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Lot 885
Alan Telford and John Smith for Royal Worcester, two fruit painted cabinet plate, circa 1970 and 1956, central circular panel decorated with pears, grapes and blackberries, the other with peaches and grapes, within a celadon glazed ground, overlaid with raised gilt decoration, signed, gold printed marks, 27cm diameter (2)
Lot 2130
A 19th century oak linen press in three section, the two panelled doors revealing slide fitted and hanging compartments above three long drawers, fitted with iron Art Nouveau handles. 128x189x53cm. Good used condition, the cornice has been repaired, some holes to side panel of top section, and various marks, scratches and signs of use.
Lot 2660
A modern pitch pine dresser base, with two short and two long drawers, with raised back fitted with three drawers, 122x101x55cm, and a folk-art painted coffee table. 122x54x46cm. (2) Dresser is missing top section. Appears to have been stored somewhere damp. Drawers stick, back panel warped, top split, moulding to left side is detached but present. Splits to both side panels. Various marks and scratches.
Lot 141
A Swiss carved fruitwood armorialWith central monogram initialled ILR, together with a Black Forest carved linden wood hanging wall bracket centred by a roebuck's head, and a carved head of a boy, later mounted on a Perspex stand, the carved armorial panel: 28cm wide, 6cm deep, 54cm high (11in wide, 2in deep, 21in high) (3)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 157
Two icons of the Madonna and Child20th centuryOne with white metal repoussé decoration and painted faces, indistinctly hallmarked, 35 x 26cm (13 3/4 x 10 1/4in), the second icon painted on panel in the Russian style, 50 x 34cm (19 11/16 x 13 3/8in) (2)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 101
A VICTORIAN MAHOGANY OPEN ARMCHAIR LATE 19TH CENTURY Upholstered in 19th century machine loomed carpet 95cm high, 67cm wide, 81cm deep Together with a matching cushion 52cm x 38cm Condition Report: Overall there are some scratches, marks, knocks, cracks, abrasions and repairs consistent with age and use.There are some losses, restorations and observations including:The upholstery is 19th century, but not original to the chair. There are upholstery tack holes to the frame from previous upholstery. The fabric has worn bare in some areas and torn to the arms, some holes and some stitched repairs.The back legs have spliced repairs.The cushion and narrow rectangular panel of fabric are worn nearly bare with some holes and worn scallop fringing.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer
Lot 105
A LOUIS XVI PAINTED WALNUT BERGERE ARMCHAIR LATE 18TH CENTURY The caned seat with a natural linen buttoned squab 86cm high, 70cm wide, 57cm deep Together with a George III gros point needlework cushion, decorated with quatrefoil stylized motifs, with hessian backing 58cm x 48cm Provenance: The cushion, by repute from Erdigg Hall, Wrexham, North Wales Condition Report: Overall there are some scratches, marks, knocks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including:The squab cushion is made from old fabric and is worn, faded and with some marks.There is evidence of old worm.The paintwork to the chair is variously rubbed and worn, in some places revealing the underlying timber.The canework has an indistinct geometric pattern painted onto it in green, cream and brown, which has rubbed in many areas.The outer canework panel is missing to the back of the chair.There are some later dowels to some leg/seat rail joints, and some cracks, with some small movement to joints.There are some cracks including to the joints on the crest area and elsewhere.The needlework cushion with some wear, later stitching and pulled threads. The cushion is backed with a fine hessian style fabric and is worn including to the corners.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer
Lot 106
A BRONZED WINE COOLER ITALIAN, 17TH CENTURY Of cistern form, scallop shell decorated lip above waisted oval body, twin ring handles, paw feet 85cm wide, 39.5cm high, 60cm deep Provenance: Possibly Sotheby's London, A Private European Residence: French And Neoclassical Furniture, 3rd March 2006, lot 271 Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Overall of dark colour with green/verdigris. The whole with old repairs to top rim and to base which has had what appears to be lead panel inserted. Further lead strengthening to feet and around joints for better water containment. This has now largely worn from heavy domestic use. Top rim distorted. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 111
A FRAGMENTARY CARVED WHITE MARBLE RELIEF, POSSIBLY FROM A SARCOPHAGUS PANEL OR URN 19TH CENTURY OR EARLIER Carved with a hippocampus ridden by a Nereid facing another fragmentary hippocampus, the lower body of the Nereid remaining, two fish below, mounted on an associated socle 40.5cm high Provenance: Christie's, Great Tew Park, 27 May 1987, Lot 68, where catalogued as 'Roman, 2nd Century and repaired in the 18th century.' Possibly purchased from the above sale by Robert Kime Condition Report: Various marks, knocks, scratches, abrasions consistent with age and handling, As catalogued this is fragmentary in nature, there are losses to extremities and the carved detail, signs of old repair with joins to some elements, one piece of iron wire protrudes, possibly this held an element that has since been lost.There is an area of composition to the front, this holds an element in place Please see additional images for visual reference to condition Condition Report Disclaimer
