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Preisdatenbank abonnierenA pair of George III paste set shoe buckles, of graduated oval form with engraved gilt inner borders, and steel fittings with heart shaped chapes, 7.5cm long, in a red leather domed caseThe buckles are in good condition overall, with some minor corrosion to the steel. The box is good overall, with some scratches to the exterior, and some minor light brown staining to the interior, the gilt interior logo also a bit worn.
A Chinese export silver three-piece tea set, early 20th century, comprising teapot with hinged cover, single handle cream jug, and twin handled sugar bowl with lift-off cover, each piece repousse decorated with figural and floral panels to a textured ground, the handles, finials and spout of bamboo form, apparently unmarked, teapot length 25cm (including handle and spout), gross weight 28.7oz20世紀早期 人物紋飾銀茶壺一套（共3件）Notes: Tested as silver. 備註： 經測試為銀。 Good with expected wears and light scratches除自然磨損及少量刮痕外品相良好
A small Chinese blue and white sleeve vase, Qing Dynasty, Kangxi period (1662–1722)The cylindrical body is finely painted in underglaze blue with birds perched among camellia trees, rising to a waisted neck and a flared rim. The base bears an artemisia leaf mark. Height: 22cm.清康熙 青花花鳥筒瓶 The cylindrical body is in good condition, with fine restoration visible under UV light from the shoulder upwards (see image). The exact extent of the restoration is undetermined, but the vase is otherwise free from cracks or further damage.瓶身整體狀況良好，肩部以上經過精細修復，紫外線檢測可見（見圖片）。修復範圍無法確定，但瓶身無其他裂紋或損傷。
A pair of large Chinese famille rose “figural” vases, in Yongzheng style but early 20th century, delicately painted on the body with the mirrored narrative scene of Wang Zhaojun Leaving the Pass Behind, Zhaojun Chusai - a court lady of Han dynasty who was sent to marry the ruler of Xiongnu empire in order to establish peace and friendship between the two counties, with decorative motifs and flower sprays on the shoulders and necks, height 62cm each without wooden stands20世紀早期 粉彩昭君出塞棒槌瓶一對（帶木底座）Notes: for a smilar example see Rob Michiels Feb 2017 Lot 972 In excellent overall conditon except some light wears on the gilt and enamels.整體品相極佳，瓶身僅有輕微鎏金及彩料磨損
A pair of Chinese famille rose dishes, QING Dynasty, Xianfeng Mark and of the period (1851-1861), each with a gilded shallow foliated rim, finely decorated with Chinese archaistic vessels, flowers, and auspicious objects, the base inscribed in iron-red with a six-character Xianfeng mark; diameter 14cm. 清咸豐款及年代 粉彩博古花卉紋小碟一對Provenance: from a private UK collection Excellent condition except for some light wear to the enamel and rim gilt on both. 整體品相良好，惟粉彩與口沿描金部分有輕微磨損。
A Chinese white metal/bronze multilayered tripod censer, early 20th century, cast in three sections: the lower section with a globular body supported by tripod lion-head feet, the middle section featuring a pierced double gourd flanked by two dragons as handles, and the upper section surmounted by a lid with an elephant finial. Height: 35cm.20世紀早期 白鐵/銅三層式三足香爐 Good condition except for some light dents and distortion on the body. 整體品相良好，器身有輕微凹痕及變形
A group of four Japanese woodblock prints of figural images, by various artists published in or before 1850s, the first of a courtesan in an interior setting by Utagawa Toyoshige 歌川豊重 (Toyokuni II 1777-1835) published from 1825 to 1835, dimension: 24x36cm; the second depicting a seated woman playing a drum by a stone monument with a man looking down by Utagawa Kuniyoshi 歌川国芳(1798-1861) published circa 1845, dimension: 25x36cm; The third depicting a warrior hiding behind a tree and holding a drawn sword, watching someone playing flute in the background, by Utagawa Kuniyoshi 歌川国芳(1798-1861) published in 1852, dimension 24.5x35cm; The fourth depicting a man in front of a window overlooking the famous Atago Hill, by Utagawa Yoshikazu (active 1850-1870) published circa 1850, dimension: 37x25cm.good overall condition with some tarnish and light creases on the paper, the colours are well preserved
A set of Chinese Canton yellow-ground enamel covered bowls with a matching tray, Qing Dynasty, 19th Century. Painted all over with butterflies and scrolling florals over a yellow ground on both covered bowls and the quatrefoil-shaped tray. Each small bowl is further decorated with two white-ground panels filled with floral scenes. Each covered bowl diameter: 8.5cm, height 8cm; The tray measuring 28.5cm x 16.ccm清19世紀 黃地銅胎畫琺瑯蓋碗及托盤 Overall in good condition with expected light wear. The finial of the lids expose the copper ground, possibly due to enamel loss or truncation. 整體品相良好，僅見正常使用痕跡，蓋鈕處琺瑯缺失可能為磨損或裁切所致。
A Chinese black ground moulded ‘Eight Immortals’ vase, Qing Dynasty, 19th century. The vase of slightly tapered form standing on a short foot with a flared mouth rim, decorated in moulded relief with Eight Immortal figures on swirling clouds holding their attributes, set against a black ground. The base and mouth rim are covered with a turquoise glaze, and a six-character Qianlong mark is inscribed in the centre of the base. Height: 20.5cm (without stand)清19世纪 八仙黑地粉彩堆塑瓶Provenance: an East Anglian based collectorNote: this lot is part of the collection "Smiling Gods of Ancient China". Renowned Chinese art Expert Rose Kerr has contributed an article explaining who the Eight Immortals were and why depictions of them remain so popular, with reference to some specific examples within this collection. Click here for more information. Good overall condition except for some light wear to the enamel. 除少量釉面磨損之外，整體品相良好。
