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A 19th century mahogany writing slope, with felt interior and compartments and pen tray inside, brass mounts to exterior; a late 19th century rectangular money box; a boxed set of bone dominos; a lacquered metal press and a treen rebate plane, most likely 19th century. (5) All have wear etc commensurate to age.
A wooden toolmaker's chest with internal drawers, 35.5 x 61 x 24cm, containing various vintage tools to include wood and brass brace drills, one marked 'James Howarth', rebate plane, wheelwright plane, lead forming cones, hand tools, letter and number punches, etc.Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/
Frank Moss Bennett (1874-1952)Pleading with MasterSigned and dated 1932, oil on canvas, 24.5cm by 36.5cmThere is some spotting to the back of the canvas. All keys are present, but the canvas is slightly slack. A good even picture plane.There has been some drying issues with the paint in the lower part of the painting, particularly the floor, where the upper layers have retracted. This has been suppressed by retouching in places - the overpaint goes over the retractions and against the direction of the original brushstrokes, and is opaque.There are some areas that are a little thin/abraded, particularly the darker passages such as the brown of the table.There is a 1 inch area of damage, restored, to the right of the chair leg with some retouched further flaked losses above this. There are a few areas of rubbing around the rebate, and a scuff in the varnish to the right mantle corbel. There are two unrestored areas of small losses of paint and ground - under the right edge of the basket handle and in the gentleman's hat. These are under the upper varnish so not recent. There is a fairly even, glossy varnish and it is not appreciably yellowed.
Michael John Hunt (b.1941)Interior scene with view through open doorwaySigned, oil on panel, 39cm by 29cmThe picture is painted on a thick composite board, with minor scuffs/damages at the reverse. There is a flat, even picture plane. There are a few minor scuffs/scratches including one measuring 1.5 inches to the bottom left edge, and a 2.5inch vertical scratch to the top of the left table leg. A small damage bottom right corner from the frame rebate, and a few minor damages to the left middle edge again from the frame. A layer of surface dust and cobwebs, and a fairly matte, even surface layer.
Follower of Margaret Carpenter (1793-1872) Portrait of a lady, half-length seated, wearing a fine white bonnet decorated with pink Roses Portrait of a gentleman, head and shoulders, wearing a white shirt and a black suit Oil on canvas, 65cm by 62cm (2) a) Lady: Canvas is stretched over a strain - not tensionable. Very slack canvas. Slightly degraded and rucked canvas margins. One puncture and associated loss of paint and ground in hair (see images). Prominent stretcher bar marks all round, slightly elevated but secure. Brittle age craquelure throughout, only very slightly elevated and all appears secure. Scattered minor losses of paint and ground and scuffs at the edges, with a few minor unrestored small damages within the painting. The varnish has degraded and it is difficult to see any detail in the blacks. Ingrained dirt and varnish. The varnish is slightly yellowed and matt, with futher matt patches/wipe marks. Spotty white mould growth in lower part of picture. Plenty of surface dirt and fly spotting/surface accretions. Not examined in uv.b) Gentleman: Canvas is stretched over a strain - not tensionable. Very slack canvas. Slightly degraded and rucked canvas margins. Two large compound tears lower right quadrant the largest measuring approx. 17 x 13cm and the other 4.5 x 5cm. Both are out of plane and have associated flaking and loss of paint and ground. Plus there is a small puncture/dent top right quadrant. The largest tear has sellotape to the reverse. Prominent and slight elevated but mostly secure stretcher bar marks, and slightly elevated brittle age craquelure throughout. Mostly secure, but a larger patch of actively flaking paint and ground has been lost to the right of the largest tear. There are futher minor losses of paint and ground and scuffs/damages at all edges around the rebate. The varnish has degraded and it is difficult to see any detail in the blacks. Ingrained dirt and varnish. The varnish is slightly yellowed and matt, with futher matt patches/wipe marks. Feint spotty white mould growth in lower part of picture (much less that the Lady). Plenty of surface dirt and fly spotting/surface accretions. Not examined in uv.
