UNSIGNED A GOLD, ENAMEL AND SEED PEARL OPEN FACE POCKET WATCHMovement: Full plate Case: Gold two piece hinged case, half seed pearl borders, the back cover with blue guilloche enamel Dial: Champagne Size: 34mm Signed: Unsigned Accessories: None Condition Report: Movement will require attention, it functions intermittently. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to have noticeable marks and scratches. Chips to the enamelHands show marks and tarnishing when viewed under a x4 loupe. Missing minute handGlass is missing.Case shows light scratches and marks. Heavier scratches to the enamelHinges appear intact.29g grossThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
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MARCHAND, PARIS A THREE COLOUR GOLD, ENAMEL AND WHITE STONE OPEN FACE POCKET WATCH, CIRCA 1800Movement: Verge fusee, undersprung three armed balance Case: Three colour gold two piece hinged case, the back cover chased with a foliate band and an enamelled portrait within a white stone set border Dial: White enamel Size: 40mm Signed: Movement Accessories: None Condition Report: Movement will require attention, it functions intermittently. Movement has scratches, marks and tarnishing commensurate with general wear visible to the naked eye. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands show marks and tarnishing when viewed under a x4 loupe. Glass has scratches and marks. Case shows light scratches and marks. Missing the majority of white stone from case backHinges appear intact.51g grossThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
AFTER ANGELICA KAUFFMANN PENELOPE MOURNING UPON THE BOW OF ODYSSEUS; AND CALYPSO, ABANDONED BY ODYSSEUS Oil on panel, oval, a pair Each 35 x 21.5cm (13¾ x 8¼ in.) (2) Copies of a pair of paintings in a private Swiss collection. See B. Baumgartel, Angelica Kauffmann, Dusseldorf, 1998, p. 413. Condition Report: Please note these works are on copper. PENELOPE: Fine craquelure and spots of surface dirt throughout. Some light surface scratching. One or two very small spots of loss scattered throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals a masking varnish which is making any retouching hard to read. There appears to be some very small over paint to the sitter's skirt.CALYPSO: In a similar condition. In addition, there is a small spot of retouching (approx.. 5mm) to the sitter's knee which is visible in natural light. There is also evidence of some oxidization between the copper and the pigment to the right edge (see catalogue and online images). There also appears to be some blooming or other similar discolouration to the black pigment at the upper left of the sitter's head. Inspection under UV light reveals some scattered spots of retouching, with a thick masking varnish is possibly concealing further overpaint.Condition Report Disclaimer
CIRCLE OF ONORIO MARINARI (ITALIAN 1627-1715) SAINT CATHERINE OF ALEXANDRIA Oil on canvas, framed as an oval 76.84 x 59.69cm (30¼ x 23¼ in.) Provenance: Sale, Christie's, South Kensington, 26 April 2006, lot 196After the picture in the Uffizi, Florence.The collection from Trethill House, Cornwall Condition Report: The canvas has an old reline. Craquelure throughout, together with some visible stretcher marks. There is a small area of heavier cracking with some associated lifting and restoration, around the sitter's hands, and in the top right corner. Some scattered retouching visible in a natural light. Rubbing and abrasions to the framing edges Surface dirt and superficial surface scratches throughout commensurate with age. Inspection under UV light reveals scattered retouching throughout, including to the aforementioned areas of cracking. A green cloudy varnish prevents a full reading. Condition Report Disclaimer
AFTER FRANCESCO BOTTICINI THE MADONNA OF THE ROSE GARDEN Watercolour over pencil 78cm diameterAfter the original painting in the Pitti Palace, Florence Provenance: Denis Mackail, according to label on verso, and thence by descent Condition Report: Some light discoloration to the framing edges, otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame. Condition Report Disclaimer
MANNER OF FRANCOIS BOUCHER APHRODITE AND THE APPLE OF DISCORD Oil on panel 47 x 37cm (18½ x 14½ in.)Together with an Oil of Venice by Follower of Clarkson Frederick Stanfield in an 18th century carved gilt wood frame (2) Condition Report: APHRODITE: A discoloured, dirty varnish throughout. Two small splits to the upper framing edge of the panel (each approx. 7cm and 5cm respectively). Rubbing and abrasions throughout. Some superficial surface scratches scattered throughout, together with some light craquelure. The paint surface appears stable however. Inspection under UV light reveals very light scattered spots of retouching together with a green cloudy varnish.VENICE: The canvas has been lined. There is a dirty varnish which has caused some discolouration. There is surface cracking and craquelure throughout the canvas, some of this is starting to lift and needs attention. Retouching along the framing edges is visible in natural light. The canvas with some undulation, which probably occurred during the reline. Inspection under UV light reveals retouching and infilling throughout the canvas. Condition Report Disclaimer
A PAIR OF SILVER-GILT BALUSTER CASTERS R. & S. GARRARD & CO. (SEBASTIAN HENRY GARRARD), LONDON 1912 With knopped finials to the pierced and domed covers, Huguenot style strapwork and on circular moulded spreading feet 19cm (7 1/2in) high 690g (22.2 oz) Each with a Garrard & Co. Ltd. fitted case Illustrated: The Connoisseur, May 1965, p.4 Condition Report: Caster 1 - Marks are clear, crest is crisp, cover fits well, slightly wobbles, gilding generally goodCaster 2 - Marks are clear, crest is crisp, cover fits well, slightly wobbles, gilding generally goodBoth with light scratches and wear commensurate with age and useCondition Report Disclaimer
