UNITED KINGDOM. Charles III, 2022-. Gold sovereign, 2022. Royal Mint. Proof. Issued as the first sovereign for King Charles III to commemorate the late Queen Elizabeth IIUncrowned portrait of Charles III facing left; MJ below; CHARLES III · DEI · GRA · REX· FID · DEF ·. Design by Martin Jennings. / The Royal Arms at its centre a crowned and quartered shield supported by a crowned English lion on the left and a Scottish unicorn on the right, date, text and JC below; HONI SOIT QUI MAL Y PENSE. DIEU ET MON DROIT. Designed by Jody Clark. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded PCGS PR70 DCAM, certification number 46903521. Coin Value Index (CVI): £620.65 on 2024-03-11.Click here to read about the Coin Value Index.PCGS population in this grade: 63, equal-finest graded.Mintage: 23,160.Diameter: 22 mm.Weight: 8 g. (AGW=0.2572 oz.)Composition: 1000.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
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UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 5 pounds (5 sovereigns), 1989. Royal Mint. Proof. Commemorating the 500 years anniversary of the sovereign 1489-1989, this is the first special design issued under Queen Elizabeth II, often held to be the most beautiful coin design during her reign.Facing full length portrait of Elizabeth II seated in King Edward's Chair as at her coronation, all within beaded border; legend around in Medieval typeface, ELIZABETH · II · DEI · GRA · REG · FID · DEF ·. Design by Bernard Sindall. / Crowned Royal Shield of Arms set in a double Tudor rose, within beaded circle; inscription around in medieval typeface, 'ANNIVERSARY · OF · THE · GOLD · SOVEREIGN · 1489 · 1989'. Design by Bernard R. Sindall. Edge milled.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 6382291-001. Coin Value Index (CVI): £7076.84 on 2024-03-15.Click here to read about the Coin Value Index.NGC Census in this grade: 115, equal-finest graded.Total NGC Census: 339Reference: S-SE6 (was 4253); KM-958Mintage: 5,000.Diameter: 36.02 mm.Weight: 39.94 g. (AGW=1.1777 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold sovereign, 1966. Royal Mint. First, laureate head of Elizabeth II facing right; ELIZABETH . II . DEI . GRATIA . REGINA . F: D: +. Design by Mary Gillick. / St. George on horseback rearing right, dragon below, date and B.P. in exergue. Design by Benedetto Pistrucci. Edge milled.In secure plastic holder, graded NGC MS 64, certification number 6692938-094. Coin Value Index (CVI): £435.42 on 2024-01-31.Click here to read about the Coin Value Index.NGC Census in this grade: 226.NGC Census in higher grade: 170Total NGC Census: 493Reference: S-4125; KM-908Mintage: 7,050,000.Diameter: 22.05 mm.Thickness: 1.52 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold sovereign, 1964. Royal Mint. First, laureate head of Elizabeth II facing right; ELIZABETH . II . DEI . GRATIA . REGINA . F: D: +. Design by Mary Gillick. / St. George on horseback rearing right, dragon below, date and B.P. in exergue. Design by Benedetto Pistrucci. Edge milled.In secure plastic holder, graded PCGS MS65 , certification number 48796290. Coin Value Index (CVI): £725.59 on 2024-02-06.Click here to read about the Coin Value Index.PCGS population in this grade: 36.PCGS population in higher grade: 4.Reference: S-4125; KM-908; F-271Mintage: 3,000,000.Diameter: 22.05 mm.Thickness: 1.52 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold sovereign, 1957. Royal Mint. First, laureate head of Elizabeth II facing right; ELIZABETH . II . DEI . GRATIA . REGINA . F: D: +. Design by Mary Gillick. / St. George on horseback rearing right, dragon below, date and B.P. in exergue. Design by Benedetto Pistrucci. Edge milled.In secure plastic holder, graded PCGS MS65 , certification number 48796282. Coin Value Index (CVI): £636.54 on 2024-02-06.Click here to read about the Coin Value Index.PCGS population in this grade: 39.PCGS population in higher grade: 8.Reference: S-4124; KM-908; F-271Mintage: 2,072,000.Diameter: 22.05 mm.Thickness: 1.52 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold sovereign, 1968. Royal Mint. First, laureate head of Elizabeth II facing right; ELIZABETH . II . DEI . GRATIA . REGINA . F: D: +. Design by Mary Gillick. / St. George on horseback rearing right, dragon below, date and B.P. in exergue. Design by Benedetto Pistrucci. Edge