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Preisdatenbank abonnierenA George III silver snuff boxBirmingham, 1791, makers mark ITof panelled navette form with bright cut engraved decoration, the lid with flush hinge, interior gilt, bears central reserve engraved with initials D.H.length 8.5cm., weight approx. 2.11oztCondition: Overall good condition commensurate with age. Some light rubbing to interior
A late Victorian silver three piece bachelors tea serviceLondon, 1891, Charles Stuart Harrisof ovoid tapering half fluted form with gadrooned rims, comprising teapot with acanthus leaf embossed spout, flanged rim, ebonised loop handle with scroll thumbpiece and fluted knop finial, twin handled sugar basin and milk jug with gilt interiors (3) teapot handle to spout 23cm., weight approx. 16.68oztCondition: Good condition commensurate with age. Light rubbing to gilt interiors of jug and sugar basin.
A George III silver christening mug and other silver and plated itemsvarious dates, makersfirst marks rubbed, makers mark but London, makers mark S.M? for Samuel Meriton II, of tapering form with banded of reeded decoration with angular scroll handle, interior gilt together with a pair of silver mounted glass coasters, Birmingham, 1924, Adie Brothers Ltd, a larger similar coaster, unmarked, a pair of dwarf candlesticks with beaded borders and weighted bases, cased 1937 coronation commemorative anointing spoon, a silver mounted glass scent bottle, a napkin ring, etc., together with two hip flasks with plated fittings, (qty)first height 6.5cm., weighable silver approx. 5.8oztCondition: Interior gilt of mug with light rubbing. Other silver items in good condition. oval hip flask in good condition, pigskin slightly dry and with a scuff/ pull on one seem. The cup of the other flask is very rubbed and the silver top is associated
A Victorian silver christening mug and a spill vasefirst London, 1875, George Fox, with S scroll handle with heart terminal, foliate engraved border and embossed with beaded decoration, on a circular foot, crested and initialled and engraved 'Angel', second London, 1897, Edward Barnard & Sons Ltd, of trumpet from with a wavy edged rim, weighted base, (2)first height 8.5cm., weighable silver approx. 4.47oztCondition: Repair to base and holes which light can be seen through. interior gilt rubbed
Daisy Makeig-Jones for Wedgwood lustre a 'Dragon' lustre vase, Z4901of shouldered tapering form, purple and green mottled ground decorated in gilt with chasing dragons, mottled blue interior printed gilt factory marks height 19cm.,Condition: Good condition, without chips, hairlines or restoration. feint light crazing visible on close inspection, occasional light rubbing to gilt
A post 1901 Lieutenants Dress Uniform Tunic, Wiltshire Regiment the tunic of scarlet cloth with buff collar and cuffs, stand up collar with cross pattee collar dogs and gilt braid edging, the cuffs also with gilt embroidery and braiding, the gilt knotted cords to shoulders with two pips, gilt Regimental button, quilted lining Condition: Overall in fair condition. Light spatter marks to back. V Small hole to right elbow. Lining perishing around colour seam
A gentleman's Oris stainless steel automatic Diver's wristwatch ref 7609circular blue wave with raised silver hour dagger markers with luminous inserts, subsidiary seconds dial between 9 and 12 o'clock, outer seconds in white, blue enamel fluted rotating bezel with tachymeter scale, stainless steel bracelet with deployment clasp signed Oris.dial diameter 38mm., case diameter 46mm.Condition: Runs, however no guarantee can be offered as to the full working condition. Surface wear and light scratches. Small scratch with loss to enamel on rotating bezel, other surface scratches to enamel
A lady's Rolex stainless steel and 18K gold diamond set Oyster Perpetual Datejust bracelet wrist watchModel number 179173, Serial number g698713, automatic, the gold crystal dial with applied diamond set hour markers, magnified date aperture at 3, gilt baton hands with centre seconds, with steel and gold jubilee link bracelet, contained within a Rolex box with Rolex guarantee card, booklets, additional bracelet link and Rolex tagdiameter of case approximately 2.8mm approxCondition: Movement ticks and runs, and is in full working order at the time of cataloguing. The watch has been worn there are signs of surface scratching and general wear but is largely in good overall wearable condition. Clasp functions well but with light scratches. No guarantee can be given on wristwatches.
