CHRIS | INDONESIA (BALI), INDONESIAN | Country: Indonesia (Bali) | Date: 19th century | Condition: Excellent | Lot information | A traditional oriental weapon originating from Bali, Indonesia, made in the 19th century. The Kris is known for its signature wavy blade, which in this case is Damascus, adding to its strength and aesthetic value. The handle is richly carved, suggesting that it is a representative or ceremonial piece. This type of weapon had not only combat but also symbolic and spiritual value in Indonesian culture. | Dimensions | Length: 415 mm | Blade: 325 x 23 mm | Weight: 170 g***IMPORTANT NOTICE*** | SHIPPING ONLY WITHIN THE EUROPEAN UNION | Bidders are obliged to inform themselves about the condition of the lots before the auction, subsequent complaints will not be taken into account.
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A striking giclee photograph by Monica and Michael Sweet, titled Rainbow Bali Hai, capturing the breathtaking natural beauty of Kauai's north shore. This vivid landscape features the turquoise waters of the Pacific gently lapping against the golden sands, with the lush, jagged peaks of Bali Hai (Makana Mountain) rising dramatically in the background. The Sweets, known for their vibrant and intimate perspectives of Hawaii, employ a photographic style that enhances the natural radiance of their subjects, emphasizing the interplay of light, water, and sky. The image is framed in a tropical-inspired woven bamboo-style frame, complementing the island aesthetic. Signed by the artists in the lower margin and accompanied by a gallery biography. Framed in a bamboo design frame.Artist: Monica and Michael Sweet (American & Swiss 20th-21st century))Dimensions: 48"L x 25"HCountry of Origin: USA/SwitzerlandProvenance: Galerie Sweet Hawaii Condition: Age related wear.
A COLLECTION OF ROYAL CROWN DERBY CERAMICS to include a large quantity of 'Derby Posies' items to include six trios (two side plates and a saucer marked second quality), a milk jug, a cream jug, a handled cake plate, three rectangular trinket dishes (one marked second quality), a group of graduating trinket dishes, a dinner plate, an 'Old Aves' saucer, a 'Bali' saucer (marked second quality), and a gilt cobalt floral saucer, etc (qty) (Condition report: itemised conditions above, some light scratches, overall good quality)
Jen Orpin The Gate, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The visual representations of landscapes in my paintings and the framed view from the car make up and form the basis of visceral memories and nostalgia, liminal spaces that occupy the landscape between the places and people that mean the most to us. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space. The mundanity of these every day actions often belies the truth of deep routed emotions that come with these well-travelled routes and connections to these familiar places. In these paintings I aim to portray this feeling, emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own. Education 1993-1996 BA Hons in Fine Art, Manchester Metropolitan University, UK 1992-1993 Art Foundation, West Surrey College of Art and Design, UK Solo Exhibitions 2024 We Left Nothing Behind, Union Gallery, London, UK A Navigation Of Memory, Jari Lager Gallery, Seoul, South Korea Art Busan, solo presentation, Jari Lager Gallery, South Korea 2023 The Journey Continues, Saul Hay Gallery, Manchester, UK 2022 Thirteen Bridges, London Modern, Waltham Forest Town Hall, London, UK 2021 The Manchester Modernist Society, Silent Cursors Punctuated Journeys, Manchester, UK Group Exhibitions 2025 London Art Fair, Saul Hay Gallery, UK A Bell Is A Cup Until It Is Struck, BLOC Projects, Sheffield, UK Journeys, Taylor-Jones & Son, Deal, UK Rolling Action...Paint!, Jari Lager Gallery, Vestfossen, Norway 2024 Here is My Favourite Place, Jari Lager Gallery, Seoul, UK London Art Fair. Encounters Space, Saul Hay gallery, London, UK New Light Art Prize, Bankside Gallery, London, UK New Light Art Prize, Rheged Arts Centre, Penrith, UK A Small Space On Tour, TAT Art Space, Bali Royal Academy Summer Show, London, UK Terrace