A SMALL GROUP OF 19TH CENTURY JEWELS Comprising: a facetted glass vinaigrette with floral openwork lid accented with turquoise to a ropetwist handle; a ropetwist basket of flowers with painted shell flower heads and a bloodstone panel base, suspended from a chain; a small French compass, in a sky blue enamel frame with star motifs, the reverse painted with a harbour scene, French poinçon; an enamelled chalice charm, with floral motifs on a sky blue ground, French poinçon; and a small miniature brooch depicting Cupid fishing, in a split pearl frame Size/dimensions: 2.0cm, 1.8cm, 1.5cm, 1.6cm and 2.6cm Gross weight: 18.3 grams Condition Report: Flower basket - Fair condition, one flower with glue residue to base, small lossesVinaigrette - Slight play to the hinge, all turquoise present, minor nibbling to the glassChalice - Possible repair to the stem, does not appear straightCompass - Not functioning, various chipsBrooch - Some dust under the glass, all pearls presentAll with light scratches and wear commensurate with age and useCondition Report Disclaimer
λ CLAUDE HARRISON (BRITISH 1922-2009) PORTRAIT OF JAMES YORKE; AND PORTRAIT OF CHARLES YORKE Oil on board, a pair The former signed and dated 1971 (along the lower edge); the latter signed and dated 1974 (lower left) Each 112 x 72cm (44 x 28¼ in.) (2)Exhibited: London, Royal Society of Portrait Painters, 1971 Condition Report: Some light craquelure to both works. The portrait of the sitter in a brown suit with what appears to be some uneven varnish at the lower left edge. Otherwise these works appear to be in good original condition with no evidence of retouching or repair. Condition Report Disclaimer
LEGER, PARIS A GOLD OPEN FACE POCKET WATCH, LATE 18TH CENTURYMovement: Verge fusee, undersprung three armed flat balance Case: Gold two piece hinged case, the back cover with blue guilloche enamel Dial: White enamel Size: 36mm Signed: Dial, movement Accessories: None Condition Report: Movement is not currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands show marks and tarnishing when viewed under a x4 loupe. Glass has some scratches and marks when viewed under a 4x loupe. Case shows scratches, marks and dints. Missing a possible band of enamel from back coverHinges appear intact.36g grossThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
C. B. FREUNDLER, GENEVA A GOLD AND ENAMEL OPEN FACE POCKET WATCH, NO. 2486, EARLY 19TH CENTURYMovement: Cylinder escapement, three armed balance, flat balance spring Case: Gold four piece hinged case, the back cover enamelled with a female figure carrying an umbrella and C-scrolls, unmarked Dial: Silvered Size: 40mm Signed: Case Accessories: Chain and key Condition Report: Movement is not currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands appear to be in a generally good condition.Glass has some scratches and marks when viewed under a 4x loupe. Case shows light scratches and marks. Some minor losses to the enamel on the case backHinges appear intact.This lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
UNSIGNED A GOLD AND ENAMEL OPEN FACE POCKET WATCHMovement: Cylinder fusee, undersprung three armed balance Case: Gold two piece hinged case, enamel foliate borders, the back cover with blue guilloche enamel, stamped 7310 CF Dial: White enamel Size: 45mm Signed: Unsigned Accessories: An associated gold outer case, hallmarked London 1837 Condition Report: Movement is not currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to have noticeable marks and scratches. Hands appear to be in a generally good condition.Glass has scratches and marks. Case shows light scratches and marks. Losses to the enamel borders. No apparent gold marks Hinges appear intact.Pocket watch - 67g grossAssociated outer case - 9g, split, no standard markThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
A GILT BRONZE MOUNTED MEISSEN PORCELAIN TIMEPIECE GARNITURE 18TH CENTURY AND LATER ASSEMBLED The mounts associated and including a 20th century Swiss watch movement, central timepiece holder in the Louis XV manner with extensive hard paste flower decoration in the Vincennes manner and a central 18th century putto holding a basket of flowers, the candelabra in the Louis XVI manner with 18th century figures modelled as Mars and Juno Centrepiece 31cm high overall, 28cm high, candlesticks 19cm high Provenance: The Hon. Claude John Yorke, and thence by descent. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Only one base of the figures is vaguely visible and it has plaster or infill obscuring most of it- the other two figures with glued metal bases. All figures and most of the flowers with old damages, losses and restoration- yellow under strong light and strong fluorescing under UV. Vacant metal branches with missing flowers, damages to leaves to bocage. Time piece non operative 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 SMALL BRASS AND GLASS VERSAILLES LANTERN FRENCH, LATE 19TH CENTURY Of hexagonal form, the crown above the facetted lantern with bevelled glass plates 44cm high Condition Report: Crown to top is fixed- access to light is through hinged base. With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Rubbed to exterior gilding from prior use and some surface deposits of old cleaning fluids, glass generally good- only one small nibble to edge noted but edges are largely hidden under mounts. Surface dirt throughout Has fitment for one single bulb and wiring to top but note: ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
BERNARDO AMICONI (BRITISH/ITALIAN CIRCA 1825-1880) PORTRAIT OF MARIGO PETER RODOCANACHI (1861-1947) Oil on canvas, oval Signed and dated '1866' (lower left) 121 x 97cm (47½ x 38 in.)Provenance: Marigo Peter Rodocanachi and then by descent Condition Report: The canvas has been lined. Fine craquelure throughout, however the paint surface appears stable. Rubbing and abrasions to the framing edges. Some small spots of retouching scattered throughout which can be seen in a raking light. Significant in-filling visible to the sitter's neck and face in a natural light. Approx. 131 x 107cm framedCondition Report Disclaimer
