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Los 190
PERSIAN SCHOOL (20TH CENTURY), ATTRIBUTED TO HOSSEIN QOLLAR AGHASI SOLEIMAN SEATED CENTRALLY, FLANKED BY ROSTAM TO THE LEFT AND THE WAZIR TO THE RIGHT, WITH COURTIERS IN ATTENDANCE Oil on canvas Signed 'Hossein Qollar Aghasi' 139 x 118 cm This beautiful painting is a wonderful example of the qaveh-khaneh (coffee-house) school of painting of Iran. These works were very popular during the early twentieth century and beyond. This particular work is signed by Hossein Qollar Aghasi (1902-1966), who was one of the most well-known of these artists and highly collectible. He was known for his mural frescoes, which were based on religious traditions and stories from the national epic of the Shahnameh. Soleiman is seated within a fantastical landscape of all sorts of birds and mythological creatures Condition Report: The painting presents an undulated canvas, a thick layer of dirt, and various superficial scratches across the whole surface. More prominent scratches, where there are evident losses of paint, are present above the five page boys on the left border, on the head of the man with a feathered helmet, on the forehead of the man sitting at the centre, to the left of the man with a yellow robe to the right of the latter, and above and to left of the daemon at the right border. UV light reveals small, scattered retouches across in the background area. The most evident ones are the retouches on the eyebrows of the sitting man at the centre, and various scattered restorations to the right of the man in the yellow robe, to the right of the sitting man. To conclude, various damages are present at the edges of the canvas, where there have been extensive abrasions. Condition Report Disclaimer
Los 16
STUDIO OF MARTIN VAN MEYTENS II (SWEDISH 1695-1770) PORTRAIT OF KAISER FRANZ JOSEPH I; AND KAISERIN MARIA THERESA Oil on canvas, a pair Each 146 x 116cm (57¼ x 45½ in.) (2) Provenance: Sale, Dorotheum, Kunstauktion Alte Meister Auktion 1611, 14 March 1991, lot 74, as Attributed to Martin van Meytens II Condition Report: Portrait of Kaiser Franz Joseph I The canvas is relined and presents an evenly applied varnish across the surface. UV light reveals various retouches across the whole surface, most evident are on the head of the sitter, where sections of the forehead, nose, and chin fluoresce. In addition, further retouches are present on the hands, and there is a patch of about 7 cm in width to the right of the sitter's head. To conclude, a few retouches are also present on the dress, in most part on the edge of the cloak on the left. Portrait of Kaisern Maria The canvas is relined and presents a subtle craquelure across the whole surface which is though more visible on the chest and neck of the sitter. UV light reveals various retouching in the background area, most evident on the chair and curtain to the right. To conclude, there has been various retouching on the visage of the sitter, but mostly on the neck and chest, where infills of the craquelure cover most of the area. Framed measurements Each 174 c 143.5 cm Condition Report Disclaimer
Los 74
AN UPHOLSTERED FOUR SEAT SOFA MODERN 82cm high, 308cm wide, 95cm deep Condition Report: Good, structurally secure with minor general wear and tear consistent with age and light use. The upholstery is mostly clean save for some localised light marks that would likely clean and a few darker spots that may not come out. Legs clean and secure.Height to top of front seat rail - 33cm, height of seat inc' cushions 52cm.Condition Report Disclaimer
Los 214
λ  DANIEL SILVER (BRITISH B. 1972) UNTITLED 2009 Marble and painted wood Height 155cm (61in.)Provenance: Galleria Suzy Shammah, Milan Acquired from the above in 2009Working chiefly in sculpture, Daniel Silver filters his classical and modernist influences through a unique formal language. He is represented by Frith Street Gallery; his work has been exhibited at Saatchi Gallery, Whitechapel Gallery, and the State Hermitage Museum. At points, Silver's figurative sculptures recall the elegant busts of antiquity. Elsewhere, their urgent textures recall the immediacy of such artists as Jacob Epstein and Henri Gaudier-Brzeska. Silver's investigations into the psychology of representing the human body, especially the head, are often marked by a fragmentary quality. The present work resists the identification of its subject, betraying only as much as it conceals. It reflects a perennial concern of Silver's - the Freudian unconscious - in suggesting the limitations of portraiture. In its rough-hewn state, the sculpture recalls such precedents as Michelangelo's Atlas Slave: it asks the viewer whether the artist truly controls his medium, or as Leibniz argues, merely realises the marble's innate potential. Condition Report: Light surface dirt throughout including a small area of white marks to the lower section of the trunk base. May benefit from a light clean. Some evidence of scratches and abrasions to the base. The reverse of the trunk plinth has evidence of cracking with some associated paint loss. Otherwise appears to be in original condition. Condition Report Disclaimer
Los 174
λ WALEAD BESHTY (BRITISH B. 1976) NEW YORK, NEW YORK, 2006 Mixed media sculpture (24 karat gold, steel, nickel and acrylic) Height 132cm (51¾in.) From an edition of 3. Provenance: Wallspace, New York Private collection, New York Sale, Phillips de Pury, New York, 15 May 2009, lot 103 Condition Report: Light surface dirt throughout. Some surface scratches to the gold base, most notable surrounding the base of the pointed structure. Condition Report Disclaimer
Los 150
λ DIOGO PIMENTÃO (PORTUGUESE B. 1973) FASCIA (STRUCTURE 40), 2013 Graphite on paper Signed, titled and dated 2013 (verso) 159 x 119.5cm (62½ x 47 in.) UnframedProvenance: Yvon Lambert, Paris Acquired from the above in 2013 The Portuguese artist Diogo Pimentão usually restricts his practice to essential drawing materials: pencil and paper. Pimentão's solo exhibitions have been held at MACE, IMMA, and the Yvon Lambert Gallery; his work can be found in the collections of the Centre Pompidou, FRAC Normandie-Rouen, and Thaddeus Ropac, Salzburg. The artist creates works of apparent simplicity that decorate and define the spaces they inhabit. However, Pimentão's is not the unvarnished minimalism of Frank Stella, say, instead running contrary to the principle 'what you see is what you see'. Upon approach, the dark rectangles of Fascia resolve themselves into a cascade of metallic lines, as the light catches strains of graphite. Indeed, the picture's title refers to subcutaneous tissue, the fibres of which are suggested by Pimentão's evocative mark-making. Ultimately, this polyptych elevates Pimentão's simple medium to an almost spiritual experience, reflecting his reverence for the materiality of his work.