Open, Patchworks, London, UK Friends Of Dorothy, Refuge. Manchester, UK New Light Art Prize, The Biscuit Factory, Newcastle, UK Connections. MAFA, Stockport War Memorial art Gallery, UK New Light Art Prize, The Mercer Art Gallery, Harrogate, UK Rogue Women 3, curator, Rogue Studios, Manchester, UK The Pearls & The Oyster, The Birley Studios, Preston, UK Manchester Contemporary. Rogue Women stand, Manchester, UK 2023 Rogue Women II. Co-Curated, Rogue Artists' Studios, Manchester, UK Coalescence, Contemporary Six Gallery, Manchester, UK Royal Academy Summer Exhibition. London, UK MAFA Summer Exhibition, Dean Clough, Halifax, UK A Generous Space 3, Huddersfield Art Gallery, UK New Light Art Prize. Williamson Art Gallery, Birkenhead, UK Sight Ingested, part performance. Tokyo My Brutal Life, Moore Street substation, Sheffield, UK Sight Seeing, School of Fine Art, Athens The Bury Open, Bury Museum and Art Gallery, UK ING Discerning Eye, Mall Galleries, London, UK The London Group Open, Copeland Gallery, London, UK Manchester Contemporary. Rogue Women, Curator, UK A Small Space, Square Feet Space, London, UK Daegu Art fair, Jari Lager Gallery, South Korea In Case You Missed It, The Modernist, Manchester, UK Gallery Representation Saul Hay Gallery, Manchester, UK Jari Lager Gallery, London/South Korea Public Collections Manchester Art Gallery, UK New Art Gallery Walsall, UK Statement about AOAP Submitted Artwork My night driving paintings capture the interplay of artificial and natural light, evoking a sense of solitude, romanticism, mystery, and the fleeting nature of night time journeys. These paintings emphasise contrasts, car headlights pick out the shadowy details and subtle shapes. The soft glow of distant lights offers a visual narrative of transition, introspection, and the quiet beauty of the darkened world outside the car. Through this lens, night driving becomes both a literal and metaphorical journey, often exploring themes of isolation, motion, and the search for meaning in the vastness of the night. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Jen Orpin The Sign, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The visual representations of landscapes in my paintings and the framed view from the car make up and form the basis of visceral memories and nostalgia, liminal spaces that occupy the landscape between the places and people that mean the most to us. The importance of these external landscapes is often mirrored by the internal dialogue of the driver and passenger with the confinements of the car at times offering an intimate confessional space. The mundanity of these every day actions often belies the truth of deep routed emotions that come with these well-travelled routes and connections to these familiar places. In these paintings I aim to portray this feeling, emotionalism is a key element in the success of each one and as a viewer you are forced to look down the road as its sole traveler and undertake each journey as your own. Education 1993-1996 BA Hons in Fine Art, Manchester Metropolitan University, UK 1992-1993 Art Foundation, West Surrey College of Art and Design, UK Solo Exhibitions 2024 We Left Nothing Behind, Union Gallery, London, UK A Navigation Of Memory, Jari Lager Gallery, Seoul, South Korea Art Busan, solo presentation, Jari Lager Gallery, South Korea 2023 The Journey Continues, Saul Hay Gallery, Manchester, UK 2022 Thirteen Bridges, London Modern, Waltham Forest Town Hall, London, UK 2021 The Manchester Modernist Society, Silent Cursors Punctuated Journeys, Manchester, UK Group Exhibitions 2025 London Art Fair, Saul Hay Gallery, UK A Bell Is A Cup Until It Is Struck, BLOC Projects, Sheffield, UK Journeys, Taylor-Jones & Son, Deal, UK Rolling Action...Paint!, Jari Lager Gallery, Vestfossen, Norway 2024 Here is My Favourite Place, Jari Lager Gallery, Seoul, UK London Art Fair. Encounters Space, Saul Hay gallery, London, UK New Light Art Prize, Bankside Gallery, London, UK New Light Art Prize, Rheged Arts Centre, Penrith, UK A Small Space On Tour, TAT Art Space, Bali Royal Academy Summer Show, London, UK Terrace Open, Patchworks, London, UK