CIRCLE OF MICHAEL DAHL (BRITISH 1656/59-1743) PORTRAIT OF HENRY GREY, DUKE OF KENT (1671-1740), HALF-LENGTH, WEARING THE ORDER OF THE GARTER Oil on canvas Inscribed 'Henry Grey Duke of Kent Anno 1731 Father of Amabell Lady Glenorchy' (upper right) 76 x 63.5cm (29¾ x 25 in.)Illustrated: The Connoisseur, May 1965, p.4This painting was possibly at Wrest Park, Bedfordshire in c. 1740. An inventory for the mansion lists a number of portraits of the Duke although the sparsity of their respective descriptions prohibit a firm identification (ed. J. Collett-White, 'Inventories of Bedfordshire Country Houses 1714-1830', The Bedfordshire Historical Record Society, vol. 74, 1995, pp. 251-273). Furthermore, three portraits of the Duke of Kent were sold at the 1917 Wrest Park sale of paintings and drawings (Christie, Manson & Woods, 16 November 1917, lots 8, 26 and 53). Lot 8 in this sale, 'Portrait of Henry, Duke of Kent, in brown coat embroidered with silver and gold, 50 in. by 40 in.' is possibly another closely related ¾ length version of the portrait offered here, sold Abell Auction Company, Los Angeles on 15 October 1995, lot 13, which has the same dimensions as lot 8 in the 1917 sale. Henry, 12th Earl and future Duke of Kent (1671-1740), inherited Wrest Park in 1701. A leading courtier and politician, he had been on the Grand Tour in 1690, returning with an appreciation of classicism. At court, throughout his tenure, he was appointed Gentleman of the Bedchamber, Constable of Windsor Castle, Lord Steward of the Household, and Lord Keeper of the Privy Seal while as a politician he held the posts of Privy Councillor, and Lord Chamberlain on the recommendation of Queen Anne's then confidante, Sarah, Duchess of Marlborough The latter role was relinquished when he was created Duke of Kent. In 1715, he engaged the well-known Italian architect, Giacomo Leoni, to modify Wrest Park. Leoni's plans were shown to other leading Italian architects such as Juvarra for their approval by the Duke's two sons whilst on their own Grand Tour. However, finally, the South Sea Bubble and the premature deaths of the Duke's sons deterred the Duke from embarking on Wrest Park's refurbishment. Condition Report: The canvas has been lined, cleaned and re-varnished. Craquelure throughout, however the paint surface appears stable. Rubbing and abrasions to the framing edges. Inspection under UV light reveals some old in-filling to the craquelure, however this is very fine and sensitively done. There is also evidence of a heavy varnish. Overall the work appears to be in good restored condition.Condition Report Disclaimer
A GEORGE III MAHOGANY LONGCASE CLOCK LATE 18TH CENTURY The eight-day bell striking movement striking on a bell, the 13inch dial with a painted scene to the arch and inscription for the maker THOMAS WORSWICK LANCASTER above Roman numeral chapter ring and Arabic five minutes to the outside track and with central date aperture, the case attributed to Gillows of Lancaster, with fretwork and blind fretwork, fluted quarter columns, and canted plinth base 230cm high Condition Report: Movement is complete but is generally in neglected condition hence will require a clean/overhaul before putting to use. The hour hammer has been altered (in the 19th century) to have an external cock/pivot at the rear together with external spring/counter (to sound on a gong that was once fitted to the case backboard); the bell and stand are replacements. The dial is a little dirty/discoloured and may have originally had a rocking figure feature to the arch (no longer present and painted scene now fitted flush within the dial aperture. The movement rests on an old seatboard onto to cheek uprights of the case which appear not to have been packed hence movement and dial are probably original to the case. The case would have originally had a pierced/fretwork crest and the fretwork (no longer present) and the fretwork infill to the upper quadrants above the dial are most likely replacements. The case backboard may also be a replacement (or has been out of the case and re-fitted). Otherwise faults to the case are limited to relatively minor bumps, scratches, scuffs (most noticeably one to the front of the base) and light shrinkage.Clock has two weights, a case key but no winder. Condition Report Disclaimer
FOLLOWER OF CLAUDE-JOSEPH VERNET MEDITERRANEAN HARBOUR SCENES WITH FIGURES AND VESSELS Oil on canvas, a pair Each 25 x 30cm (9¾ x 11¾ in.) (2) Condition Report: Each canvas has been lined. Heavy craquelure throughout with signs that some of the pigment may be at risk of lifting. In the canvas with the tree in the foreground, there appears to be an old repair to the upper right edge (approx.. 7cm) with some associated overpaint which is visible in a natural light. A dirty varnish has caused some discolouration to both works. Inspection under UV light reveals scattered retouching and in-filling throughout.Condition Report Disclaimer
ANGELICA KAUFFMANN (BRITISH 1726-1795) PORTRAIT OF JOHN SIMPSON OF CO DURHAM, SEATED FULL LENGTH WEARING A RED VANDYCK COSTUME Oil on canvas Signed 'Angelica Kauffmann Pinx' (lower right) 74 x 61cm (29 x 24 in.) In a carved gilt wood Kentian frame Provenance: The sitter, (probably) thence by descent to his daughter Maria Susannah, Lady Ravensworth (1773-1845) (probably) Thence by descent to her daughter Susan Yorke, Countess of Hardwicke (1810-1845) The Earl of Hardwicke Sale, Christie's, London, 27 June 1924, lot 140 Probably purchased by The Hon. Claude John Yorke from the above sale Thence by descent to the present owner Exhibited: Billingshurst, Sotheby's, Sussex and the Grand Tour : a loan exhibition of paintings and other works of art from collections in Sussex and neighbouring counties, 1986Illustrated: The Connoisseur, May 1965, p.6This picture is one of three versions that the artist painted. One is at National Portrait Gallery, London, and the other (the prime version) in the Belvedere Museum, Vienna. It is a quintessential example of the artist's talent in portraiture. Draped in an elegant red Van Dyck costume, John Simpson is portrayed sitting in a nonchalant posture, crossing his legs and resting his left arm on a classical relief. The calm posture, however, might conceal a hint of melancholy in the eyes, as the relief on the bottom right corner depicting Agrippina and her children mourning over the ashes of Germanicus, seems to suggest - a subject that Kauffmann also painted another time with the painting held at the Kunstpalast of Dusseldorf. This portrait version probably passed from the sitter to the Yorke family when John Simpson's daughter Maria married in 1796 the 1st Baron Ravensworth, and whose 6th daughter married in 1833 the 4th Earl of Hardwicke, Charles Philip Yorke. Condition Report: The canvas has been lined. Craquelure, with some associated blooming throughout. The blooming most noticeable at the lower right quadrant. There is a small spot of loss (approx.. 