FOLLOWER OF KLAES MOLENAER FIGURES SKATING IN A FROZEN WINTER LANDSCAPE Oil on panel 52 x 65.5cm (20¼ x 25¾ in.) Provenance: Ronald W. Raven (1904-1991) Sale, Phillips, London, Work of Art and Paintings, 21 July 1992, lot 250, as 'Rutger Verburgh', where purchased by the present ownerWe are grateful to Fred Meijer for his assistance in cataloguing this lot. Condition Report: The panel presents a long crack in the middle, where it might have been split in the past. UV light reveals a thick varnish, and various retouches scattered across. Most of the retouches are in in the sky, on the roofs, and on the lower right corner, where the figures are skating. Most of the retouches are a about 0.5cm each, except for some bigger ones, such as the one on the upper right corner and on the roof of the small house in the foreground. The most evident retouching is present on the crack of the panel which crosses horizontally the painting. Such retouches are about 0.5cm wide and follow the line of the crack. Furthermore, there is a thick varnish spread unevenly across the painting. Condition Report Disclaimer
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ENGLISH SCHOOL (18TH CENTURY) PORTRAIT OF A GENTLEMAN HOLDING A BOOK Oil on canvas 73 x 61.5cm (28½ x 24 in.) Condition Report: The canvas is relined and presents a subtle craquelure which widens on the sitter's head. There are a few spots of paint loss, such as on the lower centre, and left, and upper right. UV light reveals various retouches, some of them 4cm wide, mostly sparse across the sitter's jacket, but few on the left of his head, and one on the book. The sitter's face, on the other hands, seems to be untouched. Condition Report Disclaimer
PETER HOLLINS (1800-1886) A CARVED MARBLE BUST OF WILLIAM CONGREVE RUSSELL MP DATED 1853 Signed to reverse Peter Hollins, Sculptor BIRMm 1853 approximately 73cm high, 53cm wide Peter Hollins was a British sculptor working throughout the 19th century, mostly in his hometown of Birmingham. After working initially in his father's studio, in 1822 he moved to London to study and work under Sir Francis Chantrey. In a lifetime of work he produced over one hundred and fifty major works, including statuary at Malvern Priory, Bodelwyddan Castle, the Royal College of Surgeons and Weston Park. Hollins was vice-President of the Royal Birmingham Society of Artists for 37 years, and also exhibited frequently at the Royal Academy.This bust, titled "Bust of the late William Congreve Russell, Esq.", was exhibited at the Exhibition of Modern Works of Art, at the Rooms of the Society, Temple Row (Birmingham Society of Artists), in 1853. Condition Report: Generally in fairly good condition- with the usual small wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some chips and wear around shoulders and margins such as back upper edges, socle nibbles and small chips, some more attrition wear around nose and neck, small natural inclusions and some black spot inclusions. The whole with surface dirt, notably to recesses and the margins with some darker rubbing- may benefit from a light clean 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 BRASS AND COPPER HALL LANTERN LATE 19TH CENTURY Of tapering square section form, castellated coronet above acroteria cresting, single electric light fitting 65.5cm high, 40.5cm wide Condition Report: Please note this is a BRASS AND COPPER LANTERN Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Surface with variants of colour from polishing. One glass side panel cracked. Some looseness to screw mounts and one internal glass retention bolt missing. Some signs of solder, suggesting some later remedial work 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 MATCHED PAIR OF MAHOGANY PEDESTAL TABLES ONE GEORGE IV, CIRCA 1830, THE OTHER LATE 20TH CENTURY Each with a circular top above a tapering stem and acanthus vase, triform base and low bun feet each 74cm high, the tops 66cm diameter Provenance: Asprey Condition Report: The antique table with marks, knocks, scratches, abrasions consistent with age and use, old splits and cracks to veneers and inlays, the locking mechanism working and holding at time of report, some fading and colour variationThe modern table is in a condition as to be expected reflecting its lack of great age and likely light use in a domestic setting, made faithfully to match the antique version, there is however some bowing and warping to the top and it does not sit 100% flat, the antique table is similarly bowed. No hinged tilting action to this table, it has a large secure block Please see additional images for visual reference to condition Condition Report Disclaimer