Friends Of Dorothy, Refuge. Manchester, UK New Light Art Prize, The Biscuit Factory, Newcastle, UK Connections. MAFA, Stockport War Memorial art Gallery, UK New Light Art Prize, The Mercer Art Gallery, Harrogate, UK Rogue Women 3, curator, Rogue Studios, Manchester, UK The Pearls & The Oyster, The Birley Studios, Preston, UK Manchester Contemporary. Rogue Women stand, Manchester, UK 2023 Rogue Women II. Co-Curated, Rogue Artists' Studios, Manchester, UK Coalescence, Contemporary Six Gallery, Manchester, UK Royal Academy Summer Exhibition. London, UK MAFA Summer Exhibition, Dean Clough, Halifax, UK A Generous Space 3, Huddersfield Art Gallery, UK New Light Art Prize. Williamson Art Gallery, Birkenhead, UK Sight Ingested, part performance. Tokyo My Brutal Life, Moore Street substation, Sheffield, UK Sight Seeing, School of Fine Art, Athens The Bury Open, Bury Museum and Art Gallery, UK ING Discerning Eye, Mall Galleries, London, UK The London Group Open, Copeland Gallery, London, UK Manchester Contemporary. Rogue Women, Curator, UK A Small Space, Square Feet Space, London, UK Daegu Art fair, Jari Lager Gallery, South Korea In Case You Missed It, The Modernist, Manchester, UK Gallery Representation Saul Hay Gallery, Manchester, UK Jari Lager Gallery, London/South Korea Public Collections Manchester Art Gallery, UK New Art Gallery Walsall, UK Statement about AOAP Submitted Artwork My night driving paintings capture the interplay of artificial and natural light, evoking a sense of solitude, romanticism, mystery, and the fleeting nature of night time journeys. These paintings emphasise contrasts, car headlights pick out the shadowy details and subtle shapes. The soft glow of distant lights offers a visual narrative of transition, introspection, and the quiet beauty of the darkened world outside the car. Through this lens, night driving becomes both a literal and metaphorical journey, often exploring themes of isolation, motion, and the search for meaning in the vastness of the night. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
![Asia.- Bernard (Paule) [Collection of c.100 loose photographs and c.35 colour diapositives relating to "Troublante Asie"] occ](https://cdn.globalauctionplatform.com/8c3b0654-f508-46cc-a759-b29101151ad5/cdc235b1-c6dd-4423-a7b6-b291011787a0/468x382.jpg)
Asia.- Bernard (Paule) [Collection of c.100 loose photographs and c.35 colour diapositives relating to "Troublante Asie"] occasional tears and creasing, trimming to some edges, some duplicates, some with ink ownership stamp, many with ink or pencil inscriptions to versos, colour diapositives in plastic casings with ink manuscript labels, sizes range from c.60 x 65 mm and c.280 x 220 mm [1958]; and several film negatives and a flyer for the film "Troublante Asie" series (small quantity)*** Paule Bernard was a pilot nurse during World War Two and a maker of travel films. She produced several photographic documentaries, films and articles, including the Troublante Asie from which these photographs are related. Images include scenes from Bali, Tahiti, and Laos.
An antique repousse metal mask, likely from Bali, featuring intricate detailing and ornate craftsmanship. This striking mask showcases a serene yet expressive face adorned with elaborate headdress elements, floral patterns, and decorative earrings. The repousse technique brings out fine details, enhancing the textured surface with depth and dimension. The piece is mounted on a decorative metal stand, allowing for display. The aged patina and wear suggest significant age and cultural history, making it a remarkable collectible or display piece.Issued: 20th centuryDimensions: 6.25"HCondition: Age related wear.
HERMÈS Seidencarré "H AU GALOP", by Bali Barret, Entwurf erstmals erschienen 2005. 100% Seide. Blaues Modell gestreift mit Pferdemotiv "Hermès pour Sal. Oppenheimer". Handrollierte Säume. 40 x 40 cm. Gebrauchsspuren dezent vorhanden.| HERMÈS silk carré ‘H AU GALOP’, by Bali Barret, design first published in 2005. 100% silk. Blue striped model with horse motif ‘Hermès pour Sal. Oppenheimer’. Hand rolled hems. 40 x 40 cm. Discreet signs of wear.