Los 29
NEAPOLITAN SCHOOL (17TH CENTURY) SCENES FROM THE LIFE OF JOSEPH Oil on canvas, a pair Each 112 x 145cm (44 x 57 in.) (2) Condition Report: The first canvas: The canvas has been relined and presents an unevenly applied varnish across the whole surface. The painting presents a 2cm wide vertical restoration which crosses the whole painting. Such repair might be consequence of a previous tear caused by the folding in half of the painting. In addition, various retouches are scattered across, most evident is 7 cm 'L' shaped restoration to the left border, and 4 cm patch next to the right bull. To conclude a fine craquelure is scattered across, and a small loss of paint is present near the right corner. Second canvas: The canvas has been relined and, just as its pair, presents a vertical line of retouching at the centre. In this case, however, the restoration line is thinner, especially in the bottom section. UV light reveals an unevenly applied varnish across the whole surface, and a few scattered retouches in the background, especially near the borders and the bottom right corner. The figures, however, present hardly any retouching. Condition Report Disclaimer
Los 161
λ  GILLIAN CARNEGIE (BRITISH B. 1971) UNTITLED Oil on board Signed twice and dated 1998 (verso) 32 x 23cm (12½ x 9 in.) Unframed Provenance: Sale, Christie's, New York, Post War and Contemporary Art, 14 November 2007, lot 347 Working in the realist tradition, Gillian Carnegie is a consummate technician in oils. A Turner Prize nominee, Carnegie has received solo exhibitions at Andrea Rosen Gallery, New York, Cabinet Gallery, London, and the Douglas Hyde Gallery, Dublin. The artist has experimented with patterned abstraction, but is better known for her tonal landscapes, still lives, and nude snapshots. Carnegie's figure paintings recall the graceful women of classical statuary, such as Sleeping Hermaphroditus, and related Old Master pictures including the Rokeby Venus, while also channelling a distinctly contemporary impulse in their unaffected intimacy. The artist's restrained palette foregrounds the play of light over flesh, which allows Carnegie to showcase her technical prowess. Her deft modelling of form is complemented by the close-cropped framing of her subjects, which gives the impression of spontaneous authenticity. In Untitled, Carnegie renders planes and shapes with a sculptural, monumental quality, as they are thrown into relief by smooth blends and soft shadows. Thus does Carnegie pedestalise the nude without idealising its form, honouring the human body with progressive verve. Condition Report: Other than some small losses of paint near the edges of the canvas, the painting is in good condition Condition Report Disclaimer
Los 13
NICOLAES MAES (DUTCH 1634-1693) PORTRAIT OF COLONEL RUPERT BRIDGE IN ARMOUR, WITH A BLACK PAGEBOY Oil on canvas 121 x 97cm (47½ x 38 in.) Provenance: Sale, Christie's, London, Important English Pictures, 22 November 1985, lot 97A Sale, Dorotheum, Kunstauktion 1631 Alte Meister, 7 November 1991, lot 107 Condition Report: The canvas has been relined. UV light reveals an unevenly applied varnish, which, because its thickness in some parts, makes the analysis of the retouching difficult. Nevertheless, small white dotter retouches are present on the visage of the sitter, specifically one on the nose, and a few more on the forehead. In addition, more, yet small, retouches are present in the background areas. To conclude, a subtle craquelure covers the whole surface, and very few retouches fluoresce under UV. Condition Report Disclaimer
Los 117
λ FRIEDRICH KUNATH (GERMAN B. 1974) ALL THE SLEEVES ARE BROWN AND THE TIE IS GREY (CALIFORNIA DREAMING), 2011 Charcoal, Indian ink, lacquer and watercolour on canvas 247 x 226cm (97 x 88¾ in.) Unframed Provenance: White Cube, London Acquired from the above in 2011 Exhibited: London, White Cube, Friedrich Kunath, The Most Beautiful World in the World15 April - 4 June 2011 German-born Friedrich Kunath has equal recourse to popular and high culture in his tragicomic works. Kunath has exhibited at Art Basel, Modern Art Oxford, and White Cube, London. Often surreal, Kunath's works construct and inhabit universes of bright colour and forbidding black, inspiring hope as much as they threaten the viewer with loneliness. Characteristically, The sleeves are brown and the tie is grey features a solitary figure lost at sea, a scene infused with Romantic sensibilities. The picture draws its title from the celebrated refrain of California Dreamin' - 'All the leaves are brown / And the sky is grey' - with slight modifications, reproduced in cursive text on the work itself. Kunath has updated the song's autumnal vocabulary as if to evoke notions of oppressive corporate uniformity. The artist's relocation to Los Angeles from East Germany may have informed this yearning for a better, brighter life, though the insistent pathos of his work suggests this dream was never fully realised - perhaps the grass is, after all, always greener on the other side. Condition Report: The canvas is very fine and slack on the stretcher resulting in some areas of rippling, noticeable in a raking light. There is one area to the centre of the lower half of the composition with a 10cm line of indentation and associated undulation to the canvas. Otherwise, the work appears to be in good original condition.Condition Report Disclaimer
Los 77
A NORTH ITALIAN EBONISED SIDE TABLE POSSIBLY MILAN, 19TH CENTURY with a moulded top and conforming frieze on square tapering legs 89cm high, 179cm wide, 56cm deep Provenance: Purchased: Botticelli Antichita, via Maggio, Florence Condition Report: Generally good, structurally secure with general wear and tear, light scratches, dents and marks and shrinkage cracks due to age and use. There is very shrinkage and splitting, some constructional, to the ebonised veneer on the table top, rubbing to the ebonised decoration only visible under a strong light, and a small scrape to the front surface of front left leg which would likely polish out. Minor scuffs to legs and feet. Small signs of old worm. Condition Report Disclaimer
Los 12