milled.Reference: S-4125; KM-908Mintage: 4,203,000.Diameter: 22.05 mm.Thickness: 1.52 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold sovereign, 2002. Royal Mint. Proof. Commemorating the 50th anniversary of the accession of Queen Elizabeth II. This was the first time since 1893 the shield of arms was used on the reverse of a coin.Fourth crowned head of Elizabeth II facing right; IRB below; ELIZABETH · II · DEI · GRA REGINA · FID · DEF. Design by Ian Rank-Broadley. / Crowned Royal Shield of Arms of the United Kingdom, laurel wreaths around, date below. Design by Timothy Noad. Edge milled.In secure plastic holder, graded PCGS PR70 DCAM, certification number 37924218. Coin Value Index (CVI): £820.50 on 2024-03-06.Click here to read about the Coin Value Index.PCGS population in this grade: 72, equal-finest graded.Reference: KM-1026; Marsh-316A; S-SC5 (was 4431)Mintage: 12,500.Diameter: 22.05 mm.Thickness: 1.52 mm.Weight: 7.9881 g. (AGW=0.2355 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Charles III, 2022-. Gold sovereign, 2022. Royal Mint. Proof. Issued as the first sovereign for King Charles III to commemorate the late Queen Elizabeth IIUncrowned portrait of Charles III facing left; MJ below; CHARLES III · DEI · GRA · REX· FID · DEF ·. Design by Martin Jennings. / The Royal Arms at its centre a crowned and quartered shield supported by a crowned English lion on the left and a Scottish unicorn on the right, date, text and JC below; HONI SOIT QUI MAL Y PENSE. DIEU ET MON DROIT. Designed by Jody Clark. Edge milled.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 2899508-003. Coin Value Index (CVI): £616.21 on 2024-03-13.Click here to read about the Coin Value Index.NGC Census in this grade: 1590, equal-finest graded.Total NGC Census: 1656Mintage: 23,160.Diameter: 22 mm.Weight: 8 g. (AGW=0.2572 oz.)Composition: 1000.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
A FINE WILLIAM & MARY WALNUT AND SEAWEED MARQUETRY CHEST OF DRAWERS CIRCA 1690 The rectangular top with geometric panels of marquetry, above two short and three long graduated drawers all with oval marquetry panels, foliate decorated cross-banding throughout, the sides each with arched shaped marquetry panels, supported on bun feet, one drawer bearing a retailer's ivorine label for 'Moss Harris and Sons, New Oxford Street, London' 84.5cm high, 97cm wide, 58cm deep Provenance: Private Collection, Fort Augustus, Scotland This rare marquetry chest is typical of the work of that often associated with the celebrated cabinet-maker Gerrit Jensen. Favoured by King William and Queen Mary, his patrons also included many of the aristocracy of the time and he is known to have worked at Burghley House, Chatsworth, Arundel Castle, Boughton House and Petworth to name a few. Examples of his work for the King and Queen are illustrated in R.W. Symonds, 'Gerrit Jensen, Cabinet-Maker to the Royal Household', Connoisseur, Vol. 95, January-June 1935, pp. 268-274. The delicately rendered 'seaweed' or 'arabesque' marquetry (called 'filigree' in the early eighteenth century) is characterized by its two-dimensionality and dense foliate scrolls, and its panels are cut in a single operation. Very similar chests were sold Christie's, New York, Important English Furniture, 11th October 2007, Lot 210 ($58,600) and Sotheby's, Important English Furniture, 4th June 2008, Lot 24 (£25,000). Another closely related chest was sold in these rooms, 30th November 2022, Lot 41 (£21,250). This chest retains a trade label for Moss Harris and Sons, New Oxford Street, London. Moss Harris were one of the foremost London dealers in the first half of the 20th century and held Royal Warrants to H.M. The Queen (Queen Mary) from the 1920's and the Prince of Wales during 1929-1936. Condition Report: Chest in overall sympathetically restored, tidy/presentable condition Marks, knocks, scratches and abrasions commensurate with age and use The expected old splits and chips Various old veneer and moulding repairs Metalware replaced Handles and escutcheons have a brightly gilded surface, this could be easily 'muted' by a restorer if required. Lockplates to the two upper drawers have been removed and replaced with a block of timber. Some small plugged holes to drawer fronts from previous fixtures One key present and operates two locks, the remaining lock is open Various paper linings to drawers which bear the expected marks, discolouration and wear Drawer linings are very well executed old replacements. Some later supporting blocks and batons to the interior of the carcass, and replaced drawer runners Backboards have good age but are likely later replacement. Some evidence of old worm in places, some filler and wax has been used to disguise. Turned feet are well matched old replacements The lower moulding that the feet sit into appears to be an old replaced element, but matches the rest of the piece remarkably well and is only noticeable upon close inspection. Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition.Condition Report Disclaimer
A CARVED GILTWOOD AND LUMACHELLA MARBLE CONSOLE TABLE ITALIAN, FIRST HALF 18TH CENTURY 81.5cm high, 123cm wide, 66cm deep Condition Report: Overall there are scratches, marks, chips, cracks and abrasions consistent with age and use.There is evidence of old worm.There are some losses and restorations including to the top which has some repairs and chips and has a central break has been repaired with filler; some sections of the carved giltwood frieze and stretchers have been detached and refixed and some repaired with later braces; the back stretcher could be a later replacement.The depth and quality of carving, the unusual top, the angled feet and general proportions combine to make this table extremely pleasing on the eye.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A REGENCY MAHOGANY METAMORPHIC ARMCHAIR IN THE MANNER OF MORGAN & SANDERS, CIRCA 1815 Converting to a flight of library steps 83cm high, 56cm wide, 75cm deepThe present library armchair strongly relates to Morgan & Sanders' design first published by Rudolph Ackermann in the Repository of Arts in 1811, and described as 'considered the best and handsomest article ever yet invented, where two complete pieces of furniture are combined in one - an elegant and truly comfortable armchair and a set of library steps'. Condition Report: Old marks, wear, scratches and abrasions, some fading and staining comensurate with age and useSome old repairs, some old chips, cracks and splits as expected for age and use. The brass catch operates well. The caned seat is a likely replacement. It is in very good condition with no faults detected. The gilt tooled leather insets to the treads of the steps are replacements, they are high quality and suit the piece very well. The chair is of solid useable structure, as a chair and as a flight of steps Please refer to all additional images available through the link (sent with the condition report via email ) for visual reference to condition. Condition Report Disclaimer
RANDOLPH JOHN ROGERS (AMERICAN, 1825-1892) A RARE CARVED CARRARA MARBLE FIGURE OF ISAAC ON THE ALTAR CIRCA 1865-1875 The figure of the child depicted kneeling, hands tied, on further original variegated grey/white base inscribed 'Abraham, lay not thy hand upon the lad', signed to the logs under figure 'Randolph Rogers, Rome' approximately 199.5cm high overall, the figure 106.5cm high, the base 93cm high and 59cm square Randolph John Rogers was born in Waterloo, New York and raised in Ann Arbor, Michigan. At the age of 23 he left America for Italy- settling in Florence to study with Lorenzo Bartolini at the Accademia di Belle Art. By 1851 he'd established a successful career for himself with a studio in Rome- mainly through the success of two works, 'Nydia, the Blind Flower Girl of Pompeii' and 'Ruth Gleaning'. For the next 35 years he worked in Italy and America, producing figures, portraits, and public works such as the Columbus doors for the Rotunda of the U.S. Capitol. In 1873 he became the first American Academician and resident Professor of Sculpture at the Accademia di San Luca, the oldest art academy in the world. It is possible that the composition of this work, with the child kneeling down and head raised to his right, is a conscious effort by the artist to produce a symmetrical balancing figure for his earlier, and very successful work, 'Ruth Gleaning'. A comparable example of this work dated to between 1863-64 is in the Brooklyn Museum, the gift of Mary S. Croxson (accession number 18.180a-b) Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Stored for some time in a barn near a semi-opened window and with dirt accretion and moisture trails throughout. Left hand with restoration which will benefit from further remedial work. Some wear to base edges and this will require careful, professional couriers to collect and transport. We can provide details of suggested local restorers for cleaning and work. 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