A large Chinese famille verte ‘ladies’ dish, in Kangxi-style but later. Finely depicted with a courtly scene of three elegantly dressed ladies seated at a table, engaged in scholarly activities, all set in a landscape with rocks and clouds, the base with a double foot ring and a lingzhi mark. Dimension: 28.5 cm.清康熙式樣 五彩仕女圖盤 In excellent condition except for some light wear.品相極佳，僅有輕微磨損。
A set of Chinese wood-engraved albums, Shi Zhu Zhai Jian Pu (Ten Bamboo Studio Letter Paper Manual), published by Beijing Rongbaozhai in 1952. Comprising four volumes of small folio books, most pages printed in color, measuring 31 × 21 cm. Each volume features gold-splashed cover pages with title labels to the upper cover, housed in an embroidered silk folding case with bone clasps.Notes: Comparable versions can be found in the University of Cambridge Library (FH.20.75-76) and the Needham Research Institute main library collection. See also previous auction results at Bonhams (14 March 2016, Lot 8124) and Sotheby’s (28 July 2020, Lot 231).Shi Zhu Zhai Jian Pu is a renowned printed art book from the late Ming dynasty, created by the artist and publisher Hu Zhengyan (胡正言) around 1633. It is among the earliest known examples of multicolored woodblock printing, featuring exquisite designs of decorative letter papers adorned with delicate paintings and calligraphy. The manual includes motifs of flowers, birds, landscapes, and auspicious symbols, reflecting the refined aesthetics of literati culture. Shi Zhu Zhai Jian Pu is celebrated for its pioneering printing techniques, artistic elegance, and significant influence on later Chinese and Japanese print traditions.《十竹齋箋譜》雕版印刷 四卷 一九五二年版Provenance: From a family inheritance The albums are preserved in excellent condition with no noticeable damage or repairs. Some light water marks are visible on the top of the case and on some pages of volume 4 (see images). 本套書譜品相極佳，無明顯破損或修補，書盒上部及第四冊部分頁面有輕微水漬（見圖片）。
A pair of Chinese blue and white “dragon” dishes, Daoguang mark (1821-1850) and possibly of the period, each finely painted in the centre with a five-clawed dragon chasing a pearl amidst flame motifs, the reverse further decorated with two dragons chasing pearls around the border, the base inscribed in underglaze blue with a six-character Daoguang mark. Diameter: 16.3cm each. 清道光款及年代（可能） 青花龍戲珠紋盤一對Good condition except for some light wear on the glaze. 品相良好，僅釉面有輕微磨損
A pair of Chinese famille rose ‘butterfly’ bowls, Qing Dynasty, Guangxu mark and of the period (1875-1908). Each with a subtly lobed rim, the exterior is sparsely decorated with butterflies amongst chrysanthemums and peonies, and featuring a roundel in the central well containing peaches. The base is inscribed in iron-red with a four-character Guangxu mark and bears a Woolley & Wallis auction label. Diameter: 16.2cm. 清光緒款及年代 粉彩百蝶碗一對Provenance: from a private UK collectionNotes: for a similar example see Christie's 13 Nov 2015 Lot 1276 Both in excellent condition except for some light wear. 整體品相良好，僅見輕微使用磨損
A Chinese hardwood table screen with an inserted ‘landscape’ plaque, 20th century. The rectangular plaque finely painted with a mountainous riverscape featuring thatched cottages, a waterwheel, trees, and distant boats, set in a carved hardwood frame supported on a stand with scrolling feet. Overall height 62 cm, plaque with frame 31.5 cm (w) x 44.5 cm (h). 20世紀 硬木鑲瓷山水圖插屏Good overall, with some light wear and minor surface scratches. 整體品相良好，略有使用痕跡及輕微表面刮痕。
A Chinese wire inlaid bronze censer, 18th to 19th century, decorated on the body with stylised dragon among swirling clouds and waves, supported on tripod feet with a rare six-character casted mark "Da Ming Nei Zao Bei Zhu" to base, h.9.5cm, dia.15cm, 1500g清18或19世紀 “大明內造北鑄”款銅爐Provenance: The Alain Rouveure Collection來源：Alain Rouveure私人收藏 Good condition overall with desirable patina品相完好包漿自然Extra images in natural light are availble in a dropbox file, please log in and the lot(s) you are interested should be there. If you need anything else please check the other folders before sending requests. If you encounter any difficulty in using this folder or anything else please be so kind to let me know. https://www.dropbox.com/scl/fo/i30e924h9oop7ku4oteic/AEcFFpPBmWb5SN0cHWYWb10?rlkey=n7uhzowr26q0jl6zu40fj3vuw&st=mv37emt0&dl=0Access password: AsianArt20250409
A pair of small Chinese blue and white “dragon and phoenix” bowls, Republican period. Each finely painted with two pairs of dragons and phoenixes on the exterior, the base bearing an underglaze blue bi ding ru yi (“destined to be lucky”) mark. Housed in a custom-made silk box with bone clasps. Diameter: 9.3cm.Provenance: from a private UK collection 民國時期 青花龍鳳紋小碗一對 One bowl has a faint hairline under UV light (see image), otherwise in excellent condition. 整體品相良好，紫光檢測下有一條細線（見圖）
A pair of small Chinese egg-shell famille rose bowls, Guangxu mark but 20th century, finely painted with lychee fruit on trees with branches spreading over the interior. With an underglaze blue inscribed six-character Guangxu mark at the base. Diameter: 8.8cm.20世紀 光緒款蛋殼瓷粉彩小碗一對Provenance: from a private UK collection In excellent condition except for some very light wear on the glaze. 品相極佳，釉面有輕微磨損。
ENGLISH SCHOOL (19TH CENTURY) PORTRAIT OF JAMES ROBINSON BOULTON, SON OF MATTHEW BOULTON OF GREAT TEW Oil on board 24 x 20cm (9¼ x 7¾ in.) Condition Report: Unexamined out of glazed frame. UV light reveals a cloudy unevenly applied varnish, but no evident signs of retouching. There are a few slight scratches, such as on the nose of the sitter, as well as on the eye, and a few on the jacket. Craquelure is also present to the lower right edge, and there are a few dirt stains, such as a circle shaped superficial dirt stain to the lower left corner. Condition Report Disclaimer