SPANISH SCHOOL (17TH CENTURY) PORTRAIT OF A LADY WITH SHACKLE OR CHAIN AT HER ARM Oil on canvas 102 x 73cm (40 x 28½ in.) Provenance: Sale, Dorotheum, 15 March 1990, lot 123, as School of Alonso Sanchez Coello The curious inclusion of handcuffs on the sitter's left arm is likely to indicate that this is a marriage portrait. Perhaps playing on the Spanish words esposa (wife) and esposas (handcuffs), deriving from the Latin spondere (to bind, pledge or promise), the symbol denotes the sitter's commitment to the indissoluble marital bond. The clothing and jewellery suggest the portrait was probably painted in the late 17th century. Prominent bow-knot (lazo) brooches worn in the centre of the chest, such as the one in the portrait, were in vogue on the Iberian peninsula from the mid seventeenth century. A close example is the gold and emerald encrusted pendant displayed at the V&A (M.138-1975). For a further study on jewels in Spain see: Muller, Priscilla E. 2012. Jewels in Spain, 1500-1800. [New York, N.Y.]: Hispanic Society of America: Centro de Estudios Europa Hispánica : Center for Spain in America, c2012 Condition Report: The canvas has been heavily relined and presents an uneven surface across. The painting is covered by a thick and yellowing varnish which renders the analysis of its condition difficult. Nevertheless, under the varnish there seems to be detailed infilling across the whole surface, which is most noticeable in the background area, where the canvas has suffered losses of superficial paint, as the surface does not appear smooth. UV light reveals a 4 cm scratch on the sitter's right sleeve, where there seems to be added white paint; a 4cm long retouching, always with white paint, at the centre of the handcuff; two lines of infilling of about 6 cm each in the bottom left corner; a small, dotted retouch on the sitter's left eye, and a few dotted, yet minor retouches in the background area. To conclude, a thin craquelure appears on the surface, most evident on the sitter's head, and a small hole is present in the lower section of the painting. Condition Report Disclaimer
Los 148
λ DIOGO PIMENTÃO (PORTUGUESE B. 1973) FASCIA (STRUCTURE 35), 2013 Graphite on paper Signed, titled and dated 2013 (verso) 159 x 119.5cm (62½ x 47 in.) Unframed Provenance: Yvon Lambert, Paris Acquired from the above in 2013The Portuguese artist Diogo Pimentão usually restricts his practice to essential drawing materials: pencil and paper. Pimentão's solo exhibitions have been held at MACE, IMMA, and the Yvon Lambert Gallery; his work can be found in the collections of the Centre Pompidou, FRAC Normandie-Rouen, and Thaddeus Ropac, Salzburg. The artist creates works of apparent simplicity that decorate and define the spaces they inhabit. However, Pimentão's is not the unvarnished minimalism of Frank Stella, say, instead running contrary to the principle 'what you see is what you see'. Upon approach, the dark rectangles of Fascia resolve themselves into a cascade of metallic lines, as the light catches strains of graphite. Indeed, the picture's title refers to subcutaneous tissue, the fibres of which are suggested by Pimentão's evocative mark-making. Ultimately, this polyptych elevates Pimentão's simple medium to an almost spiritual experience, reflecting his reverence for the materiality of his work. Condition Report: Apart from some light scattered surface dirt, this work appears to be in good original condition.Condition Report Disclaimer
Los 187
MAISON BAGUES; A PAIR OF ROCK CRYSTAL, CUT GLASS AND GILT METAL WALL LIGHTS 20TH CENTURY Each with Bagues label, and with parrot on urn decoration within scrolling three light frame 48cm high overall Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. One parrot with broken tail and lacking section of glass- two nozzles with some damages, some incomplete glass hangings and raised and missing applied metal mounts 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
Los 114
A PAIR OF FRENCH EMPIRE GILT AND PATINATED BRONZE THREE LIGHT CANDELABRA EARLY 19TH CENTURY Each with standing winged female figure of Nike, with urn supporting two scroll branches chased with leaves and ferns, on stepped square plinths applied with torches and ribands, the corners mounted with lion monopodia 57.5cm high, bases 12cm wide
Los 99
TOM SACHS (AMERICAN B. 1966) UNTITLED (9MM PISTOL) Mixed media Signed twice with initials, inscribed, titled and dated 2004 Height inc. base 26.5cm (10¼in.) Provenance: Sperone Westwater, New York Acquired from the above in 2006The internationally renowned artist Tom Sachs has courted controversy for three decades since the display of Hello Kitty Nativity at Barneys New York. Sachs has exhibited at MoMA, the Centre Pompidou, and Mary Boone; he is represented by Thaddeus Ropac and Tomio Koyama Gallery, among others. The artist has also collaborated with Nike to produce shoes that relate to his enduring fascination with space travel and moon landings. The works that accompanied Sachs's rise to prominence in the 1990s, such as Hermès Hand Grenade, married luxury and violence. Though these interests remain prominent in Sachs's œuvre, they begin to diverge: increasingly, high fashion is paired with popular consumer culture, while symbols of aggression are filtered through a hands-on creative process. It is in this vein that the present work embraces postmodern bricolage, literally pedestalising a pistol, which Sachs first improvised in a crude but functional form in 1995. Far from a simple endorsement of the Second Amendment, the mixed media composition interrogates gun culture and the status accorded to these instruments of violence. Few artists are able to sustain such incisive scrutiny of modern culture - fewer still with Sachs's trademark irreverence. Condition Report: Some pitting to the silver base. Glue residue and imperfections to the 'gun', most of which would have been consistent with the original condition. Apart from some light surface dirt, the work is in good original condition.Condition Report Disclaimer
Los 145
ANTHONY PEARSON (AMERICAN B. 1969) UNTITLED (3 PART FLARE) Three C-prints, mounted to acrylic in artist's frame Two signed with initials and dated 08 (verso) Overall 200.5 x 160.5cm (78¾ x 63 in.)Executed in 2008. This work is unique. Provenance: Marianne Boesky Gallery, New York Acquired from the above in 2008 Working in his native Los Angeles, Anthony Pearson's contemplative, understated practice traverses several media. He has been the subject of solo shows at Contemporary Art Museum, St. Louis, and Midway Contemporary Art, Minneapolis; his work is in the permanent collections of the Hammer Museum and the Art Institute of Chicago. Pearson's trademark experimentation with materials, especially printing processes, is exemplified by Untitled (Three Part Flare). The brooding, tenebrous quality of these 'flares' has been compared to June Gloom (See Jonathan Griffin, 'Anthony Pearson: The Man Who Wasn't There', 2013), as the overcast skies of Southern California mask the sun. Indeed, it is striking how closely these chromogenic prints resemble a natural phenomenon, as they were created simply by light leaking through the camera shutter. This impressive triptych is all the more striking for its monochromatic simplicity - these are technically colour photographs. Ultimately, these works are the product of a fascinating generative process, which only enhances their strong decorative appeal.
