There are 165558 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeHELEN BRADLEY MBE (1900-1979); signed limited edition print, snowy scene on High Street with figures, partial blind stamp lower left, 37.5 x 55cm, framed and glazed. (D)Additional InformationSome light browning to image and mount, wear to frame.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
JOHN LOWRIE MORRISON (JOLOMO) OBE (Scottish, born 1948); large oil on canvas, 'Waiting For the Ferry - Iona', signed, further titled, signed and dated 2013 verso, with Jolomo Ltd stamp, 100 x 100cm, framed and glazed (D).Additional InformationPresented in excellent condition.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
A Enfield .450/.577 Martini-Henry action two band carbine rifle with 21" barrel, the action stamped 'Enfield 1885' below V.R crown cipher and II. and further stamped '2', with various broad arrow and double broad arrow throughout the barrel, the action and woodwork and further stamped to the stock 'Birmingham.99', and bearing a brass inlaid plaque stamped 'R.I.C' above 3604 and fitted with sling straps (af).Additional InformationHeavily pitted throughout, the barrel has been cut just in front of the octagonal breech, the rifle is functional but the Martini lever is loose when closed, the stock is heavily scratched and grazed showing small areas of a thicker varnish which has later been applied, the stock is further stamped where it attaches to the action 1794, and the barrel is further stamped on the breech alongside on one of the octagonal flats with various proof marks including E47 below a crown, 31E below a crown, E40 below a crown, to further indistinct proof marks alongside the no.2 and the letter H and the reverse is stamped is with a double crow foot stamp and a broad arrow above WD. We do not post firearms/deactivated firearms.
HELEN BRADLEY MBE (1900-1979); signed print, ‘Market Day’, partial blind stamp lower left, 46 x 69cm, framed and glazed. (D)Additional InformationSome browning to image and to mount, wear to frame.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
CONCORDE INTEREST; an extensive collection of memorabilia including menus, flight safety card, supersonic flight certificates, signed photograph, luggage tags, boarding pass, three pieces of Royal Doulton British Airways tableware, a hip flask, document wallet, notepads, hallmarked silver commemorative ingot, souvenir stamp covers, and further ephemera.
BECKER; an Art Nouveau gilt bronze inkwell modelled as a snake emerging and biting an apple, signed in capital and with indistinct stamp to the underside, height 8cm.Additional InformationThe glass ink liner with a rim chip, the gilt bronze detailing has age wear patina throughout of rubbing, scuffs and scratches, general rubbing and wear to the underside of the base and the inkwell is grubby in parts.
LAURENCE STEPHEN LOWRY RBA RA (1887 - 1976); signed colour print, 'People Standing About', with FATG blind stamp within the image to the lower left and pencil signature to the lower right, unframed, 48 x 61cm. (D)Additional InformationThe print is unframed. There are two marks to the top edge where Sellotape was once stuck to it. Some impressions / indentations to the paper to lower left and middle edge where something has rubbed against it. Light wear at edge. Some creases to the paper also. A scuff line to the right by the figure in green. Some attention will be needed. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Metal box containing a large selection of antique and vintage keys and padlocks, one brass mortice lock, a key with a brass tag reading: 'Strand Palace Hotel, London, please leave at the bureau', the flip side having an area for a stamp and a request that it be returned if taken in error, another key has a tag marked 'Ystrad boiler room', antique wrought iron skeleton keys etc. (B.P. 21% + VAT)
A GOLD BRACELET, BY GEORGES LENFANT, FOR BOUCHERON PARIS, CIRCA 1970The polished gold strap designed to resemble embroidery, with a central gold oxidised pattern with ropetwist borders, in 18K gold, signed Boucheron Paris, numbered, with maker's mark for Georges Lenfant, French assay marks, length 17.7cmGeorges Lenfant was born into the world of French jewellery design and he quickly became a master of his trade. Growing up, he undertook several apprenticeships before studying jewellery in Paris and abroad. In 1900, Georges set up his own workshop at 47 rue des Petits-Champs, minutes away from his patrons at the Place Vendome and Rue de la Paix. He was well established by 1903 and was listed in a publication of the Revue de la Bijouterie, Joaillerie, Orfevrerie of that year. His creative designs and flawless execution put him in demand with the larger