3mm) at the lower edge of the canvas. Stretcher marks visible in a natural light. Rubbing and abrasions to the framing edges. Inspection under UV light reveals a green cloudy masking varnish which appears to be attempting to conceal some patches of over paint throughout. There is also some very fine, sensitive infilling to the craquelure.Condition Report Disclaimer
ATTRIBUTED TO HUGH DOUGLAS HAMILTON (IRISH CIRCA 1739-1808) PORTRAIT OF A GENTLEMAN HALF-LENGTH IN A BROWN COAT Pastel, oval 27 x 23cm (10½ x 9 in.) Condition Report: One or two isolated spots of surface dirt. Light rubbing and abrasions to the framing edges. Otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame. Approx. 40 x 35cm framed. Condition Report Disclaimer
ATTRIBUTED TO CHRISTOPH LUDWIG AGRICOLA (GERMAN 1667-1719) A BRAMBLING; AND A BULLFINCH Bodycolour, a pair Each 28 x 20cm (11 x 7¾ in.) (2)Illustrated: The Connoisseur, May 1965, p.7 Condition Report: There is a diagonal line of what appears to be water damage in the upper left corner of the sheet depicting the right-facing bird (see online images). The sheet depicting the left facing bird with some pigment in the sky which stands out as something which may not be original to the work - it is unclear whether it is an intentional cloud or over-paint (see online images). Both sheets with one or two areas of scuffing/minute loss but this is barely noticeable. Some very light isolated surface dirt scattered mainly to the framing edges. The framing edges also with some rubbing and abrasions. Both sheets with undulation under the glaze. Unexamined out of glazed frames.Condition Report Disclaimer
A MID 19TH CENTURY DIAMOND AND ENAMEL SENTIMENTAL LOCKET The oval blue guilloche enamelled ground with a pair of applied interlocking rose cut diamond set hearts below a lovers knot, white enamelled border and blue and white enamelled bale, polished gold back, opening to two glazed locket compartments, unmarked Size/dimensions: 4.7cm long Gross weight: 18.6 grams Condition Report: The locket has some light wear commensurate with age and use, a small scratch to the blue enamel to the base of the blue enamelled panel, and a small shallow chip to the enamelled border, visible with a 10x loupe, diamonds are all present and correct, hinge in good working order, no major damageCondition Report Disclaimer
AN EARLY 19TH CENTURY SERPENT FOB SEAL CIRCA 1810 The oval cornelian panel engraved with scrolled initials, to a scrolled gold serpent setting, with a serpent split ring; together with an early Victorian gilt metal trio charm, the suspensory hoop suspending a floral decorated heart, anchor and cross; a gilt metal floral watch key and a propelling pencil Size/dimensions: first 3.7cm long including ring Gross weight: 18.1 grams Condition Report: The seal and trio fobs have some light wear commensurate with age and use. The propelling pencil and watch key have more wear, some tarnishing metal coming through gildingCondition Report Disclaimer
Y AN EARLY 20TH CENTURY PEARL AND DIAMOND MINIATURE PENDANT OF MARY SUSAN YORKE CIRCA 1910 The circular panel painted with a sleeping baby, the only daughter of The Hon. Claude Yorke, within a closed back setting, pearl border and a diamond set M shaped surmount, with swivel hoop attachment, unmarked; with an associated surmount with initials J and C set with rose cut diamonds below a seed pearl and enamel accented coronet, unmarked Size/dimensions: 4.5cm wide Gross weight: 17.7 grams Please note the pearls are untested and unwarranted as natural pearlPlease note: Dreweatts have applied for a de minimis exemption for this lot. Ref: KX8RCXF6 Condition Report: The diameter of the frame is 4.5cm, the length including the M pediment is 6cm. There is wear to the setting commensurate with age and use, a few light scratches to the glazingCondition Report Disclaimer
A FRENCH LOUIS XVI STYLE MARBLE AND GILT METAL CLOCK LATE 18TH OR EARLY 19TH CENTURY With eight-day bell striking movement with outside countwheel, the white enamel Arabic numeral dial inscribed Gille L'Aine Paris, the case of neo-classical form with eagle and sphinxes 70cm high Condition Report: Movement appears complete and in original condition however is very dirty/oxidised and is generally in neglected condition, hence will require a service/overhaul before putting to use. The enamel dial has some slight chipping/wear around the winding holes as well as light rubbing/wear to the numerals. The case is generally in sound original condition. The upper structure is a little loose on its base (fixings need tightening) and around 30% of the brass bead mouldings are currently detached (but appear to all be present). Two feet are missing otherwise faults are generally limited to minor edge wear/small chops to the marble and heavy tarnishing/oxidation to the mounts.Clock has pendulum but no winding key. Condition Report Disclaimer
