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Click here to subscribeA ROYAL NAVAL OFFICER~S SWORD RETAILED BY J. FRIEDEBERG, PORTSEA, 20TH CENTURYof regulation type, with etched blade included the crowned Royal Arms, crowned fouled anchor, foliage and the retailer~s details (areas of light surface rust, light wear), brass hilt with folding side-guard, in its brass-mounted leather scabbard and complete with its knot80.0 cm; 31 1/2 in blade
ËœAN 1822 PATTERN XVII LANCERS OFFICER~S SWORD RETAILED BY MOORE, LATE BICKNELL, BOND STREET, LONDON, CIRCA 1822-28of regulation type, with pipe-backed blade formed with a spear point, finely etched over three-quarters of its length with foliage, trophies-of-arms, crossed lances, the crowned regimental device, motto and designation and with the retailer~s details (small areas of light patination, the tip with a small area of pitting), gilt-brass mameluke hilt cast and chased in low relief, fitted with a pair of ivory grip-scales, in its wooden scabbard retaining a small portion of its blue silk covering (losses) with gilt-brass mounts en suite with the hilt, comprising large chape, two bands with rings for suspension, and locket77.8 cm; 30 5/8 in bladeAnother example, also retailed by Moore, late Bicknell, is illustrated Dellar 2013, p. 112.
AN 1853 PATTERN CAVALRY SWORD FOR THE 11TH HUSSARSof regulation type, with curved fullered blade formed with a spear point, struck with a crown, ~L~ and ~8~ arranged vertically at the forte, iron triple-bar hilt including scrolling quillon, stamped ~72/11H/322~ at the base of the knuckle-guard, chequered hard leather grips, in its iron scabbard with two loops for suspension89.8 cm; 35 3/8 in bladeThe 11th Hussars and the 2nd Dragoons were partially, if not wholly, armed with the 1853 pattern cavalry sword at the celebrated charges of the Heavy and Light Brigades at Balaclava on 25th October 1854. See Robson 1996, pp. 28-32.
A UNIFORM OF THE HONOURABLE ARTILLERY COMPANYcomprising an officer~s forage cap of the HAC Battalion, by Herbert Johnson, with scarlet/blue/scarlet cloth band and fine gilt regimental badge; together with a No.1 Dress tunic of the HAC Light Cavalry, with steel shoulder-chains; companion blue overalls with 1¾ -inch scarlet stripes; a pair of Wellingtons; two stable-belts and a set of yellow worsted cap-lines(qty)
A LARGE QUANTITY OF UNIFORM OF THE HONOURABLE ARTILLERY COMPANY LIGHT CAVALRY TROOPcomprising six black patent leather or plastic sabretaches (five complete with white metal badges, and two with white slings); three black leather or plastic pouches (one with white metal badge, another with fine gilt HAC Gun badge and motto); a set of buff sword-slings on a webbing belt; a set of officers~ silver busby-cords and cap-lines; a set of silver-laced sword-slings; a white metal sabretache- badge and a large bag containing white metal pouch-badges; and a large number of LC Troop white metal buttons(qty)Provenance; David Jeffcoat (1945 - 2020);
AN OFFICER~S BUSBYa modern example, probably of the HAC Light Cavalry, of black fur. Triple silver cord round cap and an oval corded silver boss to front. Scarlet bag with silver Russia braid decoration and a worked silver button. Roan leather headband and red silk lining. White metal chin-chain lined with black leather, and a white horsehair over red vulture plumeProvenance; David Jeffcoat (1945 - 2020);
A GROUP OF ROYAL MARINES LIGHT INFANTRY HEADDRESS PLATES, CAP AND COLLAR BADGESincluding an officer~s extremely fine and rare 1866-pattern shako-plate; an OR~s good shako-plate of the same period; Victorian helmet-plates for officers and ORs; an officer~s Glengarry badge, forage cap badge, collar-badges and an oblong waist belt plate; officers~, SNCOs~ and ORs~ waist belt clasps; shoulder-titles and a mounted officer~s gilt metal sabretache-badge(approximately 38 items)
A COLLECTION OF INDIAN ARMY BADGES AND SHOULDER-TITLEScomprising a card mounted with metal items including eleven shoulder titles, two good copper badges of HH Nizam~s Infantry Regiment, mounted with fine white metal numerals, and seven other Hyderabad military badges; a card, mounted with 45 metal shoulder titles, mainly of Corps but including the Mahratta Light Infantry, 17th Dogras and 11th Sikhs; a number of officers~ buttons of UK manufacture, of Indian regiments; an oval metal plaque engraved with the name of Capt HE Winthop 14th KCO Sikhs; a British officer~s white metal cap-badge of the 15th Sikhs, and a number of minor items;