SIR GODFREY KNELLER (GERMAN 1646 - 1723) PORTRAIT OF WHITLOCKE BULSTRODE (1652 - 1724) Oil on canvas, oval Inscribed with the sitter's name and that of his father (centre left), initialled (lower left); further inscribed (verso) 76 x 62.5cm (29¾ x 24½ in.)Provenance: Sale, Christie's, London, 15 July 1988, lot 74 (as part lot) Sale, Christie's, London, The Interior Sale, 26 November 2006, lot 115 Condition Report: The canvas has been lined, cleaned and varnished. Stretcher marks visible. Light craquelure throughout however the paint surface appears stable. Light rubbing and abrasions to the framing edges. Inspection under UV light reveals a surface scratch (approx. 20cm) to the lower left corner which has been in-filled. Another similar surface scratch can be seen running from the sitter's coat diagonally up to his chest (approx. 15cm). It is presumed that there may be some further light retouching, however the heavy varnish prevents a comprehensive reading of the canvas.The work with conjoined initials 'GK' (lower left).Please note Dreweatts cannot be held responsible for any damage to frames and therefore cannot commend on their condition.Country of origin: England (UK) Condition Report Disclaimer
A MATCHED PAIR OF GILT METAL MOUNTED BLUE JOHN 'GOAT'S HEAD' CANDLE VASES THE FIRST GEORGE III, CIRCA 1775, BY MATTHEW BOULTON, THE SECOND PROBABLY 20TH CENTURY Both with reversible gadrooned nozzles, tapering ovoid bodies hung with laurel swags, the shoulders with goat's heads, on waisted spiral fluted socle bases and square stepped plinths terminating in ball feet 21.5cm high as candlesticks Literature: N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 333, figs. 332-333.The 'goat's head vase' is derived from a sketch illustrated in Boulton and Fothergill's pattern books preserved in the Birmingham City Archives (Pattern Book 1, p.171). The model was one of the most popular of the smaller vases and first appeared in 1769 when a Mrs Yeats ordered '1 pair of goat's head vauses light blue cheny or enamelled'. In the same year, Sir William Guise ordered a pair with Blue John bodies. Other buyers of goat's head vases include Lord Digby in 1774 and Lord Scarsdale in 1772, who paid £4.4s a pair. Some examples feature 'antique' medallions depicting the head of Alexander the Great, suspended from the rim of the vase. Condition Report: Generally good and structurally secure. As noted one vase is 18th century with gilt metal of a more yellow colour - old cracks and repairs to the blue john of both with some vacant areas to surface. The second probably 20th century with more `brassy' gilt metal and slightly different proportions to the cradle and socle. Note that there may be some mixing of 18th century and later metal parts. 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
CIRCLE OF WILLIAM HOGARTH (BRITISH 1697 - 1764) PORTRAIT OF GUSTAVUS HAMILTON, 2ND VISCOUNT BOYNE (1710 - 1746) Oil on canvas 51 x 36cm (20 x 14 in.)Provenance: The Collection of the Viscounts Boyne The Collection of Sir Oliver Lambart, Beauparc, Slane, Co. Meath, Ireland Sale, Sotheby's London, 1983Exhibited: Dublin, Gallery of Modern Art, Exhibition of Paintings from Irish Collections, 20 May - 25 August 1957The second son of the Hon. Frederick Hamilton (d. 1715) and Sophia Hamilton (d. 1748), Gustavus Hamilton succeeded his grandfather as the second Viscount Boyne in 1723. He was a Member of Parliament for Newport, Isle of Wight, between 1736 and 1741, and was invested as a Privy Counsellor in 1763. This picture is one of several early copies after Hogarth's original portrait, which is recorded in the Boyne collection. These copies are likely to have been executed under Hogarth's close supervision, by at least two or three members of his close circle, including Francis Hayman.Elizabeth Einberg discusses this picture in her catalogue, no. 118, pp.196-8, where she suggests that the present lot might be the copy referred to in footnote 3 of the entry. Condition Report: The canvas has been lined. Light craquelure throughout. There is also an area of flaking to the upper left framing edge (approx. 6cm). Stretcher marks visible. Rubbing and abrasions to the framing edges. One or two spots of surface dirt scattered throughout. Inspection under UV light reveals some light in-filling scattered throughout, but largely along the upper edge. Also with traces of a green cloudy varnish.Condition Report Disclaimer
AFTER GEORGE ROMNEY PORTRAITS OF GENERAL ALBERMARLE BERTIE, 9TH EARL OF LINDSAY; PEREGRINE BERTIE Oil on canvas, a pair Each inscribed with identifying inscription (verso) 36 x 27cm (14 x 10½ in.) (2) The original portrait of General Albermarle Bertie was sold by Christie's on 3 December 2014, lot 181. Condition Report: The canvases have not been lined, and are a little slack. Stretcher marks are visible. Craquelure throughout, but overall the paint surfaces appear stable. Some areas of over-painting are visible in a natural light. Some areas of paint wearing a little thin. Rubbing and abrasions to the framing edges. Some superficial surface scratching dirt throughout the canvases. Inspection under UV light reveals scattered retouching and in-filling throughout. Condition Report Disclaimer
CIRCLE OF MARY BEALE (BRITISH 1632 - 1697) PORTRAIT OF A LADY IN A MAUVE SILK DRESS Oil on canvas, in a painted cartouche 73 x 61cm (28½ x 24 in.) Condition Report: The canvas has been lined, cleaned and varnished. Some light craquelure scattered throughout. Some light, superficial surface scratches as well as rubbing and abrasions to the framing edges. Inspection under UV light reveals very light scattered retouching throughout, together with a heavy varnish. Overall the work appears to be in good restored condition. Condition Report Disclaimer