A MAHOGANY AND UPHOLSTERED 'BARREL' BACK ARMCHAIR CIRCA 1820 AND LATER 119cm high, 79cm wide, 72cm deep Condition Report: The legs with marks, knocks, scratches, indentations, knocks, losses, marks, polished appearance, old tack marks near the tops from previous upholstery Front seat rail is a replacement, rear legs joined to the frame/rear seat rails, no signs of being obvious replacement, front legs jointed to side and front rails, the remainder of the frame is fully upholstered and Dreweatts can make no guarantees as to originality or condition to the hidden elements. the upholstery is later, there is a removable seat and additional cushion The top of the seat rail is 43cm high from the floor, the top of the seat cushion is 55cm high from the floor Upholstery in presentable condition overall, with signs of light use in a domestic settingPlease see additional images for visual reference to condition Condition Report Disclaimer
A FLEMISH MYTHOLOGICAL TAPESTRY OF DIANA THE HUNTRESS LATE 17TH CENTURY/EARLY 18TH CENTURY In a verdure setting with Diana armed with bow hunting waterfowl with dogs approximately 241.5cm high, 261cm wide Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Presents well and with a fairly modern backing suggesting it has remedial work and light clean in the last 5 years or so. There are small signs of old and more modern careful stitch repairs and signs of diagonal stitches where backing is fastened on Side borders both with slight disjoint/stitched cut approximately 3/4 of the way up- suggesting either that they have been altered to fit this centre panel- or that the whole has been reduced slightly in height. Colour muting to surface and some rucking and unevenness when hung. Slightly browner area of bank- below left of tress possibly indicative of old stain 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
AFTER GILBERT STUART GEORGE WASHINGTON `THE ATHENAEUM PORTRAIT' Oil on canvas 67 x 57cm (26¼ x 22¼ in.)After the original unfinished portrait of 1796, sent to the Boston Athenaeum after Stuart's death in 1828, now in the Museum of Fine Arts, Boston Condition Report: The canvas has been relined and the paint surface appears to be stable. There are some spots of paint loss to the edges and on the sitter's collar, some of these have been touched in whereas in others show the canvas. It has lair of fine surface craquelure. Under UV light there are numerous scattered small spots of retouching, mostly in background areas but some on the face and clothes. It has a thick layer of dirt and decoloured varnish. The frame has numerous losses including one section of the right slip. Old and good relining, two minor flakes, one slip to the left is lacking frame has missing gesso.Condition Report Disclaimer
A PAIR OF WILLIAM IV BURR OAK AND BRASS INLAID PEDESTAL CARD TABLES SCOTTISH, ATTRIBUTED TO TROTTER AND SONS, CIRCA 1830 Each enclosing a fawn baize lined playing surface each 78cm high, 92cm wide, 46cm deep (91cm deep when open) Condition Report: Overall in a cleaned and polished condition, the interior baize has some age but is probably not original, one has large cracks to the centre fold, there are some marks and signs of age and useOne table top with some bowing and opening to the leaves when closed leaving a slight gap, the other closes more snugglySome light surface scratchesSome old splits and cracks to some veneersThe gilt metal mounts, castors, caps with dirt and discolouration Some old chips, losses, and refreshment to the gilt wood lappet to the stemsOverall solid and stablePlease see multiple additional images for visual reference to condition and appearance in our salerooms Condition Report Disclaimer
JOHN HOPPNER (BRITISH 1758-1810) MRS SARAH SIDDONS Oil on canvas 77 x 64cm (30¼ x 25 in.) Provenance: Sale. Christie, Manson & Woods, 16 July 1909, lot 136, where it was acquired by Shepherd Brothers. With Charles Sedelmeyer by 1911. Exhibited: Shepherd Brothers Galleries in Autumn 1909 Les modes à travers trois siècles. Exposition rétrospective organisée par la Société Nationale des Beaux-Arts, dans les Palais du domaine de Bagatelle, 1911, no. 78, lent by C. Sedelmeyer. Literature: P. Hérissey (Ed.), Exposition rétrospective organisée par la Société Nationale des Beaux-Arts, dans les Palais du domaine de Bagatelle, 1911, no. 78. The Masterpieces of John Hoppner, London and Glasgow, 1912, p. 57. W. McKay and W. Roberts, Supplement and index to John Hoppner, R. A., London and New York, 1914, p. 47Sarah Siddons (née Kemble) (1755-1831) was born on 5 July 1755 into a theatrical family. Her father, Roger Kemble (1722-1802) was an actor and theatre manager. Seven of her siblings were to become thespians, yet it was Siddons who would establish herself as the most acclaimed tragic actress of her age, subsequently becoming widely regarded as the greatest female performer in English theatrical history. In her lifetime she became a popular icon and played a key role in the social legitimation of the acting profession - particularly women working within it - moving from the reputedly disreputable world of provincial touring theatre to the salons of the aristocracy, and amassing substantial personal wealth.Siddons was one of the earliest sitters to