Y  AN ANGLO-INDIAN ROSEWOOD, IVORY AND BONE DRESSING MIRROR FIRST HALF 19TH CENTURY With brass bindings, side handles and nail heads to the marquetry 58cm high, 49cm wide, 31cm deep Please note, Dreweatts have applied for a de minimis exemption for this lot ref: WSHKDJMC Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some losses to silvering to plate- lifting of ivory and inlay- reverse of strut with replacement stringing- the whole with surface dirt 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. 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. Condition Report Disclaimer
AFTER GIAMBOLOGNA (1529-1608), A GOOD LIFESIZE BRONZE FIGURE OF MERCURY 19TH CENTURY Depicted wearing a winged petasos and sandals, and holding his caduceus, held aloft on the breath of Zephyr, verdigris patinated surface 184cm high overall, base 38cm diameter Giambologna's original bronze was first installed at the Villa Medici in Rome in1580, positioned at the order of Ferdinando de Medici on a fountain which formed a focal point on the formal staircase between the sumptuous gardens and the loggia entrance to the Villa. In 1780 the Mercury was moved to the Uffizi Museum, and then finally in 1865, to the Museo Nazionale del Bargello, Florence. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. With verdigris weathered surface mostly from manufacture to suggest greater antiquity. Wing to right foot with remedial repair- possibly also same to right wing of helmet, Caduceus slightly bent Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A BRUSSELS HISTORICAL TAPESTRY FROM THE LIFE OF ALEXANDER THE GREAT LATE 17TH CENTURY Alexander the Great astride Bucephalus, trampling his enemies, with foreground of water's edge, soldiers on the riverbanks in the middle distance with war elephants to the left, with a hilltop citadel in the distance, within elaborate architectural border with ribbons, floral swags and winged cherubic figures and central cartouche to each edge, small unidentified weaver's mark to lower left side guard border approximately 345 x 524cm The most important and probably influential series of scenes from the life of Alexander was originally designed by Charles le Brun between 1660 and 1673 for Louis XIV, and initially woven by the King's weavers at the Royal Tapestry of Les Gobelins. The Alexander series was the first major new tapestry commission of Louis XIV's reign, and the tapestries were designed to flatter the king by comparing his virtues and achievements to those of Alexander the Great. The success of the designs led to other versions being produced by weavers such as the Aubusson factories, Judocus de Vos, and the Felletin weavers in the region of Le Marche. The use of Alexander as a suitable subject matter pre-dates le Brun's designs however and by the end of the 17th century onwards, factories took to producing their own versions, interpolating elements from earlier designs with le Brun's iconography to produce new scenes from his life. It would seem that this tapestry is one such example of this type. It draws on elements from various sources which depict one of two significant successful battles in his life; either the Battle of Granicus in 334BC, or the Battle of Gaugamela in 331BC. The first is suggested by the river setting, the second by the war elephants and the broader landscape- both details recorded in Plutarch's Life of Alexander. It is probable that the weaver's design is drawn, in part, from a set executed by the workshop of Karel van Mander the Younger (1579-1623) in the early 17th century. One such panel is held in the Art Institute of Chicago collection and depicts "The Crossing of the Granicus" (1911.439). It is possible that the fortified buildings on the mountain in the distance and Alexander's horses pose are directly influenced by this panel. In overall style and with distinctive cherub pillar supports flanking swags to the main borders, it is perhaps from the workshop that produced the Flemish 17th century tapestry attributed to the Van Maelsack