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Click here to subscribeA BUDDHIST BRONZE GONG ON A LACQUERED WOOD STAND Japan, Edo period (1615-1868) The bronze gong with a red-lacquered wood stand and striker. HEIGHT with stand 61 cm, HEIGHT gong only 29.8 cm WEIGHT gong 4.9 kg Condition: The bronze in excellent condition with associated surface wear and a fine patina. Provenance: German private collection.
A small leaded bronze mortar, probably by Gerrit Schimmel (d. 1707), of Deventer, Holland, dated 1664Cast to the rim with a band of text reading 'AERMAR VINCIT OMIA Ao. 1664' (Love Conquers All), the words spaced by flowerheads, and to the waist with a band of trailing foliage above a row of pellets, a further stylised band of tied stylised swags or sheaves below, 10cm rim diameter x 9.5cm highFootnotes:For a mortar with a very similar decorative band at its waist, and signed by Schimmel, see Christie's, 12 November 2003, Lot 499.For further information on this lot please visit Bonhams.com
A rare, fine and large Charles I leaded bronze mortar, dated 1638, made for Margaret Baldocke, Grocer, by John Palmar [or Palmer] of Canterbury, Kent (fl. 1621 in Gloucestershire, fl. c. 1636 - 1656 in Canterbury)An inscription beneath the rim reading, 'IOHN PALMAR MADE MEE FOR MARGRET BALDOCKE 1638', the words and the date spaced by vacant lozenge stops, the remainder of this band cast with highly stylised flowers and a portcullis, the waist with a broad cast band of alternating roses and flowers amidst foliage centred by a portcullis, with two cord mouldings above the waist, and four below, 32cm rim diameter x 23.5cm high (12 5/8in rim diameter x 9 1/4in high)Footnotes:Provenance: In 1887, noted by J. C. L. Stahlschmidt, author of The Church Bells of Kent, that this mortar was then in a grocer's shop in Canterbury, and thought to be a bell, 'its crown staple having been chipped or filed of'.Ex-Arthur G. Hemming Collection.Sold Christie's, 12th November 2003, The Collection of Robert Spalding, Lot 467.Sold Bonhams, these rooms, 21 January 2015, Lot 65, The Collection of Roger Rosewell FSA, Yelford Manor, Oxfordshire. Illustrated:- A. G. Hemming, 'Dated English Bell-Metal Mortars', Connoisseur (March, 1929), 165, No. VIII.- P. Hornsby, Collecting Antique Copper & Brass (1989), p. 14, Figure 5.- M. Finlay, English Decorated Bronze Mortars & their Makers (2010), p. 49, Figure 58, where it is noted that only one other mortar by this maker is known at present.Margaret Baldocke married at least three times. She was born Margaret Bruxbie [or Bruxby, Brookesby, Brouxby] c. 1612, the daughter of John Bruxbie, tailor, of All Saint's, Canterbury. In 1632, she married William Turner (born c. 1608), grocer, at Chilham, Kent. William Turner dying very shortly after their wedding, Margaret Turner née Bruxbie then married again. The marriage licence for this second marriage in 1633 reads as follows:'Baldock, Robert of All Saints', Canterbury, grocer, widower and Margaret Turner, of the same place, widow of William Turner late of St. Andrew's, Canterbury, deceased, at All Saint's'.Robert Baldocke had been apprenticed in 1628 to Walter Southwell, a surgeon, apothecary and Mayor of Canterbury in 1634. A daughter called Mirian was born to them in January 1636. Robert Baldocke died in 1638, and was buried in June, the year that this mortar was made. It is likely that Margaret, his widow, took over their business, as many early modern women are known to have done, and commissioned this mortar for her use.Now 26 and having been widowed twice, Margaret married again. The marriage licence for her third marriage in September 1639 reads:'Edward Pullen, the Younger, of Chadwell in Essex, mercer, bachelor, 21 and upwards, son of Edward Pullen the Elder of the same place, innholder who consents, as is testified by John Bruxbie of Boughton Blean, tailor, and Margaret Baldock of Boughton Blean, widow of Robert Baldocke, late of Canterbury deceased.'In 1642, Edward Pullen stood as bondsman for a wedding - Margaret's father's wedding, as it happens - and is described in the records as a grocer of Canterbury, so apparently established himself in business alongside his third wife.What happens thereafter to Margaret Pullen alias Baldocke, alias Turner, née Bruxbie, is as yet undiscovered. Several Pullen children are born in Boughton Blean - where Margaret may have inherited