John Hoppner (1758-1810). When she returned to London from her years touring 'in the wilderness,' she took the world by storm at Drury Lane in 1782. Given her newfound fame, Hoppner's capturing of her in her first flush of riotous success would have been a popular subject. Besides a sketch found among the artist's effects after his death, only one other, quite different, portrait of Siddons by Hoppner survives. Siddons would go on to be painted by Thomas Gainsborough, Sir Joshua Reynolds and Sir Thomas Lawrence. In 1909 the portrait was misidentified as 'an artist of the Early English School' when sold by Christie's but was later recognised and reproduced in The Masterpieces of John Hoppner, p. 57. The Times described it as '...the portrait almost recalls Frans Hals in the vigour of its handling, and is worthy to hang besides Hogarth's Shrimp Girl as an example of what the English 18th century painters could do when they were content to be what we should now call 'impressionist'" (McKay, Roberts, p. 47). Mrs. Siddons was in the Drury Lane company of the theatre manager, playwright and actor, David Garrick (lots 80, 81, 82) and she performed opposite the actor and theatre manager William Charles Macready (1755- 1829; lot 198). Condition Report: The canvas is relined and provides a good support to the paint. Under racking light there is crease crossing horizontally the painting at the hight just below the mouth, which suggests the canvas might have been folded in the past. UV light reveals some dotted retouches on the right-hand side of the background, where there is also a small dot of paint loss. Furthermore, there is a thick layer of yellowing varnish across the whole surface. Condition Report Disclaimer
A REGENCY GILT METAL HALL LANTERN CIRCA 1820 Of hexagonal tapering form, small paw feet the lantern 76.5cm high to top of suspension loop, 43.5cm wide Provenance: Acquired from Mallett Condition Report: With some wear from use- lowest shaped glass pane to base cracked, one side panel loose and will require refixing/remedial work to corners before safe household use. All glass later. Metalwork generally good- some polish residue- would suggest that elements of this may be slightly later in date Later electrical 3 light fitting - 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
WILLIAM ETTY (BRITISH 1787-1849) PORTRAIT OF THE ACTOR WILLIAM CHARLES MACREADY APPARENTLY IN THE ROLE OF HAMLET Oil on canvas 93 x 70cm (36½ x 27½ in.)This portrait depicts the actor and theatre manager, William Charles Macready (1793-1873), known for his Shakespearian roles. Macready played Hamlet on numerous occasions during his successful and lengthy career, first performing the role in Newcastle upon Tyne in 1811, when he was just eighteen years old. It was also in Newcastle that he appeared opposite Mrs. Siddons (lot 131) when the latter offered him some parting words of advice: 'You are in the right way, but remember what I say: study, study and do not marry till you are thirty). He took on the by now established role of Hamlet again in Bath in 1814, and made his London debut at Covent Garden theatre as Hamlet in 1821. He was later to reprise the role in Paris to great acclaim in 1827 and 1844. Macready was famously hissed by his American counterpart, Edwin Forrest, whilst playing the protagonist in Edinburgh. This sparked a rivalry which came to emblematise Anglo-American social and class tensions that climaxed in the explosive 'Macready Riots' of 1849 at Astor Place, New York. Given the centrality of Macready's Hamlet to the international controversy, it was natural that the actor should want to portray himself confidently embodying the role. He had himself previously engraved as Hamlet for popular dissemination, as well as being painted by Daniel Maclise and William Etty and in his diary he recorded visiting Etty's studio where he was 'delighted with his gorgeous colours and ravishing forms'. William Etty (1787-1849) was the only important British painter before the 20th century to have dedicated his career to painting the nude and semi-nude. He was successful during his lifetime despite the censure of the press who accused him of indecency. His reputation was such that he was elected an associate of The Royal Academy (ARA) in 1824 and a full academician (RA) in 1828. He held a one-man exhibition at the Society of Arts in 1849, where he exhibited 133 of his pictures. Macready and Etty met when travelling in Italy in the 1820s and remained close friends after this chance encounter. Correspondence between the pair, now held in the Folger Shakespeare Library in Washington D.C., includes letters from Etty to Macready dated 1838-1843 congratulating him on his performances in King Lear, Comus and Much Ado About Nothing. Condition Report: The painting presents a general craquelure across the whole surface, and minor surface losses of paint on the right border. UV light reveals a thick layer of vanish across the whole surface, and there are various retouches, most evidently on the sitter's left cheek, chin, neck, left eye, and nose - such retouches are in some cases quite extensive (check, chin, and neck). Although smaller, various retouches are also present on the sitter's hand and shoulder. Two spherical retouches are also present on the right of the sitter's head, which are evident also in racking light, and extensive restorations have been applied on the chair and drapery. Condition Report Disclaimer