A COMPOSITE NORTH EUROPEAN CUIRASSIER'S ARMOUR, EARLY 17TH CENTURY, PREDOMINANTLY DUTCHcomprising heavy close helmet with rounded skull formed in two halves joined along the crest of a moderately high roped medial comb, fitted at its rear with a tapering tubular plume-holder and at its front with a peak and bevor attached by common pivots having slightly domed radially incised heads (replaced), the obtusely pointed peak fitted on its underside with a U-shaped face-defence cut with seven bars each formed with a medial ridge, the lower edge of the face-guard secured to the bevor at the right of the chin by a swivel-hook and transversely pierced stud, the skull secured at the right of the neck by a similar swivel-hook and stud, and the flanged lower edges of the skull and bevor in each case fitted with a one-piece gorget-plate; slightly later heavy one-piece breastplate of vestigial peascod fashion with an upstanding inward-turned neck-opening, fitted at each of its shoulders with a later hinged buckle replacing a lower fastening now represented only by a vacant hole, and formed at its lower edge with a flange fitted at either end with a large mushroom-shaped stud for the attachment of a tasset; the right of the breast struck with the helmeted |A| mark used by the Armourers~ Company of London between 1650 and 1660, and the left of the breast struck with a cross paté; one-piece backplate with upstanding neck-opening and outward flanged lower edge fitted at its right and left ends respectively with a mushroom-shaped stud and a transversely-pierced stud for the attachment of an associated, detachable deep culet of four upward-overlapping lames; large symmetrical pauldrons, not an exact pair but in each case each forming part of the same series, the left and right of nine and ten lames respectively, in each case overlapping outwards from the fifth (the first lame of the left and the first four of the right associated), both pauldrons connected by a turner to a fully articulated vambrace formed of a tubular upper and lower cannon with an intervening bracelet couter of three lames (the right couter and lower cannon of the left vambrace associated); long tassets not an exact pair but in each case forming part of the same series, the left and right respectively of twelve and thirteen lames, and terminating in a winged poleyns of five, the latter laterally hinged to the last metacarpal lame; the main edges of the armour formed with inward turns; fingered gauntlets each formed of a long flared and pointed cuff fitted with a short separate inner plate, a wrist-plate, six metacarpal-plates, a knuckle-plate, scaled finger and thumb-defences ard turns, in some cases roped, and accompanied by incised lines, and the subsidiary edges bordered by similar lines; the surfaces of the armour cleaned bright with a light partly mottled patina; and accompanied by a pair of modern leather boots formed of sewn panels white fabric lining bordered at its upper edge with lace; the whole mounted on a mannequin with a steel base
A 1796 PATTERN LIGHT CAVALRY SWORD; AN 1875 PATTERN ARTILLERY CARBINE BAYONET, AN 1856 PATTERN ENFIELD SWORD BAYONET; A FRENCH MODEL 1866 CHASSEPOT BAYONET AND TWO SOCKET BAYONETS; the first of regulation type, with curved blade (shortened) and iron stirrup hilt (one langet missing); the second with saw-back blade, stirrup hilt and chequered leather grips; the third with broad blade swelling towards the tip; the fourth and fifth complete with scabbards; two further Chassepot scabbards; two socket bayonets; three sword scabbards and a further bayonet (rusted throughout); the first: 63.0 cm; 24 ¾ in blade; (13)
A 15 BORE FLINTLOCK FIRST TYPE DUBLIN CASTLE LIGHT DRAGOON PISTOL, CIRCA 1760-70; with tapering barrel with traces of marks at the breech border-engraved lock with ~GR~ crowned and ~Dublin Castle~ on the tail, full stock, and regulation brass mounts (extensively patinated, ramrod missing); 23.0 cm; 9 in barrel; ; See Brooker 2016, p. 124.; ;
A 15 BORE FLINTLOCK FIRST TYPE DUBLIN CASTLE LIGHT DRAGOON PISTOL, CIRCA 1760-70; with tapering barrel with traces of marks at the breech, border-engraved lock with ~GR~ crowned and ~Dublin Castle~ on the tail, full stock, and regulation brass mounts and retaining a portion of its wooden ramrod (extensively patinated); 23.0 cm; 9 in barrel; ; See Brooker 2016, p. 124.