A PAIR OF FRENCH PATINATED AND GILT BRONZE FOUR LIGHT CANDELABRA IN THE MANNER OF FRANÇOIS RÉMOND, EARLY 19TH CENTURY Each with standing female term figure sporting a headdress and bearing twin scrolling foliate branches, the stepped square plinths with 'antique' masks 67cm high, bases 14.5cm wide Condition Report: Good, structurally secure with wear and tear consistent with age and use. There is wear to both the ormolu and the patinated surfaces. The nozzles and drip pans drilled for earlier wiring (now removed). Upper arms to both are associated with square branches, slightly different casting and thicker floral roundels, bases to both with slight distressing to surface which may indicate replacement work Condition Report Disclaimer
A MAHOGANY FOUR POSTER BED 20TH CENTURY, THE HANGINGS BY CHARLOTTE YORKE-LONG With a moulded canopy and turned front posts, hung with green and cream silk hangings 257cm high, 200cm wide, 212cm long Condition Report: Marks, knocks, scratches, abrasions consistent with age and use The headboard with marks and stains - would probably benefit from a re-cover The hangings and drapes appear in presentable order, some light marks consistent with age and use, The frame is solid and stable at time of report, it would need to be constructed properly for installation and all joints secured before use There is no tool to do up the hexagonal bolts, these can be tighten and loosened with a 'socket set' Visible timber elements polished in appearance, hidden rails are unpolished and designed to be hidden beneath aprons and skirtsThe mattress is included in the lot Please see additional images for visual reference to condition Condition Report Disclaimer
A GEORGE III PINE AND GESSO URN CIRCA 1800 AND LATER With mask mounts to the sides, suspended relief medallion, square base, later fitted as an electric table light 64cm high overall including current shade Condition Report: 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. Losses to mouldings throughout- small section replaced with wax or similar, drilled and fitted as a lamp, repairs to stem above base- visible joint sections to body With wear, marks, knocks and scratches as per age, handling, use, and cleaning. 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
FRENCH SCHOOL (18TH CENTURY) PORTRAIT OF A GENTLEMAN, POSSIBLY A SELF-PORTRAIT Pencil and coloured chalks 24 x 18cm (9¼ x 7 in.) Provenance: Day and Faber, London (as French School, circa 1740). Condition Report: Drawing : 24 x 18cm, framed: 35.5 x 31cmSome light discolouration to the buff coloured sheet, together with some brown spots of foxing and surface dirt scattered throughout. Light undulation to the sheet under the glazed frame. Overall the colours are good considering the age of the work.Unexamined out of glazed frame.Condition Report Disclaimer
ENGLISH SCHOOL (18TH CENTURY) PORTRAIT OF A GENTLEMAN, WEARING A BLUE COAT Oil on canvas, feigned oval 74 x 59cm (29 x 23 in.)Provenance: Bought by the current owner from a house in East Claydon, Buckinghamshire, in 1967 Condition Report: The canvas has been relined. Damages are present to the edges, mostly caused by the abrasions with the frame. UV light reveals a few retouches to the cheek and slight dotted restorations to the forehead of the sitter, and an unevenly applied cloudy varnish across the whole surface. Otherwise, the picture appears to be in good condition. Condition Report Disclaimer
A PAIR OF GILTWOOD ARMCHAIRS IN THE MANNER OF INCE AND MAYHEW, BY PHILIP BOORMAN FOR PHILIP ASTLEY- JONES Each with an oval padded back, scrolled arms and bowed, stop-fluted seat rails, upholstered in yellow embroidered silk, on tapering turned fluted legs 92cm high, 61cm wide, 51cm deep Condition Report: Good, structurally secure with very minor general wear and tear. There are very minor scuffs and chips to the carving, the upholstery is clean and tight. Essentially `as new' with a just very minor suggestions of light use. Condition Report Disclaimer
λ DICK SMYLY (20TH/21ST CENTURY) RED SQUIRREL Oil on canvas Signed and dated 03 (lower right) 51 x 40cm (20 x 15½ in.) Condition Report: The canvas has not been lined and is a little slack. Some light surface dirt throughout. Inspection under UV light reveals no evidence of restoration or repair. Overall the work appears to be in good, original condition. Condition Report Disclaimer
A GEORGE III GILT BRASS HEXAGONAL HALL LANTERN CIRCA 1800 AND LATER With scrolled supports, the anthemion clasps added, with later light fitting 98cm high (excluding chain), 46cm wide Condition Report: 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. With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Rubbing to gilding- some loose mounts, glass probably all replaced 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
λ CHRIS RIISAGER (BRITISH B. 1961) OBIDOS, THE TOWN WALL, PORTUGAL Oil on board Signed and titled (verso) 32.5 x 38.5cm (12¾ x 15 in.) Condition Report: Some very light surface dirt throughout. There is a small thumb print to the board at the lower right edge, however this appears to be the thumb print of the artist and most likely occurred during the work's conception. Inspection under UV light reveals no evidence of restoration or repair.Condition Report Disclaimer
Y A COLLECTION OF TREEN INCLUDING: A Victorian truncheon 40.5cm long Together with: a pair of early 19th century mahogany adjustable lamp stands, 23cm high; a paper knife utilising wood from London Bridge; a circular parquetry box and cover, utilising wood from HMS GIBRALTAR when demolished at Pembroke Dock in 1836, paper label to interior; assorted Coquilla nut pounces and castors; various light pulls in rosewood.