SARDAR GANDA THAKAR SINGH (INDIAN 1899-1976) DANDELIONS; AND OTHERS WILDFLOWERS, SET OF TWO Watercolour and bodycolour Each 18.5 x 28.5cm (7¼ x 11 in.) (2) Provenance: His Highness Maharajah Yadhavindra Singh of Patiala 1938-1971 These studies were commissioned by His Highness Maharajah Yadhavindra Singh of Patiala, a keen botanist, who even as a child began to collect the flora of the Simla Hills with the intention of writing a book on the subject.Trained at the Slade, Ganga Singh was engaged by the Maharajah from 1942 to reproduce his collected flora in watercolour drawings in over 400 studies ready for publication. Condition Report: The paper has yellowed in certain areas and scattered across are present small yellow and brownish dots, possibly caused by the ageing of the paper, and which are most evident on the right-hand side of the white wilder flowers. Although the watercolours have been examined framed, hence with the protecting glass, UV light reveals no evident retouches. Not taken out of the frame, may be laid down, otherwise bright and clean. One frame damaged.Condition Report Disclaimer
λ JOHN DANIEL REVEL (SCOTTISH 1884-1967) PORTRAIT OF A DANCER Oil on canvas 76 x 63.5cm (29¾ x 25 in.)Provenance: Sale, Sotheby's, Olympia, The Ian Grant Collection Removed from 41 Ladbroke Square, 18 September 2001, lot 42, catalogued as by 'Jock Revell'It has been suggested that the dancer depicted is Margaret Morris. John Daniel Revel was born in Dundee in 1884. Revel went onto study at the Dundee Art School and in 1906 he made the move to London to study at the Royal College of Art until 1911. In 1925 Revel took up the post of Director of the Glasgow School of Art. Revel exhibited at the Royal Academy and the Royal Society of Arts throughout his career. Condition Report: A repair of about 4cm is visible near the bottom border. There is one superficial scratch on the right, just below the elbow. UV light reveals no evident retouching. Condition Report Disclaimer
A PAIR OF BRASS HALL LANTERNS 20TH CENTURY Each with foliate coronet above octagonal tapering glazed body, single electric light 64cm high, 38cm wide Condition Report: Mild wear, marks, knocks and scratches as per relatively modern age, handling, use, and cleaning. Occasional small areas of solder- this is probably from construction. Glass seems to be good. Occasional small pull to corners- presumably from snagging while cleaning 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
AN EDWARDIAN MAHOGANY AND SATINWOOD CROSSBANDED REVOLVING BOOKCASE CIRCA 1905 83.5cm high, 48cm wide, 47.5cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and use Some splits and cracks, chips and lossesSome wobble overall due to design, the action running freely at time of report Some wear and losses and unevenness to the polished surfacesThe drawers sticky and may well benefit from a light wax/lubricatePlease see additional images for visual reference to condition Condition Report Disclaimer
A BLUE EMBOSSED VELVET UPHOLSTERED FOOTSTOOL LATE 20TH CENTURY 46cm high, 70cm wide, 87cm long Provenance: Johanna Trading Ltd, London Condition Report: Overall the condition of this stool indicates its lack of great and age and probable light use in a domestic setting, presentable order with only slight surface wear, overall entirely solid and stablePlease see additional images for visual reference to condition Condition Report Disclaimer
ATTRIBUTED TO GEORGE BOYLE (BRITISH 1842 - 1930) FIGURE WITH CATTLE IN A FIELD Oil on canvas 25 x 32cm (9¾ x 12½ in.) Condition Report: Because the paint has been applied very thinly, there are many areas where the canvas can be seen. UV light does not reveal any evident retouches, but there is a thick layer of dirt that gives a yellowish tone to the colours. Condition Report Disclaimer
λ ATTRIBUTED TO JAMES ARDEN GRANT (BRITISH 1885-1973) CAFE SCENE Oil on canvas Indistinctly signed and dated 21 (lower left) 51 x 62cm (20 x 24¼ in.) Condition Report: The painting is in good condition. UV light reveals no evident retouching but a thick vanish applied unevenly. Condition Report Disclaimer
AFTER REMBRANDT VAN RIJN SASKIA BATHING Oil on canvas 62 x 47cm (24¼ x 18½ in.)After the original work now in the National Gallery, London.Provenance: Sale, Sotheby's Olympia, The Ian Grant Collection removed from 41 Ladbroke Square, 18 September 2001, lot 85 Condition Report: The canvas is relined. UV light presents a thick varnish scattered across, and a small tear of about 2 cm present on the upper left.Condition Report Disclaimer