Franz Kienmayer, Alpenländisches Bauernhaus und Garten, Ölgemälde, gerahmtFranz Kienmayer, 1886 Wien - 1963 Baden-Baden, österreichischer Maler und Illustrator sowie Orientalist, hier: Sommerlicher Bauerngarten mit junger Frau im Dirndl bei der Ernte vor dem Haus, Öl/Holz, ca. 69,5 x 48,5 cm, sign., im Goldstuckrahmen, beil. kl. KatalogZum Künstler: Frank Kienmayer während wurde im WK 1 als Kriegsmaler in die Kunstgruppe des k.u.k. Kriegspressequartiers aufgenommen. Die Werke aus dieser Schaffensperiode befinden sich heute größtenteils im Heeresgeschichtlichen Museum in Wien. Nach dem Krieg war Kienmayer in Wien, Predlitz-Turrach, Graz, zuletzt in Leipzig und Baden-Baden tätig. In Leipzig wurde er als Kunstprofessor tituliert. Ab 1929 bereiste er Java, Bali und Indonesien, Motive aus dieser Zeit, wie Landschaften, Tempel- und Genreszenen, finden sich heute zahlreich auf Kunstauktionen wieder und befinden sich in Privatbesitz
Vier Titel Geschlecht und Kulturbestehend aus: 1) Das Geschlechtsleben der Japaner von Dr. Friedrich S. Krauss, Leipzig im Ethnologischen Verlag 1911, 2) Die Anmut des weiblichen Körpers, von Dr. Friedrich S. Krauss, Leipzig Deutsche Verlagsactiengesellschaft 1906, 3) Bali, Volk, Land, Tänze, Feste, Tempel, von Gregor Krause München bei Georg Müller 1926, 4) Anthropophyteia, Jahrbücher für folkloristische Erhebungen und Forschungen zur Entwicklungsgeschichte der geschlechtlichen Moral, VI Band, herausgegeben von Dr. Friedrich S. Krauss, Leipzig im Ethnologischen Verlag 1909, Format max. 4°, teils deutlichere Alters- und Studierspuren.
Großformatige Marktszene Wayan SadiaEnde 20. Jh., signiert W. Sadia und ortsbezeichnet Ubud Bali, Gouache auf Leinen, auf Keilrahmen aufgezogen, vielfigurige Genreszene mit Darstellung lebhaften Markttreibens inmitten einer Dorflandschaft, aufwendig beschnitzter, teils durchbrochen gearbeiteter Laubholzrahmen, gute Erhaltung, Maße 130 x 90 cm.
Großformatige Marktszene Wayan SadiaEnde 20. Jh., signiert W. Sadia und ortsbezeichnet Ubud Bali, Gouache auf Leinen, auf Keilrahmen aufgezogen, vielfigurige Genreszene mit Darstellung lebhaften Markttreibens inmitten einer Dorflandschaft, aufwendig beschnitzter, teils durchbrochen gearbeiteter Laubholzrahmen, gute Erhaltung, Maße 130 x 210 cm.
One of the most iconic decades in Broadway history spawned some of the greatest musicals and songs. Here we have a collection of ten mega-hits from the era. Included are Rogers and Hammerstein with South Pacific's Bali Ha'i, If I loved You and You'll never Walk Alone from Carousel, State Fair's It Might As Well Be Spring and You Can't Get A Man With A Gun from Annie Get Your Gun, Al Jolson's Toot, Toot, Tootsie! Is You Is, Or Is You Ain't (Ma' Baby), Ira Gershwin's Make Way For Tomorrow, Irving Berlin's Let's Take An Old Fashioned Walk, Down Argentine Way, and Sammy Cahn's Be My Love. All are standard sheet music size of 12"L x 9"W. Issued: 1940 - 1949Dimensions: See DescriptionCondition: Age related wear.