Los 4
WALLERANT VAILLANT (DUTCH 1623-1677) PORTRAIT OF A YOUNG WOMAN IN WHITE DRESS AND GREEN SHAWL Oil on canvas Signed and dated `W. Vaillant F. 1671' (on basin, lower left) 75 x 61cm (29½ x 24 in.) Provenance: Johnny van Haeften Sale, Dorotheum, Vienna, 6th December 1990, lot 153Literature: J.G.C.A. Briels, Vlaamse schilders en de dageraad van Hollands Gouden Eeuw, 1585-1630, Antwerp, 1997, p.49, illustrated Present picture listed in archives of RKD as no. 132496 (As Wallerant Vaillant) Condition Report: The canvas has been heavily relined and presents an unevenly applied varnish across the whole surface. UV light reveals a few scattered retouches in the background and on the visage of the sitter, where small restorations are applied above the mouth, on the nose, and forehead. Further small restorations are present on the blue cloth of the dress, both on the right and left side, and on the right arm. To conclude, a subtle craquelure is present, which is most noticeable on the visage of the sitter. Condition Report Disclaimer
Los 103
A FRENCH ORMOLU MOUNTED AMARANTH AND PARTRIDGE WOOD CENTRE TABLE AFTER THE MODEL BY ADAM WEISWEILER, POSSIBLY BY HENRY DASSON, CIRCA 1885 With inset Fleur de Pêcher marble top above a frieze with panels of ribbon-tied floral swags, the long sides with tablets centred by sphinx-supported espagnolettes and with a drawer to one side, on four caryatid and square tapering supports hung with floral swags, joined by interlaced, beaded stretchers centred by a circular basket, on tapering spiral fluted legs and toupie feet 76cm high, 86cm wide, 49cm deep Provenance: Purchased Ouaiss Antiquites, Paris The table corresponds to a celebrated pattern invented by Adam Weisweiler (1744 - 1820) delivered in 1784 by the famous Parisian marchand-mercier Dominique Daguerre to the Garde-Meuble de la Couronne to be placed in Marie-Antoinette's cabinet intérieur at Château de Saint-Cloud. After the Revolution the table was discovered in a marchand's shop on the Quai Voltaire in 1840 by the Prince de Beauvau (d. 1864). The year after his death it was acquired at auction by the Empress Eugénie, an avid collector of Louis XVI decorations, and took its place in her salon bleu at the Tuileries. In the last quarter of the 19th century the influence of Marie Antoinette once again became pre-eminent in fashionable circles and saw a revival of the most stylish and original designs from the late 18th century. Among the most prominent Parisian ébénistes who specialized in such meubles de style were Henry Dasson, Alfred Beurdeley, François Linke, and Paul Sormani. Related tables by François Linke were sold anonymously Christie's London, 9 June 2014, lots 5 (£46,250 including premium) and 6 (£57,500 including premium). Another by Henry Dasson featuring Japanese lacquer panels and with the same mounts as the present lot was recently on the London art market. Condition Report: Good condition, structurally secure and with minor general wear and tear consistent with age and use. The marble top in good condition but is probably a replacement. The ormolu with the odd spot of verdigris and discoloration, it would benefit from a light clean. One key supplied. A good quality table, typical of late 19th century Parisian manufacture using exotic woods and good pine carcase timber (also for drawer linings). Condition Report Disclaimer
Los 149
λ DIOGO PIMENTÃO (PORTUGUESE B. 1973) FASCIA (STRUCTURE 38), 2013 Graphite on paper Signed, titled and dated 2013 (verso) 159 x 119.5cm (62½ x 47 in.) Unframed Provenance: Yvon Lambert, Paris Acquired from the above in 2013 The Portuguese artist Diogo Pimentão usually restricts his practice to essential drawing materials: pencil and paper. Pimentão's solo exhibitions have been held at MACE, IMMA, and the Yvon Lambert Gallery; his work can be found in the collections of the Centre Pompidou, FRAC Normandie-Rouen, and Thaddeus Ropac, Salzburg. The artist creates works of apparent simplicity that decorate and define the spaces they inhabit. However, Pimentão's is not the unvarnished minimalism of Frank Stella, say, instead running contrary to the principle 'what you see is what you see'. Upon approach, the dark rectangles of Fascia resolve themselves into a cascade of metallic lines, as the light catches strains of graphite. Indeed, the picture's title refers to subcutaneous tissue, the fibres of which are suggested by Pimentão's evocative mark-making. Ultimately, this polyptych elevates Pimentão's simple medium to an almost spiritual experience, reflecting his reverence for the materiality of his work.