jewellery houses and, in a bid not to be forgotten behind infamous names such as Cartier, Mellerio dits Meller and Van Cleef & Arpels, Georges established a maker’s mark in 1909 and proceeded to stamp each piece before it lefts his workshop. In 1915, Georges was joined in the firm by his son Jacques who, at the age of just eleven, was eager to learn the art of jewellery.Neither Georges nor Jacques shied away from collaboration and the Georges Lenfant company had been working with Sandoz for many years when, in 1927, Gustave-Roger Sandoz sold his business to Georges under the condition that his son, Gerard Sandoz, remained as artistic director. Between them, they created striking examples of Art Moderne jewellery, their work infused with bold lines, bright colours and contrasting shapes.Following the end of WWII, Lenfant took over Verger Freres. This heralded a new collaboration with Vacheron Constantin, who had been working with Verger Freres for some time. Constantin and Lenfant busied themselves with watch design and, together, they created pieces for Hermes.In 2003, Georges Lenfant was bought by Bouder and ceased to operate. However, pieces bearing the Lenfant mark continue to prove popular, their numerous collaborations meaning that there is a design to suit everyone. Condition Report: Some gold oxidisation on the dark links - unsure whether on purpose or notSignature 'Boucheron Paris' located on clasp - numbered 2.511255Eagle's head for French 18K gold and maker's mark GL for Georges Lenfant located on tongue of claspNormal signs of wear, overall in good conditionTotal gross weight approx. 61.10g
THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADYA RARE HAWK'S EYE AND DIAMOND BIRD BROOCH, BY STERLÉ, CIRCA 1955Designed as a majestic bird, the torso composed of hawk's eye with long articulated gold tassel tail feathers highlighted with brilliant-cut diamonds, with similarly-cut diamond crown, eyes and beak, mounted in 18K gold, diamonds approximately 3.00cts total, signed Sterlé Paris, numbered 7.558, with maker's marks, French assay marks, length 10.2cmSterlé’s fascination with recreating the natural world inspired him to go above and beyond many of the goldsmiths and jewellers of his time. Following a visit to the Egyptian Museum in Cairo in the early 1950’s and a glimpse at the intricacy of one of Cleopatra’s bracelets,the Frenchman strove to emulate what he had seen and apply it to the creation of his designs inspired by nature. He is thus credited with the invention of what aptly became known as his distinct ‘angel wire’ or ‘knitted gold’ technique, whereupon gold wire was twisted or braided by Sterlé in such a way as to enable the artist to reproduce both the delicacy, density and movement of a bird's wings and plumage in a remarkably tactile and dynamic fashion.Ref of text: Catalogue published in 2019 for the exhibition 'Birds in Paradise' curated by L'Ecole, School of Jewelry Arts, with the support of Van Cleef & Arpels, which took place 15th May - 13th July 2019, in Paris - Sterlé, page 87. For comparable Bird brooch by Sterlé - in same exhibition catalogue, page 101, from a private collection.Pierre Sterlé (1905-1978) was famed for his innovative approach to jewellery design, embodying the dynamics of 1950s design. The son of a family of bankers, Sterlé trained as a jeweller in Paris under his uncle Maynier-Pinçon following the death of his father during the First World War. In 1934, he founded his own jewellery making company and was sponsored by many large jewellery houses located on the Place de Vendome, including Boucheron, Chaumet, and Van Cleef & Arpels, who had already used his talents for their own firms. Sterlé’s talent as a designer soon allowed him to emerge from his status as a jewellery manufacturer to a successful jeweller and artist in his own right. His reputation was cemented when he won the De Beers Diamond Award, a major achievement in the jewellery world, for three years running in 1953, 1954 and 1955. Sterlé’s success as an artist during this time ensured he received large-scale recognition in France as well as on a global scale. He worked for many heads of state and royalty, including Queen Narriman of Egypt and Princess Soraya of Iran and socialised with fellow avant-garde artisans in France, such as Jean Cocteau, Georges Bracque and Salvador Dalí.His work is distinguishable by his intricate pieces, wrought with great movement and energy, often using baguette-cut diamonds and coloured gemstones in sweeping, curling lines. Above all, it was Sterlé’s invention of the ‘knitted-gold technique’ or ‘angel thread’ which would lead to his fame at the climax of his career in the 1950s and 1960s. The meticulous use of of gold plaiting and threading