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A decorative picture, Galleons in Battle, on board, 29cm x 39cm, gilt frame

MASONS CHARTREUSE PATTERN IRONSTONE CHINA, including two table lamps, 37cms (h) the tallest, ginger jars a pair, 14cms (h), panelled jugs a pair, 16cms (h), oval picture frame, 17cms (h) etc. Provenance: private collection Gwynedd 

A GROUP OF RUSSIAN AND ECCLESIASTIC ICONS AND ITEMS (4)Probably 20th Century Including an icon on board of Jesus and Mary, 27cm high; Together with an icon of Jesus within a red velvet frame, a painted wooden picture of the Three Kings and a framed scene with four figures

A cruise ship in a fjord, oil on canvas, signed lower right 'A Wenzel'.68.5 x 103.5cmQty: 1Generally the paint layer is stable with some craquelure across the body of the picture. Some surface dirt, notable particularly in the lower right on the lighter spots of the water. Some minor losses to the frame.

A COLLECTION OF ANTIQUE PICTURE FRAMES, To include a large giltwood example. Largest frame: 120cm x 95cm

Vintage and Retro 1970s wool work picture of sailing boats signed VON, in its original light beech wood frame approximately 86 x 61cm

Picture, reproduction 19th Century still life of violin and tankard in the Italian style in an ornate frame approximately 36 x 42cm overall

Antique silver English hallmarked photo frames one of typical Art Nouveau design on wooden backing, to take a round picture, the other cut out Ivy leaves in the round to take a round (frame detached from backing)

Pair of German beer steins and a gilt picture frame

Early 20th Century oval picture frame

BOX CONTAINING STERLING SILVER PICTURE FRAME, WEDGEWOOD JASPERWARE, VARIOUS FIGURINE ORNAMENTS, DISPLAY PLATES, ROYAL DOULTON FIGURINE ETC

A rural scene picture of a lady and ducks (76cm x 63cm frame size)

A picture of Monk bar, York in a gilt frame 51cm x 37cm

A late 19th / early 20th century gilt metal lantern frame, a coaching lamp, two storm lanterns, a hat box and a picture frame The lantern 26cm wide, 55cm high, the Victorian style pressed metal coaching lamp, fitted for electricity, 25cm high, two matching Chinese teak rectangular storm lanterns, in two sizes, 44cm and 38cm high respectively, together with a Victorian painted oval tin hat box with later floral painted swags with swing handle, 34cm wide, 22cm high, and a gilt composition rococo style easel mirror / frame 29cm x 25cm. (6)

Silver Napkin Rings and Miniature Picture Frame

Box set of 6 Ravenhead Clarendon english cut glass wine glasses, 6 boxed Chantilly beaugency glasses, 2 Catheral crystal glasses, M&S 8 x 10 inch mirrored picture frame

Two silver easel picture frames, assayed Birmingham 1926 and 1921, together with a modern sterling silver bedside clock and frame combined and a weighted silver vase assayed Birmingham 1918 (4)

Bildautomat einer Rheinlandschaft mit Uhr, um 1900Deutschland, chromolithographiertes Papier auf Karton, Darstellung einer Stadt am Fluß mit bewegter Wasser- und Windmühle, laufenden Menschen, die eine Brücke überqueren, einer Glocke, die im Kirchturm läutet, und einem Schmied, der ein Wagenrad repariert, während zwei Kinder auf einer Deichsel wie auf einer Wippe schwingen. Mit einem Federwerk für die Uhr und einem weiteren (mit Nocken aus geschnittenen Karten, gestifteten Rädern und Rollen) für den Automaten, in mit gemasertem Papier bezogenem Gehäuse mit Holz- und Gesso-Rahmen, Maße 41 x 52 cm, Rückwand gerissen, Geschwindigkeitsregler ohne Flügel (schnell laufend). Der Automat würde von einer behutsamen Restaurierung profitieren. - Der Nachfolger von Ernst Holzweissig aus Leipzig bot ein sehr ähnliches Stück in seinem Großhandelskatalog von 1898 in der Kategorie der mechanischen Bilder ohne Musik an: "No. 126. Rheinlandschaft mit Uhr". Start Price: EUR 200 Zustand: (3/3)Picture Automaton of a River Landscape with Timepiece, c. 1900Germany, chromolithographed paper on card, depicting a town on the river with moving water and windmills, moving stream, figures crossing a bridge, a bell tolling in church tower and a smith repairing a wagon wheel while two children swing on the shaft like a see-saw, with one movement for the timepiece and another (with cut-card cams, pinned wheels and pulleys) for the automaton, in grained-paper-covered case with wood-and-gesso frame, wd. 16 x 20 ½ in. (41 x 52 cm), backboard split, governor missing fans (fast-running), would benefit from sympathetic restoration. - Note: The successor of Ernst Holzweissig of Leipzig offered a very similar piece in his 1898 wholesale catalog in the category of mechanical pictures without music: "No. 126. Rheinlandschaft mit Uhr". Start Price: EUR 200 Condition: (3/3)