ENGLISH SCHOOL (18TH CENTURY) PORTRAIT OF A GENTLEMAN, WEARING A BROWN COAT Oil on canvas 74 x 61cm (29 x 24 in.) Condition Report: The canvas has been relined. Slight craquelure across which accentuates in the section of the hand. UV light reveals a a 3 cm ling retouch in the background to right of the sitter's head, and various retouches to the edges of the canvas, where there has been some paint loss caused by the relining. Otherwise, the picture appears to be in good condition and presents no further evident signs of restorations. Condition Report Disclaimer
THOMAS HUDSON (BRITISH 1701 - 1779) PORTRAIT OF A LADY WEARING A BLUE DRESS Oil on canvas 124 x 99cm (48¾ x 38¾ in.)Provenance: By repute from Fota House Sale, Christie's London, 3 May 1985, lot 119A Condition Report: The canvas has been lined. Light craquelure throughout, including to the sitter's head and neck. Some areas of paint loss along the lower edge, together with rubbing and abrasions to all of the framing edges. The paint surface however appears stable. There is an area of repair running from the upper left quadrant, diagonally along through the sitter's forehead, and up to the upper right corner, and this is visible in a raking light. Some minor surface scuffs and scratching throughout. Inspection under UV light reveals scattered retouching and in-filling throughout, including to the aforementioned area of repair. Also with traces of a green cloudy varnish.Country of origin: England Condition Report Disclaimer
CHRISTOPH LUDWIG AGRICOLA (GERMAN 1665 - 1719) AN EXOTIC BIRD ON A BRANCH Bodycolour 27 x 20cm (10½ x 7¾ in.) Provenance: From the collection of Roger Warner His sale, Christie's London, The Roger Warner Collection, 20 January 2009, lot 122 Condition Report: Unexamined out of glazed frame. The paper presents various undulations, most notably to the left edge. There a few superficial scratches, such as to the upper left and lower left corner, on the branch. A few small scratches are present to the right corner, which are thought very minor. In addition, there is visible layer of dirt across. Finally, there a few small dotted stains of white paint, such as near the leaves of the tree in the lower right corner. UV light reveals no evident signs of restoration. Condition Report Disclaimer
HIROSHI SUZUKI (JAPANESE, B.1961) SILVER BEAKER, 2011 Cylindrical form, alternating textured horizontal spiral Stamped with maker's symbol and SS 00, dated 2011, 999 for fine standard silver and with London hallmarks 8.5cm high Condition Report: In very good condition. A touch of light scratching to the base underside and inside. A little residue of a sticky label (dark) will clean right off.Condition Report Disclaimer
HIROSHI SUZUKI (JAPANESE, B.1961) SILVER BEAKER, 2007 Ovoid form, gently planished surface, with raised vertical waves and swirl Stamped with maker's symbol, 999 for fine standard silver, with London hallmarks 8.5cm high Condition Report: In very good condition. A touch of light scratching to the base underside. A little residue of a sticky label (dark) which will clean right off, to the underside and internally. Two pale marks to the interior which could be tarnish.Condition Report Disclaimer
A GEORGE III POLYCHROME DECORATED SERPENTINE SOFA LATE 18TH CENTURY The frame decorated with rosettes and oak leaf guilloche, upholstered in green buttoned cotton with five various loose cushions, on turned legs with brass castors 99cm high, 199cm wide, 80cm deep Provenance: Merle Oberon (d. 1979), sold Sotheby's, Los Angeles, 19 - 20 November 1973. Acquired from Rolleston Ltd, London, June 2008 Condition Report: Good, structurally secure with wear and tear consistent with age and use. There are the inevitable chips, wear and scuffing to the paint but in general it is very well preserved. The upholstery in good condition but would benefit from a light clean. Condition Report Disclaimer
Y A SHELL ENCRUSTED MIRROR LATE 20TH CENTURY 96cm high, 60cm wide Condition Report: Overall condition reflects this mirrors lack of great age and likely light use in a domestic setting, there are some small losses to some some shellsPlate clean and presentable as to be expectedSome dirt and marksPlease see additional images for visual reference to condition Condition Report Disclaimer
λ JULIAN BARROW (BRITISH 1939-2013) MILL NEAR ALNESS, ROSS-SHIRE Oil on canvas Signed (lower right); titled and dated 1991 to artist's label attached to stretcher (verso) 26 x 36cm (10 x 14 in.) Condition Report: The canvas has not been lined. Some light spots of surface dirt scattered throughout, as well as some very light discolouration to the sky however this is barely noticeable. Rubbing and abrasions to the framing edges. Inspection under UV light reveals no evidence of restoration or repair.Condition Report Disclaimer
FRENCH SCHOOL (19TH CENTURY) A STUDY OF TWO SHEEP Oil on canvas 27 x 35cm (10½ x 13¾ in.) Provenance: Bought in Paris in 1976. Condition Report: The canvas has been heavily relined. UV light reveals various restorations, most notably a fork shaped restoration, which starts from the lower edge and continues to the head of the sheep at the centre - such restoration is approx. 8 cm long. Further retouching is visible around the heads of the sheep, numerous dotted retouches are scattered in the background, and a 4 cm wide restoration is present to the upper left corner as well as slightly smaller one to the upper right corner. Finally, there a small scattered losses of paint to the lower edge and upper edge. Condition Report Disclaimer