Lot 136
AN ATTIC RED-FIGURE COLUMN KRATER ATTRIBUTED TO THE LENINGRAD PAINTER, CIRCA 480-460 B.C. Side A: depicting two horses with riders, a band of elongated lotus bud chain on the neck; side B, with three conversing draped male figures, the central figure holding a staff, the scenes framed by double columns of dots, a band of short tongues above, double bands of dots around the side of the rim and linked lotus buds around the top of the rim, palmettes with linked scrolls on the handle plates, rays emanating from the foot 44.5cm high Literature: Alastair Langlands (Text), HRH Prince of Wales (Foreword) Tessa Traeger (Photographs) Robert Kime, London, 2015, page 44 & 49 (Upper Farm, Wiltshire, 1987, where it notes on page 48, '...a Greek vase that Robert found [probably in an antique shop] in 1000 pieces; together they are a clue both to Robert's fondness for very disparate objects, and to the way that he puts them together.' The Leningrad Painter was part of the Mannerist workshop, whose painters were stylistically linked and were known for their stiffly depicted garments, as well as rather small-headed figures. For another column krater, the rim similarly decorated with lotus buds, palmettes and double dots, attributed to the Leningrad Painter by J.D. Beazley, cf. BAPD 206530, in the Louvre Museum, Paris: MNC478. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Repaired and restored from multiple fragments. The restored areas have largely been left undecorated, though the colour approximately matched to the background. They are 'obvious' restorations. Both handles have been re-attached with some infill at the top and around the base of the handles. The rim has some chips with patches of restoration, though the majority of the rim as well as the handle plates has good decoration remaining with no apparent over-painting. The restored areas have been left undecorated. The base has been re-attached. A hooped crack is visible on the underside of the base, as well as from the exterior. The section, measuring approximately 9cm x 6cm has been re-attached and re-glued with some infill along the edges. Some re-painting of the rays extending up from the base. Side A: the upper torso and head of the horseman on the left are missing, the front of the horse and horseman with spears on the right are missing. The losses have been replaced by infill. Further lines of restoration cut through the remaining figures and the left vertical panel behind the left horse. The decoration that does remain is clear and well defined. The right vertical panel only has the bottom right corner remaining. Side B: All three figures have lines of restoration but this does not affect the heads. Much of the original decoration remains, though the surface is worn and abraded in places. The left vertical panel behind the far left figure has been largely restored. Much of the black glazed neck has been restored with other patches repaired with infill. UV photographs are available and show up the areas of restoration quite clearly Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale 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. 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 description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 146
A ROMAN MARBLE STRIGILATED SARCOPHAGUS CIRCA LATE 2ND-3RD CENTURY A.D. The front panel carved with S and inverted S's resembling the form of a strigil and mirrored on either side of a central lozenge with traces of an engraved motif, possibly representing a vessel, fluted pilasters flank the front panel, their capitals decorated with uncut acanthus leaves, the lower quarter of the flutes of the pilasters remain uncut, the back and side panels are unadorned 43cm high, 147cm long, 46.4cm deep Provenance: Purchased by A. Tillbrook from a West Country auction house, pre 1989, subsequently purchased by Robert Kime Collection The pilaster capitals are similar to those found on another sarcophagus in the British Museum, acc.no.1805,0703.124, dated to circa A.D. 200 Condition Report: Weathering and with loss and some softening to surface detail from age, handling and general wear. Ground contact staining. Old breaks and mortared repairs to sides, base and back. Edge wear. Wear, marks, knocks and scratches as per age, handling, use, and cleaning.Please see additional images for visual references to condition which form part of this condition report. 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. 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 description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 147
