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Lot 118
A Victorian 1822 pattern light infantry sword with dress scabbard, 38" (overall) and 32" (blade)The scabbard has multiple horizontal dents throughout. Neither the blade nor the scabbard is bent out of shape. The scabbard is 85.5cm/33.5in. The blade is 1 inch/ 2.5cm at its widest point. The pommel has no jiggle at all. The grips wires are intact.
Lot 341
A Brights of Nettlebed two-tier mahogany coffee table with satinwood crossbanding, the rectangular top with two real and two dummy frieze drawers raised on carved and reeded column supports united by a shaped undertier 50 x 152 x 93cmStructurally good, light scratching and knocks consistent with use, noticable knocks to the corners see photosModern, bought from Brights of Nettlebed in 2009
Lot 356
A Victorian style mahogany extending dining table, 20th century, with two additional leaves, the rounded rectangular top above a plain frieze with moulded edge raised on turned, reeded and tapering legs and brass castors77 x 109 x 150 (closed)77 x 109 x 246cm (fully extended)Reproduction, late 20th centuryTop has some minor marks and light scratchingGeneral wear consistent with age and use
Lot 2568
A pair of 19th century Regency style ormolu four-light candelabra, each elongated baluster stem supporting a central sconce and three scroll branches, the bases with foliate chased bands, height 62cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2504
A pair of Regency gilt metal single-light table lustres, hung with cut glass drops, on a naturalistic tree stump support, height 23.5cm. Note: from the contents of Runnymede Park, Surrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2506
A pair of late 19th century cast bronze and glass mounted twin-light table lustres, hung with glass drops and raised on circular bases, height 37cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2319
An early 20th century Arts and Crafts patinated wrought copper lamp standard, the wrythen sectional column on four downswept supports, height to light fitting 135cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2622
A 20th century Eastern pottery twin-light table lamp of baluster form, raised on a hardwood base, height 66cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2609
A 20th century medieval style wrought iron hanging six-light chandelier, diameter 100cm, together with another similar ceiling light.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2560
A pair of late 19th century gilt metal and porcelain mounted three-light candelabra, height 36.5cm, together with a Dresden porcelain vase and cover, height 27cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 243
A group of 925 silver & blue stone set rings. The lot to include; square cut stones, dark blue stone, white stone, CZ, trilliant cut, pinched shoulders, round cut, baguette cut, tapered shank, faux turquoise, cabochons, prill, halo, light blue stone, scrolling setting, filigree design, cluster. All hallmarked, marked 925 or sterling. Total weight approx 71.9g. Sizes approx L.5 - T.5.
Lot 84
LINCOLNSHIRE - HOWLETT, Bartholomew - A Selection of Views in the County of Lincolnshire, London: William Miller, 1813, 4to, full crushed morocco, raised bands, marbled end papers by Sotheran of Piccadilly, signed in the binding, 45 engraved plates. The first and original edition of Howlett's Views (1805) has 3 plates of Lincoln itself, plus one of Coleby with text and vignettes. This volume contains the plates only, engraved title and Lindsey frontispiece spotted. Other light spotting throughout but almost all in the margins. Half inch crack at the top of spine
Lot 95
STAMFORD (PECK, Francis - Rector of Godeby by Melton): Academia Tertia Anglicana or The Antiquarian of Stanford in Lincoln, Rutland and Northamptonshire...XIV Books. London. Printed for the author by James Bettenham, 1727. FIRST EDITION. Folio. Orig. calf, rebacked, raised bands, spine gilt. Clean crisp copy with the folding prospect of Stamford and all other engr. and plates. At the end is: "The Survey and Antiquitie of the Towne of Stamford....by Richard Butcher....London 1646...since continued by the author to 1660... with Mr Forster's letters added. Subscribers list (14 books each separately paginated plus index plus the second item (Butcher), light damp stain at top, mainly marginal
Lot 212
DEFOE, Daniel - A System of Magick; or a History of The Black Art, being an historical account of Mankind's most early dealing with the Devil, London, by J. Roberts, 1727, 8vo, t.p. in red and black. Engraved frontispiece. Signature on ff ep of "Tycho WIng 1727". Fine Copy in contemporary panelled calf. Very slight rubbing, light browning to t.p. Tycho Wing (1696-1750) was an astrologer. See D.N.B.