Daisy Makeig-Jones for Wedgwood lustre a 'Butterfly' lustre bowl, Z4827octagonal tapering form, ruby exterior decorated with gilt insects and chinoiserie border, mother of pearl lustre interior with butterflies and central medallion, printed gilt factory marks height 11cm., diameter 22cm.Condition: Minor rubbing and light surface scratches to exterior angles. exterior gilt decoration also with some rubbing. Free from chips, damage or restoration
A late George III silver twin handled sugar basinLondon, 1812, Samuel Hennellof half fluted boat form with gadrooned rims and reeded handles, on ball feet, interior gilt crestedhandle to handle 20.5cm., weight approx. 10.22oztCondition: The ball feet have worn through and have holes. Light rubbing to gilt interior
A late 19thC gilt metal floor lamp, decorated in French style with swags, leaves, etc., the triform base supported by scrolls, 152cm high to top of light fitting. (AF) WARNING! This lot contains untested or unsafe electrical items. It is supplied for scrap or re-conditioning only. TRADE ONLY
This hand-blown light shade features a powder blue and white color scheme, with a bulbous body enclosed by a brass-colored cage. The glass is intricately designed in a woven pattern with alternating blue and white stripes. Versatile in use, this shade can be suspended as a hanging shade or placed atop a table lamp. Issued: mid 20th centuryDimensions: 9.75"H x 8.5" dia.Age related wear. Shade only, no hardware included.
Part of the Exotic Fish and South Sea collection. Peridot crystal body is accented by darker stripes, blue crystal stone by mouth, light blue crystal fins and rhodium mouth. Swarovski backstamp. 9601 030 051. This item has its original box: 4.25"L x 4.25"W x 2.5"H. Artist: Yasmine HurelIssued: 2004 - 2007Dimensions: 2.25"L x 0.75"W x 2.25"HManufacturer: BeswickCountry of Origin: EnglandAge related wear.
Delicate tea light that was part of the Crystal Jewels collection. A blue satin bowl that sits on a silver-tone metal base decorated with light sapphire crystal accents. Signed by artist. Swarovski backstamp. This item has its original box. Box measures: 8"L x 7.5"W x 6.25"H. Artist: Yasmine HurelIssued: 2004-2005Dimensions: 6.25"W x 4.25"HManufacturer: SwarovskiCountry of Origin: AustriaAge related wear.
Sophisticated clear and frosted thick crystal, features a soft, organic form with a smooth, undulating surface that plays with light and shadow. Orrefors signed. Artist: Vicke LindstrandIssued: 1940Dimensions: 4.5''L x 6.5''W x 2.75''HManufacturer: OrreforsCountry of Origin: SwedenAge related wear.