property from her second husband - and her third husband was still alive in 1642. No record of her death, or of a fourth marriage, has been found.Mortars cast with a woman's full name, and only with a woman's full name, are rare. Conventionally, a woman's name appears alongside and following her husband's. Michael Finlay's 'Checklist of English Dated Mortars 1308- 1979' (Finlay, Decorated Mortars, pp. 169 - 198) includes over four-hundred dated mortars known to the author in 2010. Only three of them - including Margaret Baldocke's mortar - are inscribed with a woman's name alone.John Palmar probably started his career in Gloucester but was established in Canterbury by 1638. Whilst a posnet by him is recorded, as well as a number of skillets, only one other mortar made by him is at present known, and it was made in 1621 during his time in Gloucester. This mortar, made for Margaret Baldocke, is the only surviving mortar cast by him at Canterbury. See, ibid., pp. 49 - 50.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A pair of patinated bronze figures of putti, in the manner of Claude Michel, called Clodion (French, 1738-1814)One carrying a sheaf of wheat, the other a bunch of grapes, a basket or implement lacking from his other hand, both on polished ochre stone bases, 21.5cm high, (2)For further information on this lot please visit Bonhams.com
A SMALL POLISHED BRONZE CLOUD TABLEMANNER OF PHILIPPE RANKIN FOR KAM TIN, 21ST CENTURYUnmarked26.5cm high, 69cm wide, 50cm deep Condition Report: It is in the manner of Kam Tin, it is no numbered/markedThere are no apparent marks as looked for with a torch. Usual wear and would benefit from a polishPlease see additional photos Height is 36.5cm or 14 1/4inCondition Report Disclaimer
λ HAMISH MACKIE (B. 1973) CHEETAH HEADBRONZE ON A DARK GREY MARBLE PLINTHSigned in the Maquette 30cm high overall British wildlife sculptor Hamish Mackie has had the privilege of observing wildlife in many corners of the world at first hand. "Observing animals in their own environment, in their natural habitat, is essential to understanding the subject's physical and instinctive traits. For example, the disposition of a captive predator is very different from that of a predator the wild," he says. This close observation, often involving intense research trips and sculpting from life in the field, informs Hamish's whole approach to his work, which resonates with his passion for the natural world. His bronze wildlife sculptures capture instinctive moments of animal behaviour managing to convey the inner core, strength and grace of his subject. Largely self-taught, his style is unique - he frequently works in spontaneous, often unrepeatable, fluid gestures with a confidence born from many years of mastering his craft. He says "It is close observation of my subject's behaviour that really brings my pieces to life. I want to convey a sense of character, their spirit. This determines how I handle my material - in a loose fluid manner or in a tighter, more controlled way; with large sweeping strokes, or with smaller detail. A sculpture should have its own power. I want the viewer to feel an emotional response."Born in 1973, Hamish Mackie grew up on a livestock farm in Cornwall, England. In the kitchen of the family farm, there still hangs his first bronze sculpture - a calf's head he made at the age of 12 as a Christmas present for his father. Hamish has works in public and private collections around the world and in 2016, Hamish also presented his sixth Solo Show, Life in Bronze, at Mall Galleries, London to great critical acclaim.Condition Report: In good condition overall. Sculpture is solid on its base. Some possible polishing/rubbing to extremities. Condition Report Disclaimer