Lot 67
8 x Benham Covers Featuring H.M. Queen Elizabeth The Queen Mother, Colonel in Chief The Black Watch, The Light Infantry, The Kings Regiment, The Queen's Royall Hussars, 9th/12th Royal Lancers, The Royal Anglian Regiment, 1st Queen's Dragoon Guards, The Royal Army Medical Corps, good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 114
Spanish school, 18th century."Christ with angel collecting his spilled blood".Oil on sackcloth.Measurements: 88 x 71 cm.An iconography of medieval origin, the theme of the angel collecting in a chalice the blood that flows from the wound of the crucified Jesus, appears here in this painting of late-baroque period. The winged figure, depicted as an archangel, holds the sacred cup in both hands, symbolising the Eucharist and the sacramental conversion of wine into redemptive blood. Expressive contrasts of light model both bodies to make them emerge from the dark background.
Lot 119
Spanish school of the late 18th century, early 19th century."Still life with flowers".Oil on canvas.Unsigned.Size: 60 x 44 cm; 76 x 61 cm (frame).In this canvas the author presents us a still life of flowers of clear baroque influence, directly inspired by the great Spanish masters who shaped the genre in our country: Sánchez Cotán, Van der Hamen, Tomás Yepes, Pedro de Camprobín and -to a greater extent because we are in front of the typology of still life of flowers- Juan de Arellano, this last one born in Madrid in 1614 and died in the same city in 1676.The origin of the still-life genre in Spain dates back to the early 17th century, when it was still approached in a rational, rigorous style of Mannerist inheritance. However, as the Baroque progressed, still lifes and flower paintings became increasingly more dynamic, the compositions became more open and more naturalistic and theatrical. The flowers of the full Baroque period are shown, as we see here, completely open, almost on the point of wilting and very volumetric, bringing dynamism and a sense of scenography to the image, thus leaving behind the static and contemplative mood of the still life of the early Baroque. The composition is also rooted in the Spanish Baroque, with the elements that make up the still life set against a classicist landscape background, open on one side and closed on the other. Other typical features of the traditional Spanish still life, which the artist mastered with mastery, are the careful study of the light, which creates sharp contrasts to enhance the volume of the various elements; the care taken with the qualities of the different fruits, flowers and objects; and the accentuated realism with an almost illusionistic accent, supported by rigorous drawing and the skilful use of chiaroscuro.
Lot 21
Italian school; 18th century."The Transfiguration".Oil on canvas.It has repainting and restorations.It has a new frame and lateral extensions.Measurements: 102,5 x 82 cm; 118,5 x 98 cm (frame).It is the representation of the passage of the transfiguration of Jesus, event narrated in the synoptic Gospels according to St. Luke, St. Mark and St. Matthew in which Christ metamorphoses, becoming a radiant figure in divine glory. In this way, Christ appears in the centre, standing in a break of glory, floating above the apostles and the Virgin, who also contemplates, kneeling, the transfiguration of her son. The composition of the scene is defined by a clear symmetry in which the figure of Christ acts as the axis of symmetry, with his arms open in the form of a cross, while in the lower area, on either side, are the apostles, who have been depicted as similar figures, bearded and with their faces tilted upwards to observe Jesus.The work, which represents one of the most important episodes of the New Testament, does not faithfully follow the scriptures, as in this image we can see eleven of the apostles, while the biblical text only mentions the presence of Peter, James the Elder and John. Standing on the mountain, Jesus begins to give off bright rays of light, and it is then that the prophets Moses and Elijah appear at his side and speak with him. Jesus is then called "Son" by a heavenly voice, representing God the Father, as at his baptism.