A GEORGE III MAHOGANY SOFA ATTRIBUTED TO WILLIAM GOMM, CIRCA 1765 With an arched back and out turned arms, upholstered in tufted and brass studded blue wool cloth, with two bolster cushions, on square legs joined by stretchers 95cm high, 228cm wide, 86cm deep Provenance: Probably supplied after 1763 to Edward, 5th Lord Leigh, of Stoneleigh Park, Warwickshire. Sold Christie's, London, `Property of the Trustees of the Stoneleigh Settlement, The Executors of the 4th Lord Leigh and the Stoneleigh Abbey Preservation Trust Ltd', 15 - 16 October 1981, lot 94The sofa was likely to have been supplied to Edward, 5th Lord Leigh at Stoneleigh Park, Warwickshire around 1763, the year he came of age. In this period the firm of William Gomm & Son, cabinet-maker and upholsterer of Clerkenwell Close, London, were the principal suppliers of furniture at Stoneleigh Park; the commission from 12 May 1763 to October of the following year totalled a substantial £818 9s (G. Beard & C. Gilbert, Dictionary of English Furniture Makers 1660-1840, 1986, p. 350) and included as many as 183 assorted chairs, dressing-tables, clothes presses, chest on chest and a sideboard. All of high quality, the commission ranged from at least six `Exceeding fine Serpentine Commode Dressing Tables' to more sober pieces such as the sofa offered here, the Pembroke tables also sold from Stoneleigh Abbey at the same time, Christie's house sale, 15 October 1981, lot 127, and the set of ten parlour chairs, lot 99 (six sold again from the Collection of Christopher Gibbs, Clifton Hampden, Christie's house sale, 26 September 2000, lot 112). Condition Report: Good, structurally secure with wear and tear consistent with age and use. Some scuffing to the legs and stretchers. Modern shaped corner brackets to front angles to stabilise joints. The dark navy blue upholstery would benefit from a light clean but is undamaged.Condition Report Disclaimer
CIRCLE OF SIR PETER LELY (BRITISH 1618 - 1680) PORTRAIT OF SIR RICHARD BULSTRODE, IN ARMOUR Oil on canvas, oval Inscribed with the sitter's name (centre left); further information inscribed (verso) 74 x 62cm (29 x 24¼ in.) Provenance: Sale, Christie's, London, 15 July 1988, lot 73 (as a pair) Condition Report: The canvas has been lined, cleaned and varnished. Light, superficial surface scratches throughout. Some scattered craquelure throughout the canvas. Rubbing and abrasions to the framing edges. Inspection under UV light reveals some scattered retouching together with a green cloudy varnish.Please note that Dreweatts cannot be held responsible for damage to frames and therefore is unable to comment on condition.Condition Report Disclaimer
λ RUPERT SPIRA (BRITISH, B.1960) TWO BLUE-GLAZED CERAMIC POTS 36cm high (2)Saleroom Notice: Please note that the online images differ from those in the printed catalogue Condition Report: In good condition, the wider vase has a small firing fissure to the base, in the making. The slimer vase's glaze has some random long craze lines, again in the making/firing.To clarify - the perception in the current catalogue image is off, these vases are the same height, and the glaze is a more turquoise/aqua tone depending on the light source.Please see additional images.Condition Report Disclaimer
A RED PAINTED ASH LAMINATE PRINCE OF WALES INVESTITURE CHAIR DESIGNED BY LORD SNOWDON IN 1969 AND MANUFACTURED BY REMPLOY With motto 'Ich Dien' and Prince of Wales feathers in gilt, with original red covered seats 30 ¾ in. (78 cm.) high; 21 ½ in. (54.5 cm.) wide; 20 in. (51 cm.) deep The Investiture of the Prince of Wales in 1969 was Lord Snowdon's crowning achievement. He was invited by HM The Queen to oversee the ceremony - as a Welshman, member of the Royal family and foremost a designer he was an inspired choice and was created Constable of Caernarvon Castle for the ceremony. Working with his friend Carl Toms (who had been mentored by Oliver Messel), and John Pound, the brutalist designer from the Ministry of Works, the designs for the ceremony were ground-breaking and celebrated both modernity and antiquity, in a time when Welsh independence and its place within the Union was at risk. The Investiture was a triumph and the chairs Snowdon designed for the event have proven a notable legacy, strikingly modern in form and manufactured at the Remploy factory in Bridgend. When asked about them Snowdon replied 'I am not a modernist for the sake of being modern. I just happen to be alive in 1969'. Lord Snowdon's own pair of investiture chairs were sold Christie's, London, 24 September 2020, lot 92 (£43,750 including premium). Condition Report: Presentable order and apperance overall, some small marks, knocks, scuffs, scratches abrasions consistent with age and useSome knocks and nicks around the legs, some light marks to the upholsteryOverall joints entirely solid and stablePlease see additional images for visual reference to condition and appearance Condition Report Disclaimer
A PAIR OF REGENCY GILT BRONZE TWIN LIGHT GRIFFIN CANDELABRA EARLY 19TH CENTURY, AFTER THE DESIGN BY SIR WILLIAM CHAMBERS Each with a berried finial, the griffin's head turned slightly 36cm high, bases 16.5cm wide The earliest version of a design for a griffin candelabra dates from the period 1765 - 71 and was drawn by Chambers' assistant John Yenn (d.1821) and is now in the collection of the Victoria and Albert Museum (E.5029.1910). Versions were executed in ormolu most probably by Diederich Nicolaus Anderson (d.1767) and these are possibly the pairs at Blenheim Palace, Oxfordshire, and Hinton Ampner, Hants. The design was refined and then published in Chambers' Treatise on the Decorative Parts of Civil Architecture, 1791. Chambers was almost certainly inspired by the seated figure of a sphinx seen on a sarcophagus while on his Roman tour of 1750-54. In the meantime Chambers lent a griffin candelabra to Matthew Boulton, perhaps regarding him as the natural successor to Anderson and which might have provided the inspiration for Boulton's own griffin vases. He also gave a pearwood model to Josiah Wedgwood, probably the prototype for the versions in jasper and basalt that started to appear around 1771, Wedgwood's own comments to his associate Thomas Bentley indicate that the design or model was given by Chambers. Condition Report: Good, structurally secure, with slight general wear and tear. Some wear and abrasions to the gilding. Both would benefit from a clean. Condition Report Disclaimer