IRISH SCHOOL (19TH CENTURY) A RIVER IN A ROCKY LANDSCAPE Watercolour 24 x 34cm (9¼ x 13¼ in.) (4)Together with three prints, two after William Daniel one of the Wormshead, the other Britton Ferry, Glenmorganshire, the third by another hand depicting Beaumaris (4)Please note this is a watercolour and not as previously stated in the catalogue Condition Report: There is some yellowing of the paper in the upper border of the watercolour, and a repaired tear of about 5 cm long over which colour has been added. Although examined under glass, UV light reveals dots of dirt spread across the right of the watercolour. Condition Report Disclaimer
A BLACK LACQUER AND GILT CHINOISERIE DECORATED LAMP TABLE EARLY 20TH CENTURY The adjustable arm above circular table top, baluster stem and triform base 164cm high Condition Report: The metalwork formerly gilded, this has largely been rubbed away by cleaning, Adjustable sections seem to work albeit ball fitting is very tight and difficult to move. Painted surface generally good but with some wear to ends of base. Shade fairly modern and basically good with some surface dirt Wear, marks, knocks and scratches as per age, handling, use, and cleaning. ELECTRICAL GOODS. This light has a PAT test for January 2024 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 PAIR OF REGENCY GILT BRONZE TRIPLE LIGHT COLZA TABLE LAMPS IN THE MANNER OF THOMAS MESSENGER, EARLY 19TH CENTURY Each with stiff leaf decorated central reservoir above three lights on scrolling acanthus arms 37.5cm high, 46.5cm wide Provenance: Christie's London, Fine English Furniture, 22 April 2004, lot 151 Condition Report: Please note this lot requires rewiringCondition Report Disclaimer
λ JAMES ARDEN GRANT (BRITISH 1885-1973) PORTRAIT OF THE ARTIST'S WIFE ANN GRANT Oil on canvas Signed (lower left) 80 x 65cm (31¼ x 25½ in.) Condition Report: The canvas is unlined and has surface cracking across the image which is lifting in places. Minor abrasions to the edges. Under UV light there are several small spots of retouching on the sitter's coat and arm, and possibly on the top hat. It has a thick layer of dirt and discoloured varnish. Condition Report Disclaimer
A REGENCY GILT-BRONZE SIX LIGHT COLZA CHANDELIER BY JAMES SMETHURST, CIRCA 1820-1830 The whole of Gothic form, with acanthus corona and ornate hanging chains above richly decorated frame with octagonal lidded urn, mask decoration to the underside, the nozzles with labels for SMETHURST MANUFACTURER 138 NEW BOND STREET 85cm wide Saleroom Notice- please note this is a six light chandelier- not 4 as in the printed catalogue. James Smethurst is recorded as registering a patent (No.2654) in 1802 for "certain improvements applicable to lamps and reflectors". In 1814 he had moved to 138 New Bond Street in accordance with the labels on the present lot. The British Museum biography records various bill heads from Smethurst, one dating from 1825 states : "By his Majesty's Royal Letters Patent. Manufacturer. Bought of James Smethurst... Patent Lamp & Genuine Spermaceti Oil Warehouse, Oils paid for within a Month, 6d per Gallon allowed from the price charged. N.B. To prevent Mistakes it is particularly necessary to observe the Name & Number... Lamps of all descriptions let out on Hire for Balls, Routs, &c." Banks Collection 76.19 A very similar gilt bronze Argand oil hanging light is in the Victoria & Albert Museum (CIRC.522.1962). Condition Report: Saleroom Notice- please note this is a six light chandelier- not 4 as in the printed catalogue.Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Overall generally good but with surface dirt and rubbing to gilding- notably lower more exposed areas. The chains with glass insets which are probably later.Areas of discoloured gilding throughout, has not been cleaned and restored Shades are later as are electrical fittings- 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
AN ICON 'THE MOTHER OF GOD, JOY OF ALL WHO SORROW' RUSSIAN, 19TH CENTURY 31.3cm high, 26.7cm wide Provenance: Probably Christie's February 26, 1974- lot 228 SALEROOM NOTICE: Please note the amended description which is different from the printed catalogue Condition Report: PLEASE NOTE REVISED DESCRIPTION: AN ICON 'THE MOTHER OF GOD, JOY OF ALL WHO SORROW' RUSSIAN, 19TH CENTURY 31.3cm high, 26.7cm wide Provenance: probably Christie's February 26, 1974- lot 228 2 later inset oak cradle sections to reverse- vertical split- front with later varnish that shows pale green under UV- further restorations visible under strong light and also under UV, ink inscription to reverse Condition Report Disclaimer