Atelier Bruxelles and which depicted Alexander the Great astride Bucephalus, sold Bonham's London, Fine Decorative Arts, 1200-1900, 18 December 2020, lot 29. Interestingly it also carried a similar atelier symbol to the left hand guard. Condition Report: There is evidence of cuts and mis-joins to sections of main border- this together with the abrupt ending of spear to the sky has raised discussion as to whether this may originally have been slightly larger in size overall.Fading and discolouration throughout but retaining some of the more fragile paler colours. Looks to have been through various stages of remedial repair and restorations- some more modern and refined than others. Some of the repair colours have denatured at a different rate from the main piece. Later backing for better overall hanging stability and conservation. Some loose threads and open gaps which may benefit from further small repairs. Some creasing and fold marks. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A LARGE CONTINENTAL CARVED GILTWOOD MIRROR IN THE MANNER OF BURCHARD PRECHT, FIRST HALF 18TH CENTURY 225cm high, 122cm wideBurchard Precht (1651-1738) was a German furniture maker and restorer, who established himself in Stockholm, circa 1674, at the Swedish Royal residence of Drottingholm Palace. He was made 'carver to the court' in 1682 and his manufacture of high quality 18th century mirrors in the 'Regence' design is among some of his most notable work. Many examples of mirrors by, or attributed to, Burchard Precht, or to his sons Gustav (d. 1763) and Christian (d. 1779) are well documented. Christian Precht went on to gain a reputation as a leading Swedish silversmith by the mid-18th century.For a closely related example of mirror attributed to Precht, see F.J.B. Watson, The Wrightsman Collection, Volume II, New York, 1966, no. 209, pl. 395. Another closely related exampled of mirror sold at Christie's, London, The European Connoisseur (1542), 4th June 2014, Lot 551 (£35,000 incl. BP).
A REGENCY MAHOGANY AND GILT BRONZE MOUNTED SIDE TABLE ATTRIBUTED TO GEORGE OAKLEY, CIRCA 1810 93cm high, 252cm wide, 76.5cm deep This fine table can be attributed to George Oakley (d.1840), who worked in partnership with various cabinet-makers including Henry Kettle, George Shackleton and John Evans, producing high quality furniture in the fashionable Grecian taste and specializing in 'buhl' inlay (C. Gilbert and G. Beard, eds., Dictionary of English Furniture Makers 1660-1840, 1986, pp.658-660). His extensive enterprise earned the accolades of the Royal Family as noted after their visit in 1799: 'the Royal family, with the Prince and Princess of Orange did Mr. Oakley the honour of viewing his Printed Furniture Warehouse in New Bond Street; when her Majesty, the Duke and Duchess of York, and the Princesses highly approved of the splendid variety which has justly attracted the notice of the fashionable world' (Morning Chronicle). This reputation spread abroad where an 1804 newspaper article published in Weimar, Germany stated: 'all people with taste buy their furniture at Oakley's'. A sideboard and side table attributed to his firm, and of the same design, are in the Ballroom of the Mansion house, described as a 'capital mahogany sideboard supported on a stand, reeded legs and carved and bronzed paw feet, with antique bronze heads'.An almost identical table is in Royal Dining Room, Palace of Holyroodhouse. The Royal Dining Room at the Palace of Holyroodhouse was first used as a dining room by Queen Victoria. Today the Royal Family uses this room for formal dinners.An almost identical table was sold Christie's, Important English Furniture, Property from the Collection of Mrs Sydell Ballon and the Estate of Frederick Ballon, 9th April 2003, Lot 27 (£33,460). Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.There are some cracks to the top, see also photographs of the underside with some butterfly patches.The drawers are mahogany lined.Of impressive size.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A SET OF FOUR GILTWOOD AND COMPOSITION TWIN BRANCH WALL LIGHTS FIRST HALF 19TH CENTURY Ribbon finials above swag drop backplates with wheat and eagle decoration, later fitted for electricity each 99.5cm high, 34cm wideProvenance: Property from Clipsham House, Rutland Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. By construction inherently fragile- composition has dried up to a certain extent and the refitting with electricity has caused further damages. Areas of loss, restorations and small breaks throughout. 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