A 15 BORE FLINTLOCK LIGHT DRAGOON PISTOL, EARLY 19TH CENTURY, PROBABLY IRISH; with tapering barrel with traces of a mark at the breech, border-engraved lock with ~GR~ crowned and ~Tower~ on the tail (cock an old replacement), full stock and regulation brass mounts (extensive wear, iron parts patinated, losses, ramrod missing); 23.4 cm; 9 ¼ in barrel; ; Probably part of a group of 2000 pairs of light Dragoon pistols ordered in 1801. See Brooker 2016, p. 140.; ;
A FINE FLINTLOCK BLUNDERBUSS BY REA, LONDON, LATE 18TH CENTURY; with brass barrel flaring towards the muzzle, signed on a flat enclosed by a liner frame drawn-out to a loop over the breech and engraved with a band of beadwork, struck with proof marks on the left, fitted on top with a spring bayonet (locking catch missing), border-engraved tang fitted with bayonet-catch, engraved stepped bevelled lock signed in script beneath the pan, decorated with border ornament, foliage and a flowerhead, bevelled cock decorated en suite, figured full stock (light bruising), engraved brass mounts comprising trigger-guard decorated with a rococo flower on the bow and with acorn finial, solid side-plate decorated with border ornament and a trophy-of-arms, butt-plate decorated en suite, vacant escutcheon with wrigglework border, and a pair of ramrod-pipes, and horn-tipped wooden ramrod with iron worm ; 31.5 cm; 12 3/8 in barrel; ; Almost certainly by John 1 Rea, elected Master of the Gunmakers~ Company in 1796 and 1805. He worked at 122 Minories 1777-78, and 91 Minories between 1779 and 1797. The present blunderbuss was probably made during the latter period. In 1778 he traded as John Rea & Sons and was contractor to the East India Company until 1804. ; ;
A FLINTLOCK BLUNDERBUSS BY WILLIAM 2 NICHOLSON, NO. 45 CORNHILL, LONDON, TOWER PRIVATE PROOF MARKS, CIRCA 1790 ; with brass barrel formed in five stages divided by raised mouldings, belled at the muzzle, signed over the breech and sparsely engraved at each end of the latter, engraved iron tang, signed stepped lock fitted with large roller (light rust patination), full stock (fore-end cracked, light bruising), inlaid with silver wire scrolls around the tang (small losses), engraved brass mounts comprising trigger-guard decorated with a rococo flower on the bow and with acorn finial, solid side-plate, butt-plate with a rococo shell and foliage on the tang, vacant escutcheon, two ramrod-pipes (one dented), and iron ramrod; 36.0 cm; 14 in barrel ; ; William 2 Nicholson is recorded at this address circa 1786-94.; ;
A FLINTLOCK BLUNDERBUSS LATE 18TH CENTURY, THE LOCK SIGNED R. JENNINGS, EARLY 19TH CENTURY; with brass barrel flaring towards the muzzle, inscribed ~London~ on the flat within a linear frame drawn-out to a loop over the breech, engraved tang decorated with foliage and border ornament, signed stepped engraved bevelled lock decorated with foliage and border ornament, fitted with bevelled lock decorated en suite, rainproof pan and roller (the lock added to a let-in panel of wood in the blunderbuss~s early working life), figured full stock (light bruising), pineapple chequered grip, engraved brass mounts comprising trigger-guard decorated with a rococo flowerhead on the bow and with acorn finial, butt-plate with tang en suite, and a pair of moulded ramrod-pipes and associated horn-tipped wooden ramrod with iron worm; 29.0 cm; 11 1/2 in barrel; ; A Richard Jennings is recorded at Broad Street, Hereford 1821-30, Little Berrington Street 1834-44 and Broad Street 1849.; ;
A 100 BORE SIX-SHOT PERCUSSION PEPPERBOX REVOLVER, BIRMINGHAM PROOF MARKS, MID-19TH CENTURY with fluted barrel group, scroll-engraved rounded self-cocking action, engraved bar-hammer, engraved trigger-guard, figured walnut butt, and engraved back-strap and pommel (areas of light pitting)7.5 cm; 3 in barrels