A ROMAN STONE DEDICATORY STELE CIRCA 2ND CENTURY A.D. With inscribed rectangular panel within a moulded border: "To Calpurnius Pothus, his daughter Calpurnia Helpis made this for him, well deserving, he lived 45 years". 71.7cm high, 40cm wide, 14.5cm deep Provenance: Christie's, South Kensington, Antiquities, 29 October 2003, lot 26, where purchased by Robert Kime Condition Report: Weathered and worn to margins. Text definition slightly denatured. Marks, knocks and scratches as per age, handling, use, and cleaning. Looks to be two sections of stone applied to each other. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this salePlease see additional images for visual references to condition which form part of this condition report. 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. 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 description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 155
A FRAGMENTARY MARBLE FUNERARY MONUMENT NORTH AFRICA, ISLAMIC, CIRCA 11TH-12TH CENTURY A.D. Decorated on both sides with a panel of Kufic inscription, foliate Kufic inscription and scrolls on the sloped top, with scroll decoration on the chamfered end, an egg-and-dart motif carved along the baseline mounted 24.5cm high, 39cm wide, 9cm deep Provenance: Formerly in a Belgian private collection, acquired in North Africa in the 1950sSotheby's, "Gordon Watson", lot 416, 03 May 2006, where purchased by Robert Kime Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per cataloguing- fragment and chipped along all edges with minor chipping and wear to the calligraphy. One side with strong grey horizontal bands of veining, with lighter bands on the other side. Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale 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. 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 description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 159
AN EGYPTIAN POLYCHROME PAINTED WOOD SARCOPHAGUS PANEL BELONGING TO A WOMAN MIDDLE KINGDOM, 12TH DYNASTY, CIRCA 1991-1962 B.C. Bearing a horizontal band of blue painted hieroglyphic text invoking "Osiris, foremost of the Westerners for a goodly burial in the necropolis in the West, for the Ka of the blessed spirit, Hathor-hetep", with further text in two vertical columns below, one bearing the name of Nut; the back of the panel with traces of three horizontal rows of hieroglyphic text: a row of seated deities above; the name of Hathor-hetep repeated below and representations of offerings, with approximately 54 columns along the bottom of the panel, giving the hieroglyphic of each offering, a band of black painted hieroglyphic text on one end and five peg holes, made from three sections held together by four modern metal joints 28.4cm maximum height, 140cm long , 3.2cm deep Provenance:Private collection.Charles Ede Ltd., London, acquired from the above in September 1976Christie's, London, 25 October 2006, lot 203, where purchased by Robert Kime Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Modern metal joints secure the three panel sections, with the middle and right-hand panel base edge preserved, while the upper edge is incomplete on all panels and the bottom edge of the left panel also missing. Some overall chips and wear.Front: The blue painted decoration is finely preserved except for some wear on the text to the right of the middle panel and on the right-hand vertical text.Back: Most of the decoration is worn but the preservation is better at each end, particularly the left-hand section, with only traces of white paint remaining above the column delineation running along the bottom; Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale 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. 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 description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 185
AN EGYPTIAN POLYCHROME PAINTED COFFIN FOOT PANEL LATE PERIOD, AFTER 664 B.C. With a running Apis bull carrying the deceased, a red cloth draped over the mummiform body, a winged ba-bird flies above with outstretched wings 30.3cm high, 19.4cm wide, 2.5cm deep Provenance: Deceased American Estate, acquired between 1970-1989 Bonham's, London, 28 October 2009, lot 125, where purchased by Robert Kime Condition Report: Made from two pieces of wood, with a crack vertically through the body of the bull and winged ba-bird. A wood peg remains in place on either side of the panel. Multiple woodworm dots visible. The reverse with much of the white paint remaining. The overall surface chipped and pitted but with strong colour remaining With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale 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. 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 description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 190