AN 18K GOLD 'CIRCLE ROPE' BRACELET, DESIGNED BY SCHLUMBERGER, FOR TIFFANY & CO. Designed as a series of openwork twisted gold links, in 18K gold, signed Tiffany & Co. and Schlumberger, length 19.8cm Jean Schlumberger (1907-1987) began his career in Paris in the 1930s as a designer of costume jewellery for the renowned couturier Elsa Schiaparelli and by the end of the decade he was creating fine jewellery for a discerning clientèlec. In 1939 he joined forces with Nicholas Bongard and together they opened a jewellery shop at 745 Fifth Avenue. From plummy amethysts to bursting bright turquoise, Schlumberger looked to nature for inspiration, combining coloured gems with diamonds and yellow gold to create a riot of hue and light. Tiffany & Co., under the direction of Walter Hoving, recruited Schlumberger in 1955 with hopes to breathe new life into the company and create a new look. Schlumberger was one of only four jewellers that Tiffany has allowed to sign their work and it was his playful imagination that mounted a jewelled bird on top of the famous Tiffany Yellow Diamond. In many ways a man ahead of the crowd, Schlumberger was the first jewellery designers to be awarded the prestigious ‘Coty American Fashion Critics’ Award in 1958. “Schlumberger brings to his art classic design principles of the Renaissance,” reported The Blue Book of 1986. Diana Vreeland, the respected editor of Vogue, wrote that Schlumberger appreciated “the miracle of jewels, which for him are the ways and means to the realisation of his dreams”. Created in his studio on the mezzanine level of Tiffany’s Fifth Avenue flagship store, his designs became de rigueur for fashionable women of the time including Diana Vreeland, Babe Paley, Elizabeth Taylor, and Audrey Hepburn. Perhaps most famous of all his designs were his pailloné enamel bracelets, which were to become dubbed ‘Jackie Bracelets’ due to First Lady Jacqueline Kennedy Bouvier’s fondness for the pieces, of which she owned several. The shimmering colours of the bracelet were achieved through an unusual technique wherein translucent enamel and foil were layered on top of another. One of Schlumberger’s most enduring designs, this bracelet can still be found in Tiffany’s contemporary collections and are still admired and sought after. Of these bracelets, fashion editor Diana Vreeland wrote “His enamel is perfection…He likes to stab enamel with nails of gold, as if to hold it from flying back to the world of nature from which he’s taken its colours”. Schlumberger retired in the late 1970s and died in 1987, but more than a hundred of his designs continue to be made by Tiffany artisans. In 1995, he became only the third ever jewellery designer to be honoured with a retrospective on his work titled ‘Un Diamant dans la Ville’ in the Musée des Arts Décoratifs, Paris, who still house many of his original design sketches. Schlumberger pieces have not only held their value at auction but continue to increase in general.
A VERY FINE RUBY AND DIAMOND RING, BY BULGARI The cushion-shaped ruby weighing 2.92cts within a four-claw setting, between two pear-shaped diamonds, to a brilliant-cut diamond surround, mounted in 18K gold, diamonds approximately 3.00cts total, signed Bvlgari & 'CM 2.92', with maker's mark 'BB' for Bvlgari, ring size N½ Accompanied by a report from Gübelin laboratory in Switzerland, stating that the ruby weighing 2.92cts, is natural, of red colour, Burmese origin, with no indications of heating (NTE). Report no. 24010061, dated January 30th 2024. Accompanied by a gemstone rating card from Gübelin, rating the ruby 'excellent' with 88.2 points. Gubelin rating aspects: https://www.gubelingemlab.com/en/gemlab/gemstone-rating Accompanied with information sheets from Gübelin for unheated stones & rubies from Mogok, Burma. Mining for rubies, particularly in regions like the Mogok Valley in Burma (Myanmar), has a rich history dating back over a millennium. The Mogok area, renowned for its exceptional rubies, has sustained its reputation for producing some of the most desirable gems globally. These rubies, characterized by their red body colour, UV fluorescence, rutile silk, and distinct growth patterns, owe their formation to a complex interplay of geological factors. The geological conditions necessary for the creation of gem-quality rubies are rare and precise. Specific combinations of elements like aluminium and chromium, along with the right temperature and pressure conditions, are essential for their formation deep within the earth. These conditions are found in only a handful of locations worldwide, making the supply of high-quality natural rubies limited. Traditionally, rubies were cut and polished without significant enhancements, with imperfections considered acceptable. However, as demand for high-quality rubies increased, so did the need for treatments to improve their appearance. Modern heating techniques and chemical additives have been employed to enhance the visual appeal of rubies, mimicking the characteristics of untreated specimens. Despite advancements in treatments, the demand for natural, unheated rubies continues to outstrip the limited supply. These rubies, sourced from various regions including Burma (Myanmar), Mozambique, Madagascar, and others, remain highly sought after for their rarity and intrinsic beauty.Condition ReportDiamonds: approx. 3.00cts total, bright and lively Ruby: red hue, medium tone, good saturation, good transparency, facets are smooth. Natural inclusions visible under a bright light source and 10x magnification. Accompanied by a report from Gübelin laboratory in Switzerland, stating that the ruby weighing 2.92cts, is natural, of red colour, Burmese origin, with no indications of heating (NTE). Report no. 24010061, dated January 30th 2024. Accompanied by a gemstone rating card from Gübelin, rating the ruby 'excellent' with 88.2 points. Gubelin rating aspects: https://www.gubelingemlab.com/en/gemlab/gemstone-rating Accompanied with information sheets from Gübelin for unheated stones & rubies from Mogok, Burma. Maker's mark BB for Bulgari imported and sold in Switzerland Minor signs of wear, overall in good condition Total gross weight approx. 10g