ËœA CASED PAIR OF 16 BORE PERCUSSION OFFICER~S PISTOLS BY HAMBURGER & CO., LONDON, BIRMINGHAM PROOF MARKS, CIRCA 1850with twist sighted barrels formed with a full length flat and with traces of ~London~, engraved breeches with platinum plugs, engraved tangs incorporating the back-sights and decorated with foliage, signed engraved locks decorated with foliage and border ornament, fitted with bolt safety-catches and hammers en suite, figured full stocks (light bruising, one chipped beneath the lock), chequered rounded butts, engraved iron trigger-guards decorated with scrollwork on the bows and with pineapple finials, vacant silver escutcheons, horn fore-end caps, and stirrup ramrods (steel parts with areas of wear and patination): in a later mahogany case lined in green baize20.5 cm; 8 in barrelsHamburger & Co., Sword Cutlers & Gunmakers, are recorded at 30 King~s Street, Covent Garden 1812-1826, became Hamburger, Harwood & Co. 1827-1839, and Hamburger, Roger & Co. 1840-1917.
A PAIR OF 22 BORE FLINTLOCK PISTOLS BY JOHN (2) HARVEY, LONDON, MID-18TH CENTURYwith brass engraved ~London~ within a linear frame drawn-out to a loop on the breech flat, struck with the barrelsmith~s mark on the left of the breech, engraved iron tangs, signed rounded locks (light pitting) fitted with engraved bolt safety catch and pans with water drains, figured walnut full stocks (minor bruising) carved with a shell behind the tangs, brass mounts comprising side plates cast and chased with a trophy-of-arms, escutcheon engraved with owner~s monogram ~JS~, grotesque mask butt-caps, and trigger-guards engraved with a framed rococo flower on the bow and with acorn finial, and moulded brass ramrod-pipes (later horn-tipped ramrods with iron worms)18.0 cm; 7 1/8 in barrels(2)John (2) Harvey is recorded as a silversmith, registering his silver mark at Goldsmiths Hall between 1737 and 1750 and as a bankrupt in 1761; ;
A PAIR OF 20 BORE FLINTLOCK OFFICER'S PISTOLS SIGNED HARTSHORN, BIRMINGHAM PRIVATE PROOF MARKS, CIRCA 1810with rebrowned twist octagonal sighted barrels, engraved breeches with gold-lined vents, engraved tangs, signed stepped bevelled locks fitted with bolt safety-catches, rainproof pans, and rollers, set triggers, full stocks with chequered butts (light bruising), iron mounts including trigger-guards decorated with a bouquet on the bow, trigger-plates with pineapple finials, and a pair of moulded ramrod-pipes (the iron parts with areas of light rust), and vacant shield-shaped silver escutcheon (later ramrods with iron worms)20.2 cm; 8 in barrels(2)
A .650 CALIBRE LIGHT DRAGOON FLINTLOCK PISTOL, CIRCA 1800of regulation type, the barrel struck with Ordnance marks and government ownership mark, border-engraved lock with ~GR~ crowned, broad arrow and ~Tower~ on the tail, full stock, regulation brass mounts including trigger-guard marked ~WYC/G~ probably for West Yorkshire Cavalry, and iron stirrup ramrod23.0 cm; 9 1/8 in barrel
A PAIR OF 20 BORE FLINTLOCK OFFICER~S PISTOLS BY KETLAND & CO, BIRMINGHAM PROOF MARKS, CIRCA 1820with brass barrels formed in two stages, inscribed ~London~ on the flat at the breeches and struck with proof marks and the barrelsmith~s mark, above a lion passant the number ~2~, on the left, engraved iron tangs, signed engraved stepped locks, fitted with rollers and bevelled cocks, full stocks (light bruising), flat-sided butts, engraved brass mounts comprising trigger-guards decorated with a flower on the bow and with pineapple finial, a pair of moulded ramrod-pipes, and vacant brass shield-shaped escutcheons (later brass-tipped wooden ramrods with brass-capped iron worms20.6 cm; 8 1/8 in barrels(2)
A 50 BORE FLINTLOCK POCKET PISTOL SIGNED WIGGIN, BRIMINGHAM PRIVATE PROOF MARKS, CIRCA 1800with turn-off cannon barrel, engraved box-lock action signed on a rococo scroll on the left and decorated en rocaille on the right, sliding trigger-guard safety-catch engraved with a flowerhead (cock replaced, areas of light pitting), flat-sided figured butt inlaid with silver wire rococo ornament, and chequered over the spine5.7 cm; 2 1/4 in barrel
CIRCLE OF VIVIANO CADOZZI (ITALIAN, 1603-1670) FIGURES IN A COLONNADE Oil on canvas168 x 244cm (66 x 96 in.)Provenance: Property from the Kingshott CollectionCondition Report: The canvas has been relined and on a new stretcher which is providing good support. Minor losses and abrasions to the edges. Several repaired horizontal tears are visible running from the centre left edge as well as on the right. UV light reveals areas of retouching in these regions as well as in other areas. It has been cleaned and revarnished, but there still appears to be some discoloured varnish in places. The picture can be hung without any further attention. Condition Report Disclaimer