FRENCH SCHOOL (CIRCA 1800) PORTRAIT OF A GENTLEMAN IN HIS LIBRARY Oil on canvas 103 x 78cm (40½ x 30½ in.) Condition Report: The canvas has been relined. UV light reveals extensive retouching across, such as numerous scattered restorations on the visage of the sitter, and as a 2cm horizontal restoration to the start if the nose. Various vertical restorations are also present on the jacket, such retouching are of of about 8 cm in length. Finally, further retouching is present to the desk and items on it. Further retouching is also present to the upper right corner, and an unevenly applied varnish is scattered across. Condition Report Disclaimer
JOHN THOMAS SETON (BRITISH 1738 - 1806) PORTRAIT OF MR AND MRS JOSEPH CHAMPION, WITH AN ELEPHANT IN THE LANDSCAPE BEYOND Oil on canvas 88 x 69cm (34½ x 27 in.) Painted in Calcutta, circa 1780. Provenance: The Collection of William Drummond of Hawthornden, near Edinburgh The Collection of Roger Warner Burford, acquired by the present owner in 1977 Literature: M. Archer, India and British Portraiture 1770-1825, p.108-109, ill. plate 63 John Thomas Seton (circa 1735 - circa 1806) was a Scottish painter who travelled to India in 1776. Prior to this, Seton was taught in London by Francis Hayman, where he also studied at the St Martin's Academy. In his twenties, Seton went on the Grand Tour to Italy, travelling to Rome where he helped to buy paintings for Lord Bute's collection. On his return, he settled in Edinburgh where he painted the portraits of Scotland's high society figures of the day. It is unclear what the exact motivations were for Seton to go to India, but the Scottish community in India was substantial, and in her book, Mildred Butler suggests Seton may have believed he was going to a home from home. At this time Tilly Kettle, was achieving notable success in India. Between 1761 and 1772, Seton exhibited at the Society of Artists, which means he was almost certainly familiar with Tilly Kettle's portrait of the Nawab of Arcot and his sons, which was exhibited in 1771. Bearing this in mind, a move to the continent must have seemed a promising gamble for an struggling artist working in Britain such as Seton. Leave was granted to Seton in November 1775, and by August 1776, Seton had arrived in Calcutta, about five months after Kettle had left. Seton's reputation grew quickly, and in 1780, he was commissioned to paint the present lot; a wedding portrait of Joseph Champion and his wife, Ann Forbes. The pair are depicted sitting on a bench, which opens on to the Indian landscape, where an elephant can be seen with his rider in the background to the left. The wedding took place on 12 May, and both Mr and Mrs Champion are depicted holding palm-leaf fans to combat the hot weather. The portrait must have pleased the Champions as three years later Joseph commissioned to further, half-length, portraits of himself and his wife (these were sold at Christie's, 17 March 1978). Champion was a company servant who had been posted to India in 1778. A year later he was made Paymaster to the Cavalry Brigade, and the following year, in 1780, he and Ann were married. Champion showed a keen interest in Persian literature, publishing three books on the subject; Poems Imitated from the Persian; The Poems of Ferdosi, and Essays Characteristic of Persian Poetry. These works were all published in India, and demonstrate Champion's enthusiasm for and knowledge of Persian poets and poetry, in contrast to works of Classical Greek, Roman and English poets which were often the focus of the Western world. An anonymous reviewer in The Monthly Review, August 1790, described Champion as the 'Persian Homer'. (New Catalogue, pp.329-31). In 1784, Champion became a member of the Asiatic Society of Bengal. He also wrote his own poetry; in 1786 he published a compilation entitled Poems addressed to Mrs Champion, by her affectionate husband, dedicated to his wife, who was described as 'the most handsomest woman that ever left Europe of India' ('Obituary of Considerable Persons; with Biographical Anecdotes', The Gentleman's Magazine 61, June, 1792, p.576). Ann died in October 1791, at the age of twenty eight, and this seems to have induced Joseph to suffer a mental breakdown. In 1792, after sailing back to England, the Calcutta directors of the company wrote to the Court of Directors asking for a subsistence allowance for him during the 'suspension...of his mental facilities' and no loss of rank should he return to his duties (Fort William XI, p. 470). Champion appears not to have returned to India, and according to pension books at the India Office Library in London, the firm continued to pay an allowance to his guardians until his death, which is believed to have been around 1813. Condition Report: The canvas has been lined. Some very light surface dirt. Light craquelure throughout. There is some evidence of very light paint loss scattered throughout, including to the sitters' faces, however this is barely noticeable and is the paint surface now appears to be stable. Some small patches of overpaint are visible in a raking light, including to the tree area above the elephant. Inspection under UV light reveals scattered retouching throughout, as well as a heavy varnish. Country of origin: IndiaCondition Report Disclaimer
