching below the spaniel's left paw (see image) which is approximately 0.5-1cm+ in size. The flesh of the young lady's neck and chest area has an overly chalky quality in comparison to other areas of flesh, by eye. Stretcher shadow. Slightly curved push mark cause by a front to back pressure at approximately central position of her right forearm and is roughly 1-1.5cm in length. General strengthening through the darker tones and shadows of her right hand sleeve. Some general retouching to extremities. Some further general strengthening through the clouds and sky. The lower curl resting on her left hand shoulder is mostly repainted. A cluster of varying sized and shaped retouches and strengthening to denote the darkest tones and shadows within the foliage at and above her right shoulder. Retouches to redefine the outline and shadows around her outstretched forefingers and other fingers to her right hand. Sporadic retouches elsewhere and imperfections to surface consistant with age, etc.
Percy Morton Teasdale RCamA (1870-1961) "The First Ship" Signed, oil on canvas, 125.5cm by 100cmProvenance: Purchased by relatives of John Wood from the artist's studio at Robin Hood's Bay Private collection, UK Relined, cleaned and revarnished. Retains reasonable to good surface and impasto. Light surface dirt and discoloured varnish now in evidence. A few tiny surface nicks, mostly near to the left hand side edge. Small patch of mostly vertical retouching approximately 35cm from upper left hand corner and 2-3cm from left hand side edge, which is 0.5cm by 2cm overall. Retouching to lower left hand corner and a small patch approximately 10cm to the right of this which measures 0.5cm by 2cm overall. Further virtually circular patch of retouching or restoration below and just right of the "e" of the signature, roughly 2-3cm in diameter. Minor retouching to right hand side edge at approximate height of the bench which the fisherman sits upon. Possible other minor retouching elsewhere but otherwise in a broadly good, stable and highly presentable state of presentation. Provenance as provided by repute. No further notable provenance known to date.
Follower of Melchior de Hondecoeter (1636-1695) Dutch Crowing cockerel in a rocky landscape with other birdsOil on canvas, 70.5cm by 51.5cmCovered in a thick layer of dirt and discoloured varnish. Executed on a heavy-weave canvas which remains apparent. Pronounced cracking and craquelure in areas which is lifting and bordering on precarious. Some of this has been historically retouched which is fairly mildly visible by eye. Further fairly sporadic retouching and strengthening to the beak of the flying bird, far right hand side of the head, neck, upper body and parts of the wing in the main. Further retouching through the craquelure immediately below the bird and within the background and rocky area. Further general retouching and strengthening to the right hand side outline of the standing cockerel's neck, outline of the beak, right hand side of the head, and within the background immediately between the standing cockerel and the bird to the right of this. Further fairly sporadic retouches to the tail and upper plumage of the right hand side bird. Minor retouches to the body, with a further patch of slightly more concentrated retouching and strengthening to the lower neck and immediate background of the right hand side bird. Retouch to lower right hand corner which is roughly 2-3cm by 2cm overall. Some general strengthening to the darker tones and shadows of the standing cockerel's left hand leg and wing. Patch of retouching to background just left of the outstretched wing of the left hand side bird, which is approximately 2cm by 2cm overall. Further general strengthening on parts of the background and outline to the breast of the prominent bird (see images). Some minor rubbing/abrasions, especially lower edge left hand side due to rubbing in the frame.
Joseph Walter West (1860-1933) "Thus Spring came stealing up expectant valleys, early morning Rievaulx" Monogrammed, with original artist's inscribed label attached verso, oil on canvas, 70.5cm by 90.5cmExhibited: New Zealand and South Seas International Exhibition 1925, according to inscriptions and labels to reverse Slightly stiffly relined, cleaned and revarnished. The surface is slightly flattened and the paint has slightly thinned in places as a result of the restoration process, although some impasto is retained. Fine craquelure throughout but more notably to sky, with odd small area slightly more pronounced (see images). A degree of surface dirt and discoloured varnish now in evidence. Fairly sporadic retouching of varying sizes throughout sky, somewhat more concentrated top upper left hand corner and along horizon right hand side (see images). Further retouching and strengthening to triangular area in lower left hand corner, which is approximately 30cm on longest side. Sporadic small-scale retouches within the water and the land of the central and lower right hand side area and more sporadically extending from the more concentrated patch on the lower left hand corner, essentially along lower edge to roughly central point. Minimal, less notable retouches to other parts. Some of the structure and branches of the trees, especially on the left hand side and central area, are possibly strengthened, in addition to the roof of the building far right and some of the masonry and architecture in general, etc. Otherwise in a stable and presentable state of preservation.
William Edward Webb (1862-1903)"Queen's Dock, Liverpool"Partial inscription to stretcher verso, oil on canvas, 29cm by 44.5cmRe-lined, cleaned and re-varnished. Retains reasonable surface. Re-touch to upper left hand corner and sporadic and delicate re-touching to sky in upper left hand corner area. More notable or consistent patch of re-touching/ overpainting to the left of the top sail of the tall masted ship, which is approx 1cm by 0.5cm overall and visible by eye. Small amount of re-touching to lower left hand corner. Two further and more consistent patches of re-touches which are approx 1cm by 1cm overall within the water approx centre and just left of centre below the tall masted ship and towards the lower edge. Further patch of restoration / re-touching within the sky, approx 2cms above the cathedral tower and approx 1 cm by 1cm overall and is visible by eye. Stretcher shadow which is most prominent along top edge with a patch of cracquelure within the sky on the right hand side of stretcher shadow, which has a tiny loss and paint is slightly lifting. Further isolated areas of cracquelure elsewhere. Light surafce dirt and discoloured varnish. Otherwise in a broadly good and presentable state of preservation.No known notable provenance to date.