AN IMPRESSIVE FULL-SIZE PLASTER SECTION OF DONATELLO'S EQUESTRIAN STATUE OF GATTAMELATALATE 19TH / EARLY 20TH CENTURYShowing the rider's right leg, clad in armour, and partial ornate saddle144cm high, 85cm wideProvenance: The Metropolitan Museum of Art, New YorkAcquired Sotheby's New York, 28 February 2006, Historic Plaster Casts from the Metropolitan Museum of Art, lot 124 (with tag)Catalogue note: In 1444, Donatello was commissioned to sculpt a large bronze equestrian group of the condottiero Erasmo da Narni ("Gattamelata", which means "honeyed cat"), who had served various city states during his military career. The piece, finished in 1453, currently sits in the Piazza del Santo in Padua, where Gattamelata had been 'podesta', or chief magistrate. The horse and rider, inspired by the Equestrian Statue of Marcus Aurelius in Rome and the Greek horses atop the Venetian Church of St Mark's, remain some of the Italian Renaissance's most iconic works of sculpture, and would provide a source of inspiration for Renaissance and later equestrian monuments.Condition Report: Marks, knocks and scuffs overall consistent with age.The leg has been repaired. There is cracking to the saddle in various places including a large vertical crack to the upper moulding, and a horizontal crack to the rear part of the tasselled border. Possible repair to putto's protruding elbow. Further minor areas of surface flaking.This lot is fragmentary and may be fragile to handle. It is currently hanging from a large chain, and the rear (as far as visible) looks hollow and is irregularly modelled. Condition Report Disclaimer
IF I HAD KNOWN WHAT I KNOW NOW: BRITISH ISLES, 2013 BY BASED UPON LTD (ESTABLISHED 2004) Polished Bronze England and Wales approximately 70cm by 70cm 140cm high, 110cm wide, 18cm deep overallBased Upon was launched in 2004 by twin brothers Ian and Richard Abell. 'Guided by nature' they draw their inspiration from elemental forms of nature. Focusing initially on designing surfaces with a lightweight metallic skin: the appearance of solid metal, but light enough to be used as a versatile material in interiors. The firm has grown to encompass limited-edition furniture, collaborations with top interior designers and public art. Working with metal is the theme that links its diverse portfolio. In 2015 it unveiled its largest project yet, twin sculptures for the London and Hong Kong branches of HSBC to celebrate the bank's 150th anniversary.Condition Report: There are some light marks, but mostly finger marks No faults Condition Report Disclaimer
'THE GOLDEN RHINO'JAMES PERKINSA moulded bronze resin model of a head and shoulder mount of a White RhinoApproximately 100cm high, 140cm protuberance Catalogue Note: Inspired by the desire to preserve this wonderful creature, James Perkins has created a magnificent tribute for up close and accessible appreciation. Given the title 'The Golden Rhino', James eludes to the notion that the rhino horn has exceeded the value of gold. Playing perfectly on classical sculptural references and taxidermy, this scale model of a Rhino's head makes a powerful interior and environmental statement. James has given this Rhino sculpture a liquid bronze finish to represent the conservation issues of this animal, only two wild Northern White Rhino females left on the planet, whilst also creating a life like texture of the creature's distinctive skin. Condition Report: Made of bronze on a resin base. Condition Report Disclaimer
A 'BATTERSEA TABLE'BY NAOMI TSAI, KAI WERTEL, DANIEL ZIELINSKI AND MAXIMILIAN ZIELINSKI, 2014 In walnut with a green leather inset writing surface above a blind frieze drawer divided into three, on bronze tapered legs80.5cm high, 180cm wide, 80cm deepCatalogue Note: Based on the world famous Battersea Power-station beside the Thames in London. Condition Report: Good overall condition. Some minor scratches, scuffs and wear to the veneers including the edges. Very minor areas of damage/restoration to the inner corners of the frieze opposing the open side desk. Very minor wear and scratches to the leather. Condition Report Disclaimer
A PAIR OF IMPRESSIVE BRONZED PLASTER MODELS OF I PUGILATORI AFTER ANTONIO CANOVA (ITALIAN, 1757-1822)20TH CENTURYEach portrayed heroically nude and in animated stance of combat, the tallest model 210cm including integral plinth, 279cm overall including painted secondary baseCatalogue note: These impressive models are cast after Antonio Canova's marble sculptures of the Greek boxers Creugas of Durazzo and Damoxenos of Syracuse, whose match is recorded in the 2nd century AD writings of the traveller Pausanias. Canova, who had been appointed minister of the Belle Arti by Pope Pius VII, and conceived of the models in around 1794, and completed the models in 1796. The pugilists were moved to the Vatican in 1797, where they stand to this day.A pair of similarly large casts of these models was included in the auction of the collection of Gianni Versace, Sotheby's London, 18 March 2009, lot 137.Condition Report: Both with some marks, knocks, scratches and abrasion. Some additional small chips and areas of losses to the base. Uneven painted patina as maker intended to simulate bronze. Some minor areas flanking to the paint. Structurally sound with no significant condition faults. Some possible later re-touching of paint. Plinths-Not of significant age and repainted. Some chips to edges. Some structural faults commensurate with use, may require repair/replacement. The example with arm raised, the re-painting of the plinth has not reached underneath the models base (this may apply to both). Condition Report Disclaimer