enabled him to emulate recreate the intricacies of the natural world, from the textures of flowers and plants, to the wings and feathers of his famous bird brooches, all executed in a strikingly tactile and dynamic way. Although a talented jeweller, Sterlé did not experience the same level of success at business and suffered the closing of two of his own stores throughout his lifetime. Forced to close his house in 1976, Sterlé continued his work at the Maison Chaumet, where he acted as Artistic Director until his death in 1978.The late 19th century onwards until the 1950s and 60s saw a huge fascination by jewellers with the representation of birds in jewellery. This trend echoed the growing penchant for decorative naturalism and a passion for romanticising the natural world and derived from the increase in major scientific expeditions, the creation of large colonial empires and the widespread popularity of taxidermy in Western Europe. Natural history museums, zoos and richly illustrated ornithological publications inspired a growing penchant for exotic birds amongst the wealthy classes. Not only did birdwatching become a popular activity, but owning a bird of paradise was seen as a symbol of status, affluence and a stamp that the individual was well-travelled. Ever-present in mythology, a constant source of inspiration for literature and the arts, exotic birds also came to be represented in the world of jewellery. As such, without necessarily owning a specimen, wearers of ornithological jewellery thereafter invoked in their audience ideas of travel, luxury and an appreciation of the natural world. Brooches played an especially important role in the way that bird species of all kinds remained popular for over a century of jewellery design – from the mid-nineteenth century up until the 1960s. The sheer beauty of birds, alongside the vast diversity of their shapes, lines, colours and poses, allowed jewellers to experiment with creating such pieces, unlike any other animal. Over time, the use of birds as motif in jewellery design came to signify something far greater than beauty or status, and in many cases the bird was used to represent or symbolise a cause or ideal. The turtledove was strongly connotated with love, whilst the peacock remained a clear symbol of exoticism and luxury. During World War II, French jewellers including Cartier created brooches of caged birds as a symbol of freedom and patriotism during the German Occupation and at the time of the Liberation, several jewellers including Van Cleef & Arpels, used birds in their jeweller as a decided signifier of France’s new-found freedom. As such, Pierre Sterlé was certainly not alone in his fascination with depicting birds in jewellery. The continued presence of ornithological species in brooches and pendants throughout the mid-20th century is testament to their unfailing popularity amongst buyers, from the Parisian elite to his clients further afield. Yet it was Sterlé’s invention of the ‘angel-thread’ technique which served to revolutionise the depiction of birds in the jewellery world. He was one of the most innovative artisans of the 20th century and whilst the use of his gold-plaiting and threading technique was most pertinent in the emulation of birds, goldsmiths soon acquired it in a host of new designs which allowed the artist to reproduce the finesse and density of textures from the natural world.Condition Report: Some diamonds on the bird's crown are of obvious yellow tintSignature 'Sterlé Paris' number '7.558', maker's mark for Sterlé & French assay mark located on the large pinAn additional maker's mark and French assay mark located on the reserve of the torso of the birdEagle's head for French 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 54g
INDORE, MADHYA PRADESH - HENRY DALYA good collection of approximately 41 views of Indore (2 signed by Deen Dyal), Maharajah group portraits, Kabul (5 signed in negative by John Burke), and others, albumen prints, most mounted on card, the Burkes in an album, a few loose, typically approximately 200 x 270mm., a few smaller, mostly 1870s (group)Footnotes:Indore images include: 'First Engine at Indore. 