Y A FINE FIGURED WALNUT AND KINGWOOD CROSSBANDED KIDNEY SHAPED DESK BY CRAFTSMAN D. TAYLOR FOR GILLOWS, CIRCA 1840-50 With a tooled leather inset top and ebony moulding 74cm high, 131cm wide, 57cm deep overall This elegant model of desk is based on a Gillows design, which first appeared in 1792 (Estimate Sketch Book 344/96, p. 896, September 1792), although Thomas Sheraton is generally credited with having introduced the pattern - see a design published in his 'The Cabinet-Maker and Upholsterer's Drawing-Book', London, 1802, pl. 58. The form, with open bookshelves to the reverse, was made by Gillows of London and Lancaster from 1840 to circa 1860 and became one of the firm's signature design models. It corresponds to two sketches in one of Gillows' Estimate Sketch Books, dated 1840. A stamped Gillows example with the same Bramah locks is illustrated in S.E. Stuart, Gillows of Lancaster and London 1730-1840, Woodbridge, 2008, vol. I, p. 339, fig. 393. The lot offered here also has Copes Patent castors. An almost identical desk was sold Bonham's Bond Street, 18th November 2009, Lot 202 (£57,600), another similar desk was sold Sotheby's, 16th October 2009, Lot 84 ($80,500) For a closely related design by Gillows for a kidney shaped desk see image online with this lot. The drawing is from Gillows Estimate Sketch Book, dated 1837-1849, Image Copyright: City of Westminster Archives GWG 0344/104. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The top has later inset leather.There is one key that operates the pilasters locking the drawers.The central drawer has a pleasing feature of a small section overhanging the top of the back of the drawer.The shelves to the back are adjustable.There is some small evidence of old worm and brass casters concealed under the plinth bases.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
Y JAMES SCOULER (SCOTTISH 1740-1812) MINIATURE PORTRAIT OF A YOUNG GIRL DATED 1762 In a gold coloured unmarked glazed frame, back with later green faux leather insert, scratch engraved signature and date Watercolour on ivory image 3.5cm high, case 4.5cm high including suspension loop TOGETHER WITH TWO OTHER PORTRAIT MINIATURES, one with later paper label with attribution to William Singleton, image 3.5cm high, case with loop 4cm high: the later other miniature in hinged enamel set case, small Continental hallmarks, case with loop 6cm high Please note, Dreweatts have applied for a de minimis exemption for this lot ref: R6KDK3YL, KFB8RPN1 & MUXSCM9V Condition Report: First- slightly faded, some edge marks under glass, slight distortion to case edges Second- muted colours, small edge chip to glass, case slightly distorted Third- miniature is continental late 19th/early 20th in an earlier style, some colour/surface buckling notably to right hand edge, case lacking original backing and inner insets, some enamel wear and losses, back plate worn and buckled around glass Condition Report Disclaimer
AMELIA ROBERTSON PATON (SCOTTISH, 1821-1904) A MARBLE BUST OF A YOUNG WOMAN DATED 1860 Portrayed wearing classical style low cut wrap, head tilted wistfully up to her right, signed a to reverse AMELIA R. PATON SC EDINr 1860 approximately 58.5cm high, 46.5cm wide acrossProvenance: Formerly from the collection of Baroness Nancy Oakes von Hoyningen-Huene, daughter of Sir Harry Oakes, 1st Baronet, British gold mine owner, entrepreneur, investor and philanthropist.'Amelia Paton (1821-1904) was a largely self-taught sculptor of considerable ability. She could, probably should, have become our first woman member but sadly that was not to be. Robin Rodger; 'The Patons of Dunfermline'- Royal Scottish Academy, December 10, 2021.Amelia Paton was born at Dunfermline Park, Fife into an artistic family. Her brothers, Joseph Noel Paton, and Walter Hugh Paton, became famous painters and illustrators, respected by contemporary collectors, elevated by royalty and with a legacy of work that's embraced and celebrated by collectors. Amelia, denied official recognition within her lifetime, has yet to be celebrated in quite the same way.Her childhood