AN EGYPTIAN WOOD POLYCHROME PAINTED SARCOPHAGUS PANEL LATE PERIOD - PTOLEMAIC, CIRCA 400-30 B.C. Painted with one line and seven columns of inscription, the text containing recitations of Horus on behalf of the deceased, 'Gwr-iry, Chantress of Amun-ra', In a glazed wood frame, dimensions of panel: 32cm high, 34cm wide; dimensions of frame: 59.8cm high, 62cm wide Provenance: Christie's London, 13 & 14 December 1983, lot 114 Charles Pankow (1923-2004) Collection Sotheby's New York, The Charles Pankow Collection of Egyptian Antiquities, 8 December 2004, lot 14, where purchased by Robert Kime Condition Report: Wear, marks, knocks and scratches as per great age, handling, use, and cleaningDreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this salePlease see additional images for visual references to condition which form part of this condition report. The panel with two more obvious signs of restoration and remedial repair- possibly carried out at different times: 1 horizontal break across the middle 2 Paler areas of infill with retouched/repainted glyphs- notably right of centre and lower left corner The panel is in a sealed frame making further inspection impossible and the glass had made inspection under UV impossible. Scattered water(?) splash stains notably to upper sectionProvenance: Christie's London, 13 & 14 December 1983, lot 114 Charles Pankow (1923-2004) Collection Sotheby's New York, The Charles Pankow Collection of Egyptian Antiquities, 8 December 2004, lot 14, where purchased by Robert KimeThere is no further paper provenance available. 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 description 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 192
TWO EGYPTIAN POLYCHROME GESSO PAINTED WOOD CANOPIC BOXES PTOLEMAIC PERIOD, 304-30 B.C. Each formed of several pieces of wood in the form of a shrine with cavetto cornice, the foot of each of the rectangular slightly tapering walls decorated with a serekh pattern, representing a continuous enclosure, both sides of each box decorated with two of the Four Sons of Horus standing before identifying hieroglyphic text, the jackal-headed Duamutef and human-headed Imsety on one side, with baboon-headed Hapy and falcon-headed Qebehsenuef on the other side, the pairs of figures standing above two rows of alternating djed pillars and tit (Isis knot) symbols, the back of each box with a large djed pillar surmounted by an atef crown supported by two cow horns with a frontal solar disc and flanked by uraei, hieroglyphic text on one reading: "a royal offering formula to Osiris, Foremost of the West, Great God, Lord of Abydos", the other box similarly inscribed; one box, inscribed for Sesobek, with a frontal panel of Isis and Osiris each standing before a column of identifying text, with a chequerboard pattern above and below, two uraeus-flanked winged solar discs above; the second box inscribed for Senenuekemnetjer, the frontal panel with a seated figure of Osiris facing right, wearing an atef crown, holding the crook and flail, two uraeus-flanked winged solar discs above, two columns of hieroglyphs before him inscribed: "Recitation by Osiris, Foremost of the West: (O) Osiris, Venerated One, justified, Senenuekemnetjer. A Royal Offering formula (to) Osiris. Foremost of the West", a band of text below the throne Osiris. Foremost of the West", a band of text below the throne 54cm high, 27cm wide, 27cm deepProvenance: Gustave Jéquier (1868-1946) Collection Christie's, New York, Antiquities, 4 June 2008, lot 24, where purchased by Robert Kime Such boxes are usually decorated with the Four Sons of Horus, in conjunction with various symbols as is the case on these examples. As the Four Sons of Horus were associated with the viscera (internal organs) of the deceased, it is likely such boxes were canopic chests. According to Maarten Raven in D'Auria, Lacovara & Roehrig, Mummies & Magic, The Funerary Arts of Ancient Egypt, Boston 1988, pp.196-7, "usually the separately embalmed entrails were deposited in boxes or in four vases (the canopic jars), but from the reign of Ramesses V onward (1145-1141) these packages were also restored to the abdominal cavity or deposited between the legs of the mummy." Some such chests have been found with "bags of salt or potsherds.... apparently placed there in imitation of the proper custom." Condition Report: Condition:Made from several pieces of wood, constructed using dowels, some of which are slightly protruding, other which are revealed beneath chipped gesso. The lid now missing. One section of cornice detached on one box. One section of cornice missing on the other. The other sections of the cornice are loose. Both boxes are loose on their square base which is made from two sections of wood. Overall, the surface is worn and fragile with some chips to the gesso and wear to the paint. Box 1 (Sesobek):Front panel: the red painted body of the figure of Osiris is worn; the lower quarter of the decoration is particularly worn but still visible; the solar discs and uraei are more worn than the wings; Side panels: the decoration is pretty well preserved, though the lower half is more worn than the upper half, there is some damage to the gesso where some of the dowels are fitted, overall, there are vertical cracks to the surface where it is joined along the edges;Back panel: there is more wear along the upper and lower edge, some of the dowels protruding. Box 2 (Senenuekemnetjer):Front panel: the red painted body of Osiris is worn, while the details remain strongly pigmented; the lower quarter of the decoration is particularly worn but still visible, including the line of text; the solar discs and uraei are more worn than the wings; Side panels: the decoration is pretty well preserved, though the lower half is more worn than the upper half, there is some damage to the gesso where some of the dowels are fitted, overall, there are vertical cracks to the surface where it is joined along the edges; Back panel: there is more wear along the upper and lower edge, some of the dowels protruding, much of the original blue pigment on the dyed pillar now worn. With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale 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. 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 description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 196