Los 151
λ DIOGO PIMENTÃO (PORTUGUESE B. 1973) FASCIA (STRUCTURE 41), 2013 Graphite on paper Signed, titled and dated 2013 (verso) 159 x 119.5cm (62½ x 47 in.) Unframed Provenance: Yvon Lambert, Paris Acquired from the above in 2013 The Portuguese artist Diogo Pimentão usually restricts his practice to essential drawing materials: pencil and paper. Pimentão's solo exhibitions have been held at MACE, IMMA, and the Yvon Lambert Gallery; his work can be found in the collections of the Centre Pompidou, FRAC Normandie-Rouen, and Thaddeus Ropac, Salzburg. The artist creates works of apparent simplicity that decorate and define the spaces they inhabit. However, Pimentão's is not the unvarnished minimalism of Frank Stella, say, instead running contrary to the principle 'what you see is what you see'. Upon approach, the dark rectangles of Fascia resolve themselves into a cascade of metallic lines, as the light catches strains of graphite. Indeed, the picture's title refers to subcutaneous tissue, the fibres of which are suggested by Pimentão's evocative mark-making. Ultimately, this polyptych elevates Pimentão's simple medium to an almost spiritual experience, reflecting his reverence for the materiality of his work.
Los 87
AFTER ANTOINE COYSEVOX (1640-1720), A SUBSTANTIAL AND IMPRESSIVE PAIR OF BRONZE FIGURES OF 'MERCURE ET LA RENOMMÉE- MONTÉE SUR PÉGASE' CAST BY EUGENE CORNU, MID 19TH CENTURY Fame (Renommee), wearing a laurel wreath and holding an olive branch, blowing the Trumpet Of Truth proclaim Louis XIV's warlike strength, with trophies below including a shield with winged Victory holding a palm and crown, Mercury, the divine messenger and god of trade, symbolizing a return to peace, trophies below with shield decorated with Minerva, Goddess of War, on French Rouge de Languedoc marble bases, trace of signature P G*** and date possibly 183* to one cast base, each with foundry and retailer inscription for Eug Cornu, Paris, presented on modern faux marble presentation stands with inset lights bronzes approximately 111cm high marble bases 15cm high, 81.5cm wide, 33.5cm deep modern stands 38cm high, 105cm wide, 56cm deep approximately 164cm high overall Provenance: Purchased from Serge Mazières Antiquaire, Nice, February 1993 This substantial and impressive pair of equestrian bronzes are after the famous marble equestrian sculptures by Antoine Coysevox (1640-1720) portraying Renommée and Mercury, each seated upon the mythological winged horse Pegasus. After the signing of the Treaty of Ryswick in 1697 Louis XIV tasked his Superintendent of Buildings, Jules Hardouin-Mansart, to commission appropriate and imposing statuary for the park at the Château de Marly. Coysevox was chosen to create two equestrian groups emblematic of Louis XIV's prestige in both times of war and peace. The original Carrara marble figures were commissioned by Louis XIV in 1699 and delivered in 1701-2 when they were placed on either side of the upper part of the horse pond at the entrance to the Parc de Marly. In 1719 they were moved to the Western terrace in the Tuileries Garden and are now exhibited in the Musée du Louvre, Paris. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. FIGURES The patina original but with wear from handling, dusting and age. Traces of gilded surface to flesh of figures and horses- most evident under stronger light. The reverse of each- which is less accessible to everyday handling and dusting- dirtier and with some surface build up of detritus from exposure. Both with some scratches and wear to plinth bases. Some surface marks, abrasions and scuffs from handling. Trumpet, reins and caduceus look both be original to the pieces although the caduceus is cast slightly thicker and less refined. Visible cast joints. Generally stable and with little or no moment. Male with some verdigris build up to recessed areas. Both with some surface streaking. bronzes approximately 111cm high marble bases 15cm high, 81.5cm wide, 33.5cm deep modern stands 38cm high, 105cm wide, 56cm deep approximately 164cm high overall Each equestrian figure is approximately 140-180KG. These will require specialist, careful courier/transport and collection. BASES Marble bases are a supporting frame, just edge panels- no marble inset top. Both have edge and corner chips. Wooden bases with wear from handling, footfall and domestic use. These are PART wired for electricity but 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
Los 62
FOLLOWER OF SEBASTIANO RICCI A HOLY BISHOP DRIVES OUT THE DEVIL Oil on canvas 88 x 128cm (34½ x 50¼ in.) Provenance: Sale, Dorotheum, Alte Meister, 15 March 1990, lot 98, as Circle of Sebastiano Ricci Condition Report: The canvas has been relined and presents an unevenly applied varnish across the whole surface. UV light reveals various scattered retouches on the dress of the cleric, and various restorations on the cheek, forehead and nose. Further scattered restorations are present in the background area, and small dotted retouches are present on the mitre. Condition Report Disclaimer
Los 162
λ  OLAFUR ELIASSON (ICELANDIC-DANISH B. 1967) 'SQUARE SPHERE', 2007 Stainless steel mirrors and bronzed brass Diameter 90cm (35¼in.) Executed in 2007. This work is number 3 in an edition of 10 + 2ap.This work is accompanied by a certificate of authenticity signed by the artist.Provenance: neugerriemschneider, Berlin Acquired from the above in 2007An Icelandic-Danish artist of international renown, Olafur Eliasson is celebrated for his installations, from small sculptures to immersive public experiences such as The weather project, 2003 at the Tate Modern. He has won the Eugene McDermott Award in the Arts and the Praemium Imperiale; MoMA, ZKM, MCA, and MAM Paris have all exhibited his work. The Studio Olafur Eliasson has expanded over time and become a hub for conducting experiments, testing designs, and realising architectural projects. The artist's highly ambitious and influential practice has resulted in many prominent commissions, including the Mies van der Rohe award-winning Harpa concert hall and The New