ALEXANDRER NASMYTH (BRITISH 1758-1840) PONT ABERGLASYN, NORTH WALES; AND AUCHINLECK CASTLE, AYRSHIRE The first, oil on panel; the second, oil on canvas, a pair Each 46 x 61cm (18 x 24 in.) (2) Condition Report: PORT ABERGLASLYN: A dirty varnish causing some discolouration which is most noticeable to the sky. Also with one or two brown spots of surface dirt (see online and catalogue images). Rubbing and abrasions to the framing edges. Inspection under UV light reveals some very fine in-filling and retouching scattered throughout. AUCHINLECK CASTLE: The canvas has been lined. There is an uneven, dirty, varnish which has caused some discolouration. Surface cracking to the upper centre of the sky with some associated lifting (see online and catalogue images). Additional craquelure throughout. There is an area above the aforementioned area of lifting with in-filling which can be seen in a natural light. Rubbing and abrasions to the framing edges. Inspection under UV light reveals some light retouching scattered throughout, but most of it is focused on the previously mentioned area in the sky.Condition Report Disclaimer
JAMES SANT (BRTISH 1820-1916) ECO AND EDITH MAY OSWALD, DAUTHGTERS OF ALEXANDER OSWALD OF AUCHINCRUIVE, AYRSHIRE Oil on canvas, oval 75 x 62cm (29½ x 24¼ in.) Provenance: Edith Mary Oswald (right) and then by descent Condition Report: The canvas has been lined and re-varnished. Craquelure throughout, however the paint surface appears stable. Some scattered retouching throughout which is visible in a natural light, including to the sitters' faces (see online and catalogue images). Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching, together with a green cloudy varnish throughout.Condition Report Disclaimer
AFTER SIR JOSHUA REYNOLDS PORTRAIT OF MRS LLOYD AS ROSALIND IN AS YOU LIKE IT Oil on canvas 114 x 70cm (44¾ x 27½ in.)The sitter was the daughter of John Leigh of North Court. After the picture in the Rothschild Collection, Waddesdon Manor, Buckinghamshire Condition Report: The canvas has been lined, cleaned and re-varnished. Some previous paint shrinkage and craquelure which has been stabilised. Inspection under UV light reveals some scattered retouching under a thick varnish. Further overpaint may be present but any reading of this is obscured by the varnish. Condition Report Disclaimer
A LATE 18TH CENTURY CARVED NUT PENDANT AND A GLASS HINGED PENDANT The first carved with a basket of flowers and a dog in a landscape, to an entwined snake surmount, indistinct gold mark; the second a facetted clear glass egg shaped box pendant, with hinged engraved collar, unmarked Size/dimensions: 4.0cm and 3.7cm long Gross weight: 16.0 grams Condition Report: Nut pendant - Various chips and scratches, fittings goodGlass pendant - Play to the hinge, cover sits well, minor nibbling throughout, fittings goodBoth with light scratches and wear commensurate with age and use Condition Report Disclaimer
CIRCLE OF JOHN BOULTBEE (BRITISH 1753-1812) A TETHERED HUNTER OUTSIDE A STABLE Oil on canvas 62 x 75cm (24¼ x 29½ in.) Condition Report: The canvas has been lined. There is an uneven varnish across the canvas. Stretcher marks visible. Some retouching throughout the work is visible in natural light. Craquelure present, together with some in-filling which can be seen without the aid of a UV light. Superficial surface scratches and light surface dirt throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals a small area of possible repair (approx. 2cm) to the lower right quadrant. As well as retouching and in-filling scattered throughout.Condition Report Disclaimer
WILLIAM HUGHES, LONDON A GOLD REPEATER OPEN FACE PAIR CASED POCKET WATCH, NO. 2178 Movement: Verge fusee, balloon balance cock, undersprung three armed flat balance, diamond endstone, repeater work Case: Gold two piece hinged inner case, pierced and engraved with foliate scrolls, metal dust cover, gold and enamelled two piece hinged outer case, the back cover with ribbons, foliate swags and an urn, stamped HT Dial: White enamel Size: Inner case 40mm, outer case 48mm Signed: Case, dial, movement, crown, strap, buckle Accessories: None Condition Report: Movement is not currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Fusee chain detachedDial appears to have noticeable marks and scratches. Minor chips to the edge of the dialHands appear to be in a generally good condition.Glass has scratches and marks. Case shows light scratches and marks. Losses to the enamelHinges appear intact.132g grossThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
TWO 19TH CENTURY BROOCHES AND A SWISS ENAMELLED BRACELET CLASP The first brooch with a rectangular panel enamelled with a boy with a captured dove baiting a dog, with blue border, the reverse with enamelled decoration, within a gold setting, unmarked; together with a gold brooch with an oval panel enamelled with a goddess and leading a child, within an acanthus and scrolled setting, unmarked; and a gilt metal and enamelled porcelain bracelet clasp Size/dimensions: first 3.6cm wide; second 5.6cm wide Gross weight: 40.9 grams Condition Report: All items have wear commensurate with age and use, First 13.7 grams, possibly originally the lid of a box, the setting is testing as gold, some light scratches to enamelSecond 14.1 grams gross, the brooch fitting and a suspensory hook below are later, there are some old cracks to the panel, the setting is testing as higher carat goldCondition Report Disclaimer
UNSIGNED A GOLD, SEED PEARL AND ENAMEL OPEN FACE POCKET WATCHMovement: Verge fusee, undersprung three armed flat balance Case: Gold three piece case, half seed pearl borders, the back cover with blue guilloche enamel, stamped with a poinçon Dial: Champagne and white enamel Size: 34mm Signed: Unsigned Accessories: None Condition Report: Movement is not currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible to the naked eye. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Light scratch to the dial at 3 o'clock.Hands show marks and tarnishing when viewed under a x4 loupe. Glass has scratches and marks. Case shows light scratches and marks. Missing two pearls from the back coverHinges appear intact.27g grossThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