TWO EGYPTIAN POLYCHROME PAINTED CARTONNAGE PANELS PTOLEMAIC PERIOD, CIRCA 300-30 B.C. The trapezoidal section of cartonnage composed of a register with a ba-bird with wings outstretched, flanked on either side by a Horus falcon surmounted by a solar disc, a broad collar below with layers of colourful petals and discs representing the beads and amulets of the collar, a figure of the goddess Nut with arms and wings outstretched in the central section of the panel, kneeling above a panel with three registers flanked by the Four Sons of Horus, the panel with sitting figures and two shrines surmounted by oxen, 42cm and 17.5cm high, and a section of cartonnage with a central figure of the goddess Nut kneeling with outstretched arms and wings and holding ostrich feathers in her hands, a row of tit (Isis knots) below the wings and a band of serekh pattern below, two panels on either side of the solar disc, each with a central djed pillar flanked by tit (Isis knot) symbols, 27.3cm high, 35.6cm wide Provenance: First item - Ex UK collection Timeline Auctions, Antiquities, 1-4 December 2015, lot 36 Second item: Sotheby Parke Bernet, New York, 14 December 1978, lot 412. Sotheby's New York, 12-13 December 1991, lot 46a. Property from a California Private Collection Sotheby's New York, 7 December 2005, lot 1, where purchased by Robert Kime Condition Report: Timeline example: Consolidated on the back. Some cracks, wear and chips to the surface but with strong polychrome decoration remaining.Sotheby's example: Consolidated on the back with some cracks. Very strong polychrome decoration remaining. Much of the red paint cracked but heavily applied. The fingers of Nut possibly over-painted in places. Edges with some chips and losses. Some cracks, largely stable With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale 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. 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 description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 20
AN UNUSUAL CHARLES II NEEDLEWORK PANEL CIRCA 1660-1680 With raised work and embroidered silks with mica and seed pearl detailing, depicting figures standing around a gallows with hanged man, later framed and glazed panel 14 by 27cm, frame 19 by 32.2cm Provenance: Christie's, South Kensington, Costume And Textiles including the John Parry Collection, 12 March 2003, lot 131, where purchased by Robert Kime. The central hanged man is unusual for embroidered pictures of this era but does occur in contemporary needlework scenes of Esther and Ahasuerus where Haman is shown on the gallows. It may this picture is a simplified version of that subject. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with muted colours from sunlight exposure. The frame sealed but the panel looks to have been laid down on a textile backing prior to framing. Some surface rumpling, spot stains and uneven edges. Small area of loss to the right hand side of right figure's head. Faux tortoiseshell frame with losses. Please see additional images for visual references to condition which form part of this condition report. 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. 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 description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 200
AN EGYPTIAN POLYCHROME PAINTED CARTONNAGE PANEL ROMAN PERIOD, CIRCA 1ST-2ND CENTURY A.D. Brightly painted in blue, red, black and white on a pink ground, the upper register, partially preserved, shows the mummified deceased lying on a bier with lion paw legs, the four canopic jars below; the register below with five mummiform deities, including the Four Sons of Horus, flanked on either side by Hathor heads; two vertical columns below arranged into four registers, the upper two registers with mummiform deities arranged in pairs and facing the deities in the opposite column; the third register with a standing winged deity in each column facing the deity in the opposite column; the bottom register with a jackal-headed deity in each column facing the other, rosettes around the edge Cartonnage: 58.5cm high; glazed frame, 77.3cm high, 40cm wide Provenance: Collected by Gustave Jéquier (1868-1946) Christie's New York, Antiquities, 4 June 2008 lot 29, where purchased by Robert Kime Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. In sealed frame and not examined out of frame. On a textile ground- losses around all margins and to creasing points across the whole. Some signs (not evident under UV but strong light) or areas of retouching/strengthening to losses of painted surface.Please see additional images for visual references to condition which form part of this condition report.Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this saleAll 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.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 descriptionBuyers 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 collectionCondition Report Disclaimer