SIR JOSHUA REYNOLDS (BRITISH 1723-1792) PORTRAIT OF LADY STANDISH Oil on canvas 75 x 61cm (29½ x 24 in.) Provenance: Lady Catherine Standish;Elizabeth Ramsden née Smyth (heraldic co-heiress - Smyth arms quartered within those of Ramsden) Thence by descent to Col. R. C. P. Ramsden, Wigthorpe Hall, near Worksop, 1958 Thence by descent to Mrs Butroid. Her sale, Christie's 24 June, 1977, Lot 73. Private collection, United Kingdom. Literature: A. Graves & W. V. Cronin. A History of the Works of Sir Joshua Reynolds, 4 vols, London 1899-190. Volume III, p. 927 (sitter wrongly identified) David Mannings. Sir Joshua Reynolds, A Complete Catalogue of His Paintings, 2 vols, London: Yale University Press, 2000. Vol I, Text, p. 430; Vol II, Plates, p. 133 (fig. 365) Lady Catherine Standish (d.1780), née Catherine Frank, was born into the prominent Frank family of Pontefract, Yorkshire. Her mother, Elizabeth Lowther, was the daughter of Sir John Lowther Bt., M.P. for Westmoreland, and Catherine's father, Robert Frank MP (1660-1738), was active in borough politics and appointed Recorder for the Corporation of Pontefract in 1686. Although his appointment was contested several times during the dynastic and constitutional tumults of the late seventeenth century, he notably held office until his death in 1738, and served as an M.P. for the borough between 1710 and 1716. Frank was notably blacklisted as a 'Tory patriot' by the Hanoverians who held their crown by Whig support. Frank ensured that his daughter's marriages were advantageous and her first husband, John Smyth J.P. (1685-1731) of Heath Hall, Heath, was heir to a vast mercantile fortune. His father used this to cement their family's newfound place in the county gentry, purchasing the Heath estate near Wakefield and becoming 'the first squire of Heath.' His life was cut short however, and Catherine would soon remarry to Sir Thomas Standish of Duxbury, 2nd Baronet of Duxbury, becoming Lady Standish. However, it was through her daughter by her first marriage, née Elizabeth Smyth (b. 1727), that her acquaintance with Sir Joshua Reynolds was made. Elizabeth married Robert Ramsden of Osberton (1708-1769) in 1753, the fourth son of Sir William Ramsden, 2nd Bt. He was a captain in the British Army during the War of the Austrian Succession and served with distinction at the Battle of Dettingen on the 27th June 1743 and at the Battle of Fontenoy on the 11th May 1745. Robert was painted by Sir Joshua Reynolds in 1755, sitting to the artist on four occasions. The portrait, which depicts Ramsden in a 'plum-coloured coat,' on a 'luminous greeny-grey background' was likely the inspiration for the commissioning of this portrait by his mother-in-law three years later, for in 1758 Lady Standish would also sit for Reynolds four times. The resultant half-length portrait depicts her wearing a white dress and black wrap. A great experimenter with paint, Reynolds was hailed by his admirers and reviled by his critics. This portrait is typical of the artist's work of the 1750s when he developed the technique of 'dead colouring,' in which monochrome, or near monochrome, paint layers were used to create luminous flesh tones. That this technique is made explicit here makes this striking portrait a testament not only to the sitter's patronage, but also to the pioneering painter himself. Condition Report: Canvas relined and on later stretcher which is providing good support. Fine surface cracking across the image but the paint appears to be stable. Under UV light there a scattered spots of retouching most of these are in background areas, but the face is untouched. There is also a diagonal line of retouching across the centre of the sitter's dress which probably covers a deep surface scratch, this is approx. 10 cm long but quite narrow. It has a layer of discoloured varnish. Condition Report Disclaimer
A PAIR OF JASPERWARE AND CUT GLASS TABLE LUSTRES IN THE MANNER OF MATTHEW BOULTON AND JOSIAH WEDGWOOD LATE 18TH CENTURY AND LATER Each with central tall finial within two scrolling candle branches, with chains suspended throughout, and to the front from swan head supports approximately 64cm high, 38cm wide across the armsFor other examples traditionally ascribed to Parker & Perry please see M. Mortimer, The English Glass Chandelier, Woodbridge, Suffolk, 2000, p.107, pl. 54. See also the Boulton and Fothergill Pattern Book 2, p. 205 for the base design. Condition Report: Please note these are two light candelabra. The rear two branches have finial spire mounts. All with wear from domestic use, marks, knocks and scratches as per age, handling, use, and cleaning and inherent fragile nature with replacement glass elements throughout Both lacking one red glass eye to swan head and one set of drops to rear pans. Wiring for drops and drops with replacements. Brass nozzles all later Some repairs to branch attachment points to mounts to centre, most notably to swan branches. One with edge of back sconce missing The other with repairs to neck and beak of swan Edge wear and small chipping throughout as per age and fragile nature- most visible to edges of mount points. White sprigged relief to bases with firing cracks. The blue Jasper is probably Staffordshire and not Wedgwood and the shade of blue would indicate a date of manufacture in the 19th rather than 18th century. The firing cracks to the sprigging would also indicate, probably not Wedgwood. 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