FRAGMENTED CRACK COFFEE TABLE, 2012BY BASED UPON LTD (ESTABLISHED 2004) Bronze three piece coffee table 36.5cm high, 146.5cm wide, 146.6cm deep "To dance while others are still and to be still white other dance. It is creating your own version, making your own rules."Richard Abell , Financial Times, 19th April 2000Based Upon was launched in 2004 by twin brothers Ian and Richard Abell. 'Guided by nature' they draw their inspiration from elemental forms of nature. Focusing initially on designing surfaces with a lightweight metallic skin: the appearance of solid metal, but light enough to be used as a versatile material in interiors. The firm has grown to encompass limited-edition furniture, collaborations with top interior designers and public art. Working with metal is the theme that links its diverse portfolio. In 2015 it unveiled its largest project yet, twin sculptures for the London and Hong Kong branches of HSBC to celebrate the bank's 150th anniversary.Condition Report: Light scratches and ring and other marks from drinks glasses etc, nothing a good polish wouldn't solve. No other faults Condition Report Disclaimer
A PAIR OF RECTANGULAR BRONZE WALL LIGHTSBASED UPON LTD (ESTABLISHED 2004) Polished Bronze. Each textured taking inspiration from the landscape 105cm high, 208cm wide, 2.5cm deep overall Based Upon was launched in 2004 by twin brothers Ian and Richard Abell. 'Guided by nature' they draw their inspiration from elemental forms of nature. Focusing initially on designing surfaces with a lightweight metallic skin: the appearance of solid metal, but light enough to be used as a versatile material in interiors. The firm has grown to encompass limited-edition furniture, collaborations with top interior designers and public art. Working with metal is the theme that links its diverse portfolio. In 2015 it unveiled its largest project yet, twin sculptures for the London and Hong Kong branches of HSBC to celebrate the bank's 150th anniversary.Condition Report: No faults.Condition Report Disclaimer
A PATINATED BRONZE WALL CABINETMODERNWith SOANE to the pediment, and with mirrored back and shelves 161cm high, 123cm wide, 25cm deepCondition Report: Overall attractive distressing to the bronze finish. The glazing missing from the door which once opened. The inner iron framing to the door has corroded. Interior later black painted, fitted with later glass shelves. Some later fixtures to secure to wall. Condition Report Disclaimer
A 'PEACOCK' RESIN AND OSTRICH FEATHER FLOOR LAMPBY A MODERN GRAND TOUR, LIMITED EDITIONHand dyed ostrich feather foliage with naturistically cast 'bronze dipped' trunk standApproximately 200cm high overallCondition Report: Overall good condition. As with all lighting this will need to be tested by a qualified electrician before use. Condition Report Disclaimer
A PATINATED BRONZE MODEL OF THE DANCING FAUNAFTER THE ANTIQUE, 20TH CENTURYMounted to a veined white marble plinthOverall height 83cm, the plinth 35cm squareCondition Report: The bronze bears the usual marks, knocks and scuffs overall consistent with age.The patina is a glossy dark brown with a greenish tinge and appears to have been lacquered.The base has one or two chips and some staining.Condition Report Disclaimer