10th June 1875' [train pulled by elephant]; 'Indore Residency, C.I.'; 'New Iron Durbar Hall erected by H.H. Maharajah Holkar in honour of... the Prince of Wales' visit to Indore' (this and last signed by Deen Dyal, March 1876, others in series probably also by Dyal); 'His Royal Highness the Prince of Wales' Departure from Indore Residency, 9th March 1876'; 'The Investiture Durbar of the 19th January 1878 at Indore Residency' [Daly beneath portrait of Victoria, flanked by Raja of Dewar, Maharajas of Holkar, Dhar, Dewas, etc.]; 'Native Princes studying at the Indore Residency College'; two views of Indore Residency, one with photographer's stamp of Bourne & Shepherd, one with stamp of R. Bhyroolal of Indore. Portrait groups include: 'H.H. the Maharaja of Dattia and Nobles'; 'Maharaja of Bikaneer & his Dewan'; Scindia, c.1878; Maharaja Tookajee Rao Holkare of Indore. The images by John Burke (numbered in negative 102, 164, 178, 190, and 307) include 'General Roberts & Staff at Kabul 1880'; 'The Guide Corps. Kabul, [19]80'; city walls of Kabul, Admsi Heights above Kabul, corner of Sherpur defended by the 5th P.I., and Bemarau village, Sherpur.Provenance: Sir Henry Dermot Daly (1821-1895), from 1861 until 1871 commander of the Central India horse and political assistant at Angur for western Malwa, when he was appointed agent to the governor-general for central India at Indore, and opium agent in Malwa until his retirement in 1882. Daly College at Indore was named in his honour; Sir Hugh Daly (1860-1939); by family descent to present owner.For further information on this lot please visit Bonhams.com
JAMES (HUGO)A Volunteer's Scramble through Scinde, the Punjab, Hindostan, and the Himalayah Mountains, 2 vol., FIRST EDITION, AUTHOR'S PRESENTATION COPY INSCRIBED TO HIS SISTER, 'To my darling Liz from her affect. brother Hugo James' on the front free endpaper of each volume, half-titles, library bookplate inside upper covers, small ink stamp on first leaf of contents, and stamp on lower edge of book block, publisher's maroon cloth, rebacked, 8vo, W. Thacker, 1854Footnotes:RARE, AUTHOR'S PRESENTATION COPY, inscribed to his sister. James was in the Bengal Army. That the book is rare is perhaps explained by a contemporary review in The Rambler, a Catholic Review of Home and Foreign Literature, 1854: 'Though Mr. James was with Major Edwardes at Mooltan, and has therefore some stirring personal recollections to disclose, he spoils all by his utter inability to write... his pretensions to be a sage are somewhat inconsistent with his oblivion of syntax'.Provenance: The author's sister, presentation inscription from the author; University of Southern California, bookplate and stamps.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Tay Bak Koi (Singaporean, 1939-2005)'Under the Shade' signed 'Bak Koi' (centre left), inscribed with title (next to gallery stamp within frame)watercolour and gouache66.4 x 66cm (26 1/8 x 26in).Footnotes:ProvenanceWith Gallery Fine Art, Singapore.Private collection, UK.For further information on this lot please visit Bonhams.com
CALCUTTA IMPRINTSJERVIS (THOMAS BEST, of the Engineer Corps) Records of Ancient Science, Exemplified in the Primitive Universal Standard of Weights and Measures, ink inscription 'Elphinstone College' on half-title, with stamp in the margin of the final page, 2 single wormholes to opening pages, half-title splitting at gutter margin and small loss to one corner, modern half morocco, Calcutta, Baptist Mission Press, 1835--[APPERLEY (CHARLES JAMES)] The Chace, the Turf, and the Road. By Nimrod, 10 lithographed plates by Henry Alken, occasional light dampstains, one plate slightly frayed at upper margin, ownership inscription dated 19 June 1838 inside upper cover, original green cloth, remnant of printed spine label, spine split with small losses, Calcutta, William Rushton, 1838--LOVER (SAMUEL) Rory O'More: A National Romance, 15 wood-engraved plates, some foxing, contemporary green half calf, worn, some loss to spine, Calcutta, William Rushton, 1837, 8vo (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
An Art Deco aquamarine cocktail ring by Cartier, circa 1940, the rectangular scissor-cut aquamarine with canted corners in a four claw setting, mounted in platinum, signed ‘Cartier, London’, numbered ‘W.11518’, Cartier case, aquamarine measuring approximately 26.0 x 16.2 x 10.3mm, ring size J-K (hoop off-round). £4,000-£6,000 --- Accompanied by the original pencil and watercolour designs on waxed paper, with impressed Cartier stamp to bottom right corner reading ‘Cartier, London, Paris - all rights reserved’, showing four numbered ring mounting options for the aquamarine, to include the final chosen design.
STATUS QUO - 7" UK PYE 60s PROMO RARITIES. A superb pack of 3 1960s 7" promo releases by Status Quo on the PYE label. Titles include Ice In The Sun/ When My Mind Is No Love (7N 17581, 1968 promo. 4-prong centre has a date stamp on Aside label. Record is Ex), The Price Of Love/ Little Miss Nothing (7N 17825, 1969, 4-prong centre labels, Aside has date stamp and J Wilcox written on it in. Record has one or two hairline light paper surface marks, strong VG+) & Pictures Of Matchstick Men/ Gentleman Joe's Sidewalk Cafe (7N 17449, 1967, 4-prong centre. Aside label has some writing. Record is Ex).