A PAIR OF PORTASANTA AND GILT METAL MOUNTED TABLE LAMPS FRENCH OR ITALIAN, LATE 19TH/EARLY 20TH CENTURY Each with ram head and swag decoration, twin light fittings, with shades 56cm high to top of stems, bases 10cm wide Provenance: Property from the Kingshott CollectionCondition Report: Some spotting and rubbing to gilt- corners of bases with old knocks and small restoration, infill to marble veining possibly from manufacture. Shades modern and fairly goodCondition Report Disclaimer
COLONEL ALEXANDER MONCRIEFF (FL. 1883)THE TEMPLE OF KARNAKOil on canvasSigned (lower left)43.5 x 70.5cm (17 x 27¾ in.)Provenance: Property from the Kingshott CollectionSale, Phillips London, April 27th 1993, Lot 121Christopher Wood, London (P3771)Condition Report: The canvas has been relined, on its original stretcher which is providing good support. UV light reveals scattered retouching along the lower edge and in the sky. It's been cleaned and revarnished. Condition Report Disclaimer
P. AMORETTY (19TH CENTURY)THE SULTAN HASSAN MOSQUE, CAIROOil on canvasIndistinctly signed (lower left)51 x 78cm (20 x 30½ in.)Provenance: Property from the Kingshott CollectionCondition Report: The canvas has been relined but the paint layers appear stable. Some abrasions to the edges. Several repaired areas in the canvas. UV light reveals scattered areas of retouching, the largest is a square area in the top right corner (probably an old damage). It has been cleaned and revarnished. Condition Report Disclaimer
A MATCHED PAIR OF MAHOGANY AND UPHOLSTERED SOFASIN GEORGE III STYLEthe larger sofa 92cm high, 215cm wide, 72cm deep overall, the smaller sofa 89cm high, 204cm wide, 69cm deep overall Condition Report: As catalogued these are in George III style, they are more likely to be mid 20th century frames which have been more recently upholstered, they are a close pair and not a true pair - one is slightly larger and has four supports the smaller on three supports - they have been upholstered 'as a pair'. The legs and frames with marks, knocks, scratches, abrasions consistent with age and useThe frames appear to be solid and stable overall, the upholstery is later applied, Dreweatts can make no comments or give any guarantees as to the condition or originality to the frame beneath this later upholstery. This is in a condition that reflects its lack of significant age and light use in a domestic settingPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
A PAIR OF GILT METAL MOUNTED BLACK MARBLE URNSIN LOUIS XVI STYLEeach 45cm high overallProvenance:An Important Collection from a Cadogan Square HouseSotheby's, New York, 22nd May 1991, Lot 187Sotheby's, New York, 4th May 1999, Lot 141 Condition Report: Overall there are fine scratches, rubbing, knocks and abrasions consistent with age and wear.The pleated silk lampshades have some marks and aging. Observations including un-polished brass top light arms; the ormolu with some rubbing to the edges and raised sections; some residue to the urns almost like glue; some rust to the underside; some marks; some residue from a sticky label; the brass screw top to one of the lamps with the screw section sheered from the table lamp and now within the terminal.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
A LARGE ITALIAN CUT-GLASS AND GILT IRON TWENTY EIGHT-LIGHT CHANDELIER PIEDMONTESE, MID 18TH CENTURY AND LATER With twenty eight candles over two tiers, on C and reverse C-scroll arms with all over beading and flowerhead mounts, swag and pendant prisms, electrified Height overall approximately 140cm, 120cm wide Provenance: An Important Collection from a Cadogan Square HousePerrin Antiquaires, Paris, acquired 3rd December 1997Viewing: Please note this lot is on view at our Hambridge Lane Premises - approximately 10 minute drive from Donnington Priory. Condition Report: The chandelier is constructed with two metal arm holder tiers- these are united by 4 arms (each with 5 lights) that slot into top adn bottom tier. Additionally there are 4 small branches- with no lights that slot into the top tier- and 4 2 light branches