Lot 206
A GILTWOOD MIRROR NORTH ITALIAN, PIEDMONT, THIRD QUARTER 18TH CENTURY The mirror plate sectional 246cm high, 121cm wide Condition Report: Overall there are some scratches, marks, knocks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including:There are holes drilled through the outer frame and two modern brass hooks to the back of the frame.The gilding is of various dates and seems to have evolved in a layered way giving an overall muted (rather than brash) appearance. There are areas where the gilding has been knocked or is flaking revealing the underlying gesso and wood. There are some areas, for example the outer frame, that have more of a bronzed brown appearance and overall areas have been touched up including over repairs.There is evidence of old worm.The giltwood is carved in high relief with the crest protruding over 15cm. The giltwood has losses, cracks, filler repairs, pin and other repairs. Some carved giltwood is loose and has some movement.The front base section and possibly other structural sections are later. The back of the mirror is of panelled construction with the lower back panel reduced in size suggesting that this is a re-used strengthening back or that the mirror could possibly have been reduced in height, even though the layers of later gilt finish might conceal cuts, and the asymmetrical design of the inner frame make it harder to judge, there are no obvious signs of the frame being reduced and the overall proportions seem good. The back has some inset blocks of wood.The mirror plates are various dates with speckled and missing silvering in places. Some of the shadowing from the gilt on the mirror plates suggests that there is some small movement of some mirrors within the frame.All that said, many of these observations are curiously only apparent on close inspection - you could say that the overall atmosphere that this mirror creates is one of subtle, comfortable grandeur.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer
Lot 232
WILLIAM JOSEPH JULIUS CAESAR BOND (ENGLISH 1833-1926) BOATS AT ANCHOR Oil on panel Signed and dated '01' (lower right) 17 x 14.5cm (6½ x 5½ in.) It has been suggested that this is the preparatory sketch for lot 231 Condition Report: Light rubbing and abrasions to the framing edges, and some light surface dirt. Inspection under UV reveals no evidence of restoration or repair. Overall appears to be in good condition. Condition Report Disclaimer
Lot 239
A NOTTINGHAMSHIRE CARVED ALABASTER RELIEF PANEL OF THE RESURRECTION MID/LATE 15TH CENTURY Depicting Christ rising from the tomb, his foot on a sleeping soldier panel 47.5 x23cm, frame 58.5 x 36cm Provenance: Private collection in Jersey Sotheby's London, The Ronald A. Lee Collection, 28 Nov 2001, lot 8, where purchased by Robert Kime Literature: Francis Cheetham, "English Medieval Alabasters With a Catalogue of the Collection in the Victoria and Albert Museum", Boydell Press, 2005This panel belongs to a group of small-scale altarpieces and panels produced by the 'alabastermen', 'kervers' and 'marblers' working in and around Nottinghamshire from the 14th century up until the early 16th century. The alabaster was mined from a small area in the middle of England- from South Derbyshire and into Staffordshire. These hand carved devotional pieces would usually have been painted and sometimes part gilded with areas of natural polished alabaster left in contrast. Like the examples at Compton Verney, the Walters Art Museum, and the panel sold from the collection of Sir Nicholas Goodison at Christie's in 2022, each shares the same composition layout- the figure of Christ rising from the tomb, his right leg stepping over a braced fence to step onto a sleeping soldier, his cross-staff in his left hand and right hand raised in blessing (missing from this example). Cheetham records at least 130 surviving examples of this Passion scene- perhaps the most popular chosen devotional subject. For similar examples please see: Christie's London, The Collection of Sir Nicholas Goodison, 25th May 2022, lot 66 Christie's London, London Living - Wilton Crescent, Belgravia & Avenue Road, Regents Park, 26th October 2011, lot 1070 Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per the extra images the panel has old breaks and various levels of repairs and restoration. The main breaks seem to have occurred in a diagonal shape from the knees of seated right hand figure and down leftwards. The lower section looks to have been in at least three pieces with old glue and some surface repair, infill and restoration. Additionally there are areas, in a different colour tone, notably both upper corners and lower left corner that are later remedial infill. Some of the raised details such as the axe blade are almost certainly later and there are fault lines, cracks and flaws. The panel is in a sealed frame making reverse inspection and confirmation impossible. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 24