ANSERMET - CLASSICAL STEREO LPs - UK SXL RARITIES. A superb pack of 3 classical LP rarities by Ernest Ansermet on the Decca label. All stereo SXL pressing. Titles include Stravinsky: Symphonies (SXL 2237, ED1 label is lovely bright and clean. The record is Ex. Sleeve has some light edge shelfwear, strong Vg+), Mussorgsky-Ravel: Pictures At An Exhibition/ Liszt: The Huns (SXL 2195, ED1 label, side 2 has a silver stamp. The record is beautiful Ex condition. The front laminated flip-back sleeve is also Ex) & Stravinsky - The Rite Of Spring (SXL 2042, ED1 label is lovely and clean. The record is superb Ex. The laminated flip-back sleeve with a blue border on the rear is lovely bright and glossy but unfortunately has a little damage to the bottom flap, VG).
An enamel calendar plaque by Anthony Tregent,c.1759, Battersea, entitled 'A New Year's Gift for 1759' and further inscribed with calendar and notes for the year, signed 'by Anth Tregent in Denmark Street' and with a red one penny duty stamp to the bottom right-hand corner, set within a gilt metal frame,10cm wide12cm highProvenance: Christie's, 'Fine English Enamels - The Property of Lady Mullens', 18 March 1987, lot 407. Condition report: Worn to the front with loss of legibility in places chipped in several places to the edge with hairline crack radiating from the top edge, lightly scratched overall
After Giovanni Batista Pittoni Christ giving the keys to Paradise to Saint Peteroil on canvas79 x 43cmA copy of the painting in the Louvre, Paris.Condition report: Oil on canvas which is unlined with artists; supplier stamp for Sennelier on the reverse. The tacking edges are starting to come away from the stretcher and are currently reinforced by drawing pins around the edges. The canvas tension is poor and there are numerous deformations across the surface. There are scattered punctures and small tears in the support with associated paint loss. At the upper edge there are two areas of fine flaking and loss to the paint layer. The work appears to be unvarnished and there is a layer of surface dirt present.
*Richard Stone (b.1951)A portrait of HRH Princess Alice, Duchess of Gloucester, three-quarter length seated, by a table with a vase of yellow rosessigned 'Richard Stone' l.l., oil on canvas60 x 49cm*Artist's Resale Right may apply to this lot.Richard Stone records that the portrait was painted from sittings at Barnwell Manor, Northamptonshire.Condition report: Oil on linen canvas with a supplier’s stamp for Winsor & Newton on the reverse. The canvas is in plane with good tension and the paint layers are in a good condition overall. The painting does not have an overall varish layer, in areas of gloss it seems likely that a layer has been locally applied by the artist. In the background at the upper right corner are dark splashes. There is an uneven layer of surface dirt across the picture.
E... Mann (19th century)Feeding the rabbitssigned 'E Mann' l.r., oil on canvas45.5 x 61cmCondition report: Oil on canvas which is unlined with an artists’ supplier stamp for Rowney & Co. on the reverse. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition overall. There are localised areas of drying cracks, notably around the figure of the mother and baby. The varnish layer is in a good condition but covered with a thick layer of smeary surface dirt.
*Cecil Kennedy (1905-1997)Still life of Christmas roses in a glass vase on a ledgesigned 'Cecil Kennedy' l.r., oil on canvas30.5 x 25.5cm*Artist's Resale Right may apply to this lot.Condition report: The painting is executed in oil on a small canvas with an artists’ supplier stamp for Roberson & Co on the reverse. The canvas is in plane and the paint layers are in a good condition overall.
Vincent Clare (1855-1930)Still life of greengages, plums and raspberriessigned 'Vincent Clare' l.r., oil on canvas22 x 27cmCondition report: Oil on canvas which appears to be unlined with an artist’s supplier stamp for H. Eassalle of Tottenham Court Road, London on the reverse. The paint layers are in a good, stable condition overall. The varnish is clear, glossy and even.