A DIAMOND AND GOLD ZODIAC PENDANT, BY FRED PARIS, CIRCA 1975 The rectangular plaque depicting the Aries zodiac sign, the horn highlighted with brilliant-cut diamonds, within a textured gold frame and bale, mounted in 18K gold, signed Fred, with maker's mark 'Sté LFV' for Lasbleiz Fournier Vitiello, French assay mark, length (including bale) 5.3cm Lasbleiz Fournier Vitiello was a Parisian workshop founded in 1962 and worked for prestigious jewellery houses such as Fred, Van Cleef & Arpels, René Boivin amongst others. Striking a balance between timeless tradition and contemporary flair, the renowned French heritage jeweller FRED is celebrated for its distinctively classic yet innovative aesthetic and unparalleled craftsmanship. Founded in 1936 by Fred Samuel, the brand embodies his vision of integrating Jewellery seamlessly into everyday life, a philosophy that continues to shape FRED's design ethos. Born in 1908 in Argentina to a family deeply involved in the diamond, pearl, and multi-coloured stone trade, Samuel cultivated a passion for cultured pearls and emerged as a trailblazer in the industry. Influenced by the maritime landscapes and vibrant hues of his Argentine upbringing, his designs exuded a vivid vitality. In the 1970s, French culture experienced a dynamic and diverse period in design, Jewellery, and fashion. This era was marked by a fusion of traditional elegance with avant-garde experimentation, reflecting the cultural shifts and social movements of the time. In Jewellery design, there was a move towards more unconventional and bold styles. Artisans began to experiment with new materials and techniques, leading to the emergence of avant-garde and abstract Jewellery pieces. FRED continued to set trends with their innovative creations. There was a growing interest effortlessly chic and carefree style, with trends such as bohemian chic and disco glamour gaining popularity. On August 12, 1976, the day dawned with relentless rain. For months, the entire FRED team had diligently prepared for the grand opening of their boutique at the Loews Hotel in Monte Carlo, situated within the principality. Fred Samuel himself meticulously oversaw every detail, from the paintings and wallpaper to the woodwork, windows, and furniture. A special highlight was planned for the esteemed presence of Her Serene Highness, Princess Grace of Monaco, renowned as one of the world's most beautiful and illustrious women. Graciously, the princess accepted the invitation to grace the evening with her presence, accompanied by her eldest daughter, Princess Caroline, then nineteen years old. Notably, Princess Grace had recently witnessed the success of the musical A Chorus Line on Broadway during her visit to New York. In a spontaneous gesture, Samuel arranged for an impromptu stage to be constructed atop the hotel's rooftop swimming pool and engaged a professional troupe to entertain Princess Grace with this special interlude. However, the relentless rain threatened to disrupt the plans. Thankfully, just as the clock struck seven in the evening, the downpour ceased. An hour later, the official car announced the arrival of the two princesses, exuding supreme elegance. In commemoration of this auspicious occasion, Fred Samuel presented Princess Grace with a Scorpio zodiac necklace adorned with meticulously paved rubies. The Princess' penchant for star signs had long been public knowledge: In 1956, Hollywood astrologer and horoscope columnist Carroll Righter was photographed visiting Kelly on the set during the filming of one of her last films, “The Swan.” Shortly after her engagement to Rainier. Righter dedicated one of his columns in the Chicago Tribune to championing the pair’s astrological compatibility, providing details of Kelly’s horoscope over “the last several years.” Then on Saturday November 15,1969, the American film star-turned-princess threw herself one of the most peculiar and extravagant birthday parties in history. Centred around the eighth astrological sign, with a strictly scorpion only guestlist. Mercifully, spouses of Scorpios were also permitted, as were Kelly’s family members. For Fred Samuel, the grand opening of his boutique at the Loews Hotel in Monte Carlo is an apotheosis. “Monte-Carlo marked the course of my career with particular brilliance. It symbolized a key moment in the development of our company and, more secretly, the place where the light of the stones was somehow restored to me. For a moment, I rediscovered the dazzlement of childhood and it seemed to me that beyond and beyond the war, the two halves of my life came together to simply affirm its vocation to the light!”
