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Click here to subscribeLarge Vintage Oak Display Cabinet. Mid 20th century A.D. A large wood cabinet glazed on three sides for the display of a suit of armour or similar; internal light; for collection from our Head Office in Harwich only. Approximately 80 kg, 191 x 69 x 80.5 cm (75 1/4 x 27 1/8 x 31 3/4 in.). [No Reserve] Property of a UK gallery.
Late Period, 664-332 B.C. An exquisitely modelled figure of a seated ibis on a trapezoidal-shaped plinth, with its beak resting on the slender feather of Maat; light turquoise glaze for the body, plinth, and feather; blue glaze for the tail feathers, feet and neck; head absent. Cf. Andrews, C., Amulets of Ancient Egypt, London, 1994, p.25, no.21f, for a similar example. 3.54 grams, 31 mm (1 1/4 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) with Bonhams, Knightsbridge, 3 October 2000, no.413. Private collection, Europe.The ibis was considered sacred to the god Thoth. It is likely that the popularity of amulets depicting an ibis resting its beak on the feather of Maat in the funerary sphere is connected to Thoth's role as the recorder of the final judgment of the deceased by the divine tribunal. This tribunal determined if the deceased had lived a virtuous life and could enter the Underworld. This was visually represented by the deceased's heart placed on scales with the feather of Maat; if the heart and feather balanced, eternity was assured.
45 B.C. A biconical facetted lentoid-section lead sling shot (glans), inscription monogram a combination of letters 'C', 'A' and 'E', for 'C A E S' referring to Julius Caesar. Cf. D'Amato, R. and Sumner, G., Arms and Armour of the Imperial Roman Soldier: From Marius to Commodus, 112 BC-AD 192, London, 2009, fig.32, p.45, for similar glandes from Zaragoza Museum, one with the name of Pompey inscribed also coming from Munda battlefield; Schinco, G., Small, A.M., 'A previously unknown siege of Botromagno/Silvium: the evidence of slingshots from Gravina in Puglia (Provincia di Bari, Puglia)' in Papers of the British School at Rome, 2019, pp.1-52, figs.31, 37. 44.4 grams, 39 mm (1 1/2 in.). [No Reserve] Acquired on the UK art market. Property of a gentleman collector. Accompanied by an academic paper by military specialist Dr Raffaele D'Amato, dated 4th May 2022 and titled 'Roman Res Publica - Lead Slingshots (glandes) of Caesarian Age - 45 B.C circa'.The shot (type IIb of the Völling classification) is marked with the abbreviated name of Julius Caesar; it was used in quantity at the Battle of Monda (or Munda) against the last fellows of Pompey, the leaders of the Optimates, on the 17th March 45 BC. Similar shots were used in the Caesar's wars; slingers of Caesar's age were part of the light infantry. Caesar speaks of his Balearic slingers during the conquest of Gaul. They wore a short tunic, with leather or rope sandals to the feet, and a warm overcoat which could also have been used to store projectiles. They also used a satchel to carry very deadly lead-like stones or bullets.
Circa 4th century A.D. One flat-section with light blue ribbed outer face; the other flattened at the juncture with some iridescence remaining. Cf. Kunstmuseum Luzern, 3000 Jahre Glaskunst, Luzern, 1981, p.103, letts.A,C, for similar bracelets. 20.4 grams total, 50-58 mm (2 - 2 1/4 in.). [2, No Reserve] From an old English collection. Acquired from Helios Gallery in 2011. Ian Wilkinson collection, Nottinghamshire, UK, formed since 1985.The mass production of glass in ancient Rome prompted the development of glass jewellery of unique qualities. The ancient Romans considered jewellery to be an essential accessory, being a public display of the wealth of high social classes. Recent excavations have provided better information on the use of glass for necklaces and bracelets, and in some cases it has been possible to understand the exact arrangement of the jewellery.
8th-10th century A.D. Shoe-shaped belt plaque with incised lambda on the disc, D-shaped head with pierced lugs to reverse and incised circle containing 'Φ /ΖωΗ/C'. 6.38 grams, 31 mm (1 1/4 in.). [No Reserve] Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of Surrey, UK, gentleman.The strap end bears a reference to the words of Jesus: John, 8:12 and 14.6 (I am the light of the world…I am the way and the truth and the life). It is highly possible that the belt was that of an important ecclesiastic Eastern Roman prelate.
Louis Vuitton of Paris- brown fabric umbrella with LV yellow monogram, curved light wood polished handle, gilt metal retainer for spokes/ribs, tie wrap and button, 92cm. label reads Louis Vuitton Paris Manufactured in The USA Under Special License to The French Company, one stretcher having a label Paragon Fox Frames Ltd. Made in England.
Mulberry - a canvas style zip-top bag with calf leather trim, 23x39cm, tartan fabric lined, serial number on disc 656980, with original dust bag. Condition report:Please see further images. The lining has a few marks that could be removed with a damp cloth, a few very very light scratches only seen in some direction and a few dark spot marks as photographed, near to seam..
A collection of watches and coins, a pair cased pocket watch with fern design outer case, 35mm white enamel dial with bulls eye glass in a metal case with fusee movement signed Jn. Ednardson; Tho's Russell silver open face pocket watch, Birmingham 1908, stem wind movement; a small silver open face pocket watch, London 1876, key wind movement; a 10/- note; loose British and European coinage; Roamer gold-plated wristwatch and four others; gilt metal money clip; brass"Light House Tinder Box".
A gilt metal, tiger's eye and enamel bracelet, each of the five 21mm wide gilt metal filigree panels, marked Silver and testing as silver, with an oval tiger's eye collet set to centre, dark blue and purple enamel floral motifs and light blue enamel scroll decoration, tongue snap fastener and safety chain, 18cm, a multi-strand bead necklace with brown tubular beads and small golden beads, large square gilt metal clasp, length 43cm.Qty: 2
Mulberry - a light tan satchel design leather bag, fold-over top with press studs below strap and buckle, similar fittings to external side pockets, 22x32cm, suede lined, serial number on disc 064143, with original dust bag and care label.Condition report:Please see further images.Thectrue colour is the richer sandy colour. The lining is very clean. There are a small slight discolouration marks but nothing serious. There are no studs in the base.