York City Waterfalls, 2008 . What unites Eliasson's diverse œuvre is his focus on spatiality and atmospheric effects. In part, Square sphere is a cerebral, paradoxical investigation into the geometric forms that so fascinated the Renaissance masters. It is also a rare and attractive centrepiece from an edition of ten with two artist's proofs, one that fragments and recomposes its environment, in line with Eliasson's investigations into the nature of perception. Photo credits:Installation view: Staatsoper Unter den Linden, Berlin, 2007 | Photo: Studio Olafur Eliasson © 2007 Olafur EliassonPhoto: Jens Ziehe, 2015 © 2007 Olafur EliassonInstallation view: Studio Olafur Eliasson, 2007 | Photo: Studio Olafur Eliasson © 2007 Olafur Eliasson Condition Report: Light surface dirt throughout. The work may benefit from a gentle clean. There are spare panels with the artwork. Please contact housesales@dreweatts.comCondition Report Disclaimer
Los 23
A SUBSTANTIAL PAIR OF GILT BRONZE SIX LIGHT CANDELABRA AFTER FRANÇOIS REMOND BY ALFRED BEURDELEY, LATE 19TH CENTURY Each with Classical female figure supporting a basket of fruit on her head and scroll branches chased with leaves, standing upon Bleu Turquin marble plinths with gilt bronze mounts, some interiors of sconces incised "BY" 97.5cm high, bases 19.5cm wide Alfred-Emmanuel-Louis Beurdeley (1847-1919) was the third and last of the Beurdeley dynasty, suppliers and makers of the highest calibre furniture and decorative objects in Paris in the 19th century. Building on the success of his father and grandfather he won a gold medal at the 1878 Paris Great Exhibition and was honoured with the Chevalier de la Légion d'Honneur in 1883. A pair of candlesticks of this form attributed to Remond are held in the Toledo Museum of Art, Ohio. It is recorded that François Remond (1747-1812) sold a similar pair of candelabra to the Duke de Penthiève on August 16 1785 for 3.400 livres. On December 24th of the same year another similar pair sold to Princes Kinsky for 2.200 livres. For a comparable pair of candlesticks please see Artcurial Paris, 16 December 2019, lot 37 (sold €54,600 EUR) Literature: M.F. Dupuy-Baylet, L'Heure, Le Feu, La Lumière, Les Bronzes Du Mobilier National 1800-1870, Éditions Faton, Dijon, 2010, pp. 90-91, n. 40. J.P. Samoyault, Pendules Et Bronzes D'ameublement Entrés Sous Le Premier Empire, RMN, 1989, p. 155, n. 132. Condition Report: Saleroom Notice A SUBSTANTIAL PAIR OF GILT BRONZE SIX LIGHT CANDELABRA AFTER FRANÇOIS REMOND BY ALFRED BEURDELEY, LATE 19TH CENTURY Examination of these for condition reports has revealed that interiors to some of the sconces have BY incised to the cast- hidden from view. There are no clearly visible signs of these having been wired- nozzles currently have modern plastic inserts for use with candles Some wear and surface marks throughout- notably to raised elements. Gilding and surface with scuffs and wear- notably around branches, bobeches and with numerous wax deposits from candle use. The candle branches set slightly asymmetrically with 2 slightly higher branches. Some looseness to these branches and with some later nuts hidden to interior- will possibly benefit from further remedial tightening and fixing on place. Some wear to turquin base edges and corners. One marble plinth base with old repair. Both with some corner chips and losses. . 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
Los 79
A PAIR OF UPHOLSTERED ASYMMETRIC ARMCHAIRS MODERN, SUPPLIED BY NICHOLAS RAKIC, AFTER THE DESIGN BY SIR EDWIN LUTYENS Upholstered in embossed leaf-pattern green FAUX leather, on square tapering mahogany legs with castors Each 93cm high, 93cm wide, 75cm deepThe chairs are a modern version after Sir Edwin Lutyens 'Napoleon' chair designed for his own home in 1919. The name originates from an asymmetric chair depicted in a painting of Napoleon by Jacques-Louis David. Saleroom Notice: please note these are faux leather- not as per the printed catalogue. Condition Report: Saleroom Notice; please note these are faux leather- not as per the printed catalogue. Good condition, structurally secure and essentially `as new' with minor wear and tear consistent with light occasional use. The upholstery is clean and unmarked, minor scuffing to the legs. Condition Report Disclaimer
Los 210
λ CHRISTOPHER DEAN (BRITISH B. 1955) UNTITLED (ABSTRACT HEAD) Stone Height 80.5cm (31½in.) Provenance: Acquired direct from the artist in 2015A versatile sculptor based in Stoke-on-Trent, Christopher Dean has worked in bronze, stone, and digital design. Dean has also lent his technological talents to virtual museum projects, allowing those with visual impairments to learn using haptic feedback. Having practiced at various scales, Dean is a master both of detail and grand composition. Many of his works incorporate architectural motifs and classical allusions, reflecting diligent study and an eye for anatomy. The monumentality of Abstract Head is thrown into sharp relief by the large, unembellished form of the neck. Furthermore, the fine description of drapery makes for rewarding viewing upon approach. The winding spiral structures recall the elegant volutes of Ionic columns, while the 'head' itself resembles feathers or a ball of flame. With a healthy respect for tradition, Dean updates conventional renderings of the bust to evoke a presence in equal parts enigmatic and impressive. Condition Report: Light surface dirt throughout. Minor marks and abrasions across the surface commensurate with use. (This work was situated on the bar at 28 South Street)Condition Report Disclaimer
Los 191