A PAIR OF DIAMOND AND ENAMEL 'TAJ MAHAL' EARCLIPS, DESIGNED BY JEAN SCHLUMBERGER FOR TIFFANY AND CO. Of a pointed, dome design, centring a brilliant-cut diamond accented by blue enamel stripes and textured gold, mounted in 18K gold, signed Sclumberger and Tiffany & Co., with maker's case, length 1.7cm Jean Schlumberger (1907-1987) began his career in Paris in the 1930s as a designer of costume jewellery for the renowned couturier Elsa Schiaparelli and by the end of the decade he was creating fine jewellery for a discerning clientèle. In 1939 he joined forces with Nicholas Bongard and together they opened a jewellery shop at 745 Fifth Avenue. From plummy amethysts to bursting bright turquoise, Schlumberger looked to nature for inspiration, combining coloured gems with diamonds and yellow gold to create a riot of hue and light. Tiffany & Co., under the direction of Walter Hoving, recruited Schlumberger in 1955 with hopes to breathe new life into the company and create a new look. Schlumberger was one of only four jewellers that Tiffany has allowed to sign their work and it was his playful imagination that mounted a jewelled bird on top of the famous Tiffany Yellow Diamond. In many ways a man ahead of the crowd, Schlumberger was the first jewellery designers to be awarded the prestigious ‘Coty American Fashion Critics’ Award in 1958. “Schlumberger brings to his art classic design principles of the Renaissance,” reported The Blue Book of 1986. Diana Vreeland, the respected editor of Vogue, wrote that Schlumberger appreciated “the miracle of jewels, which for him are the ways and means to the realisation of his dreams”. Created in his studio on the mezzanine level of Tiffany’s Fifth Avenue flagship store, his designs became de rigueur for fashionable women of the time including Diana Vreeland, Babe Paley, Elizabeth Taylor, and Audrey Hepburn. Perhaps most famous of all his designs were his pailloné enamel bracelets, which were to become dubbed ‘Jackie Bracelets’ due to First Lady Jacqueline Kennedy Bouvier’s fondness for the pieces, of which she owned several. The shimmering colours of the bracelet were achieved through an unusual technique wherein translucent enamel and foil were layered on top of another. One of Schlumberger’s most enduring designs, this bracelet can still be found in Tiffany’s contemporary collections and are still admired and sought after. Of these bracelets, fashion editor Diana Vreeland wrote “His enamel is perfection…He likes to stab enamel with nails of gold, as if to hold it from flying back to the world of nature from which he’s taken its colours”. Schlumberger retired in the late 1970s and died in 1987, but more than a hundred of his designs continue to be made by Tiffany artisans. In 1995, he became only the third ever jewellery designer to be honoured with a retrospective on his work titled ‘Un Diamant dans la Ville’ in the Musée des Arts Décoratifs, Paris, who still house many of his original design sketches. Schlumberger pieces have not only held their value at auction but continue to increase in general.