AFTER THE ANTIQUE- A PAIR OF TERRACOTTA FIGURES 'THE FURIETTI CENTAURS' PROBABLY ROME, 19TH CENTURY 35 and 40cm high, bases 21 cm by 9.5cm Provenance: Di Castro, TEFAF Maastricht. Literature: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900, London, 1981, pp.178-179, figs. 91 and 92. The 1st-century marble originals of this pair of centaurs, which were themselves copies of a 2nd-century B.C. Hellenistic bronze pair, were found together at Hadrian's villa in Tivoli by Monsignor Giuseppe Alessandro Furietti in 1736. After his death they were sold by the family and have been in the Capitoline Museums ever since. In some versions each figure would have been ridden by Cupid amorini, possibly illustrative of the romantic and sexual desires which torment the old and delight the young. The excavation of the centaurs was celebrated by the publication of engravings by Girolamo Frezza and subsequently by a series of 'bronzetti' cast by Francesco Righetti and Giacomo or Giovanni Zoffoli as well as versions in white biscuit porcelain by Giovanni Volpato. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. These present well and have modern black baize applied to undersides. Under strong light there are darker areas which indicate small repairs notably to raised right arm at elbow, several small raised surface details. There are also contact marks from handling. Under household UV these faults are also visible together with small green and orange stains- possibly surface contact with household waxes or atmosphere dirt. Under strong UV there are darker patches and signs of colour variances. This may be indication of original modelling and construction revealed under surface but in some cases- such as legs and hooves- is probably indicative of professional restorations. We would recommend that prospective buyers inspect this lot first hand or have their advisors do so and satisfy themselves as to condition and accuracy of description and condition. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators, and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
λ LEONOR FINI (ARGENTINE/ITALIAN 1907-1996) NUDE, PORTRAIT OF ANDRÉ PIEYRE DE MANDIARGUE Pencil Inscribed rue Bonaparte, couloir (upper left) 63 x 48cm (24¾ x 18¾ in.)Drawn circa 1930.Provenance: Estate of André Pieyre de Mandiargue, Paris Private Collection Christie's, Geneva, 13 November 2000, lot 84 André-Pierre de Mandiargue was a writer and essayist and close friend of Leonor Fini. Having spent the war years in Monte Carlo, he returned to his native Paris where he became associated with André Breton and the Surrealists. He married the Italian painter Bona Tibertelli de Pisis. Condition Report: Unexamined out of glazed frame. Executed on cream wove paper, which has discoloured slightly throughout. There is foxing and staining to the upper left corner and some further light scattered staining throughout, predominately along the upper edge. There are also some light scattered handling creases throughout the sheet. Otherwise, in generally good condition.Condition Report Disclaimer
FOLLOWER OF GEORGE JAMESONE PORTRAIT OF JAMES, 'THE ADMIRABLE', CRICHTON (1560-82), SEATED HALF LENGTH, IN BLACK COSTUME, HOLDING A SWORD Oil on canvas Bears various indistinct inscriptions and date '1581' (upper left and right) 73.5 x 61.5cm (28¾ x 24 in.) Provenance: Lt. Col. the Hon. Thomas Breadalbane, D.S.O., M.C. Christie's, London, Pictures by Old Masters, 27 March 1925, lot 15 (to Mck) Sale, Christie's, London, Fine English Pictures, 17 June 1983, lot 184, as 'Jameson' James Crichton, famously known as the Admirable Crichton (1560-1585), claimed to be descended from the royal lineage of Scotland through his mother. He studied under the esteemed scholar George Buchanan, alongside the young James VI, before embarking on travels abroad in 1577. Renowned for his exceptional memory, Crichton was said to possess the ability to recall with precision everything he had read or heard. A polyglot, he was fluent in eleven languages and demonstrated extraordinary intellectual capabilities. His life came to a tragic end in Mantua, where he served as a tutor to Vincenzo Gonzaga, and it is believed that he was killed in a fit of rage by his pupil. Condition Report: The canvas has been relined and presents an apparent layer of dirt across, as well as scattered dirt stains. UV light reveals an unevenly applied varnish, a 3 cm patch of restoration on he sitter's left cheek, a 3cm in width patch of restoration to the black cloth on the left side of the chest, as well as a 6cm vertical retouch. Further scattered retouching is visible to the right quadrant as well as a few scattered retouches in the background. Condition Report Disclaimer
A MEISSEN FLOWER-ENCRUSTED NINE-BRANCH TWENTY-ONE LIGHT FIGURAL CHANDELIER MID 19TH CENTURY The S-shaped branches each suspending flower encrusted drops, unmarked approximately 70 high not including celling fitting, 90cm wideProvenance: Commissioned by George V or Queen Marie of Hannover Sotheby's, The Royal House of Hannover, Schloss Marienburg, 5-15 October, 2005, lot 2852 At the Congress of Vienna in 1814, George III was restored to his Hannoverian property and titles, Hannover having been occupied by Prussia at the behest of Napoleon Bonaparte. George III had been co-ruler of the two territories, King of Great Britain and Ireland and Duke and Elector of Hannover within the Holy Roman Empire. The latter had been incorporated into the Kingdom of Westphalia by Bonaparte and after his defeat it reverted to George III but now was created a kingdom. In succession through the various sons of George III, Queen Victoria succeeded to the throne of Great Britain and Ireland via the Act of Succession, but Hannover was governed by Semi-Salic Law so had to pass to her uncle Earnst Augustus Duke of Cumberland. Salic Law, a legacy from the days of the Frankish Kings does not allow for succession to thrones, fiefs or titles via the female line. Schloss Marienburg was built by George V of Hannover as a birthday present for his wife, Marie of Saxe-Altenburg between 1857 and 1867. The castle is very much in the Gothic revival fairy tale style so fashionable in Britain, France and the various German states at the time, fuelled by writers such as Sir Walter Scott and Willem Hauff, longing for a return to Medievalism native to Northern Europe and away from classism. Other notable examples exist such as Schloss Lichtenstein in Wurttenberg, built by 1842 and Schloss Hohenzollern completed 1867 but perhaps the most celebrated is King Ludwig of Bavaria's Schloss Neuschwanstein. The chandelier was ordered from Meissen by the