A LARGE AND IMPRESSIVE PLASTER MODEL OF PALLAS VELLETRI MODERN, AFTER THE ANTIQUE The goddess portrayed fully draped and with coiled necklace, partial cast lacking arms and head275cm high Catalogue Note: Likely derived from a cast acquired at Sotheby's New York, Historic Casts from the Metropolitan Museum of Art, 28 February 2006, lot 139 'an over life size classical statue of Athena'. The circa 1st AD Roman marble original, in turn a copy after a Greek bronze prototype, was unearthed in 1797 and has been on display at the Louvre, Paris, since 1803. Plaster casts of the statue were made soon after its discovery, some are noted in F. Haskell and N. Penny, Taste and the Antique, Yale University Press, first published 1981, pp. 284-5Condition Report: This cast is lacking arms and head. There are 'slots' present where these could be slotted in and perhaps were in the original cast. There are some very minor surface marks and scuffs to the surface including the toga, with small losses to the simulated stone finish. There is an area of slightly, subtly darker colour to the rear of the toga which is possibly an area of repair. The measurements: 275 cm highThe base dimensions (which is part of the statue) are 75cm x 95cm x 20cm Condition Report Disclaimer
A PAINTED PLASTER RELIEF OF MARGUERITE DE VALOIS-ANGOULEME AS A GIRLAFTER A 16TH CENTURY ORIGINALThe maiden portrayed in profile, with inscription to the circular turquoise tinted ground, inside a fruiting wreathCatalogue Note: This lot appears to be derived from bronze portrait medals of Marguerite (1492-1549), Queen Consort of King Henri II of Navarre. An example of a medal representing Marguerite as a girl is in the collection of the Bibliotheque Nationale, Paris.Condition Report: Significant loss to upper right portion of moulding, and flaking/chipping to fruiting trophies.Chipping to edges. An area of lightness to the face, likely rubbing or surface degradation.62 cm diameter Damaged edge to frame Some losses to moulding Condition Report Disclaimer
λ SOPHIE RYDER (BRITISH, B.1963) MINOTAUR, LADY HAREComposition busts, a pairEach 73 x 65cm (28½ x 25½ in.) including base (2) Born in England in 1963, Ryder studied Combined Arts at the Royal Academy of Arts where she obtained a diploma in painting. As Ryder began her career she was eager to test herself with as diverse an array of materials as possible, including plaster, bronze and galvanized wire, she was also keen to experiment with creating work of differing scales. When looking at her work, the strong link she has drawn between mythology and human life and emotions becomes instantly apparent, yet everything she creates is decisively human. She employs the figure of the hare to reinterpret the ancient Minotaur of Greek mythology, the hare's head is simply a mask for the human sitter who is in fact the artist herself. The intent of each of her works is to convey, in an everlasting form, a momentary human emotion. Condition Report: Some minor chips and small losses. Minotaur - right ear has a small chip on the top edge and possibly some repair on the back of the earLady Hare - left ear restored, right ear has chips to the edge. Chips to the base of the right arm.Plinths with some marks and scuffs to tops. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
HALLIDAY AVRAY-WILSON (BRITISH B. 1967) SPIRIT OF EPolished aluminium Signed with initials. Unique45cm (17 3/4in) high Halliday Avray-Wilson was born in London in 1967. Avray-Wilson opened his studio in France in 1994. He utilizes traditional sculpting methods and materials, such as bronze and brass, together with innovative techniques to create a fascinating and unique body of work, his recent output is characterized by a fascination with explosives. Avray-Wilson's 'Running Man' was on display at the Olympic Village in Stratford, London. In 2011 he was honoured 'Chevalier de l'Ordre des Arts et des Lettres' by the French Ministry of Culture.Condition Report: Remains of black flux. No faults. Signed with initials HAW. All imperfections were intended by the artist. Condition Report Disclaimer
A LIQUID BRONZE CAST OF AN ANTLER AND SKULL MOUNTBY A MODERN GRAND TOURIn the form of an oversized pair of Irish Elk antlersApproximately 70cm high, 400cm wide overall, 90cm protuberance Condition Report: We have been unable to remove the mount from the wall for weighing. We would give a very rough estimated weight of 40kgs. Condition Report Disclaimer
TWO FRENCH OR BRITISH VERDIGRIS BRONZE FLAMBEAU FINIALS19TH CENTURYEach 32cm highCondition Report: As catalogued, both with uneven Verdigris surface throughout. Bases misshapen. Bases with old holes drilled from previous fixtures (the sizes of holes vary between each finial). Condition Report Disclaimer
PHILIPPE HIQUILY (FRENCH 1925-2013)HOMMAGE AUX ROBERTSPlexiglas and bronzeSigned, and dated 2012 and ea 1/4 (artist's proof 1 of 4)32cm high, 38cm wide, 7cm deepProvenance: Sale Piasa, Wednesday 6th April 2016, Artistes-Décorateurs en partenariat avec le magazine AD, lot 9.Condition Report: Spotting to the bronze, scratches to plexiglas mainly the base as expected. Please additional photos Condition Report Disclaimer