was spent at the family home of Wooer's Alley, Dunfermline. She seems to have been largely self-taught, creating small miniature portraits and starting to learn the rudiments of sculpting through modelling in clay. It seems that her first tools were an ivory crochet-needle and a knife but eventually she was able to borrow better tools - from a plasterer.This foray into work as a sculptor was short-lived as first she fell ill, then her brothers left home, and her mother fell ill. She remained at home nursing her mother through her final illness until her passing and her father's remarriage. At the age of 39, she moved from her childhood home to live with her two brothers in at 33 George Square, Edinburgh, At this time it seems she started working from her own studio and trained as a sculptor under William Brodie. The crossover of taste from her brothers' works would have been almost osmotic. In 1860 she exhibited publicly for the first time when two of her busts appeared at the Royal Scottish Academy. It may be that this lot is one of these two busts titled simply as 'A Young Woman' and recorded by 'Bedouin' as worthy of note in his review of the 1860 exhibition 'the works(of sculpture) are few but of high merit' (MacPhail's Edinburgh ecclesiastical journal and literary review, Volumes 29-30 1861, pp. 188-189). It's almost certainly the earliest work in marble she may have exhibited.It has been suggested that a better possible title for this work might be 'The Lover'- as inspired by her brother Joseph Noel Paton's illustration of 1857 'Hesperus the Evening Star, Sacred to Lovers' (now held in The Kelvingrove Art Gallery and Museum, Accession number 1033). This work does seem to strongly accord with their portrayals of women of legend and myth influenced by Pre-Raphaelitism.In 1862, Amelia became the second wife of the celebrated artist and early photographer David Octavius Hill and went onto to exhibit over 60 sculptures at the Royal Scottish Academy, the Royal Academy, Glasgow Institute, the Royal Hibernian Academy and at the International Exhibition in Dublin in 1865. Her work tended to be studies of Arthurian and Shakesperean heroes, family friends, and notable figures such as the historian Thomas Carlyle, artist Sir George Harvey and physicist Sir David Brewster. Her skill and talent shone through, and she was commissioned to carry out several public statues, rare for a female artist of this period. Buoyed by the confidence shown in her by her husband and her brother Joseph Noel in 1868/1869 she sculpted a full length statue of the explorer David Livingstone, who sat for Amelia during the modelling, just prior to leaving the country for his final journey to Africa. Exhibited to great acclaim in London in the New Rooms of the Royal Academy in 1869 the figure now stands in Princes Street Gardens, Edinburgh and was described by William Sharp in 1902 as the 'the first work of sculpture done by a woman which has been erected in any public place in Britain'. Subsequent public commissions included the statue of Robert Burns commissioned by Dumfries town council in 1877, and three of the statues which adorn the Scott Monument in Princes Street Gardens, Edinburgh.Despite the patronage of two eminent brothers and her husband, Amelia still faced the constraints of Victorian attitudes at the time towards gender equality and was excluded from membership of the Royal Scottish Academy. In response she took matters into her own hands and in 1877 helped establish the Albert Institute of Fine Arts at Edinburgh's Shandwick Place, an artistic institution that did not discriminate on grounds of gender. Above the ornate doorway to the building, Amelia's relief portrait bust of Prince Albert and the figures of 'Sculpture and Painting' can still be seen.The 1891 census described Hill as 'sculptor, retired' but she continued to exhibit at the Royal Scottish Academy until 1902, aged 82. She died at her house, Newington Lodge, 38 Mayfield Terrace on 5 July 1904 aged 83.At the time of cataloguing there is no catalogue raisonné of her work. Only a handful of work by her has appeared at public auction- with half of them miniature portraits, another of her passions. Her work is little known to the wider general public but in the last twenty years her work has started to be reappraised, lauded and celebrated with several