JOHN RATHBONE (BRITISH 1750-1807) A ROCKY WOODED LANDSCAPE WITH A CASCADE; AND A MOUNTAINOUS WOODED LAKE LANDSCAPE, WITH FIGURES BY A LAKE Oil on canvas, a pair Each 35.5 x 48cm (13¾ x 18¾ in.) (2)Illustrated: The Connoisseur, May 1965, p.6 Condition Report: Each canvas has been lined. Stretcher marks visible with some associated lifting, although this appears to be minimal. Craquelure throughout. There is also a layer of dirty surface varnish, which has caused some discolouration, especially to the framing edges. There are a number of small pin-hole sized spots of loss and retouching scattered throughout each canvas. Inspection under UV light reveals scattered retouching throughout each canvas, as well as a thick green cloudy masking varnish.Condition Report Disclaimer
UNSIGNED AN 18 CARAT GOLD KEYLESS WIND OPEN FACE POCKET WATCH, CIRCA 1826Movement: Three quarter plate movement, bimetallic split balance, flat balance spring Case: 18 carat gold two piece hinged case, with a floral chased border and engine turned back cover, hallmarked London 1826 Dial: Champagne Size: 46mm Signed: Unsigned Accessories: None Condition Report: Movement is not currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands show marks and tarnishing when viewed under a x4 loupe. Glass has some scratches and marks when viewed under a 4x loupe. Case shows significant scratching, obvious marking and various dents.Hinges appear intact.Crown has light scratches and marking. 66g grossThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
HENRY BERNARD CHALON (BRITISH 1770-1849) A BAY HUNTER WITH A GROOM IN BRETTON PARK YORKSHIRE Oil on canvas Indistinctly inscribed and dated '1820' (to lower frame) 70 x 89cm (27½ x 35 in.) According to a later inscription on the reverse the horse was the propriety of Diana Beaumont, Bretton Park Yorkshire. Condition Report: The canvas has been lined. Paint shrinkage and craquelure throughout, with some associated in-filling which can be partially seen in natural light. This has also caused the paint surface to become uneven. There are two areas of repair visible between the groom and the horse, together with what appears to be a further area of repair and restoration above the horse's head. There is an area of lifting to the upper right quadrant. A dirty varnish has caused some discolouration throughout. Rubbing and abrasions to the framing edges, as well as throughout the canvas. Inspection under UV light reveals scattered retouching and in-filling throughout but predominantly around the edges.Condition Report Disclaimer
UNSIGNED AN 18 CARAT GOLD KEYLESS WIND HALF HUNTER POCKET WATCH, NO. 19139, CIRCA 1912Movement: Lever escapement, bimetallic split balance, overcoil balance spring Case: 18 carat gold five piece hinged case, the front covet with blue enamel Arabic numeral chapter ring, the back cover with engine turned decoration, blue enamel crest and monogram, import mark for London 1912 Dial: Silvered Size: 48mm Signed: Unsigned Accessories: Leather case Condition Report: Movement is not currently functioning. Movement appears to be in a generally good condition with little sign of previous intervention when viewed under a 4x loupe. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Scratch to the subsidiary seconds dialHands appear to be in a generally good condition.Glass has some scratches and marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. Some losses to the enamel on the back coverHinges appear intact.Crown has light scratches when viewed under a 4x loupe. 75g grossThis lot comes with a box but no papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
A SET OF EIGHT GEORGE III STYLE GILT METAL CANDLESTICKS 20TH CENTURY With a pair of five light candelabra fitments candlesticks 30cm high, bases 14cm square, 46.5cm high when fitted Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Showing signs of damp exposure with numerous patches of verdigris. Surface with wear from cleaning with scratching and staining around most bobeches. Two stems detached and requiring remedial regluing. One bobeche missing. Some lifting to base baize. Wear and small knocks to most lower edges and corners 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 WEDGWOOD BLACK BASALT MODEL OF A GRYPHON OR GRIFFIN LATE 18TH CENTURY Impressed WEDGWOOD mark 24.5cm highAnd another similar, unmarked, 24.5cm high Provenance: Sotheby's London 2nd December 2003, lot 85 where it was noted that a candlestick version of this model after a design by Sir William Chambers, is illustrated M.H.Grant, The Makers of Black Basaltes, pl.XXVII, no.2.The collection from Trethill House, Cornwall Saleroom notice: Please see the updated catalogue description as follows: A WEDGWOOD BLACK BASALT MODEL OF A GRYPHON OR GRIFFIN LATE 18TH CENTURY Impressed WEDGWOOD mark 24.5cm highAnd another similar, unmarked, 24.5cm high Condition Report: The differences between each model are very slight and they are very similar but with subtle differences. However, in the strictest sense, each medallion hanging from the necks of the gryphons is different. Oen features Hercules and the other a centaur. The marked Wedgwood example has slightly larger suspensions from the neck wreath than the other. Both have nibbles to the base, the one with the Hercules medallion has a small repaired section to the tip of bottom beak, and is restored at the back of the neck under the wreath. To the same model, possible restoration to the acanthus scroll under the gryphon. The marked Wedgwood example the base measurements are 2.6cm x 16.2cm x 9.2cm. The other unmarked example 2.9cm x 16cm x 9cm. Please see additional images available from the Dept. upon request. Both examined with UV light. Potential purchasers are asked to satisfy themselves as to the nature, condition and vagaries of the two models before bidding and if possible to view in person.Condition Report Disclaimer
A PAIR OF CARVED GILTWOOD TWIN BRANCH WALL LIGHTS CIRCA 1900 The backplates carved as ribbon tied swags decorated with musical trophies 93cm high Illustrated: The Connoisseur, May 1965, p.6 Condition Report: Good, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. The light fittings loose.Condition Report Disclaimer