FOUR TRAYS CONTAINING POWER AND HAND TOOLS including a Black and Decker KR550CRE drill, a Black and Decker KS531 jigsaw, a Draper Multi tool, a Power Devil handheld vacuum cleaner (all PAT pass and working) a 14in wooden smoothing plane, a wooden Coffin plane, a wooden rebate plane, two vintage balance scales etc (all other electricals UNTESTED)
PRE-WAR CARPENTER'S/PATTERN MAKER'S EBONISED WOOD TOOL CHEST AND TOOL, having removable front panel enclosing interior with four full-width shallow drawers over recess holding a, mainly contemporary selection of approximately 27 specialist long-reach wood turners and other chisels, with hardwood handles; a Stanley 78 steel rebate plane; antique stained wood and brass small moulding plane and a large block plane; drill bits; tenon saw, etc., the chest 28 1/2in x 16 1/2in x 9in, (72.5 x 42x 23cm) high; a SIMILAR, SMALLER CHEST FROM THE SAME SOURCE, CONTAINING MAINLY ENGINEERING TOOLS, taps and dies, calipers, etc., 18in (45.8cm) wide and a COMPLETE SET OF 27 LETTER AND OTHER STEEL STAMPS, housed in a wood storage block
William Mellor (1851-1931) "On the Derwent, Derbyshire" Signed, inscribed verso, oil on canvas, 38.5cm by 74cm Unlined. Two squares of impregnated wax on the back of the canvas, likely associated with consolidation of flaking. Fair tension, all keys present, but stretcher keyed quite far out and there is a split to the top left stretcher member. The picture plane is good and even.Minor brittle age craquelure throughout. Mostly secure but there is some minor microflaking to the bottom centre (see images), and the sky has had a history of micro-flaking which has been retouched/overpainted throughout (see images in UV and raking light). The white impasto appears fairly flat, possibly associated with consolidation. There is one patch of more active impact flaking/cracking top left in the sky, and stable cracks through thicker areas of impasto. There are minor patches of drying craquelure to the horizon of the water (retouched), and on some of the rocks. There are scattered minor retouched but unfilled losses, and possibly some thinning to the dark, glaze-rich brown passages in the water.There is some very minor abrasion associated with the rebate in places along the bottom edge. There is a light layer of dirt and debris and an even glossy varnish.
Emilie Preyer (1849-1930) German Still life of a peach, black grapes and cobnuts on a marble shelf Signed, oil on canvas, 15cm by 19cm The unlined canvas is on what appears to be the original stretcher, with tacking margins. One key missing, but canvas retains good tension. One slight linear diagonal distortion to the picture plane running from top right towards the middle of the painting only noticable in reflected light. Old brittle age craquelure throughout - barely noticeable.Two diagonal parallel scratches with minor small unfilled but retouched losses to the ledge below the peach. There are a series of small scratches and losses to paint along bottom of the ledge, which are retouched, and a small unretouched white scratch (2mm). Further minor small rouched losses/scratches to bottom left corner and lower right edge. One very small rouching to the background. Very minor abrasion along the bottom edge from movement within the frame rebate, and to end of signature.A fairly recent glossy varnish, not noticably discoloured, and minor surface dust. Overall, in good condition.Examined in Frame, not examined under ultra violet light.
Eugene Joseph Verboeckhoven (1799–1881) Belgian Sheep and lambs in a stable, with a veiw of an extensive landscape beyond Signed and dated 1878, extensively inscribed verso, oil on canvas, 67cm by 54.5cmProvenance: Dutton Manor, Lancashire Unlined, all keys present (one split), fairly good tension. A good even picture plane. Slightly raised stretcher bar marks with associated stable cracking in places at the top, bottom and feintly in the middle. Further passages of stable brittle age craquelure, with very slight cupping in the thicker passages of paint (see image in raking light). The cracks are concentrated in the sky, at the turnover at the top edge, a few in the dark brown background, and in a more finescale band across the bottom 3 inches of the painting. There is a band of drying cracks from the right of the lefthand lamb's head through to behind the adult sheeps' hocks. These are slightly opened and appear white in places (see images). There has been some very minor abrasion in the rebate visible at lower left edge, bottom right corner and upper right edge. No losses of paint/ground, or any restoration apparent. There is an old yellowed varnish, now going slightly opaque (visible in the darker passages), with a slighly dull uneven surface gloss as expected in an old varnish. Likely a fairly substantial layer of surface dirt, and there are a fair number of old flyspots/accretions which appear matt in reflected light, scattered across the picture.
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