Queen for her salon at Schloss Marienburg where it was photographed in situ in 1867. This Rococo revival style was the height of fashion at the time and the aforementioned Ludwig would fill his new castles with Meissen lighting a decade or so later. As Meissen is also in Saxony and the premier German porcelain manufacturer it would have been the manufacturer of choice and one could argue that Meissen is and was the finest producer of porcelain in the world. The Sotheby's ten-day sale in 2005 sold more than twenty thousand objects accumulated by the Electors and later Kings of Hannover, Dukes of Brunswick and British monarchs achieving more than forty million Euros. Condition Report: Historic damage, chips, repairs, and losses. The top three branches missing the three branch three light bayonet fittings, assuming they had them and lacking one scroll ornament (see empty socket)Dreweatts cannot guarantee that the chandelier has been correctly assembled nor that we are entirely aware as to the number of missing pieces. Due to the value and nature of the piece, it is suggested that potential interested parties really should take the opportunity to view in person and every possible assistance will be provide to aid this. If you purchase this lot, you acknowledge that you realise there are chips, losses, old repairs and restoration. Do not buy this chandelier assuming it to be mint and perfect. It is not. Sold 'as viewed'.Please see additional images available from the Dept. upon request.Condition Report Disclaimer
WEEGEE [ARTHUR USHER FELLIG] (AMERICAN, 1899-1968) AFTER THE OPERA, A SAMMY'S NIGHT CLUB ON THE BOWERY, NEW YORK, CIRCA 1943/1944 Gelatin silver print 26 x 33cm (10 x 14 in.), frame 37 x 45cm Photographer's credit label (Wedgee Photo-Representatives) on the reverse Provenance: Christie's, London, 20th Century Photographs , 1 December 1999, lot 171 Condition Report: Light surface marksCondition Report Disclaimer
LISA JOHANSSON-PAPE (FINNISH, 1907-1989) A TABLE LAMP; CIRCA 1950 brass and leather 60cm high Provenance: Acquired from Eric Philippe, Paris, 6 February 2010 Condition Report: Very limited marks consistent with age and use. PAC tested. Slight wear to leather wrapped stem. Slight darkened patina on the brass commensurate with age. Condition and use reflect its lack of significant age and light use in a domestic setting. Condition Report Disclaimer
A PAIR OF FRENCH GILT METAL AND GLASS WALL LIGHTS IN THE MANNER OF MAISON BAGUES MID 20TH CENTURY Twin branches within scrolling backplates with glass drops and mounts 50cm high, 36cm wide Provenance: Acquired from Charles Saunders, London Condition Report: The right light misses a topping glass petal. Some mounts and wiring loose, some glass petals appear loose and out of mount. Otherwise, general condition is conducive with age and use. Formerly wired with some remnants of old flex wiring- will require full rewiring if required for electrical use.Condition Report Disclaimer
PAOLA PETROBELLI A LARGE FIVE-LIGHT CHANDELIER Dark-chromed metal suspension frame, with five blown glass spheres in different colours (two orange, two yellow, one blue) Drop: approx. 180cm, Largest sphere: 55cm high, 45cm diameter, Smallest sphere: 40cm high, 35cm diameter Condition Report: Overall this light presents very well. The metal frame in good condition with clean dark patina. The large orange glass shade has an internal fissure, extending approximately 10cm from one of the fixing holes, it sits within the neck part and doesn't impact on the look of the globe. Condition Report Disclaimer
ITALIAN SCHOOL (19TH CENTURY) TWO STUDIES OF KNEELING MALE NUDES Black chalk on paper, in common mount Each 24 x 16cm (9¼ x 6¼ in.) Condition Report: Unexamined out of glazed frames. Undulations to the sheet. Both sheets present light surface dirt and scattered stains, most notably to the upper edges, likely caused by a previous mount. The left sheet presents two diagonal creases to the lower left edge and upper right edge. The right sheet presents creases to the upper left edge and lower right edge. Condition Report Disclaimer
A (FES) STITCH EMBROIDERY UPHOLSTERED OTTOMAN DESIGNED BY HUGH HENRY Of rectangular form with complimentary red and white bullion fringe 50cm high, 200cm wide, 93cm deep Condition Report: Good, structurally secure with minor general wear and tear. Some light marks and staining to the embroidery that would probably respond to gentle cleaning. Please see additional images for visual reference to condition Condition Report Disclaimer
MANNER OF FRANCESCO GUARDI A CAPRICCIO OF A MEDITERRANEAN HARBOUR Oil on panel 85 x 95cm (33¼ x 37¼ in.) Condition Report: The panel splits are apparent. The panel presents various scratches and abrasions, most notable to the section of the sky, as well as paint loss to the edges. Furthermore, a think layer of dirt covers the painting. UV light reveals no evident signs of restoration. On an whole, the picture is very dirty and presents numerous scratches. Furthermore, a visible crack is present at the centre. Condition Report Disclaimer
FELIX JACQUES ANTOINE MOULIN (FRENCH, 1802-1875 FOLLOWERS OF SIDIMOHAMMED BEN AISSA, NORTH AFRICA, CIRCA 1870 Albumen print Archival label on the verso 16.3 x 22.2 cm, mounted on 31.2 x 38 cm sheet Moulin, whose work spanned early nude photography and visual documentation of colonial Algeria, run a photography studio in Paris, specializing in daguerreotypes featuring young nude models. Convicted on charges of obscenity but undeterred, Moulin set off to North Africa in 1858, where he captured images of its landscapes, urban scenes, historical sites, and local communities. These photographs were later published in a three-volume set titled L'Algérie photographiée, dedicated to honour Napoleon III and commissioned by him. Condition Report: A vertical crease (approx. 4 cm) and a couple of small dents in the surface of the print. Light age toning and minor foxing spots on the mount.Condition Report Disclaimer