SIR WILLIAM ELFORD (BRITISH 1749 - 1837) A SET OF FIFTEEN WATERCOLOURS TO INCLUDE: PARTRIDGE; BLUE TIT; HERON; BULL FINCH; DUCK AND OTHER BIRDS ON BRANCHES AND IN LANDSCAPES IN THE DEVON AND CORNISH ENVIRONS Watercolour Each 37 x 25.5cm (14½ x 10 in.) (15)The collection from Trethill House, Cornwall Condition Report: Original watercolour drawings. Two of the sheets are slightly smaller in size and have been laid down to accommodate frames matching the other thirteen. The colours are generally good, commensurate with age, with the green and blue pigments in particular a little faded. Light wear to the framing, and extreme (where visible) edges. Some very light discolouration to each sheet, with varying degrees of brown foxing, however this is not particularly noticeable unless you are up close to each work. Unexamined out of glazed frames.Condition Report Disclaimer
SIR WILLIAM ELFORD (BRITISH 1749 - 1837) A SET OF SIXTEEN WATERCOLOURS TO INCLUDE: PARTRIDGE; BLUE TIT; HERON; BULL FINCH; DUCK AND OTHER BIRDS ON BRANCHES AND IN LANDSCAPES IN THE DEVON AND CORNISH ENVIRONS Watercolour Each 37 x 25.5cm (14½ x 10 in.) (16)The collection from Trethill House, Cornwall Condition Report: Original watercolours. The blue and green pigments are a little down and there is some very light discolouration, including scattered spots of brown foxing, to some of the sheets (see online and catalogue images). Most of the sheets with some degree of undulation under the glaze. Unexamined out of glazed frames.Condition Report Disclaimer
SIR HENRY RAEBURN (SCOTTISH 1756 - 1823) PORTRAIT OF KATHERINE, LADY MACKENZIE OF SLEAT (1754-1829), HALF LENGTH IN A GRAY WRAP AND WHITE TURBAN Oil on canvas 73.66 x 60.96cm (29 x 24 in.) Provenance: Sale, Sotheby's, London, 20 November 1985, lot 63 The collection from Trethill House, Cornwall Condition Report: The canvas has been lined. Some scuff marks to the right of the sitter's head (visible in online and catalogue illustration). Some light craquelure throughout. Inspection under UV light reveals a green cloudy varnish, as well as some very light, isolated retouching, largely concentrated to the sitter's face.Condition Report Disclaimer
A GILT AND PATINATED METAL LAMP FRENCH, LATE 19TH CENTURY AND LATER Converted for electricity with twin light fitting lamp base overall 62cm high excluding fitment, 90cm high overall including shade The collection from Trethill House, Cornwall Condition Report: Shade with spotting and some perishing to liner. Base dirty and some rubbing to gilding. ELECTRICAL GOODS. Sold with a 2024 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 BuyersCondition Report Disclaimer
TWO PAIRS OF CRESTED SILVER-PLATED MEAT COVERS Each of oval domed form, scrolling foliate grape and vine handles, engraved armorial for Walter Matthews Paul (1797-1861) and Elizabeth Hawker The larger 27cm high, 46cm wide, smaller 19cm high, 36.5cm We believe that Walter Matthews PAUL (1797-1861) and Elizabeth HAWKER (1802-1881) were the owners of the arms and that they would have likely been used in the period from 1819 (their marriage date) to 1881 (the death of Elizabeth as a widow). The quartered arms in dexter indicate that the owner of these arms is a descendant of John PAUL (1772-1828) of Highgrove Gloucestershire and Mary MATTHEWS (1770-1843) who was born at Clapham Surrey. They were married at Battersea in 1793. John PAUL was the son and heir of John PAUL (1772-1828) by Mary CLARK (1754-1814). The family name was originally TIPPETTS. Condition Report: 36cm long - Engraving crisp, handle tight to the body, one end of handle slightly upturned, wear to the plating, bruised patch at one end, stands well37cm long - Engraving crisp, handle tight to the body, heavy dent approx. 4cm long, wear to the plating, stands well46.5cm long - Engraving crisp, handle tight to the body, several minor dents, wear to the plating, stands well46cm long - Engraving crisp, handle tight to the body, several minor dents, heavier crease approx. 4cm long, wear to the plating, wobblesAll with light to heavy scratches and wear commensurate with age and useCondition Report Disclaimer
MICHAU, PARIS A GOLD AND ENAMEL OPEN FACE POCKET WATCH, CIRCA 1750Movement: Verge fusee, undersprung three armed balance Case: Gold two piece hinged case, the back cover enamelled with an interior scene, unmarked Dial: White enamel Size: 44mm Signed: Unsigned Accessories: None Condition Report: Movement is not currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to have noticeable marks and scratches. Chips around the winding apertureHands show marks and tarnishing when viewed under a x4 loupe. Glass has scratches and marks. Case shows light scratches and marks. The enamel has been lacquered. Losses at 12 and 7 o'clock positionHinge has some play.64g grossThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
A GEORGE III STYLE BRASS HEXAGONAL HALL LANTERN LATE 19TH CENTURY 66cm high overall, 35cm wide Together with a French gilt metal mounted cut glass pendant light, early 20th century, 45cm high Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both with rubbing to surface from cleaning and loss to gilding- and old dirt/polish/spray deposits with some patches of discolouration. Small edge fritting around second lower glass panel- upper panel edges are hid and not inspected ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
JOHN BROGDEN, LONDON AN 18 CARAT GOLD OPEN FACE POCKET WATCH, CIRCA 1812Movement: Full plate movement, undersprung three armed flat balance Case: 18 carat gold four piece hinged case, the glazed back cover chased with birds and foliage in four colour gold, engine turned cuvette, hallmarked London 1812 Dial: Champagne Size: 45mm Signed: Movement Accessories: None Condition Report: Movement is not currently functioning. We have been unable to gain access to the movement to be able to report its condition. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands appear to be in a generally good condition.Glass has some scratches and marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. Case diameter nearer 46mm.Hinges appear intact.88gThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