JOHN HOPPNER RA (1758- 1810) LOUISA, COUNTESS OF MANSFIELD (1758-1843) Oil on canvas, a pair With old labels inscribed (on the reverse) 78 x 64.5cm (30½ x 25¼ in.)Provenance: By descent to The Rev. William R. Finch Hatton.Literature: W. McKay, W. Roberts, John Hoppner R.A., London, 1909, pp. 110, 164. (with the previous lot) W. McKay, W. Roberts, Supplement and index to John Hoppner, R.A., London and New York, 1914, pp. 59, 61. (with the previous lot)Comparative literature: J. Cornforth, 'Scone Palace, Perthshire - I: The Seat of the Earl of Mansfield and Mansfield', Country Life, 11 August 1988, p. 95.Louisa, Countess of Mansfield (1758-1843) was the daughter of Charles Cathcart, 9th Lord Cathcart and Jane Hamilton, the latter, granddaughter of the 3rd Duchess of Hamilton. Louisa's first husband was David Murray, 2nd Earl of Mansfield, who was 20 years her senior; as a young bride she lived in Scone Palace Perthshire and Kenwood House, Hampstead which her husband had inherited in 1793. She also lived in Paris where her first husband was the British Ambassador to Louis XVI. The French hostess and patron of the arts, Madame du Deffand, commented that the ambassador's wife 'is pretty, she holds herself badly, and has not a charming manner, but her expression is full of intelligence' (Cornforth, p. 95). Her second husband was The Hon. Robert Fulke Greville (1751-1824) (see the previous lot) was the third son of Francis, 1st Earl of Warwick and Elizabeth (née Hamilton)). Robert Greville and Louisa had three children. This painting, together with the previous lot, passed to their second daughter, Lady Louisa Greville (1800-83), who was married to The Rev. Daniel Heneage Finch-Hatton, and thence by descent to their son, William. Condition Report: The canvas presents fine craquelure across the whole surface which widens in the area near the neck, where, in a few case,s the cracks have been repainted over. UV light reveals retouching on the edges of the painting, particularly on right, and above the head. There are also some finer retouches on the sitter's neck, and in some places on the dress. The painting has been cleaned and revarnished. Condition Report Disclaimer
A PAIR OF UPHOLSTERED KNOLE TYPE SOFAS BY PETER GUILD LTD, LATE 20TH CENTURY With makers label to the seat each 89cm high, 188cm wide, 88cm deep Condition Report: Overall the condition reflects their lack of great age and likely light use in a domestic setting, there are some surface marks and signs of use in a domestic settingThe ends all held up by tasselled tie-backs which appear to be originalPlease see additional images for visual reference to condition Condition Report Disclaimer
A pair of 18ct gold diamond cuff earrings, retailed by Susanna Lovis, with two round brilliant diamonds gypsy set to an oval hinged hoop, 5.20mm wide and 13.80mm long, London hallmark, 2013. Presented in a Susannah Lovis earring case. 6.05gCondition ReportLight surface scratches on mount.Posts lock firmly in the clasp. A few marks on the posts commensurate with wear.
A pair of Jimmy Choo 'Wilma F/S' sunglasses, with gold tone detail to end pieces, size 56-16-145, cased,and a pair of Marc Jacobs sunglasses,MARC 526/S, burgundy graduated lens, size 57-17-145, cased (2)Condition ReportJimmy Choo - Very good condition, signs of very light use to temples, no obvious marks to lensesMarc Jacobs - Some signs of use, particularly inside of temples, a few very light marks to lenses, not easily visible, temples slightly stiff
A Mulberry brown large Roxanne bag, gold tone hardware, magnetic closure, interior with zip pocket, serial number 358371, 35cm wide, 12cm deep, Condition ReportGood overall condition. A few signs of light wear, particularly at base corners. Light marks to hardware. Interior in good condition, with dust particles.
A Mulberry oxblood Chester bag, dual rolled handles, gold-tone hardware, detachable shoulder strap, two sectioned interior, one with zip closure, the other with stud closure and internal slip pocket, with care card, original purchase tag and dust bag, 34cm wide, 16cm deep, 22cm highCondition ReportGood overall condition. There are some signs of light wear, particularly to base corners - see imageLight scratches to hardware.Interior with some light marks and dust particles.
A single stone diamond ring, the round brilliant cut diamond four claw set in a square illusion mount above a heart gallery, tapered shoulders on a plain shank, stamped '18ct' and tested as 18ct white on yellow gold. 3.05g. Ring size LBuying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportThe diamond is secure; the setting has normal light wear and scuffs for age.