ROBERT BYNG (BRITISH 1666-1720) 'CARPENTER', LORD CRAVEN'S HUNTER, HELD BY A PAGE Oil on canvas Inscribed 'Carpenter/ the Lord Craven's/ Hunter/ R Byng pinxt 1701' (verso) 62 x 74cm (24¼ x 29 in.) Provenance: Phillips, London, 11 December 1984, lot 118 Sotheby's, London, Ashdown House: the Winter Queen and the Earl of Craven, 27 October 2010, lot 26 The horse, Carpenter, held by a page in a refined striped outfit, was owned by William Craven (1668-1711), the nephew and heir of Sir William Craven. He married Elizabeth, the sister of Sir Fulwar Skipwith, Bt., of Newbold Hall.Robert Byng and his brother Edward were students of Sir Godfrey Kneller and served as assistants in his studio. In 1702, Byng also painted a portrait of William Craven's two sons, William and Fulwar. Condition Report: The canvas has been relined, and presents an apparent craquelure across the whole surface, most notable in the section of the sky. UV light reveals, various vertical and thin infills to the left edge of the page, a few dotted retouches above the horse's head, and scattered retouches in the sky. In addition, a vertical 7 cm retouch is present to the right of the page, just below his feet. To conclude, an unevenly applied vanish is scattered across, and there are various damages to the edges caused by the relining, as well as a horizontal crack which crosses the whole bottom edge. Condition Report Disclaimer
FOLLOWER OF MARTEN RYCKAERT A PAIR OF HUNTING SCENES, POSSIBILY DEPICTING ACTAEON Oil on copper Each 10.5 x 27cm (4 x 10½ in.) (2) Condition Report: Acteon with stag: Undulations to the copper. Surface dirt and visible scratches. Inspection under UV reveals a unevenly applied cloudy varnish, and areas of retouching, such as a long vertical scratch to the lower right edge, and retouching to the upper centre where, patches of restoration to the foliage such as to the left edge. Further scattered retouching throughout. Acteon kneeling: Undulations to the copper. Surface dirt, and a few superficial scratches. A paint loss to the lower left corner and upper right corner. Inspection under UV light reveals a cloudy varnish, and large areas of retouching to the to all corners. Scattered retouching to the lower centre, such as on a small restoration on Actaeon's leg, to the cloak, and just below the knee and foot. Furthermore, various patches of retouching are present in the sky, most notably a 3 cm wide restoration above the cloak, to upper centre edge. Condition Report Disclaimer
A DAMASCUS POTTERY TILE, OTTOMAN, SYRIA CIRCA 1600 23cm high,23cm wide Provenance: Acquired from Simon Ray, London Condition Report: no signs of restoration but some cracks to the glaze and scratches and areas missing to edges and corners and area or re-touching and glaze loss to lower central foliate motif on the right hand side and with some typical firing blemishes and light staining Condition Report Disclaimer
A SILVERED, GILT AND AMETHYST CRYSTAL GLASS HUNG TWENTY FOUR LIGHT CHANDELIER FRENCH, LATE 19TH CENTURY With central stem supporting stepped double tier of sprays above scrolling arms, rock crystal pendant sphere beneath 135cm high, 75cm wide Provenance: Acquired from L.V.S Antiquités, Paris, 2002 Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Silvered surface tarnished and will benefit from sensitive clean. Some old repairs to several smaller branches (at least three)- one of which has failed and small section of scroll missing with drop still present. Some fritting and chips to glass margins throughout. Ball with loss around hanging point and fractal marks Although this is fitted for electricity- this is being sold as decorative item 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
MAARTEN BAAS (DUTCH, B. 1978) 'SMOKE' STOOL; 2013 Charred wood and epoxy resin; with upholstered cushion in fabric designed by Pierre Yovanovitch Applied metal maker's stamps for 'BAAS' and 'Pleyal Paris' 54cm high, 36cm wide (including cushion) Provenance: Carpenters Workshop Gallery, Paris, 2014 Condition Report: Marks, knocks, scratches abrasions consistent with age and use. Charred by design, natural variation due to medium use. Seat revolving freely on stem, presentable order of upholstery. Condition and use reflect its lack of significant age and light use in domestic setting. See additional images Condition Report Disclaimer
MATHIEU MATÉGOT (FRENCH, 1910-2001) 'BELLEVUE' COFFEE TABLE; DESIGNED 1956 Black patinated metal and glass 38cm high, 85cm wide Provenance: Camard & Associés, Paris, 14 May 2007, lot 7 Literature: Jousse and Mondineu, 'Mathieu Mategot', 2003, ppg. 15, 139 Condition Report: Marks and scratches to glass top consistent with age and use. Black patinated metal legs has slight scratches. Glass top can be removed. Condition and use reflect its lack of significant age and light use in domestic setting. Condition Report Disclaimer
ANDRÉ DEVECHE (FRENCH, 1909-2007) A DESK; DESIGNED FOR THE CITÉ UNIVERSITAIRE OF PARIS; CIRCA 1940 Continental light wood, with two drawers and pink leather pad top 75.5cm high, 118.5cm wide, 65.5cm deep Provenance: Cité Universitaire, Paris Mes Lombrail & Teucquam, La Varenne Saint- Hilaire, 22 October 2000 Literature: Preparatory drawing, National Foundation of the University Campus, stamp "Deveche, decorator, Paris" The present lot was part of André Devêche's commission for the Cité Internationale Universitaire de Paris (CIUP), a renowned housing and research campus for international students founded in 1925. The university collaborated with prominent designers of the time to create academic environments that aligned with the modernist ethos of the early 20th century, emphasising a harmony between function and form.Devêche responded to this request with restrained, practical designs that epitomised the balance sought by institutions at the time. His work was marked by clean lines, a lack of excess ornamentation, and a return to craftsmanship, all characteristic of the mid-century design period.The upheaval caused by the Second World War led to the emergence of a more minimalist, streamlined aesthetic in furniture, reflecting a broader cultural shift towards functionalism and practicality. However, a complete abandonment of French elegance did not occur. This is evident in the pink leather pad top, which adds a distinctive touch of warmth to an otherwise functionalist piece.Devêche's oeuvre is now recognised for its blend of tradition and innovation. While respecting the legacy of French craftsmanship, he pushed the boundaries of functionalist design. His appreciation for materiality and utility led to his works being featured in major exhibitions, as well as in private homes and public institutions. Condition Report: Marks, scratches, knocks, abrasions consistent with age and use to wood and pink leather top. Drawers fully open and close- no key for left drawer Minimal marks to leather but condition is commensurate to its age. See additional images Condition Report Disclaimer