that slot into the bottom tier. Both tiers have vacant apertures suggesting there may originally have been further fitments.The iron frame has a rough gilt brushed surface with rubbing of variable nature. Whilst the flower head banding to the arms feels correct- the larger drops throughout are of a different colour and feel to be possibly French later replacements. The finial to the centre is fairly modern and the ball drops also feel different in style.The whole slightly dirty adn with chips and losses to drops and fitments - not visually detrimental initially- but we do have some loose elements which are broken suggesting some replacements may need to be made.The whole has wiring attached to the surface of the branches with brass thin wire but the main electrical wiring seems incomplete- the whole will require a through electrical checking, rewiring and refitting prior to installation.Please refer to additional images for visual references to condition which forms 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. ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer
A LARGE AND IMPRESSIVE GILT AND LACQUERED BRASS EIGHT BRANCH CHANDELIER AFTER A DESIGN BY CHARLES HEATHCOTE TATHAM, CIRCA 1825 AND LATER Central column with graduated tiers of lotus leaves and scrolled acanthus mounted with three figures of stylized eagles, supporting eight numbered scrolled and leaf scrolling arms now fitted with mock candles and with clear and frosted glass shades, electrified approximately 242cm high, 129cm diameterProvenance:An Important Collection from a Cadogan Square HouseViewing: Please note this lot is on view at our Hambridge Lane Premises - approximately 10 minute drive from Donnington Priory.Traditionally auctioneers and historians have always credited this distinctive and unusual form of tiered corona chandelier design to the London designer and retailer William Collins (fl. 1808-1852) and Johnston Brookes & Co. In 2002 Phillips New York offered 6 chandeliers as part of the John Hobbs auctions- each attributed to Collins. A footnote to one of the lots (lot 65, October 22, 2002) is perhaps a better starting point to help attribute this form of design more accurately."There are also related chandeliers with tiered lotus leaf stems, which might possibly be by Collins, at Castle Howard, Yorkshire."The chandeliers at Castle Howard were actually designed by the architect and designer Charles Heathcote Tatham. In his 1806 book "Designs For Ornamental Plate, Many Of Which Have Been Executed In Silver From Original Drawings" plate 7 illustrates "a chandelier executed in gold metal for the New Gallery finished at Castle Howard in 1802". In common with this lot its construction is formed around a single central pole with no hanging chains and stepped individual tiers of floral mounts- above the moulded light dish with arms and foliate wrapped terminal below. The maker of his chandeliers for Castle Howard is unknown but Tatham and his brother produced work in collaboration with and for Vulliamy. Vulliamy's use of an eagle decorative motif is well known and might indicate a design inspiration for this lot.Another maker, of a slightly later date, was the firm of Messrs. Hancock and Rixon, the court 'Lustre and Glass manufacturers. It may be that they drew on Tatham's designs for their own work- notably the dolphin detailed pair of chandeliers for Sutherland House (formerly York House), London commissioned by George Granville Leveson-Gower, 2nd Duke of Sutherland (d. 1861). Condition Report: Viewing: Please note this lot is on view at our Hambridge Lane Premises - approximately 10 minute drive from Donnington Priory.The chandelier has been reassembled for photography only and is currently disassembled. Condition Report Disclaimer
A PAIR OF FRENCH ORMOLU THREE LIGHT WALL SCONCES POSSIBLY BY ÉMMANUEL ZWIENER, CIRCA 1860 Central sconce on opposing griffin head supports, back plate with urn above imbricated scroll volute support, variously incised 'Z'each 46cm high, 28cm wideProvenance: Private Collection from a Country House, Berkshire. Condition Report: Both now drilled and with old wiring for electricity. One with detached left branch/arm which will require remedial work. One lacking end to scrolling drop to base. Both rubbed and worn from use and with signs of wear from fairly heavy use- surface dirtyCondition Report Disclaimer