A Coach beige handbag, with dual rolled handles, gold tone hardware, zip closure with interior zip and slip pockets, with dustbag, 36cm wide, 11cm deep, 25cm high Condition ReportFair overall condition. There are dirt marks throughout. Some scuff marks to exterior leather, particularly at base corners and edges. Light marks to hardware. Interior with dirt marks and staining. Shoulder strap missing
A platinum emerald and diamond cluster ring, with a central oval faceted emerald, 5.50mm x 7.50mm, surrounded by eight round brilliant cut diamonds, with a combined weight estimated as 0.80ct, all claw set in platinum, London hallmark, 10.00gRing size P½Condition ReportDiamonds bright and lively.The emerald has a pale colour, with light wear to the facet junctions. The condition of the ring is overall very good.
A four stone diamond ring and a citrine ring, the four stone ring set with old cut and round brilliant diamonds in millegrain collets, to solid shoulders and a plain band. Marked 18ct & Pt, band tested as 18ct gold. 2.48g Ring size S½,together with an early 20th century citrine ring,set with an oval mixed cut citrine, claw set to a plain collet, to solid shoulders and a plain band. Marked 9ct, tested as 9ct gold, 2.19gRing size NCondition Report1. Diamonds have black inclusions visible to the naked eye.2. Light wear to the citrine facet edges.
An Aspinal of London black patent leather tote, gold tone hardware, single flat handle, interior with zip pocket, with dust bag, 39.5cm wide, 13cm deep, 30.5cm high Condition ReportGood overall condition. A few light marks to the exterior. light wear to base studs. Interior in good condition with some dust particles.
A black cultured pearl ring with two diamond highlights, the 7.80mm pearl peg set between claw set round brilliant cut diamonds, to a tapered reeded shank of white gold, stamped '18k 750', 3.66g. Ring size NBuying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportThe pearl has a good lustre and smooth skin; it is a brownish, bronze grey. The shank is noticeably thinner at the back, but shows only light wear for age.
A grey Furla handbag, dual rolled handles with detachable shoulder strap, silver tone hardware, front locking with interior zip and slip pockets, 30cm wide, 12cm deep, 23cm high Condition ReportVery good overall condition. There are a couple of light dirt marks to the exterior, otherwise shows very little signs of use.
A Gucci canvas and leather handbag, dual rolled handles, gold tone hardware, zip top closure, with interior zip and slip pockets, serial number 223948 000962, with padlock and keys, with dust bag, 40cm wide, 17cm deep, 24cm highCondition ReportThere is a large mark/stain on one side to the exterior.light marks and signs of use to leather.Interior with a light mark but otherwise in good condition, with dust particles.
An 18ct white gold diamond set cocktail cluster ring, with a central cluster of seven graduated brilliant cut diamonds. A lower tier composed of pairs of marquise cut diamonds with an outer row of brilliant cut diamonds, all claw set to a wire basket with open shoulders and a plain shank, London 1989. An estimated total diamond weight of approximately 2.88ct. Head 20.30 x 19.50mm, 8.10g. Ring size M-M approximatelyBuying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportDiamonds bright and lively. The central tier has wires that hold it to the outer cluster tiers. These are slightly loose and will need to be tightened prior to being worn, but all the wires are intact. Light surface wear to the mount.
An amethyst and diamond halo cluster ring, by Giovane of New York, a circular checker cut amethyst with a stated weight of 14.25ct, four claw set to a halo frame of micro pave set brilliant cut diamonds. A circular section shank with a line of brilliant cut diamonds pave set to the shoulders, with shank beads fitted. Marked 750 and tested as approximately 18ct gold. Head 18.10 - 18.20mm diameter. 5.98g.Ring size approximately LCondition ReportDiamonds bright and lively.Minor light surface marks to the mount.
A 9ct gold gents signet ring set with an opal doublet on onyx, finger size R, weight 9gms Condition Report:Nice heavy mount, medium wear, nothing dreadful, the opal does have a few cracks, this is more the crystal structure as opposed to damage, some light scratches and one tiny chip to the surface all appears stable. Nice & colourful
A large and decorative 'Klaylife' clay bead and metal chandelier, with six light fittings, the tapering beaded decoration with scrolled metal ornamentation, the beads are hand-made by a community of female artisans from Kwazulu-Natal, South Africa, initially by women whose life had been impacted by HIV, 130 x 130cm high.For the history of handmade products in Africa click hereAbout Us - the klaylife story of handmade products from Africa
Hand painted and enamelled Oriental covered jar, pit marks to rim, H: 23 cm, pit marks to body as well as rim, scrapes to rim as well, there are signs of age throughout and firing marks to vase and lid light scratches visible to body but no cracks visible, paint and detailing appears intact with only slight losses. UK P&P Group 3 (£30+VAT for the first lot and £8+VAT for subsequent lots)
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