JACQUES ADNET (FRENCH, 1900-1984) A DESK AND STOOL; CIRCA 1930 Metal frames covered in black leather. Desk with two pivoting drawers, black painted wooden top and brass loop handles and finials. Stool with dark fabric upholstered seat and brass feet. Desk; 74cm high, 92cm wide, 37.5 cm deep Stool: 42.5cm high, 44.5cm wide 34.5 cm deep Provenance: Acquired from Gordon Watson, London, 2004 Condition Report: Marks, scratches, knocks and abrasions consistent with age and use. Pivoting draws pivot with ease. Slight discolouring of brass handles. Corners of desk slightly chipped and paint chipped to reveal original wood colour. Few white marks to top of desk. Slightly scuffed and worn along the edges/ legs of both desk and chair. No visible marks to upholstery of stool. Condition and use reflect its lack of significant age and light use in a domestic setting.Condition Report Disclaimer
A LARGE ITALIAN BAROQUE GILTWOOD TWENTY FOUR LIGHT CHANDELIER 18TH CENTURY With eight scrolling branches each supporting three lights around central scrolling stem, unwired approximately 150cm high, 115cm wide overall Provenance: Acquired from Barozzi, Venice Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per cataloguing this is currently unwired. There are holes drilled from former fitting for electricity but nozzles are fitted for candles only. The whole with characteristic shrinkage faults, knocks and wear resulting in scattered repairs throughout. The gilding fairly uniformly worn from handling and use- darker around repair points. Some losses to details. 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
PHILIPPE CRAMER (SWISS, B.1970) A PIERCED SILVER VASE Silver, interior gently planished; with wooden presentation box Stamped '925STERLING' with maker's cross-shaped mark and '01'. The box with 'Cramer Prototype' cross-shaped stamp 16cm high, 18cm wide Condition Report: Marks, knocks, scratches abrasions consistent with age and use to both vase and box. Interior exhibits hammered texture with no visible signs of significant damage or tarnishing. Box opens and closes with no difficulty. Condition and use reflect its lack of significant age and light use in domestic setting See additional images. Condition Report Disclaimer
A FRENCH PROVINCIAL BLUE AND GREY PAINTED SIDE CABINET 18TH OR 19TH CENTURY With pair of cupboard doors 96cm high, 137cm wide, 62.5cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and use, some scratches and indentations to the dark grey top surface through the paint revealing the underlying timber in places, similarly smaller scratches to the light grey cabinet section There is a key operating the one lock, the opposing cupboard door is held with a sprung latch to the interior - these appear to be original, the sprung latch needs some encouragement to close but when closed holds securely Some chips and losses to timber around the base some mouldingsSome later timber to the rear boards, also old woodworm holes and damage Please see additional images for visual reference to condition Condition Report Disclaimer
JACQUES ADNET (FRENCH, 1900-1984) A FLOOR LAMP; CIRCA 1950 With leather-covered tripod base and cream paper shade 140cm high Provenance: Jean-François de Blanchetti, Paris Acquired from Galerie Matthieu Richard, Paris, 26 March 2010 Literature: Alain René Hardy and Gaëlle Millet, 'Jacques Adnet', Paris, 2009, p. 247 for a related model Condition Report: Leather base and stem have few marks that are consistent with age and use. Minimal marks to shade. Pac tested. Condition and use reflect its lack of significant age and light use in a domestic setting. See additional images Condition Report Disclaimer
EDME ALEXIS ALFRED DEHODENCQ (FRENCH 1822-1882) VIEW OF THE ARTIST'S STUDIO WITH TWO PLASTER MODELS OF MICHELANGELO'S GIORNO AND NOTTE Oil on canvas Inscribed 'A. Dehodencq / Fait [?] de son atelier' (to stretcher, verso) 41.2 x 27cm (16 x 10½ in.) Provenance: Artcurial, 20 January 2016, lot 99 Collection of Gérard Souham Didier Aaron, Paris, at TEFAF Maastricht Condition Report: UV light reveals an evenly applied varnish, a few retouches on the red drape to the lower right, and a few restorations on the shade of the stairs. Otherwise, the picture does not present any significant damage or retouching. Condition Report Disclaimer
ITALIAN SCHOOL (18TH CENTURY) STUDY OF CLASSICAL RUINS Pen and ink on paper 19 x 26.5cm (7¼ x 10¼ in.) Condition Report: Unexamined out of glazed frame. There is a crease in the paper along the upper edge and less prominent horizontal crease approximately 6cm from the upper edge. The paper presents a small horizontal crease, approximately 2cm long, in the upper right corner. Surface dirt throughout. Light foxing is present, most notably to the upper left quadrant. There is a small blue stain along the upper right edge. Condition Report Disclaimer
JONATHAN FISHER (IRISH 1740-1809) A VIEW OF O'SULLIVAN'S CASCADE, KILLARNEY Oil on canvas 100.5 x 124cm (39½ x 48¾ in.) Provenance: Earl of Caledon Christie's, London, Important English Pictures, 26 April 1985, lot 50 Guy Nevill, London, 1990 Literature: The picture is from the same series as the pictures illustrated in A. Crookshank and D. Fitzgerald, The Painters of Ireland, 1978, p. 137, pl. 124 Engraved: V. PicotBorn in Dublin in 1740, Jonathan Fisher began his career as a woollen-draper in The Liberties before turning his attention to painting in 1760. Although he is thought to be largely self-taught, Fisher seems to have enjoyed significant success, receiving awards for his landscapes from the Dublin Society and regularly contributing to exhibitions of the Society of Artists until 1801. Rather than creating classicizing landscapes, Fisher was primarily concerned with conveying the true beauty of Ireland's scenery. The present work was one of the six paintings reproduced as engravings in 1770 with their circulation contributing to the promotion of the region as a tourist destination, a campaign which had been initiated by Thomas Browne, 4th Viscount Kenmare (1726-1795). As Fisher explained, the engravings were intended 'to lead the curious (who visit the Lake) to points of view, where the sublime and the beautiful are most picturesquely combined'.[1] Describing O'Sullivan's Cascade in 1796, Fisher wrote that 'it breaks out in one entire sheet of foam, and is interrupted in its fall by projecting ledges of rock, that separate it into three unequal stages, and, although confined, is a very beautiful scene, from its interesting accompaniments of rock and wood'.[2] Here Fisher depicts minute figures emerging from the cavernous rocks and standing admiringly before the wondrous magnitude of the Cascade. The work speaks to the deliberate cultivation of the picturesque by Irish landscape painters and is evocative of this period of domestic exploration. Condition Report: The canvas has been relined and presents an apparent craquelure across the whole surface, most notable to the section of the sky. Two vertical superficial scratches are visible to the lower right corner, , as well as abrasions to the edges, some of which caused by the frame, such as the ones to the lower right corner. UV light reveals and unevenly applied varnish, a 6 cm patch of restoration to to the section of the water to the left of the two people, as well as an approx. 8 cm long horizonal restoration below, various infills in the sky, and scattered restoration. Nevertheless, the most notable section of restoration is an L shaped strip of about 4 cm in width, which starts to the lower right corner, continues the whole right border, and extends to the upper edge until it ends on the last section of the cloudy sky. Condition Report Disclaimer