A SCULPTED ALABASTER BUST OF A YOUNG LAUGHING GIRL ITALIAN, LATE 19TH CENTURY Mottled grey marble base, unsigned 47.5cm high overall, the base 23cm wide, 19cm deepCondition Report: Remedial infill rest probably from carving to flaws to reverse- some internal flaws visible under strong light notably top knot of hair- some rubbing and wear to raised carved extremities- surface marks and spot dirt blemishing notably to eyeCondition Report Disclaimer
AFTER RAPHAEL SANZIOTHE MADONNA DELLA SEDIAOil on canvas89 x 70cm (35 x 27½ in.)Provenance:Property from the Kingshott CollectionSale, Christie's South Kensington, 8 September 2015, lot 241 After the original work, executed c. 1513-1514, in the Palazzo Pitti Collection in Florence, Italy.Condition Report: The canvas has been relined and on a later stretcher (slightly loose). Fine surface cracking but the paint layer appears to be stable. A repaired hole below madonna's chin and a diagonal repaired tear on her arm. UV light reveals retouching in these areas and also in broader areas in the background (largest areas along left and lower edge) as well as in some fine lines on the madonna's face. It has been cleaned and revarnished. Condition Report Disclaimer
A RARE CONTINENTAL GREEN FLUORSPAR AND LAPIS LAZULI INLAID TABLE TOP 20TH CENTURY Of rectangular form, with rectangular book-matched veneersapproximately 57 x 95cmCondition Report: The top is 4.5cm thick, and may benefit from a light clean. Area of damage to one side edge and with rubbing and surface wear from use and cleaning. Remains of old mostly illegible Sotheby's lot label to reverse.Please refer to additional images for visual references to condition which forms 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
SIX HAND-COLOURED ENGRAVINGS OF EGYPT (LUXOR, KARNAK, DENDERA) EARLY 19TH CENTURY40 x 78cm (15½ x 30½ in.) and smaller (6) Provenance: Property from the Kingshott Collection Condition Report: Under glass and unexamined out of frame. Some light foxing, creasing and minor abrasions, the sheets are presumably laid down. Colours generally appear quite strong. Two have slightly lifted from the sheet they have been laid down on. Condition Report Disclaimer
A RARE GEORGE III BLACK JAPANNED AND POLYCHROME DECORATED SEMI ELLIPTICAL FOLDING TEA TABLEBY HENRY CLAY, LAST QUARTER 18TH CENTURY Veneered in papier mâché and painted, the top with neoclassical reserves and with Grand Tour style vignettes within bands of Roman style profile portraits, the interior with a Chinoiserie scene, the whole with 73.5cm high, 92cm wide, 46cm deep (when closed)The discovery of this rare table is an important addition to the very small number of known examples of furniture produced by the Birmingham manufacturer, inventor and entrepreneur Henry Clay (1738-1812).In 1776 Edward Daniel Clarke noted in his book that he had visited Clay- and seen two pier tables for Lord Bristol, "which were painted after some designs brought purposely from Rome". These tables for the 4th Earl disappeared until 1987 when two appeared at Christie's London with two further appearing in 2005 and two more known to be in a private collection. The Bristol tables were designed with decoration to the top in two styles. Either fully painted scenes of Italianate landscapes- or in the Pompeian manner with vignettes within formal borders with medallions of profile human and animal heads and with central medallion of Cupids sacrificing at an altar, while crowning a roundel portrait of Beatrice Cenci as seen in the Palazzo Barberini.This table corresponds to the second form of decorative design. A papier mâché tray in the Birmingham Museum stamped Henry Clay has this exact design- presented as an oval- which is how this table design would appear if two such tables were placed back-to-back. The frieze and top and legs are veneered in what Clay referred to as "panel"- his 1772 patented version of 'stoved', or baked, japanning on papier mâché.Whilst the location and existence of the Bristol tables is recorded- it is also known that Clay carried out commissions