Kruzifix im Rahmen mit Musikwerk, um 1890Österreich, Darstellung von Christus auf geschnitztem vergoldetem Kreuz, in verglastem Rahmen mit hintermalter Umrandung mit Legende: "Es ist vollbracht", Rückseite mit beschädigtem Händleretikett: "Möbel, Spiegel, Bilder und Uhrenhandlung, Mich. Schlecht, Getreidegasse 19 und 22, Salzburg", kleines Walzenmusikwerk mit "Stille Nacht" und einem weiteren Kirchenlied, Maße 48,5 x 65 cm, funktioniert, Papier an den Seiten angehoben, sonst guter Zustand. Start Price: EUR 80 Zustand: (3/3)Crucifix in Musical Picture Frame, c. 1890Austria, depicting Christ on carved giltwood cross, in glazed frame with transfer-decorated and reverse-painted border with legend: "Es ist vollbracht" ("It is completed"), partial retailer’s label: "Möbel, Spiegel, Bilder und Uhrenhandlung, Mich. Schlecht, Getreidegasse 19 und 22, Salzburg" and small cylinder musical movement playing "Silent Night" and another hymn, 19 x 25 ½ in. (48.5 x 65 cm), working, paper on sides lifting, otherwise good. Start Price: EUR 80 Condition: (3/3)

Wanduhr im geschnitzten goldfarbenen Bilderrahmen, die runde Uhr hat eindekoratives Taschenuhr Uhrwerk um 1900, Funktion nicht überprüft, Schlüssel vorhanden, Maße: 22 x 22 cm, Uhr Durchmesser: 8cm | Wall clock in carved gold-colored picture frame, the round clock has adecorative pocket watch movement around 1900, without function, key present, dimensions: 22 x 22 cm, clock diameter 8cm

A oil on canvas in the manner of George Stubbs, signed in red bottom left depicting mares with foals in an ornate frame with picture light included. (90cm x 60cm picture size)

George Henry Jenkins (1843-1914) "Rocky Coastal Scene", sheep on the foreshore, oil painting on canvas, signed, 32cm x 48cm, ornate gilt frame with picture light

A 1950s printed sheet music cover for the song "If You Feel Like Singing, Sing" By Judy Garland and Gee Kelly, from the motion picture Summer Stock, lithographic print, in moulded frame under glass, 29 cm x 34 cm overall

PAUL BERTRAM PIGGOTT (Sheffield Artist,1872-1929)Conisbrough Castle, watercolour, signed, titled and dated 1928 lower left,23 x 35.5cm. Picture does not lay flat in the frame, slight foxing to top section

A Japanese picture on silk depicting a Fujiyama landscape; the reverse of the frame with an associated letter from J.V.Earle at The V&A stating that: 'The signature...is that of Kimura Masatsune who lived from 1825 to 1890 and was an official painter during the Meiji Period. I suspect that the signature on your painting is not authentic and was used by a pupil, but it is possible that the painting is by Masatsune'; framed and glazed with overall dimensions of 55 x 42cm

A Chinese textile picture designed as a large number of birds, waders and ducks congregating around a pine tree at sunset; framed and glazed; overall dimensions including the frame 58 x 37 cm; post Qing Dynasty

An elegant Yuzen Birodo textile picture of the Kiyomizu-Dera, located in the eastern Higashiyama area of Kyoto. Framed and glazed, overall dimensions including the frame 71 x 62 cm.Provenance: The Property of a Gentleman. From a Private UK Collection.