A LARGE GILT BRONZE AND SMOKED GLASS DRINKS TROLLEYMANNER OF CESARE LACCA, 1950SProbably Italian, on castors78cm high, 112.5cm wide, 60cm deepCondition Report: Overall marks, scratches and rubbing to the finish. Top tier glass inset doesn't sit perfectly flush at one of the corners. Chip to one corner of the lower glass tier and a crack to the opposing corner of the same tier. Condition Report Disclaimer
AFTER PAUL DUBOIS (FRENCH, 1829-1905), A LARGE PLASTER SECTION OF THE EQUESTRIAN STATUE OF JOAN OF ARCLATE 19TH/FIRST HALF 20TH CENTURY, AFTER A CIRCA 1896 ORIGINALFragmentary, showing the body and legs of the horse, with ornamented tack, and a section of the rider, on an integral rectangular plinth inscribed P. DUBOIS to the maquette, 220cm high, 210cm long, 90cm wideProvenance: The Metropolitan Museum of Art, New YorkUntil sold at Sotheby's New York, Historic Casts from the Metropolitan Museum of Art, 28 February 2006, lot 108 (misidentified as a section from the Colleoni monument)This model, with its distinctive tack to the neck and flanks, is derived from French monumental sculptor Dubois' renowned equestrian statue of Joan of Arc, of which several bronze versions exist, including in Paris, Reims and Washington, USA. The present plaster is thought to have been cast after the version at Reims.This successful and widely disseminated model by the sculptor actually started life in plaster, when it was exhibited at the Salon in 1889 (entry no. 4320). It has been suggested that the statue offered here represents part of this initial version erected during that year.Other sketches and casts of the work in the medium of plaster are known, including in the collection of the Musee Camille Claudel (in Nogent-sur-Seine, the birthplace of Dubois), as well as the Ny Carlsberg Glyptothek in Copenhagen.Condition Report: As catalogued this lot is fragmentary. Both legs of the rider and one leg of the horse are detached but present. Various chips and losses throughout. Please refer to online images for visual reference to condition. Condition Report Disclaimer
λ A 'SON OF ATLANTIS ARMCHAIR', 2004 BY MARK BRAZIER-JONES (B. 1956)Bronze and upholstery. Signed in the cast70cm high, 70cm wideCatalogue Note: The design of this chair illustrated and described in Fiell & Fiell 'Mark Brazier-Jones', 2012, p. 91.Condition Report: There are no faults, like new. Condition Report Disclaimer
A LARGE PATINATED METAL MODEL OF MERCURY AFTER GIAMBOLOGNALATE 19TH/EARLY 20TH CENTURYOn an associated square section composition plinth with swags, the bronze 173cm high, 257cm high overallCondition Report: Good overall condition. Overall mottled brown patina. The plinth with partial distressed painted decoration concealing areas of possible damage. Please note that the extra images were taken in the rain so there are rivulets of water running down the surfaces and reflecting the light from the camera flash. Condition Report Disclaimer
A PAIR OF MONUMENTAL GOTHIC REVIVAL TWENTY-SIX LIGHT GILT BRONZE AND GLASS INSET STANDARD CANDELABRALAST QUARTER 19TH CENTURY AND LATER ADAPTED FOR ELECTRICITYProbably English, the faceted stems cast with recessed swirling foliage and rising to two tiers of fitments, above triform buttressed basesApproximately 350cm high, the bases 66cm wide on each side Provenance: By repute, Waddesdon ManorSaleroom Notice: Please note the provenance is by repute not as stated in the catalogue. Condition Report: Left of fireplace and left hand image in the catalogue, from the top: One floral nut missing from top circlet. Two glass ball finials missing , some bulbs broken. One lightbulb arm loose. Leaf terminal tendrils...two bent. One cabochon missing from the stem boss. Two leaf scrolls lacking from the point the diagonal struts meet the column. One point bent over under one diagonal. Right of fireplace and right hand image in the catalogue, from the topTwo floral nuts missing from top circlet, one has been replaced by a flat floral rosette. Two glass ball finials missing, one lightbulb arm loose. Four cabochons missing from main circlet. One cabochon missing from stem boss.Condition Report Disclaimer
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