for other similar examples of furniture and tables. Most notably it was said that he presented a pair of pier tables to Queen Charlotte, the wife of George III. There appears to be no trace of such tables in the Royal Collection but it seems that many pieces purchased by Queen Charlotte were later sold. The gift had been made with a view to currying favour and further commissions from the Queen, her retinue and the court. It is a tantalising possibility that this table may be from one such commission.The interior decoration on this table, especially the execution of the trees, may be compared with the Clay panel sold by Woolley & Wallis, 11 November 2008, Lot 365. The pendant heads bear comparison with the doors in the Marble Hall, at Keddleston Hall in Derbyshire (pl.11 p21 in "Japanned Papier Mache").We are most grateful to Yvonne Jones for her assistance and suggestions with cataloguing and researching this table.Related Literature:Yvonne Jones, 'A recent discovery of two papier mâché pier tables by Henry Clay', The Furniture History Society Newsletter, no. 162, May 2006Yvonne Jones, 'George Brookshaw - Japanner! Further light on japanned metal and papier mâché furniture c. 1740-c. 1820', The Furniture History Society Newsletter, no. 173, February 2009Yvonne Jones, 'Japanned papier mâché and tinware c.1740-1940', pp.128-130, Woodbridge, Antique Collectors' Club, 2012Condition Report: Wear, abrasions and loss from use, handling and as per age.The surface uniformly with build up of surface dirt and varnish(?) discolouration. The main top with undulations from carcass movement. Streaky patches of surface that might be from old water spillage. Interior much better condition. Some rubbing to exposed gilded detailsStructurally- all 4 legs have been off at one time or another. Back two with modern metal strip bracing, 1 front with underframe block repair- the other with cruder nail repair.Losses to veneer most notably to extremities and exposed edges notably back corners, feet and top and frieze marginsPlease 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. Condition Report Disclaimer
Pair of Howard style armchairswith blue kelim style upholstery, on turned wooden legs terminating in brass castors, 73cm wide approx x 90cm high approx overall (2)Overall light wear consistent with age and use. Tarnish/wear to castors and metal finish. Tiny stains in places. Minor pulls. No odour.
Charles Goldsborough Anderson (1865-1936)Portrait of a vicar and his wife, oil on canvas, one signed in full top left and the other with monogram, 55cm x 44cm, one framed and under glassNot relined, and in original frames with light wear due to the age. The lady portrait is looser and has some marks.
A PAIR OF FRENCH BRONZE AND GILT METAL THREE-LIGHT CANDELABRA IN EMPIRE STYLE MID-19TH CENTURY modelled as a winged figure standing on an orb, holding an urn with three scrolling candle holders, on a cylindrical pedestal with engine turned decoration and a square foot 65.5cm high (2) Catalogue Note For a similar pair, see Bonhams, The Gentleman's Library Sale, 23rd February 2021, Lot 173
A CUT-GLASS TWO-LIGHT CANDELABRA IN THE MANNER OF WILLIAM PARKER, LATE 18TH / EARLY 19TH CENTURY the central faceted shaft above two lights on scrolling branches and a third branch suspending swags issuing from an orb above a square section blue with glass, gilt decoration, in the manner of James Giles, on a concave pedestal and gilt metal base with ball feet 63cm high
A GEORGE IV ORMOLU AND GLASS SIX-LIGHT DISH LIGHT C.1825 AND LATER the later circular lozenge cut-dish with an urn, decorated with vine draped ram's masks and a cone finial, issuing six arms, the gallery with palmettes and hung from a conforming corona by three chains, with a sphere and leaf pendant base 124.5cm high, 76.7cm diameter Provenance Partridge Fine Art, London A Private Collection, California, USA. Catalogue Note A similar light is in the Yellow Drawing Room at Harewood House, Yorkshire, illustrated in Eileen Harris, The Genius of Robert Adam, fig. 205. another example is illustrated in Jonathan Bourne and Vanessa Brett, Lighting in the Domestic Interior, p.134, fig. 453.
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