A Victorian giltwood and gesso square picture frame mirror, the later circular plate within a pierced foliate scroll surround, H 107cm

Various Decorative Items, including: relief moulded plaque of the Three Graces, a dried flower picture in Victorian mahogany frame, continental porcelain figures including Sitzendorf, Harris porcelain plate, modern Chinese porcelain, books, including Churchill (Winston S.), Thoughts and Adventures, Thornton Butterworth, 1932, 1st edition, green binding, a 1942 Mk. III T. G. Co. Ltd, London compass, trench knife, goliath pocket watch, etc (2 boxes + picture)

A 19th Century Dutch Mahogany Mirror Frame, A Black Japanned Triptych Toilet Mirror, A Similar Toilet Mirror, A Gilt Picture Frame, A Mahogany Oval Gallery Tray, A Small Cream-Painted Occasional Table, A Footstool, Two Framed Watercolours and Two Unframed Prints

A HAND CRAFTED PICTURE OF A BOY AND HIS DOG ON A TILE, TOGETHER WITH THREE PICTURES AND A PICTURE FRAME (5)

A GILT RECTANGULAR PICTURE FRAME, with egg and dart moulded detail, rebate 82 x 57 cm

A GILT RECTANGULAR PICTURE FRAME, acanthus moulded detail, rebate 75 x 50 cm, S/D

Brown Mock Skin Desk Set, comprising large desk writing pad, pen holder, ink well and letter rack, paper knife, picture frame, together with a vintage wooden tie press, a red snakeskin purse, and a vintage ladies brown patent handbag. Interesting collection.

Collection of Silver Picture Frames, comprising 12'' x 9.5'' oblong frame, two matching style frames with scroll design, measuring 8'' x 6'' and 5'' x 4'', an oblong frame measures 7.5'' x 6'', an oval frame 5.5'' x 4'', a 'swags and tails' design frame measures 9'' x 6.5'', and an oblong frame 6.5'' x 4.5''. All fully hallmarked.

PORTRAIT OF A FEMALE IN A GILT FRAME. ALONG WITH ANOTHER PICTURE the other picture depicting three figures in Russian dressQty: 2

WHITE METAL AND AGATE MINIATURE MAGNIFYING GLASS ALONG WITH FURTHER SMALL SILVER comprising a picture frame, and a jadeite topped thimble, also two white metal thimbles