ISAC VROMANS (DUTCH CIRCA 1655-1719) A FOREST FLOOR STILL LIFE WITH CYCLAMEN, BUTTERFLIES, AND A SNAIL Oil on panel Signed with monogram (lower right) 39 x 32cm (15¼ x 12½ in.) Provenance: Private Collection, France, until 2012 Haboldt & Co., Paris Condition Report: The panel presents an evenly applied vanish. UV light reveals a few scattered retouches to the left border, a few dotted retouches to the lower edge, and a few retouches in the area around the white butterfly to the right. On a whole the panel does not present evident signs of damage or extensive restoration. Condition Report Disclaimer
ANDRÉ DEVECHE (FRENCH, 1909-2007) A DESK; DESIGNED FOR THE CITÉ UNIVERSITAIRE OF PARIS: CIRCA 1940 Cherrywood, with two drawers 76cm high,120cm wide, 65cm deep Provenance: Cité Universitaire, Paris Mes Lombrail & Teucquam, La Varenne Saint- Hilaire, 22nd October 2000 For further information on Cite Universitaire, please see lot 143 Condition Report: Marks, scratches, knocks, and abrasions consistent with age and use. Some larger scratches to tabletop. Minor chipping to tabletop edge. Condition and use reflect its lack of significant age and light use in domestic setting. Both drawers open with ease, left drawer slightly stiffer. Minor scratches to inside of drawers. Slight circle marks potentially indicative of water/ heat to underside of drawer handle. Slight fading to inside of table legs. See additional images Condition Report Disclaimer
SALVATOR ROSA (ITALIAN 1615-1673) STUDY OF A RECLINING SOLDIER Pen and brown ink with wash Tipped onto collectors' ink and wash mount with attribution 'S. Rosa 6.5 x 11cm (2½ x 4¼ in.) Condition Report: Unexamined out of glazed frame. The paper has been completely laid down to the mount. Surface dirt throughout and scattered dirt spots. Light foxing is present, most notably to the upper left quadrant. Creases to the upper left extreme edge. A 'V' shaped scratch to the lower centre and scratches to centre right. Condition Report Disclaimer
AN ITALIAN CARVED GILTWOOD TWELVE LIGHT CHANDELIER 18TH CENTURY AND LATER Shaped scrolling stem supporting single tier of 12 branches, unwired 80cm high, 105cm wide Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per cataloguing this is currently unwired. There are holes drilled from former fitting for electricity but nozzles are fitted for candles only. The whole with characteristic shrinkage faults, knocks and wear resulting in scattered repairs throughout. The gilding fairly uniformly worn from handling and use- darker around repair points. Some losses to details and with some arms hanging off kilter due to reattachments. 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
A NEAR PAIR OF STEEL AND IRON DESK LAMPS WITH METAL SHADES FRENCH, CIRCA 1900 Slight variances to base and finial designs , later fitted, bases variously stamped with numbers 48cm high, 20cm wide Together with a twin arm brass desk light, circa 1900, 56cm high, 49cm wide Saleroom Notice: Please note the description has been updated and differs from the printed catalogue. Condition Report: Saleroom Notice: Please note the description has been updated and differs from the printed catalogue. A NEAR PAIR OF STEEL AND IRON DESK LAMPS WITH METAL SHADES Slight variances to base and finial designs With wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per cataloguing with later fitting and some alterations to original form- some knocks and wear to shades and arms from use. ELECTRICAL GOODS. Sold with a 2025 portable appliance test (PAT) certificate 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
UNIDENTIFIED PHOTOGRAPHER ALGERIA, CIRCA 1980-1900 A suit of architectural views, landscapes and ethnographic studies from the regions of Biskra, Kabylia, Algier, Constantine, Sidi Jacoub and Algerian sub-Sahara Large albumen prints (28) Contemporary inscriptions along the mount edges Approx. 18 x 23.25cm, each mounted on a 29 x 45cm card Condition Report: Some expected but light toning; mostly good for the age.Condition Report Disclaimer
FRENCH SCHOOL (19TH CENTURY) A YOUNG MAN PLAYING THE PIANO FOR THREE GIRLS AND A MAN Pencil on paper 14 x 20.5cm (5½ x 8 in.) Condition Report: Unexamined out of glazed frame. A few dotted dirt stains. Light creases to the upper right and upper left corners. Otherwise, the drawing appears to be in good condition.Condition Report Disclaimer
λ TRISTANO DI ROBILANT (ITALIAN/AMERICAN, B. 1964) 'MILLESEICENTO' (FOUR ELEMENTS) Coloured blown glass, in four parts Inscribed with artist's signature (to largest piece) Height: 66cm (25in.) and smaller Executed in 2010. Provenance: Faggionato Fine Arts, London Acquired in 2010 Condition Report: Presents well, in good condition, no damages or losses. There are a few tiny air bubbles (in the making) and a few detected light long surface scratches, difficult to capture in images, we have done our best. The flat central element has a slight ridged line to the surface (again in the making).Condition Report Disclaimer
λ ANDRÉ DERAIN (FRENCH 1880-1954) ETUDE DE DECOR POUR LE BARBIER DE SEVILLE Gouache, ink and collage Stamped with Atelier André Derain stamp (lower right) 41 x 65cm (16 x 25½ in.) Executed circa 1953. In the early 1950s, Derain designed stage sets for Mozart's Abduction from the Seraglio and Rossini's The Barber of Seville at the Festival d'Aix-en-Provence.Provenance: Loiseau-Schmitz, Saint-Germain-en-Laye, Important Ensemble d'Oeuvres d'André Derain, 24 March 2002, lot 485 Condition Report: Unexamined out of glazed frame. Some discolouration to the sheet at the edges. The lower right corner is missing, although this is most probably original to the work. Some minor lifting, in places, to the sheets where they have been stuck down and some light associated undulation. Otherwise, in overall good condition. Condition Report Disclaimer