Lot 24
Dutch School, ca. 1600."Village in a Landscape.Oil on panel.It has micro-cracking, but it is in very good condition.It can make pair with the lot 35266808.Measurements: 26 x 32,5 cm; 39,5 x 46,5 cm (frame).Scene in which a lake landscape is presented embedded in rich autumnal shades. Compared to other European schools, Dutch painting developed an early interest in landscape painting as an independent genre. Although in the 17th century landscape painting continued to depend on genre themes, it became an undeniable protagonist, as can be seen in scenes such as the present one. The lake is impregnated with an infinite number of tonal cadences, which are jaspered with glaucous and blue tones amidst the golds that catch the last rays of a fading sun. Humble houses border the lake, with peasants in the foreground working in silence, oblivious to the viewer.It was undoubtedly in Dutch painting that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, a taste for the real and material, and sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideals that were alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Lot 25
Dutch School, ca. 1600."Village in a Landscape.Oil on panel.It has micro-cracking, but it is in very good condition.It can make pair with the lot 35266807.Measurements: 26 x 32,5 cm; 39,5 x 46,5 cm (frame).The flat orography characteristic of the Netherlands is expressed in this landscape with sown fields that escape towards a bluish horizon. A golden halo toasts the surface of the fields, and behind them is a city (perhaps Utrecht or Rotterdam), with the Gothic cathedral standing out among the houses. The perspective has been intuitively worked by superimposing chromatic shifts from plot to plot, demarcated by the thickness of the vegetation. Compared to other European schools, Dutch painting was interested in landscape painting as an independent genre at an early stage. Although in the 17th century landscape painting continued to depend on genre subjects, it became undeniably important, as can be seen in scenes such as the present one.It was undoubtedly in Dutch painting that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, a taste for the real and material, and sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideals that were alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Lot 43
Flemish school; 17th century."Pastoral scene".Oil on canvas.It has a 19th century frame.Measurements: 62 x 85 cm; 71 x 91 cm (frame).Oil on canvas of horizontal format, in which an image of country or pastoral character is developed. In the foreground, the author places a group of characters accompanied by several animals. The figures depicted in the scene are a group of men and women who, by their gestures and disposition, are resting. The large presence of the landscape and the small size of the figures reveal the artist's special interest in capturing the landscape.It is worth mentioning that this was a period in which the feeling that man and nature should be complementary, one reflected in the other, began to take hold. In other words, landscape should arouse emotion and convey ideas. Thus, landscape painters such as the author of this painting tried to express their feelings through the landscape, rather than imitating it. This idea was established through two main strands: the dramatic, with its turbulent, fantastic views, and the naturalistic, which emphasised images of peaceful, serene nature, as in this case. It is this second conception that we see embodied in the present work; the painter seeks to communicate a religious reverence for the landscape, nature in its fullness, free from the industrial elements of modern life. Indeed, the artist's use of light here conveys a dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. Landscape, however, is made up of very different types of manifestations which are not comparable; it does not affect all the national schools equally, remaining more faithful to tradition in schools such as the Italian, French or Dutch. Thus, in this canvas we do not find the grandiose scenery of the British and Germans, the rugged mountains or the monumental Gothic ruins. On the contrary, it is a landscape centred on the foreground.
Lot 48
Circle of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."Saint".Oil on canvas glued to panel.It has restorations.It has slight air bubbles caused by the adhesion of the canvas to the board.Measurements: 39,2 x 27,8 cm; 48 x 37 cm (frame).In this portrait we can appreciate the author's taste for veracity, as the face of the protagonist has been painted with great naturalism. The work represents the bust of a mature man, arranged on a neutral background. The face is the absolute protagonist of the work, magnificently modelled through a skilful use of light and shade, with appropriate contrasts that enhance the plasticity of the features. The gaze is the focus of our attention, and it is reflected with a veracity typical of a careful study of life.The treatment of light and the workmanship of the piece bring this work closer to the artistic circle of José de Ribera, a key painter who belonged to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing, characteristics that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushwork that the artist learned directly from Ribera's work.
Lot 64
Dutch or French school, ca. 1700."Portrait of a lady.Oil on original canvas.New stretcher.Frame 19th century.With restorations.Measurements: 73 x 57 cm; 87 x 70 cm (frame).In this work a young lady is represented as Saint Agnes, with a lamb (the main iconographic attribute of the saint, symbol of her purity) and a stick instead of the palm of martyrdom. The brushstroke, loose and with great mastery and precision, denotes a rapid and skilful execution, as can be clearly seen in the young woman's hair and the lamb's fur. The light reflects his knowledge of Italian tenebrism: a spotlight that enters the painting from the lower left corner and falls directly on the main areas of the image, leaving the rest enveloped in a nuanced half-light and supporting the construction of the volumes and the space.
Lot 75
Spanish school; 17th century."Still life of hunting with cat, mushrooms and figs".Oil on canvas.Measurements: 85 x 133 cm; 107 x 154 cm (frame).In this canvas the author offers us a still life of classic style, rooted in the Spanish tradition of the genre, with a clear and ordered composition and an expressive treatment of the light, which produces expressive shadows on the right side and enhances the volume of the different objects.In the present painting, the artist pays great attention to the precision of the brushstroke and the atmospheric and chromatic sensitivity of the artist; nothing distracts the eye, which remains attentive to the smallest detail. However, despite this apparent austerity and economy of means, there is still a taste for the theatricality and deception typical of the Baroque, precisely in the naturalism of the image, so precise and perfect that it is a deceptive illusionism.