Alfred Pollentine (1836-1890)Gondolas on a Venetian canalSigned, oil on canvas, 39cm by 59cmRelined, cleaned and re-varnished. Re-touching along upper left hand side edge above buildings, upper left hand corner and upper left hand side top edge for approx 12-15cms. Patch of demi lune shaped re-touching approx centre of upper edge which is roughly 1-1.5cm at widest point. Re-touch to upper right hand corner. Re-touches/ overpainting to sky on the left hand side and right hand side of the dome and top finial which are approximately 1.5cm in irregular length by 0.5cm and 1cm respectively. Likely repair with associated re-touching in a slightly curved formation through the row of upper arched top windows above the sail of the boats on the left hand side and is approx 4 cms in length and 0.5cms wide max. A further, essentially horizontally arranged area of re-touching/ restoration approx centre of the front pillars of the portico and is approx 3cms in length and 0.5-1cm wide. Parts of signature probably strenthened. One small approx 1cm overall patch of re-touching within the sky towards left hand side of the canvas and further re-touches to the sky above the buildings on the right hand side which runs vertically above the second flat roof and is approx 1cm wide by 4cm long overall. Some general strenthening to the black and darker paint across the lower right hand side composition and lower left hand side composition. Minor re-touches elsewhere etc. Vertical scratch with slight reveal of canvas approx 1 cm in length towards the upper edge, within the sky above the domed building. Light surface dirt and discoloured varnish.
George Weatherill (1810-1890)Whitby Harbour Signed, pencil and watercolour heightened with white and scratching out, 45cm by 69cm Relatively light to moderate staining across sheet with associated slight tempering of overall colour. Odd patch of more pronounced staining, ie within the sky above the buildings beside the abbey. Some further relatively light overall reduction to colour. Odd possible foxing spot beginning to emerge. No evidence of cockling. Not examined out of the frame.
Marc Aldine (1870–1957) French Vue de Venise Signed, oil on canvas, 58cm by 79.5cm Relined, cleaned and revarnished. Retains some surface impasto. Very slight buckle to upper left hand corner. Tiny loss to upper left hand corner. Slight surface dirt and discoloured varnish now in evidence. Sporadic small retouches within upper left hand corner area. Further slightly more concentrated patch of retouching in a generally diagonal fashion just above and left of the upper foliage on the left hand side, approximately 2cm in length running from left to right and approximately 0.5cm in width. Further fine and sporadic retouches in this vicinity. Retouching to extremities of upper right hand corner and within that general vicinity. Some possible strengthening to the lower staircase, arches and masonry of the right hand side buildings, but broadly in a good, comma and highly presentable state of presentation.
Ernest Higgins Rigg (1868-1947)Loaded hay cart and haymaking at sunset Signed, oil on canvas, 65cm by 90cm Rectangular patch repair to reverse of canvas with associated retouches to front of canvas which is broadly rectangular shaped, situated just below and centre of the rustic figures outstretched hay rake, and is approximately 1cm by 1.5cm overall. Relatively light surface dirt and discoloured varnish. Otherwise in a broadly good state of preservation.
English School (17th century)Portrait of Sir Thomas Gascoigne, 2nd Bt. (1596-1686), half length in a feigned oval Signed, inscribed and dated 1683, oil on canvas, 85cm by 69cm Provenance: Fort Augustus Abbey, Inverness-shire, ScotlandThe present composition relates to a double portrait of John Gascoigne, Abbot of Lamspringe and Sir Thomas Gascoigne, in the collection at Lotherton Hall, LeedsOld reline. Surface is slightly flattened and paint thin in places as a result. Covered in a fairly thick layer of dirt and discoloured varnish. Some general rubbing, abrasions and minor losses to the edges as a result of movement in the frame. This is more notable along the top edge on the right hand side, with evidence of retouching and intervention mostly evident by eye, in addition to an old loss approximately 30cm from upper right hand corner and 2cm in from upper edge, with associated retouching. Craquelure throughout which is made slightly more pronounced by deteriorated varnish of opaque quality. Degree of fairly consistent retouching and infilling to old craquelure across surface of upper background more notably. With some further, more far-reaching likely areas of general strengthening to background. Sporadic retouches presumably to old flaked paint within the gentleman's attire, mostly centrally positioned. Retouching and strengthening to lower edge. Area of damage or pronounced cracking approximately 5-6cm above and left of the gentleman’s head (see images), with likely associated retouching. Patch of especially notably deteriorated opaque/chalky varnish towards lower left hand corner (see image). With other minor surface imperfections consistent with painting’s age, etc.
Follower of Sir Godfrey Kneller (1646-1723)Portrait of a young beauty at rest in a rocky landscape, holding a handful of flowersOil on canvas, 125cm by 100cmRelined, cleaned and revarnished. Canvas retains a reasonable to good amount of flexibility. Some relatively light surface dirt and discoloured varnish now in evidence. The paint is slightly flattened and thin in places as a result of the restoration process. Some minor rubbing/abrasion to outer edges from a small degree of movement within the frame. Superficial, very slightly curved surface scratch to lower right hand corner which is roughly 30cm in length. Two to three further essentially horizontally arranged surface scratches within lower left hand side corner and extending across the canvas by approximately 30cm plus (see images). Areas of isolated, varying sized craquelure. Scattered retouching throughout background. Finer, more delicate retouching and infilling across the face and shoulder/chest area, with the shadowy parts of her chin and neck having received a slightly more consistent approach, presumably to old flaked paint. Scattered retouching of a mostly small scale, ie no more than 2cm in length, mostly across her left hand side of the chemise. Further sporadic and mostly delicate retouching to the flesh of her arms and hands with the odd slightly larger patch of intervention. Otherwise in a broadly good, stable and presentable state of preservation. For more information please contact the department.
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