A GEORGE II RED AND GILT JAPANNED LONGCASE CLOCK STEPHEN ASSELIN, LONDON, CIRCA 1725 The eight-day bell-striking movement with 12 inch brass break-arch dial applied with mask and foliate spandrels, a silvered Roman and arabic chapter ring, matt centre and subsidiary STRIKE/SILENT selection dial to the arch, signed on a silvered plaque 'Step. Asselin LONDON' the gilt and polychrome decorated red japanned case with chinoiserie landscapes, a domed caddy surmount 258cm high, 50.5cm wide, 26cm deep Provenance: Christie's, London, Property From A European Noble Family, 10th November 2005, lot 40, where purchased by Robert Kime Formerly at Docker Nook and Warwick Square, see Alastair Langlands, Robert Kime, Francis Lincoln Limited, London, 2015, p205Stephen Asselin is recorded working in London from around 1700. He is not recorded as becoming a member of the Clockmaker's Company which suggests that he was most likely a Huguenot immigrant.   Condition Report: Movement is essentially in working condition however mechanism is dirty/dusty hence a clean/service is required. Notches cut the 3 o'clock edges of the plates indicates that an alarm mechanism was once fitted that is no longer present. Otherwise movement appears complete and all-original. The dial in in original albeit in dirty/neglected condition. The centre shows evidence of being fitted with an alarm disc (curved cut-outs to the seconds ring and signature plate). The areas of silvering are now very thin presenting as almost brass in colour. The right-hand corner of the plate has evidence of being bent and re-straightened; the dial foot behind also has a small loss to the tip (section above the securing pin hole). The right-hand mount to the arch is missing a fin from the dolphin. The hour hand has been repaired; the minute hand and selection pointer to the arch are replacements. The seatboard is original to the movement which rests on blocks applied to the case uprights (cheek); the presence of these blocks suggests that the movement and dial re not original to the case. The dial sits a little wonky (leans to the right) hence some adjustment to the blocks will be required to level it.The case is very original retaining old surface in essentially untouched condition. The hood is in good original condition with notable faults limited to blind fret panels missing from the quadrants above the break-arch pediment and some historic worm damage. The rear of the superstructure is interestingly backed with old thick paper inscribed in ink with random Iberian text. The trunk and base are in very fine original condition with faults limited to some very slight localised flaking to the raised decoration; the finish can be best described as fine patinated old original surface with pleasing degree of age-related wear, discolouration and fading. The backboard is in fine condition and the skirting is also original albeit with historic worm damage and a small scarf repair to inner panel to the rear left hand corner. The left-hand side has some slight shrinkage cracking towards the rear edge; the lock to the trunk door is a replacement.Clock has pendulum, a pair of modern cast iron weights a crank winder and a case key. Condition Report Disclaimer
Lot 244
AN ARTS AND CRAFTS OAK KNEEHOLE DESK ATTRIBUTED TO CHARLES ROBERT ASHBEE EARLY 20TH CENTURY Of slatted panel form, the drawers around the kneehole ingeniously locking with the central drawer, opposing three drawers above four doors, the copper drawer handles stamped 'RATHBONE 543' 76cm high, 183cm wide, 99.5cm deep Charles Robert Ashbee (1863 - 1942) was an English architect and designer who was a leading proponent of the Arts and Crafts movement. His disciplines included metalwork, textile design, furniture, jewellery and other objects in the Modern Style (British Art Nouveau style) and Arts and Crafts genres. He became an elected member of the Art Workers' Guild in 1892, and was elected as its Master in 1929. Richard Llewellyn Benson Rathbone (1891-1939) trained with the distinguished Arts and Crafts metalworker W A S Benson, setting up his own workshop in the 1890s. Rathbone continued production until the early 1900s making metal fittings both to his own designs and for other designers including C F A Voysey, Lamb of Manchester, Morris & Co and A H Mackmurdo. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe leather inset with the usual marks and scratches consistent with age and use, some deeper areas too. The oak top of the desk with old water marks and stains affecting the polish, this is a ring mark and a rectangular mark - water has split and left this mark at some point The ingenious locking system is working at time of report, there is a key that operates the central drawer lock at time of report, this lock appears to have been changed, it may well have had a Bramah type lock previously, there is a circular inset hole to the drawer front where the keyhole probably projected through. There are no other keys present, the rear cupboards are all open at time of report - the drawers to the rear are not operated on the same locking mechanism and are openable when the other drawers are shut and locked. The large right hand drawer was previously divided, this has been well filled to the drawer front and the back drawer lining.The handles are all stamped as per the description, these are almost certainly original.Some later screws are present to the interior to hold front and back elements togetherOverall solid and stablePlease see additional images for visual reference to condition Condition Report Disclaimer