Lot 97
Flemish school of the 17th century."Hunting scene".Oil on canvas. Retouching.The sky has restorations and repainting.Measurements: 95 x 115 cm.We see in this canvas a hunting scene with different animals (a bear and up to six dogs), a particularly violent moment full of tension and even pathos, features that are reflected in the composition, the light and the chromatism as well as in the expressions of the animals. The scene is accompanied by a human presence as the owner of the animals is shown unsheathing a spear while threatening the bear. During the 17th century in Flanders there was a growing demand for paintings to decorate the houses of the bourgeoisie. Apart from portraits and large canvases with religious, historical or mythological themes, artists specialised, painting medium-sized works that gradually increased in format, with still lifes, animals, landscapes and genre scenes. Paintings reproducing collectors' cabinets of the period are explicit in this respect, to the point of giving rise to a new, independent genre of painting. Undoubtedly, the future of this painting would have been different without Rubens, whose art revolutionised the Flemish art scene by introducing a new, fully Baroque approach and bringing a sense of unity and opulent sumptuousness to the ordered and encyclopaedic display of his countrymen's precious depictions. The specialists, either indebted to his manner or subordinate to his work, worked along new lines, adding an accessory object, a landscape or a decorative background to their compositions. Within 17th-century Flemish still-life painting two trends can be distinguished, the static, represented by Clara Peeters and Osias Beert, and the dynamic, with Frans Snyders and Paul de Vos. This work belongs to the second of these schools, which is characterised by following the Rubensian Baroque in a purely dynamic sense. Dynamic still lifes are characterised by compositions with pronounced diagonals, as seen here, and by the frequent presence of live animals interacting with the objects in the still life, captured in full movement.
Lot 19
ENGLISH SCHOOL, 17TH CENTURYPORTRAIT OF A LADY, HALF-LENGTH, WITH A BLACK LACE MANTLEOil on canvas74 x 59.7cmIn a 17th Century carved wood frameProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Canvas has been relined, paint layer appears stable. Some craquelure in the lighter areas of the skin of the figure. Surface dirt and discolouration of the varnish. UV light reveals restored areas mainly in the face, hair, neck, body and right hand of the figure. Condition Report Disclaimer
Lot 207
A PAIR OF CARVED AND POLYCHROME DECORATED 'BLACKAMOOR' FIGURES 19TH CENTURY, PROBABLY VENETIAN Modelled in opposing contrapposto form- one hand held up holding a cornucopia shaped bracket, on floral decorated pedestal bases- possibly associated 190.5cm high overall Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: In common with most large figures of this type- strong light and UV shows evidence throughout to both of remedial work (restoration and repainting, retouching) to shrinkage cracks, rubbed decoration, small damages to exposed limbs, necks, faces and cornucopia. The latter look to have later tops and there are suggestions from inspection that these may have been fitted as lamps at one stage- now removed.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.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 descriptionAll 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. 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
Lot 221
ENGLISH SCHOOL (19TH CENTURY)A CLASSICAL CAPRICCIOOil on board119 x 212 cmProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Numerous cracks creating a pattern of fine horizontal lines on the overall surface of the panel. Two larger horizontal cracks at 1/3 and 2/3 from the top across the entire width of the panel. Panel is slightly warped. A thick layer of surface dirt and a discolouration of the varnish, which prevents proper inspection under UV light. Paint thinning in areas. Condition Report Disclaimer
Lot 223
A LARGE PAIR OF BRONZE AND GILT BRONZE CANDELABRALATE 19TH CENTURY FRENCH Female figural stems supporting ten light candelabra, cockerel mounted bases 152.5cm high, 38cm wideProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both with loss to patina from cleaning- notably around necks and hands. These present well from a distance but close-up- lack of detail, slightly crude casting with evident bubbling and weak finishing (notably to midriffs). There are some nail re-pinning to mounts, some distortion to shapes of candelabra arms and also to spot details such as base of lantern stem. Variances in gilding coloursToo heavy for scales but would think somewhere in the region of 12-18kg eachPlease 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.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 descriptionAll 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. 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
Lot 228
A LARGE REGENCY PAINTED PLASTER FIGURE OF A WOMANIN THE MANNER OF HUMPHREY HOPPER, CIRCA 1820 Depicted standing, classical robes, plinth base, unmarked figure 134.5cm high, base 42cm wideProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The surface looks to have been redecorated in pale white, blue and slight pink washes. This is impermeable to strong and UV light, but we would suggest that it probably covers restorations to both arms, hands and possibly the neck. Object to her left hand is incomplete. Some rubbing and loss to surface notably at exposed extremities and around neck and nose. Base chips, some sizeable and with knocks and subsequent hairlines including one running from front centre edge of plinth back into feet.base 41.7cm wide, 33cm deep. With regards question of the weight- too heavy for us to weigh- would suggest this is a careful lift by two strong people. Please see numerous additional images for visual references to condition which form part of this condition report.In the additional images the figure can be seen on top of a white painted base- this is NOT included in the lot. 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.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 descriptionAll 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. 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