J... Quinton (19th century)A bay hunter with a white terrier in a stable;A grey hunter in a stablea pair, oil on canvas 46 x 61cm (2)Condition report: Both paintings are executed in oil on linen canvas supports which are unlined and have an artists’ supplier stamp for Rowney & Co on the reverse. The painting of the white horse has suffered from impact with a small hole and deformation in the canvas at the upper right corner. The paint layer of this painting has several textural defects associated with the drying of the paint layer including drying cracks. The varnish on the picture is very degraded becoming completely matte, dull and yellowed. The canvas of picture showing the bay horse is in a good condition, the canvas tension is slightly slack but the picture is in plane. The paint layer has localised areas of loss, especially in the lower half. The varnish has yellowed but retains some gloss. There is a layer of surface dirt present on both pictures.
*William Andrew Beer (1862-1954)'Red Cheq Hen', a racing pigeonsigned 'Andrew Beer' l.l., inscribed with racing history l.c., oil on canvas30.5 x 40.5cm, unframed;and another unnamed racing pigeon by the same handsigned 'W A Beer' l.l., oil on canvas30.5 x 40.5cm, unframed (2)*Artist's Resale Right may apply to this lot.Condition report: 'Red Cheq Hen. NUPP 25-57365. Winner of 1st Banff, Hanham HS 1930. Property of A Croom, winner of Silver Cup for Best Old Bird Average, with the following positions...2nd Ashchurch, 1st & 2nd Barnt Green, 1st Tamworth, 2nd Durham & 1st Banff (Old Bird Average Velocity, 1065)'Both works are executed in oil on canvas supports. The work signed W.A. Beer has a faint supplier stamp for Winsor and Newton on the reverse. The canvas tension of both works is reasonable. The canvas for ‘Red Cheq Hen’ has circular deformations in the upper half caused by material on the reverse of the canvas. Both paintings have wear and abrasion around the edges. Overall the paint layers are in a good, stable condition. The paintings are not varnished and have some dirt and slight efflorescence forming in the darker paint passages.
Herbert Thomas Dicksee RE (1862-1942)‘Parting Ways’, early morning rural scene of a young farm labourer with horses going off to work for the dayoriginal etching on vellum, signed artist proof, edition of 300, published by Frost & Reed 1906image 46.4 x 69.8cm;‘The Road to the Village’, a young woman driving cows and calves along a village roadoriginal etching on vellum, signed artist's proof, edition of 300, published by Frost & Reed 1909, with blind stamp, as exhibited at the Royal Academy 1910, number 1335 image 31.3 x 49.2cm (2) Provenance: The Bryan Steele Collection.Condition report: ‘Parting ways’ – Cockling throughout, which is particularly severe in the margins. There are some light creases in the margins also. A line of black dirt in the righthand margin. A little time-staining to the vellum. Not seen outside of glazed frame. ‘The Road to the Village’ – A little light cockling to the margins. A little rubbing to the roof of one of the cottages near the right edge. Not seen outside of glazed frame.
Jean Émile Renié (French, 1835-1910)Cattle wateringsigned 'Jean Emile Renie' l.l., oil on panel32 x 44cmCondition report: Oil on a wooden panel with an artist’s supplier stamp for Vieille, Paris on the reverse. The support and paint layers are in a very good condition overall. The varnish is even, glossy and slightly yellowed with an area of abrasion at the upper right corner. There is a thick layer of surface dirt present.
English School, mid-19th centuryA view of the village of Chislehurst, Kent, with figures, sheep and dogs by a pondsigned with monogram JHB(?) and inscribed 'The village of Chesilhurst [sic], Kent' on stretcher verso, oil on canvas59 x 83cmCondition report: Stretcher marks, some surface dirt and varnish discolouration. Some craquelure. The canvas is unlined and bears the canvas stamp verso. Under UV light there are some flecks and touches of overpaint in places throughout the composition, most notably to the lower and right edges. This is significant, but not too extensive. Would benefit from a light clean.
William Meadows (fl.1870-1895)Figures on a jetty with fishing boats returning signed 'W Meadows' l.r., oil on canvas36 x 56cmCondition report: The painting is executed in oil on a canvas support, it is unlined and has an artists’ supplier stamp for W. Rodman & Co, Belfast on the reverse. The canvas tension is good and the picture is in plane. Stretcher bar marks are starting to form in the paint layer following the lines of the wooden stretcher behind. The paint layer is in a very good, stable condition. The varnish is clear, even and glossy. The original gilding of the frame has been bronze painted.
Loading...