A First World War period bronze memorial plaque, detailed ‘Ernest Henry Herbert Marler’, together with three greetings cards, including a Royal Flying Corps card from Lewis W. Robins, detailed 'Christmas 1917', and portrait photographs of First World War period interest. Note: the CWG details show that Ernest Marler served with the 7th Battalion Somerset Light Infantry and died 6th October 1918, aged 19.
A George III period 1796 pattern officer's dress sword with straight single-edged blade, blade length 82cm, with engraved and gilt decoration and detailed with Royal arms and military trophies, gilt brass clam-form part-folding guard, wire-bound grip and faceted pommel, with an associated bullion-embroidered knot (blade with overall light patchy rust, chips to blade edge).
A SWISS BRASS FOUR SIDED DESK COMPENDIUM BY IMHOF, 1950s Timepiece with 8 day movement, engraved to the reverse 1429519 and 'SWISS lever escapement c. 244', barometer, hygrometer, thermometer, showing degrees Fahrenheit and centigrade 11.2cm high, base 7.5cm diameter Condition Report: The timepiece is in working condition. The barometer does not appear to respond to change in pressure (when bag tested) and is providing an abnormally high reading hence is not in working order. The thermometer appears to be providing a reasonable reading hence is probably working, the hygrometer is reading very high hence is probably not working. Case has overall wear/spotting to the gilt finish revealing base metal in many areas. Perspex glasses have some light scratches.Timepiece has an integral winding key.Condition Report Disclaimer
AFTER THE ANTIQUE- A TERRACOTTA FIGURE OF DIANA OF GABII BY BLASHFIELD, MID 19TH CENTURY Stamped J.M Blashfield 65cm high, base 18cm wide, 17cm deep John Marriott Blashfield (1811-1882) was a mosaic floor and terracotta manufacturer in the 19th century. His early career saw him working for cement makers, Wyatt, Parker & Co of Millwall, which he took over in 1846 and during this time he became interested in terracotta. Many of his terracotta ornamentation can be seen on buildings across the UK. In the 1840s he started to produce terracotta sculptures and as the materials popularity grew, Blashfield moved into the market making urns, garden furniture and sculptures which resulted in moving the company to Stamford and renaming the company Stamford Terracotta Company. Condition Report: Surface is dirty- some scrape/abrasions to exposed areas such as her right elbow- the modelling and colour of arms is slightly thicker and darker but this does not seem to be restoration under strong light, UV or close examination. Chip and loss to lower edge of her dress, base with losses and chips notably to one corner Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
AN ART DECO MAUVE TINTED GLASS FALCON CAR MASCOT BY RENÉ LALIQUE CIRCA 1925 Model number 1124, base stamped 'BREVES GALLERIES, KNIGHTSBRIDGE, SW3, PAT No.309301', moulded signature R.LALIQUE, wheel-cut FRANCE, and engraved No. 1124 to underside 19.5cm high overall, base 7.4cm wide diameter Lalique commissioned Breves Gallery in Knightsbridge to mount his mascots and hood ornaments and to sell them to the British public. The glass mascots were mounted into chrome fixtures which could light them from underneath accentuating the colour and form of the mascot. Condition Report: Extra images uploaded with bird removed from base. Small signs that this may well have been used on a car with micro chips to breast, neck, beak, and back of head. Slight scoring around base edge from mount contact, sticky blue'ish residue to base which is engraved No 1124. Some dirt residue throughout. The base with scorched internal from use/heat and almost certainly will require complete overhaul/new low heat/energy light fitment for safe use. Some rubbing and plating losses. ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A RARE PAIR OF GEORGE III COADE STONE FIGURAL CANDELABRA BY ELEANOR COADE, LAMBETH, LATE 18TH CENTURY The design attributed to John Bacon, one modelled as a Vestal the other as a Sibyl, each holding a candle branch socket, on circular plinth, both stamped 'COADE LAMBETH" to plinths, stamped Coade to the undersides, monogrammed with an 'R' inside the torsos approximately 140cm high to top of lights, bases 43.5cm diameter Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769 and appointed the sculptor John Bacon as its manager two years later. With proven durability of her product (other makers work was seen to disintegrate within a few frosts) she was soon employed by a large number of the leading late 18th century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled "A Descriptive Catalogue of Coade's Artificial Stone Manufactory". The design for this rare pair of figures feature twice- firstly as numbers 4 and 5- a Vestal and "Sybil" and subsequently and with the addition of candle branches as "Statues to hold Light" and depicted in the 1784 catalogue as numbers 34 and 35, £16.6.0 each. By the time of the 1799 publication "Coade's Gallery, or, Exhibition in artificial stone" the descriptions were expanded to reflect the growing taste for Neoclassicism. Where possible the sculptor's names were indicated and the Sybil is referred to as being inspired or derived from the one "in the Barbarini collection" (Mrs Coade's spelling). These two figures were among the successful designs of the Lambeth artificial stone manufacture and similar pairs of figures (with and without candle branches) adorn both interiors and exterior settings such as the main gate posts of Malvern Hall, Solihull. Condition Report: As is not uncommon with these type of Coade figures these have both been restored- predominately to bases- one to neck, toes and raised details, urn etc - with scattered other spot fills and repairs. The repairs are largely skilled professional with tinted wash to accord with colourway and obscure repairs. Under UV the wash hides most of the remedial work- some signs of a prior painted surface visible to crevices and recesses. There are also indications of other perhaps less skilled repairs- notably to reverse of one figure's gown area. The branches are later, chips and losses to base edges. Figure with left arm up has crack to crook of arm. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A SET OF SIX FRENCH VERDIGRIS PATINATED METAL WALL BRACKETS EARLY 20TH CENTURY Formerly fitted as lights Approximately 37.5cm wide, 17.5cm high, 16.5cm deep Condition Report: All with an attractive verdigris and varied surface - see images. All with evidence of previous light fixtures to interiors. Some minor marks, knocks, scratches and abrasions commensurate with age and use. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
[SOCIETY OF WOOD ENGRAVERS]. Hamway, Nigel (compiler), 2020 Vision: Nineteen Wood Engravers, One Collector, and the Artists Who Inspired Them, Cheltenham: Nomad Letterpress (Whittington Press) & Society of Wood Engravers 2020, 100 pp., edited by Peter Lawrence, illustrated with wood engravings from original blocks (and from line blocks from high-resolution scans in the few instances when these were not available), half bound in cloth & printed papers, 96 from the limited edition of 340, in its slipcaseTo mark the Centenary of the Society of Wood Engravers in 2020 Nigel Hamway selected 19 of his favorite wood engravers to submit work honoring a predecessor who influenced them. Their brief essays on these, taken together, shine a light on the history of wood engraving in the twentieth century and show the handing on of a craft.
HUNTING. SCROPE, William. The Art of Deer-Stalking, John Murray 1839, half-title, engraved frontispiece and additional vignette title, 11 lithographed plates, armorial bookplate of Sir W. G. Gordon Cumming Bart., occasional light foxing but especially the endpapers, attractive half crimson morocco, gilt, teg., large 8vo; BROWN, Captain Thomas. Biographical Sketches and Authentic Anecdotes of Horses and the Allied Species, Edinburgh 1830, engr. frontis. & futher plates, full tan calf, sm. 8vo (2)
LEATHER BINDINGS. WRIGHT, Thomas. The History, Gazetteer and Directory of the County of Essex..., Sheffield & London 1863, lacks county map, full calf, rebacked; GOSTLING, W. A Walk in and about the City of Canterbury with many Observations, Canterbury: Simmons and Kirby 1779, third edition, title printed in red and black, engraved pictorial headpiece and folding map; [POCOCKE, Capt. Thomas]. Journal of a Soldier of the 71st, or Glasgow Regiment, Highland Light Infantry, from 1806 to 1815, Edinburgh: Balfour & Clarke for William and Charles Tait and others 1819, 2nd edn; CERVANTES, Miguel. Don Quixote, London 1811, 4 vols; and others in sets, part sets and single vols as called for, full, half or quarter leather, sm 8vo (41)
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