A Pacific Islands carved wooden mask, 20th century, of shaped rectangular form with stylised features; together with a carved hardwood bust of a woman, marks to base 'A Fatimah Bali', with a further pair of South-East Asian carved busts (4)first height 26cmCondition: General wear otherwise good condition
19th century silver jewellery including Indian Deity locket, on silver circular link chain necklace, hinged bangle with engraved vine leaf decoration, bracelet, coin brooch and one other brooch and a later Bali silver bracelet, with Rangda Demon Queen decorationCondition Report:Approx 203gm gross, pendant locket glass interior, locket diameter = 40cm, chain length = 48cm (excluding pendant links), all tested approx 900-925 silver
Three Asian wooden carved panels from Bali, Laos and Thailand. One panel depicts a landscape with buildings; another depicts three women working under a tree; third depicts Rama & Sita. Largest W 24cm, H 26cm, along with water buffalo bell from Sumbawa, Indonesia, L 27cm, D 8cm, H 12cm without cord; Wooden carved serving utensils in the form of people, L 39cm; Also a carved wood rabbit shaped coconut grater.
A QUANTITY OF TREEN AND VINTAGE ITEMS to include a group of five African ebony figures in various positions, a wooden Bali-style figure, a Chinese figure with a dog (loss to the dog's leg and foliage), a vintage paper parasol with hand-painted peacock patterns (some rips), four vintage bowls, a group of five wooden walking sticks to include one ebony stick with an African female formed handle, a group of tobacco pipes to include one marked 'Tilshead,' 'Barbarino,' '480,' and 'Vanguard MIX,' with a pipe rack, etc, (qty) (Condition Report: s.d, wear to walking sticks, marks and signs of wear to pipes)
Häuser und Tempel in Hügellandschaft. 2007Öl auf Leinwand, auf Hartfaserplatte aufgezogen. Unten rechts signiert und datiert: Arie Smit 07. Gerahmt.Adrianus Wilhelmus, genannt "Arie" Smit war ein in den Niederlanden geborener und auf Bali aktiver Maler. Nach einem Grafik-Design-Studium in Rotterdam nahm er 1938 seine Arbeit für die Königliche Niederländisch-Indische Armee in Niederländisch-Indien auf. Mit ihren leuchtend farbigen, kraftvollen Pinselstrichen spiegelt die vorliegende Arbeit sowie das gesamte Spätwerk des Künstlers die Einflüsse seiner impressionistischen Vorbilder aus Studientagen wider.33,6 x 46,3 cmProvenienzAus einem Münchner Nachlass, direkt beim Künstler erworben
AN INDONESIAN KRIS (BALI), LATE 19TH/20TH CENTURY with pattern welded wavy blade, carved dark wood hilt set with pastes in raised setting around the base, selut en suite, in its scabbard with large wrangka, the lower portion encased in white metal embossed with a running design of foliage on the outer face, 43.0 cm
Steinverzierter Kris, Bali, um 1900 Zweischneidige Rasenerzklinge mit schönem Pamor, geschnittener Wurzel und steinbesetztem Mendhak. Geschnitzter Holzgriff in Form des Kocet-Kocetan. Wrangka und Scheide aus Timohoholz. Die einseitig offene Scheidenummantelung aus floral und figürlich getriebenem, partiell vergoldetem Silber. Auf der Rückseite getriebener Floraldekor und einige gefasste Glassteine. Länge 57 cm. A stone-decorated Balinese keris, circa 1900 A stone-decorated Balinese keris, circa 1900 Zweischneidige Rasenerzklinge mit schönem Pamor, geschnittener Wurzel und steinbesetztem Mendhak. Geschnitzter Holzgriff in Form des Kocet-Kocetan. Wrangka und Scheide aus Timohoholz. Die einseitig offene Scheidenummantelung aus floral und figürlich getriebenem, partiell vergoldetem Silber. Auf der Rückseite getriebener Floraldekor und einige gefasste Glassteine. Länge 57 cm. Condition: II