PERSIAN SCHOOL (20TH CENTURY), ATTRIBUTED TO HOSSEIN QOLLAR AGHASI SHADDAD ON THE THRONE, BEING DENIED ENTRY TO PARADISE BY GABRIEL, WITH SHEHEREZAD IN THE FOREFRONT PLEADING FOR HER LIFE Oil on canvas Signed 'Qollar Aghasi' in Persian and dated '1324' (1945) 201 x 102cm This colourful qaveh-khaneh (coffee-house) school of painting was very popular in Iran during the early twentieth century. The scenes in this are from 'A Thousand and One Nights', telling more than one story. On the left, Sheherezad is depicted pleading for her life and she has to tell stories for a thousand and one nights, and one of them (above) tells the story of Shaddad, the very rich and powerful King, who built a city of gold but was denied entry into Paradise by the Angel of Death because of his greed Condition Report: The canvas has been relined and presents a layer of dirt and varnish across the whole surface. UV light reveals very few retouches, most envied is a repair of a hole with added paint to the upper right corner, just next to the palace - such repair is a patch of about 2.5 cm in diameter; a few but hardly noticeable retouches on in the background areas, which are very minor and most in the lower right corner. The canvas presents visible undulations in the lower left border, for a section of about 15cm - such is caused most likely by the heavy relining. Three tears measuring roughly 4cm each are present next to the head, and just below one of the standing men at the centre left, two dotted losses of paint next to the right of the palace, measuring about 2cm, and various superficial scratches, the most evident ones on the visage of the man on the lower left with a feathered helmet. Condition Report Disclaimer
Los 93
ATTRIBUTED TO JULIUS SCHNEIDER (GERMAN 1824-1879) PORTRAIT OF MAN WITH A VIOLIN Oil on canvas Signed and dated '1851' (lower left) 93.5 x 74cm (36¾ x 29 in.) Provenance: Sale, Dorotheum, Vienna, Bilder Des 19. Jahrhunderts Antiquitaten, 28 February 1991, lot 50, as Julius Schneider Condition Report: The canvas has been relined and presents an unevenly applied varnish across the whole surface. UV light reveals various scattered retouching, most evident on the beard of the sitter, a few retouches on the arm, the larger one of about 4cm, just below the arm, and a smaller retouch of about 2cm near the left of the violin. Condition Report Disclaimer
Los 112
λ  MICHAEL WILKINSON (BRITISH B. 1965) BLACK SEDITIONARIES, 3, 2011 Mixed media with collage on canvas with cut-out Signed, titled and dated 2011 to stretcher (verso) 190 x 170cm (74¾ x 66¾ in.) Unframed Provenance: The Modern Institute/Toby Webster Ltd., Glasgow Acquired from the above in 2011 The erudite and politically engaged Michael Wilkinson draws inspiration from events in modern history. Born in Merseyside and based in Glasgow, Wilkinson has exhibited internationally, including at Venus Over Manhattan, New York, and Le Temple, Paris. Karl Marx, Guy Debord, Jacques Lacan and Scritti Politti are a selection of people that form Wilkinson's diverse influences are united by a controversial, radical impulse that infuses his work. His unconventional materials - verdigris, beeswax, Lego - are elevated to a form of powerful visual expression, not least in his layered works. Wilkinson often places a monochromatic filtered photograph against a loose, abstract backdrop, as in the Seditionaries canvases. The present work pays homage to Seditionaries, previously known as Sex, a punk boutique in Chelsea managed by Vivienne Westwood and her then-partner Malcom McLaren in the 1970s. McLaren's decision to model the shop after the Dresden bombings reflects a revolutionary impulse that Wilkinson shares. Wilkinson's '68 Series captures the revolutionary fervour of May 68, while the etched mirrors featured in Dresden call attention to the destruction brought about by war. The digital print featured here likely represents a blown-up photograph of a protester, whose disruptive influence is mirrored by the scraped acrylic paint. Ultimately, this work forms part of Wilkinson's investigations into the specificity of history, marked as it is by change and unrest. Condition Report: Very light dirt to surface to the extreme edges. Overall in good original condiiton.Condition Report Disclaimer
Los 178
NATHAN MABRY (AMERICAN B. 1978) IT IS WHAT IT IS (HOW MANY LICKS DOES IT TAKE) 2007 Terracotta and steel Height 112cm (44in.)The Los Angeles-based sculptor Nathan Mabry is irreverent and intellectual in equal measure. He has exhibited at Praz-Delavallade and the Nelson Atkins Museum of Art; his works can be found in the permanent collections of the Whitney, LACMA, and the Hammer Museum. Mabry's is a syncretic world: he marries ethnic tradition and modern culture with contemptuous ease. The artist is just as likely to turn to pre-Columbian pottery as the minimalism of Donald Judd and John McCracken, often within the same work. Mabry's It Is What It Is series is the embodiment of his practice: referential, erotic, provocative, visually appealing. The suggestive Burgessian title of It Is What Is (The Old In and Out) pertains to its figures' obscene, though subtle, hand gestures. How Many Licks Does It Take is altogether more explicit in its iconography: a strigine countenance gives way to a phallic shaft, forming a crude amphora. The use of terracotta to realise pagan symbolism is deceptively atavistic; Mabry highlights the abiding transcendence of values and beliefs without calling for a return to the past. Condition Report: Some light surface dirt including some white marks to the handle and reverse. Otherwise, the work appears to be in good original condition.Condition Report Disclaimer
Los 160