Y AFTER SIR THOMAS LAWRENCE HENRY, 10TH EARL AND 1ST MARQUESS OF EXETER, HIS WIFE SARAH AND DAUGHTER LADY SOPHIA CECIL Watercolour on ivory, rectangle 18 x 12cm (7 x 4½ in.)After the original portrait no in Burghley House, Lincolnshire.Please note, Dreweatts have applied for an ivory exemption certificate for this item. Reference number: 6XTMRB8N Condition Report: The colours have faded, and are rubbed in several areas throughout. The ivory sheet with several areas of undulation under the glazed frame. The frame has lost its backing board and therefore the back of the ivory is exposed verso. No obvious cracks have been identified. One or two light spots of surface dirt. Unexamined out of glazed frame.Condition Report Disclaimer
AFTER ANTON RAPHAEL MENGS SELF-PORTRAIT Watercolour and bodycolour Bears inscription 'Rafael Mengs / Pittore / Fatto di se stesso' (verso) 13 x 10cm (5 x 3¾ in.) Provenance: James Harris, 1st Earl of Malmesbury Sale, Christie's, London, 13 July 1984, lot 104 Literature: S. Roettgen, The Digital Catalogue Raisonné of Anton Raphael Mengs, 279/WK_05, as a copy After the painting in The Walker Art Gallery, Scotland Condition Report: The sheet has been laid down at the corners to a sheet of metal. The extreme edges with some wear commensurate with age. The left edge with some more substantial wear and small areas of loss. The lower edge with a small tear (approx. 2.5cm). The colours are generally good. There is some discolouration to the grey background area. Also with some spots of surface dirt, again this is mainly to the background areas. Some light craquelure scattered within the red pigment. Country of origin: Scotland (UK)Condition Report Disclaimer
HIROSHI SUZUKI (JAPANESE, B.1961) SILVER BEAKER, 2007 Cylindrical form, gently planished surface, with raised horizontal waves Stamped with maker's symbol, 999 for fine standard silver, with London hallmarks 8.5cm high Condition Report: In very good condition. A touch of light scratching to the base underside, and the odd light scratch to the body. A little dark rectangle of a sticky label which will clean (perhaps will need a professional clean) right off.Condition Report Disclaimer
Poetry.An Annual Review of Poetry: 1917. London: Constable and Company, 1917, pencil note to front free endpaper, very light spotting to half-title, final few leaves and edges of text block, original boards, age-toning, short splits to head and foot of joints;Elton (Oliver). Lascelles Abercrombie, 1881-1938. From the Proceedings of the British Academy, Volume XXV. London: Humphrey Milford, no date, portrait frontis, original printed wrappers with "J. Redwood Anderson, with the writer's compliments" in ink to upper cover;Abercrombie (Lascelles). Interludes and Poems. London: John Lane, The Bodley Head, 1908, signed by the author on front free endpaper, endpapers browned, faint foxing to preliminaries and final leaves, original cloth with remnants of torn dust jacket;Sitwell (Edith, editor). Wheels. An Anthology of Verse: 1917. Oxford: B. H. Blackwell, 1917, 'for review' in blind to title-page, original printed boards, age-toning, extremities a little rubbed;Stephens (James). Songs from the Clay. London: Macmillan, 1915, strip of toning to front free endpaper and final blank leaf, original boards, dust jacket, shallow chipping to edges, spine folds a little worn;Davies (W.H.) and Nicholson (William, illustrator). The Hour of Magic and other poems. Jonathan Cape, 1922, illustrations by William Nicholson, library blind-stamp to title-page and two other leaves, original boards with printed title label, boards with some dust-staining, spine heavily toned;Twenty-four others.(29)
Raffles (Thomas Stamford). The History of Java.London: Black, Parbury, and Allen, and John Murray, 1817, first edition, two quarto volumes, half-titles, plates and maps as called for, including ten hand-coloured aquatints and large folding engraved map with outline hand-colouring, engraved vingettes, 1p. advertisements at rear of vol. 2, light scattered spotting in both volumes (mainly to margins), folding map with small closed tear, contemporary half calf gilt, marbled boards and edges, a little rubbed/worn, bookplate in vol.1 , vol. 2 endpapers renewed. One of 900 copies.Provenance: The Property of Sir Brooke Boothby, ex Fonmon Castle.
Ackermann (R[udolph], publisher).A History of the University of Oxford, Its Colleges, Halls, and Public Buildings.London: R. Ackermann, 1814, first edition, two large quarto volumes, half-titles, list of subscribers, engraved portrait of Lord Grenville, sixty-four hand-coloured aquatint plates after Pugin, Mackenzie, Westall, Nash, and others, seventeen stipple-engraved costume plates, and thirty-three hand-coloured founders plates, very occasional light offsetting onto text, small repair to Clarendon Printing House plate, modern half morocco gilt, top edges gilt, one corner very lightly bumped. Fine copies.An excellent set which includes the plates of the college founders that are often omitted. Some plates watermarked 1812. The list of subscribers is in the first state, one plate is in the first state and the others are second state, [Tooley 5].
Military. [Booth (John)]. The Battle of Waterloo... By a Near Observer. London: J. Booth and T. Egerton, 1815, fifth edition, two engraved folding maps (one hand-coloured), two engraved folding plates, second map with large closed tear, plates foxed, bookplate and ink note on front pastedown, contemporary half calf, marbled boards, rebacked retaining some of original back-strip, inner hinges cracked, together with: Three works on the 85th King's Light Infantry and two other military works. (6)
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