Felice Ficherelli, auch genannt „Il Riposo“, 1605 – 1660, zug.DER MALER WAR SCHÜLER DES JACOPO CHIMENTI (UM 1554-1640), ZU DEM ER VON SEINEM GÖNNER, DEM HERZOG BARDI GESCHICKT WURDE.TARQUINUS UND LUCRETIAÖl auf Leinwand.160 x 190 cm.Auf dem Rahmen noch mit alter Zuschreibung zu Sebastiano Ricci. Verso mit altem Antwerpener Etikett.In breitem ornamental-plastisch verziertem Rahmen.Rücklings niedergeworfen, liegt die edle Römerin auf den weißen Kissen ihres mit rosa Vorhängen geschmückten Lagers. Bis auf ein Stück mit Goldsaum dekorierten Gewandes ist sie unbekleidet und sucht sich des Tarquinius zu erwehren, der sie, über sie gebeugt, mit seiner Linken an der Schulter gefasst hält und in der Rechten den Dolch zückt. Im linken Mittelgrund im Durchgang Repoussoirfigur als Dienerin im Halbschatten erkennbar. Publius Ovidius Naso berichtet in seinen „Fasti“, dass der römische Prinz Tarquinius (Sohn des Tarquinius Superbus) ins Haus kommt, freundlichst begrüßt wird und mit den Hausherren zu Abend isst. Anschließend gehen alle zu Bett, doch Tarquinius steht noch einmal auf. Er geht zu Lucretia (Ehefrau des Lucius Tarquinius Collatinus). Er nimmt seinen Dolch und sprach zu ihr: „Ich habe einen Dolch bei mir, Lucretia. Ich bin es, Tarquinius, der Sohn des Königs, welcher zu dir spricht.“ Sie konnte weder sprechen noch denken und war starr vor Angst. Was sollte sie tun? Kämpfen? Er berührt ihre Brüste und nimmt ihr so ihr Leben durch Schmach. Doch das Mädchen überwindet seine Angst und spricht: „Dieser Sieg wird dich zerstören. Was dich und dein Königreich diese eine Nacht kostet.“ Nach der Vergewaltigung erzählte sie alles ihrem Mann und ihrem Vater und beging Suizid, weil sie die Schmach nicht ertrug. Die beiden Männer schworen, Tarquinius zu suchen und zu töten. Die römischen Bürger töteten Tarquinius und stürzten den König. Anschließend riefen sie die Republik aus. Erst Mina Gregori wagte die Zuschreibung des Gemäldes in Rom und somit auch die daraus resultierenden Arbeiten der Werkstatt an Felice Ficherelli, Il Riposo. Zuvor hatte das Gemälde mit seiner betörend mutigen Komposition eine weitreichende Zuschreibungsgeschichte hinter sich. So galt es einst als Werk des Guido Cagnacci, darauf wurde es von R. Longhi 1947 Matteo Rosselli zugewiesen, dann Giovanni Bilivert, die Version in der Dresdner Gemäldegalerie wurde zunächst als Kopie nach Luca Giordano betrachtet - auch der Rahmen unseres Gemäldes zeigt auf einem alten Schild eine Zuschreibung an einen weiteren Künstlers: Sebastiano Ricci. Wir jedoch folgen Mina Gregori in ihrem Vorschlag, die Grundkomposition Felice Ficherelli zuzuschreiben.Ficherelli und seine Werkstatt schufen das vorliegende Motiv in mehreren Versionen in den 1630er-Jahren, wobei nur das Gemälde in der Accademia di San Luca in Rom (123 x 165 cm, Inv.Nr. 324) als eigenhändig anerkannt wird.Weitere Werkstattrepliken befinden sich in:Kassel, Museumslandschaft Hessen Kassel (Inv.Nr. GK 1049), 54,5 x 75,5 cm, erworben vor 1749 durch Wilhelm VIII. Bei diesem Gemälde wurde komplett auf die im Hintergrund bei unserem Gemälde zu sehende Figur verzichtet, sodass sich die Tiefenstaffelung nicht vollends entfaltet. Siehe Vergleichsabb.London, Wallace Collection (Inv.Nr. P643), 24,5 x 29,9 cm. Diese verkleinerte Version auf verzinntem Kupfer zeigt hingegen die im Hintergrund befindliche Figur und wild zur Seite strebende Haare des Tarquinius. Budapest, Museum of Fine Arts (Inv.Nr. 492), 119 x 163 cm. Diese weitaus größerformatige Version, deren Maße jedoch nicht an das hier angebotene Gemälde heranreichen, zeigt die Haare des Tarquinius ähnlich wie in den anderen Versionen. Im Unterschied zu dem hier angebotenen Werk wirken die rötlichen Partien weniger rosa und eher schmutzig als auf unserem Bild, das auch im Hintergrund durch farbflächige Differenzierung an Tiefe gewinnt.Provenienz:In alter Aachener Privatsammlung.Durch Erbschaft an den Vorbesitzer.Literatur:Vgl. Die Königliche Gemälde Galerie im Neuen Museum in Dresden, Dresden, 1860, S. 147.Vgl. Silvia Panichi, Roma Antica e la nuova America. Come il mito di Lucrezia e l‘idea della Repubblica varcarono l‘Oceano, Rom 2018.Vgl. Stephen Duffy und Hedley, The Wallace Collection‘s Pictures. A Complete Catalogue, London 2004.Vg. Sandro Bellesi, Pittura e Scultura a Firenze (Secoli XVI-XIX), Florenz 2017, S. 75.Anmerkung: Filippo Baldinucci berichtete, dass Ficherelli, dessen gelassenes und friedfertiges Wesen ihm den Beinamen „Il Riposo“ verschaffte, in den 1620 seine Geburtsstadt verließ, um in Florenz unter der Schirmherrschaft des Musikliebhabers und Kunstsammlers Alberto de‘ Bardi bei dem äußerst erfolgreichen Meister Jacopo da Empoli zu arbeiten, dessen Stil ihn nachhaltig beeinflusste. (1330163) (13)Felice Ficherelli,also known as “il Riposo“1605 – 1660, attributed The painter was a student of Jacopo Chimenti (ca. 1554 - 1640), to whom he was sent by his patron, Duke Bardi.TARQUINIUS AND LUCRETIA Oil on canvas.160 x 190 cm.On the frame still with old attribution to Sebastiano Ricci. Verso with old Antwerp label. Mina Gregori is the only specialist who dared to place the painting in Rome and attribute the work to the workshop of Felice Ficherelli, also known as “Il Riposo“. Prior to that, the painting with its hauntingly bold composition, had had a far-reaching attribution history. It was once considered a work by Guido Cagnacci, after which R. Longhi assigned it to Matteo Rosselli in 1947, then to Giovanni Bilivert, the version in the Dresden Picture Gallery was initially regarded as a copy after Luca Giordano – the frame of our painting also shows an old label with an attribution to another artist: Sebastiano Ricci. However, we concur with Mina Gregori in her suggestion that the basic composition be attributed to Felice Ficherelli. He and his workshop created several versions of the present subject in the 1630s, although only the painting held at the Accademia di San Luca in Rome (123 x 165 cm, inv. no. 324) is acknowledged as an autonomous work. Further workshop replicas are held at: Kassel, Museumslandschaft Hessen Kassel (inv. no. GK 1049), 54.5 x 75.5 cm, acquired by Wilhelm VIII before 1749. In the Kassel painting, the figure in the background of our painting was completely dispensed with, so that the depth effect does not fully unfold. Another version is held at the Wallace Collection, London (inv. no. P643), 24.5 x 29.9cm. This scaled-down version on tinned copper, however, shows the figure of Tarquinius in the background, his hair wildly blowing to one side. A much larger format painting held at Budapest, Museum of Fine Arts (inv. no. 492), 119 x 163cm, does not come close in size to the painting on offer for sale in this lot shows the hair of Tarquinius in a similar way to the other versions. In contrast to the work offered here, the reddish areas appear less pink and dirtier than in our picture, which also creates depth in the background through colour differentiation.Provenance: In old private collection, Aachen. By inheritance to previous owner.