λ  GILLIAN CARNEGIE (BRITISH B. 1971) SUGAR SHACK Oil on board Signed and dated 1999 twice and titled (verso) 23 x 33cm (9 x 12 in.) Unframed Provenance: Sale, Christie's, London, Post-War & Contemporary Art, 1 July 2008, lot 499 Working in the realist tradition, Gillian Carnegie is a consummate technician in oils. A Turner Prize nominee, Carnegie has received solo exhibitions at Andrea Rosen Gallery, New York, Cabinet Gallery, London, and the Douglas Hyde Gallery, Dublin. The artist has experimented with patterned abstraction, but is better known for her tonal landscapes, still lives, and nude snapshots. Carnegie's figure paintings recall the graceful women of classical statuary, such as Sleeping Hermaphroditus, and related Old Master pictures including the Rokeby Venus, while also channelling a distinctly contemporary impulse in their unaffected intimacy. The artist's restrained palette foregrounds the play of light over flesh, which allows Carnegie to showcase her technical prowess. Her deft modelling of form is complemented by the close-cropped framing of her subjects, which gives the impression of spontaneous authenticity. This picture's title, Sugar Shack, is more likely a suggestive allusion to the cultivation of maple syrup than an homage to Ernie Barnes' 1976 painting of joyous dancers by the same name. Indeed, there is an insistent tranquillity to much of Carnegie's work - this being no exception - that invests her everyday subjects with a certain stateliness. Sugar Shack is equally remarkable as a formal exercise and an elevation of the human body. Condition Report: Other than some small losses of paint near the edges of the canvas, the painting is in good condition Condition Report Disclaimer
Los 2
λ PHYLLIDA BARLOW (BRITISH 1944-2023) UNTITLED Cement, plaster, scrim, spray paint, and paint over polystyrene core 20 x 28 x 25cm (7¾ x 11 x 10in.)Provenance: Studio Voltaire, LondonExhibited: London, House of Voltaire, 2010, fundraiser for Studio VoltaireFollowing a forty-year academic career, the late Phyllida Barlow DBE dedicated herself to the creation of art. Within the last decade, Barlow's work has been exhibited in solo shows at the Kunsthalle Zurich, Hauser & Wirth, and the Royal Academy of Art. In 2017, Barlow was chosen to represent Britain at the Venice Biennale. Renowned for her monumental sculptural installations, this work represents Barlow's practice at its most intimate. The object's rough surface is typical of the artist's recourse to everyday materials. The pitted rock is at once familiar and, given its rusty glow, other-worldly. It is a testament to Barlow's rejection of refined, polished forms and her avowed fascination with the 'abstract qualities of time, weight, balance' (The Guardian, 2016).SALEROOM NOTICE: please note the dates of the artist should read 1944-2023 and the work was purchased from Studio Voltaire in London. Condition Report: Light surface of dust covering the surface of the sculpture, most notable to some of the tight crevices. There are some areas of fraying gauze with some associated loose plaster. However, this may have been artist intent. There appears to be some very minor rubbing to the underside and to protruding points commensurate with age. Condition Report Disclaimer
Los 115
SHEREE HOVESPIAN (IRANIAN/AMERICAN B. 1974) UNTITLTED (56 FROM THE HAPTIC WONDER SERIES), 2012 Unique gelatin silver print (photogram) 59 x 49cm (23 x 19¼ in.)Provenance: Etemad Gallery, Dubai Acquired from the above in 2013 A photographer by training, the Iranian-American artist Sheree Hovsepian is fascinated with the human body. Hovsepian has exhibited at Rachel Uffner Gallery, the Israel Museum, and Parrish Art Museum; her work can be found in the collections of the Solomon R. Guggenheim Museum and the Art Institute of Chicago. Hovsepian's œuvre is largely comprised of collages that frame a monochromatic photograph with found objects and everyday materials. Print series such as Haptic Wonders also reflect the artist's predilection for greyscale compositions, as well as her characteristic manipulation of medium. Indeed, she has exposed photosensitive paper to light, slashing the filters between them like Lucio Fontana's Tagli. What emerges is a lively imbrication of irregular shapes whose darkness is entirely reliant on the print development process. These unique works resemble a coalescence of microscopic cells, each one distinguished by the irreplicable conditions of their genesis.
Los 44
A HUNGARIAN SILVER COLOURED SHAPED CIRCULAR BOWL POST 1937 .800 STANDARD, MAKER'S MARK BA The circular lobed bowl with chased floral decoration, on three foliate scroll feet 30.5cm diameter 650 grams (20.9 oz) Condition Report: Marks partially obscured, stands well, some rubbing to the decoration, light scratches and wear commensurate with age and useCondition Report Disclaimer
Los 449
Dresden porcelain tea set for six, early 20th century, decorated with reserves of 18th century romantic couples between blue and floral reserved panels with gilt highlights. Condition report - Good condition with no damages, there is some very light rubbing to some of the gilded sections and one plate has a touch of rubbing to the decoration with one of the ladies faces being rubbed off.
Los 421
Swiss Rosewood cased Cylinder music box by B. A. Bremond of Geneva, c1880, the rosewood case with marquetry inlay, opening to reveal glazed interior with a 49cm cylinder with ten bells and bee strikers, playing twelve airs as listed on interior label, W77cm. Condition report - The box is in lovely condition having being refurbished at some point in the past twenty years, there is very light expected wear to the exterior, but the interior is very clean and works well and all bee strikers are working well. The serial number is 17807.
Los 533
Chinese Canton Famille Rose porcelain bowl, Republic period, decorated to the panels with figures, foliage and exotic birds, on a hardwood carved stand, max W25.5cm. Condition report - Good condition with no cracks or chips, two tiny fritting spots/nibbles to the rim, touch of very light wear/rubbing to the decoration of the faces.
Los 226
Edwardian 15ct gold and pink guilloché enamel locket pendant, centred with a split pearl within enamel and white band, on a fine 15ct gold chain, in original Sorley of Glasgow retailers box, pendant width 2.2cm. Some light wear commensurate with age. Enamel intact. Clasp operates as expected.
Los 429
Loetz Jugendstil Art Nouveau 'Papillon' Iridescent glass and pewter vase, c1905, the pleated rim leading to dimpled body, with applied organic floral form pewter handles and plain round base, H21cm. Condition report - Generally good condition with light wear to the pewter, minor flake chip to the inner rim, and some nibbling in the exterior where the pewter handle is secured through the glass - please see additional photos.
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