A PAIR OF GILT BRONZE CANDLESTICKS FRENCH, 19TH CENTURY With engine turned banded decoration and later fitted with porcelain mounted gilt metal scrolling three light upper sections 46cm high overall Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per cataloguing- later drop in inserts are for three lights, losses to flowers and some elements of scrollwork, some signs of mixed colour to gilding. One base repaired to stem, gilding rubbed, early 19th century, bases 14.5cm diameter 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
GEORGE CUITT THE ELDER (BRITISH 1743-1818) WINCH BRIDGE ON THE RIVER TEES Oil on canvas Signed and dated '1782' (lower left) 72 x 90.5cm (28¼ x 35½ in.) Provenance: Colonel M. H. Grant Glasgow, Bernard Castle, 18 September 1989, lot 333 Sotheby's, London, Ashdown House: The Winter Queen And The Earl Of Craven, 27 October 2010, lot 380 (as part lot) Exhibited: London, The Arts Council of Great Britain, Early English Landscapes from Colonel Grant's Collection, 1952, no. 13 Literature: Colonel M. H. Grant, A Chronological History of the Old English Landscape Painters, London 1958, Vol. III, p.240 The image depicts a well-known bridge spanning the River Tees, originally built to provide access for Holwick lead miners traveling to the lead mine at Little Eggleshope. Constructed in 1741, the bridge was suspended from hand-forged wrought iron chains. After the original bridge collapsed, the Duke of Cleveland funded the construction of a replacement, which was finished in 1830. Condition Report: The canvas has been relined and presents a subtle craquelure across the whole surface, as well a light surface dirt, most visible to the lower left corner. Various superficial scratches are visible, such as near the lower right edge, as well as various abrasions to all edges, where there are also a few losses of paint caused by the relining. In addition, UV light reveals an unevenly applied varnish and a few retouches to the borders, such as in the upper right corner. To conclude, there are a few infills in the darker section to the lower left corner, but on a whole there are few retouches on the canvas. Condition Report Disclaimer
λ‡ MIQUEL BARCELO (SPANISH B. 1957) CETTE BAIE LA Mixed media on canvas Singed, titled and dated 2015 (verso) 60 x 81cm (23½ x 31¾ in.) Unframed Provenance: Galerie Thaddaeus Ropac Acquired from the above 4 June 2018 Cette Baie Là is a captivating depiction of deep blue waters flowing into a dusky bay, where luminous rays of light radiate across the sky. The scene evokes an immediate sense of presence, as if one were stepping into the bay itself-feeling the sea breeze ripple the water and hearing the whisper of dark sand at dusk.Miquel Barceló's artistic language communicates his profound connection with nature, focusing on the materiality and interplay of surfaces and forms. Having travelled through the Himalayas, Portugal, and beyond, the Mallorca-born artist transforms the blank canvas into evocative recollections of underwater marine life, desert winds, sand, and rocky landscapes. He draws inspiration from the rich environments surrounding his travels and his deep engagement with the physical world. His art bridges the untamed and the sensational, enabling viewers to marvel at the diverse beauties of our planet.However, Barceló's approach to raw expression in art is not merely about highlighting the splendour of nature, but also about capturing the sense of liberty he finds within the intricate puzzle of his creations. Born in 1957, in Franco's Spain, Barceló followed in his mother's artistic footsteps. He went to Paris in 1974, where he resonated with the city's rebellious, free spirit. The idea of self-expression through art captivated him, and after attending the Decorative Arts School in Palma de Mallorca, he enrolled at the School of Fine Arts in Barcelona the following year. His early works explored the natural phenomena of various materials, often focusing on decay and decomposition. This fascination with transformation and its documentation as artistic experimentation reflected his involvement with the avant-garde group 'Taller Llunàtic,' which he joined in 1976. The relaxation of restrictions following Franco's death encouraged Barceló's rebellious creativity, a freedom often reflected in his unstructured works depicting oceans and uncharted marine depths.International recognition of Barceló's art surged after his participation in Documenta 7 in Kassel, where he represented Spain. The event's prestige within the art world quickly elevated his status, establishing him as one of the most celebrated contemporary Spanish artists. He is often compared to compatriots such as Francisco Goya, for his exploration of light, and Antoni Gaudí, for his terracotta installation in the Cathedral of Santa Maria de Palma. Between 2001 and 2006, Barceló transformed the walls of the right-hand apse of Saint Peter's Chapel, referencing his affection for marine life. The installation features depictions of fish and recalls the biblical miracle of Jesus multiplying loaves and fishes for his followers.The upheavals of Spanish governmental regimes have historically been a fertile ground for artistic expression. While some artists portrayed horror and fear, later generations celebrated the newfound freedom and voice they had gained in their practices. Barceló's works, though seemingly simple at first glance, are meant to be experienced rather than merely observed. Through his use of wood, volcanic dust, and other natural materials, Barceló creates works that are complex in their construction yet profoundly celebratory of life, nature, and emotion. Condition Report: In good original condition.Condition Report Disclaimer
GEORGE CUITT THE ELDER (BRITISH 1743-1818) HIGH FORCE OVER THE RIVER TEES Oil on canvas Signed and dated '1782' (lower left) 72 x 90.5cm (28¼ x 35½ in.) Provenance: Colonel M. H. Grant Glasgow, Bernard Castle, 18 September 1989, lot 333 Sotheby's, London, Ashdown House: The Winter Queen And The Earl Of Craven, 27 October 2010, lot 380 (as part lot) Exhibited: London, The Arts Council of Great Britain, Early English Landscapes from Colonel Grant's Collection, 1952, no. 13 Literature: Colonel M. H. Grant, A Chronological History of the Old English Landscape Painters, London 1958, Vol. III, p.240 High Force, a waterfall renowned for its awe-inspiring power, stands 70 feet tall and plunges dramatically over a solid layer of igneous rock. Captured by artists like Joseph Mallord William Turner, it has long been a subject of fascination.Thomas Amory's description from The Life of John Buncle (1756) vividly evokes its grandeur: "Like the fall of Niagara in Canada... swifter than an arrow from a bow, the water rushes down in a 140-foot drop, three feet greater than Niagara's descent... It is a grand and amazing scene." These words encapsulate the majesty of High Force, one of the most iconic sublime landscapes that attracted both eighteenth-century travellers and artists to the River Tees in Yorkshire. Condition Report: The canvas has been relined and presents a subtle craquelure most notable in the section of the sky. UV light reveals an unevenly applied varnish, as well as various small, scattered retouches to the rocks to the left of the waterfall, patches of about 2cm in width of restoration to the rocks to the lower border, and a few, yet small, restorations to the figures and to the right of the right waterfall. The most evident retouches are to the edges, where there has been some loss paint caused by the relining. Condition Report Disclaimer