books featuring her life and work. In 2021, the bicentenary of her birth, a walking tour of her Edinburgh works was instigated as 'The Amelia Tour' by a descendant Cat Berry. Hopefully the appearance at auction of this very early, elegant and sensual bust by this neglected Victorian female artist, with its leanings to the Pre-Raphaelite movement, may help redress some of the lack of awareness of her life and work.Please follow this link for the full catalogue footnote. Condition Report: Mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some loss to lowest edge, small scuffs and some later colour marks to hair and neck. Under UV there are signs of remedial infill- whether this is from construction or later we cannot tell. These are scattered across mainly the flesh areas- also to the left hand ear that looks to have been pierced for earring and filled. Some natural flaws to stone notably to her right shoulder. Overall with some surface dirt Please see additional images for visual references to condition which form part of this condition report. Condition Report Disclaimer
Y A LOUIS XV KINGWOOD, TULIPWOOD PARQUETRY AND GILT METAL MOUNTED COMMODE FIRST HALF 18TH CENTURY The top griotte de Campan rouge marble 89.5cm high, 143cm wide, 70cm deepProvenance: From a Private Collection in Northamptonshire Condition Report: Commode with the marks, knocks, scratches and abrasions commensurate with age and use. The expected old splits and chips. No key present, all locks are open. Some old veneer repairs - see images for details. Evidence of old worm in places. Marble top with some old repaired cracks - see images. Marble also bears the expected old chips and nibbles. Some later supporting blocks to the backs of the front feet. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
One album of Pokemon cards to include Diamond and Pearl Black Star Holo Mewtwo LV.X Promo Card and other DIamond and Pearl Black Star Promo cards together with Charizard Delta Species EX Crystal Guardians 4/100 Holo Rare, Fossil set First edition non holographic Articuno,approximately 370 Cards.
Stamps including Falkland Islands GV1 used definitive issues to 10/-, 1948 Silver Wedding set on plain cover dated 1st No. 1948, Port Stanley cancel, QE11 commemorative and definitive issues including high values, GB First day Covers, pre-decimal stamp books, omnibus issues plus some seaside comic postcards.
Stamps GB and World selection including 1d plates, 1/2d bantams, Postal History and Stationery items, First Day Covers, Indian States Jaipur stamp proofs on paper, booklets and presentation packs, collection of WW1 On Active Service letters and correspondence. Plus a selection of bank notes and photographs.
St George Jackson Mivart - Monograph of The Canidae, 1890 first edition, hand coloured lithographic plates by Keulemans, modern binding. Provenance: Bernard Sayers CollectionPlates all present and complete. These have library stamps for Newcastle upon Tyne public library, but to the reverse only. There are various stamps throughout the book. Contents are mostly very good, some sporadic time staining. Binding is later in good order
Volumes by Thomas Hardy: The Well Beloved (1st Edition 1897), Jude the Obscure (1st Edition 1896), The Trumpet Major (1st Edition 1896), The Dynasts (Political Vol II) 1921, Collected (Political Vol I), Tess of the Durbervilles 1904, Times, Laughing Stockjs 1915, Bibliography of Thomas Hardy (1865-1915) 1916 together with Thomas Hardy Society Review 1975/76/77/78/79, Thomas Hardy Yearbook 1978/79, Saint Michael Stinsford 'The First Mrs Thomas Hardy' 1979, 'The Second Mrs Hardy' 1979, Thomas Hardy's Wessex Scene 1948, 'Hardy' an illustrated dictionary 1980, Selected Poems by Thomas Hardy 1980, The Famous Tragedy of the Queen of Cornwall by Thomas Hardy 1923, arranged as a play for Mummers
Marvel Comics The Avengers #112 #113 (1973) (UK Price Variant) First and second appearance of Mantis and first appearance of Pantha, Marvel Comics The Avengers #84 & #85 (1971) (UK Price Variant), Marvel Comics Luke Cage, Power Man #22 #23 #49 & Power Man and Iron Fist #50 (UK Price Variant) First appearance of the Heroes For Hire and Title changed to include Iron Fist, Marvel Comics Ms. Marvel #14-16 (1978) (UK Price Variant) First cameo appearance of Mystique
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