Lot 274
A PAIR OF NAPOLEON III GILT BRONZE AND METAL SIX LIGHT TABLE CANDELABRA FRENCH, CIRCA 1870 Each with panels of classical women and musical instruments to the bases 63cm high overall, bases 17cm wide Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. both have plain central nozzle and flued surrounding nozzles suggesting the central one may have been replaced. Some distortion to the arms, bases with wear to edges and corners. Colour variance to gilding suggesting there has been some remedial gilding to rubbed sections. SOme later splash adn gilding rubbing. Bases have 1 blank face, pair of musical trophy faces and 1 female figure face. Glass and chains look to be laterPlease 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.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 descriptionAll 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. 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
Lot 279
A GOOD PAIR OF CARVED AND POLYCHROME STANDING 'BLACKAMOOR' FIGURES VENETIAN, 19TH CENTURY Depicted standing, turban and robe vestments, richly painted, single arm outstretched, with associated but matching decorative bases 184cm high overall, figures 132cm high, bases 44cm wideProvenance:Barnwell Manor, NorthamptonshireWindsor House Antiques Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Present well in the flesh but under strong light and UV- evident signs of retouching repainting throughout. Additionally some signs of restoration- notably to raised loops by neck, around necks and around hands. Both with radiating hairline shrinkage cracks running from face/neck into shoulder, one additionally with signs of shrinkage and repair to left leg above kneePlease 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.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 descriptionAll 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. 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
Lot 283
A CARVED MARBLE FIGURE EMBLEMATIC OF WINTER LATE 18TH/EARLY 19TH CENTURY, PROBABLY ITALIAN The child modelled as a young Hercules, Nemean skin over his shoulders, unsigned 91.5cm high, base 25cm diameterProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The surface overall is dirty and has a slight sugar 'twinkle' under strong light. It may be that the piece has spent some time outside in the past. Slight softening and lack of definition to detail. Natural small fissure holes to marble throughout. Right foot 'index' toe rubbed end. Please see numerous 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.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 descriptionAll 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. 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
Lot 288
A PAIR OF ORNATE CUT GLASS, GILT BRONZE AND METAL MOUNTED FIVE LIGHT TABLE CANDELABRA PROBABLY FRENCH, MID/LATE 19TH CENTURY Each with central stem with spiral twist cut mounts above leaf decorated branch support, numbered for the arms 56cm high, 40cm wide overallProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The branches are formed as scrolls terminating in butterfly winged nude half women which support the candleholders above. Approximately 40% of all lustre drops with loss to ends. Some vacant holes to drip pans for mounting with more chains. Rubbing and some nibbling to hobnail banding of bases.Please see numerous 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.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 descriptionAll 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. 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
Lot 296
A BRONZED METAL FIGURE OF A NEOCLASSICAL MAIDENAFTER JOHN BELL, 20TH CENTURY On stepped simulated marble mounted base, now fitted as a lamp 210.5cm high, 45.5cm wide at the hips Provenance:Barnwell Manor, NorthamptonshireWindsor House Antiques Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Under strong light and UV shows restorations to right wrist and shoulder- overall surface quite rough in areas- dirt build up. Lantern looks to be a later replacement. Base with largish chips to variegated midsection and plinthELECTRICAL 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.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 descriptionAll 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. 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
Lot 300
EMILE JEAN MARIE BRUNET (FRENCH 1869-1943)THE DANCING MAIDENOil on canvassigned (lower right)81 x 63 cmProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Canvas has been relined, paint layer appears stable. Discolouration of the varnish, particularly visible along the lower edge. Paint loss around the edges, a larger area in the corner lower left. A bulging indentation to the right of the musician's face with corresponding paint loss. UV light reveals large areas or restoration, including in the vase, in the sky, in the entirety of the dancing figure and along the upper edge. Condition Report Disclaimer
Lot 33
VENETIAN SCHOOL, 18TH CENTURY FIGURES IN A VENETIAN PIAZZA Oil on panel20 x 28 cmProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Abrasions around the edges resulting from contact with the frame. An area of bulging paint above the architecture in the sky in the right hand corner, possibly resulting from a heat source such as a candle. UV light reveals extensive retouching in the entirety of the painting. Condition Report Disclaimer
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