19thC French naive school, mirrored picture of gentleman and lady, in ebonised frame, 22cm x 15.5cm.

An antique picture frame, added two vases and a basket. Silver, England and Europe.Dimensions: (W:28 x H:34 cm)

Attributed to Benjamin Zobel, German-British, 1762-1830, a sand picture of three dray horses, early 19th century, in a glazed giltwood frame, picture - 42.5 x 56.8cm, frame – 52.3 x 66.6cm Condition Report: Not examined out of frame. Appears to be in good condition overall with no major losses of definition, dispersion of sand, or discolouration of the sand. The frame with several losses of wood and gilding. Additional images are available - click here.

A Hotel Okura cast glass and chrome picture frame made as a gift for guests, marking the opening of the hotel's south wing extension, rectangular, textured clear glass frame with polished metal back plate, in original presentation cardboard box, applied label, 23cm. high Catalogue notesYoshiro Taniguchi designed the original Hotel Okura in 1962. When Ian Fleming wrote You Only Live Twice two years after the hotel was opened, and the author had the British spy stay at the Okura. When It was turned into a film starring Sean Connery as James Bond 007 in 1973, the hotel's lobby was used as one of the sets.

MICHAEL B EDWARDS "Penzance harbour", oil on board, signed lower left, bears label verso, 53 cm x 41 cm (ARR) CONDITION REPORTS Picture itself has general wear and tear conducive to age and use, and in need of a light dust. The frame is in need of clean and showing signs of some wear and rubbing. See images for more details.

CAROLINE PATERSON (1856-1911) "Young girls with doll and book", watercolour, signed lower right, 22.5 cm x 19.5 cm CONDITION REPORTS Picture itself is OK apart from general wear and tear. The glass is in need of a good clean. The mount is damaged to the left hand corner and on the right hand side. The frame itself has losses and touch ups throughout. See images for further detail.

A Chinese mother of pearl inlaid lacquered photograph or picture frame with decoration of exotic birds amongst bamboo and foliage 24 cm x 30.7 cm together with two embossed white metal dishes with dragon decorated rims, one set with coin inscribed "Kiang Nan Province 7 mace and 2 candareens" the other "Hu Peii Province 7 mace and 2 candareens" each 10 cm diameter

A 19th century Sunderland lustre 'scripture' plaque' inscribed 'Thou God Sees't Me' within splash lustre picture frame border, 23cms x 20cms; another inscribed 'Prepare to meet thy God', 22cms x 20cms; and two others. (4).

Circle of Sir Edwin Landseer (British, 1802-1873),A farmer and cattle in a Scottish Highland landscape,Oil on panel,Unsigned,33.5cm x 28.5cm,Framed (at fault) CONDITION REPORT:The paint surface shows what appear to be areas of white residue to the lower areas, which also show up under UV.  These remain visible following gentle cleaning.  The paint surface also shows fine craquelure throughout.  There is a rough textured area at the top edge of the picture approximately 4cm wide, and the odd small frit across the surface.  The frame appears to have been crudely constructed, showing open joints and poor finish.