THOMAS ROWLANDSON (BRITISH 1756 - 1827) TREES ON A BANK IN A WOOD Pen, ink, pencil and watercolour 29.21 x 46.99cm (11¼ x 18¼ in.) Provenance: Somerville and Simpson Ltd, London The collection from Trethill House, Cornwall Condition Report: The work is faded and the colours are down. Some light decolouration to the sheet, including one or two spots of brown foxing (see online and catalogue images). Undulation to the sheet under the glaze. Unexamined out of glazed frame.Condition Report Disclaimer
FOLLOWER OF SAMUEL SCOTT THE THAMES AND ST PAUL'S CATHEDRAL FROM THE GARDENS OF SOMERSET HOUSE Oil on canvas 59 x 100.5cm (23 x 39½ in.) In a carved giltwood Kentian frame Provenance: Property of Florence Julia, Lady Granet, mother in law to Denis Mackail, and thence by descent Illustrated: The Connoisseur, May 1965, p.3 This painting is a copy of one by Canaletto (1697-1768) entitled 'The Thames from Somerset House Terrace towards the City', now in the Royal Collection (RCIN 400504, house-terrace-towards-the-city ). The Canaletto painting is one of a pair, painted by the artist probably when he returned to Venice from London in c. 1750-1. The accompanying picture is 'Thames from Somerset House Terrace towards Westminster' (RCIN 400506). The Canaletto pair of paintings was acquired by his great friend and patron, Joseph Smith, who was British Consul in Venice, and from whom they were later purchased in 1762 by George III. Canaletto became popular in England after his visit in 1746-55, which saw the emergence of a group of English topographical painters. One of the most renowned was Samuel Scott (1710-1772), who evolved from being a marine painter to creating drawings and paintings depicting scenes of the Thames and its environs. Scott, for example, completed a series of at least 62 paintings in oil and all but one use the Thames in the foreground, populated by river craft, together with riverside buildings forming a topographical townscape (M. Ellis, 'River and labour in Samuel Scott's Thames views in the mid-eighteenth century', The London Journal, Vol. 37 No. 3, November 2012, pp. 152-73). On occasion, Scott used artistic license rather than topographical accuracy, adding or deleting spires, and omitting material from the background. Scott's sea and cityscapes were fashionable, and he exhibited in London from 1761 at the Society of Artists, the Free Society, the Royal Academy and the Spring Gardens Rooms. Condition Report: The canvas has been lined. There is an uneven layer of dirty varnish and this has caused some discolouration to the sky (see online images). Over vertical stretcher mark visible, centre left, in a raking light. Rubbing and abrasions to the framing edges. Inspection under UV light reveals no evidence of restoration or retouching.Condition Report Disclaimer
A FRENCH WHITE MARBLE AND GILT METAL TIMEPIECE LATE 19TH CENTURY The movement with balance wheel escapement serial numbered 3475, the globe case surmounted by a putto and held aloft by further two further putti, and mounted on a white metal and gilt metal mounted plinth 21cm high Condition Report: Movement is in relatively clean working condition. The sphere has dull finish with some chipping to the blue paint to the rear as well as oxidation to the numeral and hands. The cherub surmount is missing something from his right-hand otherwise case in in good original condition with relatively light oxidation/discolouration to the mounts and minimal edge wear to the marble.There is no winding key present. Condition Report Disclaimer
FOLLOWER OF SAMUEL SCOTT SOMERSET HOUSE, ST PAUL'S CATHEDRAL BEYOND Oil on canvas 61 x 131cm (24 x 51½ in.) In a carved and pierced giltwood frame Provenance: Property of Florence Julia, Lady Granet, mother in law to Denis Mackail, and thence by descent On the second day of Samuel Scott's Studio Sale, 12-13 January 1773, lot 61 is listed: 'one large view from Somerset House to St Pauls by ditto [Samuel Scott]', suggesting this was a popular vista for topographical artists such as Scott (1710-1772), a follower of Canaletto (R. Kingzett, 'A Catalogue of the Works of Samuel Scott', The Volume of the Walpole Society, vol. 48, 1980-82, pp. 24, 124). The Hon. Florence Julia Gully (1871-1949) was the daughter of William Court Gully, 1st Viscount Selby. On 12 November 1892, she married Sir William Guy Granet, later General Manager of the Midland Railway. They lived in St George Hanover Square, London, in 1901, and from 1934 until Sir Guy's death in 1944 at Burleigh Court, nr. Stroud, Gloucestershire. She died on 17 September 1949, in Sussex, at the age of 78. Their daughter, Diana Caroline Granet (1893-1949) married Denis George Mackail in 1917. Condition Report: The canvas has been lined. Stretcher marks visible in a natural light. It also appears to have been extended at the upper and right edges. These joins are visible in a natural light, along with some associated cracking. Craquelure throughout the canvas but noticeably heavier to the extended edges. A dirty varnish has caused some discolouration. Inspection under UV light reveals some light retouching along the lower edge. There is a cloudy varnish which may be concealing further retouching. Condition Report Disclaimer
A Tiffany Elsa Peretti silver starfish necklace and matching earrings, the starfish pendant with silver chain with tag stamped 'Peretti, Tiffany & Co.' and 925, pendant 15mm wide, chain 40cm long, 2.9g, in Tiffany pouch, together with a matching pair of earstuds, 3.8g, with pouch, boxed, (2)light wear throughout & would benefit from a light clean & polishoverall good
A turquoise and diamond ring, set with three oval turquoise cabochons interspaced with diamond highlights, with tapered shoulders and plain band stamped '18', size Q, 2.6gdiamonds - size & setting prevents accurate quality assessment & gradingone of the diamonds heavily included (eye visible/grey appearance)turquoise - green in colour, particularly centre stonelight wear throughout but overall good clean condition
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