Kris mit geschnitztem Griff, Bali, um 1900 Mehrfach gewellte, schöne Damastklinge mit geschnittener Wurzel und steinbesetztem Selut. Der fein geschnitzte Holzgriff in Form einer plastischen Gottheit mit eingesetzten Zähnen aus Bein. Wrangka und Scheide aus Timohoholz. Länge 50,5 cm. A keris with carved handle, Bali, circa 1900 A keris with carved handle, Bali, circa 1900 Mehrfach gewellte, schöne Damastklinge mit geschnittener Wurzel und steinbesetztem Selut. Der fein geschnitzte Holzgriff in Form einer plastischen Gottheit mit eingesetzten Zähnen aus Bein. Wrangka und Scheide aus Timohoholz. Länge 50,5 cm. Condition: II
Kris, Bali, Indonesien, 20. Jhdt. Gerade und beidseitig mittig gegratete Klinge mit schöner Pamorzeichnung und geschnittenem Ansatz. Der mit Glassteinen besetzte Griff in Form eines messingummantelten Bartara Bayu mit einer kleinen Lotstelle. Leicht geschwungene Wrangka und Scheide aus Timohoholz (an der Wrangka verso kleine Fraßstelle). Länge 59 cm. An Indonesian keris, Bali, 20th century An Indonesian keris, Bali, 20th century Gerade und beidseitig mittig gegratete Klinge mit schöner Pamorzeichnung und geschnittenem Ansatz. Der mit Glassteinen besetzte Griff in Form eines messingummantelten Bartara Bayu mit einer kleinen Lotstelle. Leicht geschwungene Wrangka und Scheide aus Timohoholz (an der Wrangka verso kleine Fraßstelle). Länge 59 cm. Condition: II
Goldeingelegter Kris, Bali, 19. Jhdt. Leicht gewellte, schön gemaserte Rasenerzklinge mit tief geschnittener Wurzel und beidseitig floralen Goldeinlagen. Steinbesetztes Mendhak, der hölzerne Griff in Form einer (mit schwarzem Horn) eingelegten Lotusknospe. Wrangka und Scheide aus Holz. Länge 61 cm. A gold-inlaid kris, Bali, 19th century A gold-inlaid kris, Bali, 19th century Leicht gewellte, schön gemaserte Rasenerzklinge mit tief geschnittener Wurzel und beidseitig floralen Goldeinlagen. Steinbesetztes Mendhak, der hölzerne Griff in Form einer (mit schwarzem Horn) eingelegten Lotusknospe. Wrangka und Scheide aus Holz. Länge 61 cm. Condition: II
Silbereingelegter Kris, Bali, um 1900 Gerade, zweischneidige, beidseitig bis zur Spitze mit arabischen Inschriften fein in Silber eingelegte Klinge aus Rasenerz.Steinbesetztes Mendhak mit geometrisch getriebenem Silbergriff. Wrangka und Scheide jeweils aus Timohoholz. Länge 66,5 cm. A silver-inlaid Balinese keris, circa 1900 A silver-inlaid Balinese keris, circa 1900 Gerade, zweischneidige, beidseitig bis zur Spitze mit arabischen Inschriften fein in Silber eingelegte Klinge aus Rasenerz. Steinbesetztes Mendhak mit geometrisch getriebenem Silbergriff. Wrangka und Scheide jeweils aus Timohoholz. Länge 66,5 cm. Condition: II
Weltreise.: Zwei Alben mit zus. 750 (429; 321) meist eingesteckten (einige lose) priv. Photogr. (Silbergelatine) einer Weltreise mit dem Kreuzfahrtschiff "Resolute" der Hapag-Reederei, ca. 1935. Meist 12,5 x 17,5 cm. Qu.Gr.Fol. Lwd.-Alben d. Zt., Deckel beklebt mit Hotelaufklebern von der Reise. Die Kreuzfahrt startete in Griechenland, über Ägypten, Palästina, Südafrika, Indien, Bali, Siam, China, Japan, Hawaii, Kalifornien. Sie zeigen diverse Sehenswürdigkeiten, Landschaften, sowie Einheimische und Passagiere der Reise. Außerdem einige Zeppelin-Aufnahmen. - Tls. leichte Gebrauchsspuren. R
John van der Sterren (Dutch, b.1938) 'Pura Segara Desa Saba, Bali'oil on canvassigned, inscribed verso and dated 200373 x 93cm Oil on original canvas in good untouched condition, heavy ebonised wooden frame with some old repairs, artist inscription verso along with Singapore framer's label.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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