English school (20th century),'Touch It If You Dare', a naïve animal study depicting a St Bernard protecting a cat from two terriers,Oil on canvas,Signed 'J. Bibby' and dated 1927 lower left,44.5cm x 60cm,Framed and glazed CONDITION REPORT:The picture is framed under glass and has not been removed for inspection.  Examination under UV reveals no obvious evidence of damage or restoration, however the paint surface shows the odd small fox mark and some areas of dirt.  In one area of the lower right quadrant the paint appears to have adhered to the glass at some point in the past.  The frame appears to be structurally sound, but shows wear to the surface finish and small losses to the moulded details.

A Carvers & Gilders giltwood and gesso picture frame, 20th century, the aperture 16cm x 11.5cm, 29cm x 24cm overall, containing a varnished print of Edward VI after William Scrots

Picture Frames - a large 19th century rectangular giltwood and gesso picture frame, 75cm x 92cm; others similar, 19th century/early 20th century (10)

Attributed to P J Moore, two oil paintings the first depicting a horse in stables. 24 x 35 cm with gilt slip and oak frame, the second with horse and saddle. 48 x 23 cm with gilt slip and oak frame. CONDITION REPORT: The portrait format picture is in generally good condition with no issues to the canvas or paintwork. The frame is in generally good condition. The portrait picture frame is in good condition. There are no holes to the canvas board but there is some shrinkage to the paint particularly around the right-hand side and all legs. This should be visible on our image.

A pair of 19th century oil paintings on canvas sheep in winter landscape. 23.5 cm x 33 cm. CONDITION REPORT: Both oils are in generally good condition with no paint loss and no visible repairs or restoration. The frames are serviceable, but both are scuffed and knocked around the extremities and have some losses to the gesso. The painting is in generally good order with no major condition issues. Right in the very centre of the picture there is a small area of paint loss which should be visible on our image. The gilt frame is in generally good condition with some old minor repairs and small losses to the corners.

Alfred Wainwright (1907-1991), an original pen and ink drawing South of Swirl How, titled and signed in green ink. 16.5 x 21.5 cm, framed and mounted ARR (see illustration). CONDITION REPORT: The sketch is in generally good condition. The paper is generally discoloured and has a slightly brown hue. The green ink title and signature are faded. There are two Tippex marks on the mount. The picture is well mounted and in a simple frame which does have a small crack to one side where the picture hook is screwed in.

A late 19th/early 20th century oil on canvas, depicting shepherds in Eskdale. 39 x 64 cm in gilt frame. CONDITION REPORT: There are several small chips to the paint, one right in the middle of the picture and another in the clouds to the left. There are also some minor scuffs and small losses above the highest mountain peak in the rear. There are no holes in the canvas, no repairs, and no restoration. The frame is in reasonable condition but does have some losses to the applied gesso mouldings and it is also somewhat dirty.

William Page (1794-1872) A Greek coastal scene with figures by Classical ruinswatercolour17.5 x 25cmThe present picture is highly typical of the work of William Page, who is believed to have visited Greece before 1822. Page, along with J.M.W. Turner, contributed illustrations, including Greek examples, for Finden’s Landscape Illustrations to Byron published by John Murray in 1832–4. Never having been to Greece, Turner based some of his subjects on working sketches by Page.Colours vibrant.  Light spotting throughout, most noticeably to the far right hand corner.  No tears or other damage apparent.  Not examined out of frame.

Charles Waller Shayer (1826-1914) 'The London to Southampton Coach Passing Through Minstead, 1875' signed and dated lower left 'C. Shayer / 1875; titled on plaque to frame oil on canvas 63.5 x 112cm The painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in a stable condition. There are numerous areas of overpaint across the picture covering small damages and areas of abrasion, overall these are well matched to the original and the appearance of the painting is good. The varnish is clear, even and semi-glossy.Framed 90 x 140cm

Pressed Embossed Card Repousse Fisherman's Catch Picture, in an original period frame - size #36cm x 47cm

Period Oil on Canvas Fishing at Lake Picture, unknown artist mounted in gilt frame - size 55cm x 70cm

COLLAPSIBLE SHOPPING TROLLEY, FOLDING CHAIR & A WOOD PICTURE FRAME

Linocut picture of Lincoln by Polly Warren 2006, 53 x 45cm in frame.