λ TOBIT ROCHE (BRITISH B. 1954) TOMB OF TUGHLAQ SHAH, TUGHLAKABAD, DELHI Oil on canvas Signed (upper right); further signed, titled and dated 1983 (verso) 62.5 x 76cm (24½ x 29¾ in.) Condition Report: The canvas is not relined. The work appears to be in good original condition. No evidence of retouching visible under ultraviolet light. Condition Report Disclaimer
λ JOHN PIPER (BRITISH 1903-1992) CATHEDRAL SQUARE Oil on canvas laid to board Signed (lower right) 15 x 20.5cm (5¾ x 8 in.)Painted in 1947. Provenance: Buchholz Gallery, Curt Valentin, New York Private Collection, George E. Dix Jnr. (acquired from the above in 1947) and thence by descent Sotheby's, London, 25 May 2011, lot 97 The Fine Arts Society, London Acquired from the above on 30 June 2017 Exhibited: Virginia, University of Virginia, Museum of Fine Art, 1949 John Piper is widely appreciated for his extraordinary ability to portray the character of historic architecture, most notably churches and cathedrals. His study of them began as a boy, as he cycled around the towns and villages of Surrey to take brass rubbings of their medieval churches. Later on - with the poet John Betjeman - he went 'church crawling' around Britain as he contributed to the Shell Guides. Eventually, his guiding interest for this subject led him to commissions of national importance and works of cultural significance. Cathedral Square, 1947, offered here as Lot 288, shows Piper's archetypal treatment of subject, form, and surface. It's dark and sombre image conveys a sense of atmosphere that reflects the Neo-Romantic concern for 'genius loci' - the spirit of place: where the artist responds to place with an inward expression articulated across the canvas. Piper executed this well as an official war artist during the Second World War, as it made him revisit architectural forms with a renewed sense of purpose and emotive rigor, none more so than in Interior of Coventry Cathedral, 15 November, 1940: an important work that caught the cathedral in a state of bombed ruin, smoking as an architectural casualty of war. A delineation here may be made to Cathedral Square - painted in the aftermath of war - as Piper recalls the silhouette of the cathedral, and inscribes its surface with marks that create a visceral architecture on the canvas. George E. Dix Jr - whose family represented British artists in New York at the time - bought this painting in 1947 from the renowned Buchholz Gallery (run by the German Jewish art dealer Curt Valentin who was an important conduit of European Modernism in post-war America). Piper also exhibited here alongside fellow artists and friends: Paul Nash, Graham Sutherland, and Henry Moore - titans of Modern British Art. Cathedral Square was later shown at the Museum of Fine Art, University of Virginia in 1949, and thereafter entered private collection. "More powerfully than any other British artist ... he possessed a personal vision of architecture that transforms what he saw. He sought ... buildings of extraordinary character, and represented them by his own means of pictorial design, colouring, illumination, and texture, turning them into reflections of a unique personal attitude."David Jenkins, John Piper: The Forties, London, 2000. Condition Report: The work appears to be in good original condition. No evidence of retouching visible under ultraviolet light. Condition Report Disclaimer
AFTER RAFFAELLO SANZIO, CALLED RAPHAEL CHERUB WITH TORCH Oil on panel 15.2 x 12cm (5 x 4½ in.) Unframed After the fresco in Santa Maria della Pace, Rome Condition Report: The panel presents various damages to the edges most notable to the lower edge, as well as to the upper right edge. UV light reveals an unevenly applied varnish but no evident signs of retouching. Condition Report Disclaimer
PHILIPPE CRAMER (SWISS, B.1970) A PAIR OF CIRCULAR BOWLS Silver, interior gently planished; with wooden presentation box 8 x 18.5 cm Both stamped '925STERLING' and with maker's cross-shaped mark; stamped '01' and '02' respectively. The box with 'Cramer Prototype' cross-shaped stamp. Condition Report: Marks, knocks, scratches abrasions consistent with age and use to both vases and box. Condition and use reflect its lack of significant age and light use in domestic setting. Slight brown and yellow staining to interior base of one bowl - potentially indicative of potential deposits or corrosion. Signs of potential liquid stains about 1cm wide to top of box. Box opens and closes with no difficulty. Condition Report Disclaimer
CONTINENTAL SCHOOL (LATE 19TH/EARLY 20TH CENTURY) CLEARING THE ICE Oil on canvas Indistinctly signed (lower right) 200 x 310cm (78½ x 122 in.) Condition Report: Stretcher marks visible through the canvas. Light surface dirt throughout and numerous dirt stains. Abrasions to the edges with associated paint loss. Areas of paint loss caused by lifting and craquelure. Several losses of paint, including three patches on the left figure's coat of approximately 3cm each. Several dotted paint losses on the figures at the centre. One small, approximately 1cm, paint loss to the visage of the man with the pipe to the right. In addition, several small dotted paint losses in the background. Apparent paint loss to the upper right corner. Inspection under UV reveals a few retouches approximately 3cm wide to the lower right quadrant, notably to the ice. Condition Report Disclaimer
Circle of Charles Baxter (1809-1879) A country girloil on board, painted oval56 x 47cmCondition ReportFramed: 81 x 72cmCraquelure and light surface dirt. The painting has a separate wooden back board which has vertical splits, however the painting itself does not appear to be affected. Not examined under UV light, for a full report please contact the department.
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