Lot 247
A COSMATI STYLE MICROMOSAIC SPECIMEN MARBLE INLAID PANEL Of geometric design, incorporating sections of earlier stone to include porphyry, and serpentine marbles 58cm wide, 42cm deep, 1.5cm thick Condition Report: Marks, knocks, scratches, abrasions consistent with age use The black border appears to be sectional and with infilled areas - probably repair and replacement Tesserae various in appearance probably reflective of the differing ages of stone The rear side with infill (resin?) to some areasPlease see additional images for visual reference to condition Condition Report Disclaimer
Lot 250
Y A PORPHYRY SHALLOW TRAY POSSIBLY CIRCA 2ND-4TH CENTURY A.D. OR LATER Set within a 19th century rosewood frame 60cm wide Provenance: Purchased by Robert Kime from Jean-Claude Ciancimino, London in the 1970s Saleroom notice:This lot contains one or more endangered plant or animal species and is subject to CITES regulations. Prospective buyers are advised to familiarise themselves with the export and import restrictions prior to bidding as it is the buyer's responsibility to obtain any necessary import and/or export certificates and permits. We will not be able to cancel your purchase if your lot may not be exported, imported or it is seized for any reason by a government authority. Condition Report: Some chips to the surface edges and with a crack visible near one corner. The corner itself with flaked surface and later hand tinted in faux porphyry. A darker vein runs across this end- but the panel unexamined out of frame which is sealed. The underside only showing the wooden backing. It may have had further remedial restoration where this darker vein shows but we cannot access the back to determine this With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale Measurements:60cm wide is the overall dimension of tray and frame, it is 37.5cm across, the height is 5cm, the actual porphyry tray is 51 x 29.5cm - the height is unknown as it is sealed in 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. 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 description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
Lot 256
A PAIR OF ENGLISH CARVED AND PAINTED STRAPWORK FRAMED PSALMS 17TH CENTURY Each with central black panel with gilt inscription with scrolling gilded strapwork frame with applied angel and face masks, inscribed "I am the Bread of life, which came down from Heaven" (John 6, verse 51) and "I will take the Cup of Salvation & call up only Name of ye Lord" (Psalms 116, verse 13) 96cm wide, 81.5cm high- slight size variance Provenance: By repute, removed from Longleat House, Wiltshire With Robin Eden, from whom purchased by Robert Kime in the 1970s
Lot 257
A RARE CHARLES I ROYALIST STUMPWORK AND HAIR WORK EMBROIDERED PICTURE DATED 1649 Depicting a bust of King Charles I on pedestal dated 1649, flanked by attendant figures of man and wife, amongst scrolling foliage, the portrait and figures with hair work, the whole with glass eye detailing, small bead and metal thread embellishment, needlework and raised work Later framed and glazed, the panel 20cm x 18cm, the frame 24.5cm x 22.3cm The portrait of Charles I is probably derived from the title page to Thomas Fuller's ''The Holy State'' by William Marshall. Dated portraits of Charles I are rare- although in this case it would seem likely that the picture is after his death- and commemorates the loyalty of the husband and wife depicted to the dead monarch. The use of hair is, again, unusual, but not unknown at this date. A needlework picture dated to 1646 was offered for sale at Sotheby's New York, 7th April 2004, lot 67. Like this example it combined needlework, raised work and the inclusion of real human hair to depict the King's coiffure. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per cataloguing- frame is later and the whole looks to have been unframed for some time garnering dirt, dust ect which is now engrained. Sunlight has caused colour muting throughout. Some loose beads and elements, some areas of raised work not sagging such as left hand figures legs. Frame worn and with losses Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. 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 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. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 291
GEORGE FREDERICK WATTS (ENGLISH 1817-1904) HAYSTACKS (STUDY ON BRIGHTON DOWNS) Oil on canvas 33.5 x 65.5cm (13 x 25¾ in.) Provenance: With the artist 1887 Given by the artist to Frederic, Lord Leighton His sale, Christie's, 14 July 1896 (3rd day), lot 343 Where bought by Sir William Agnew, Bt., for 290 gns Still with Sir William Agnew in 1905 Christie's, London, 11 June 2002, lot 118, where purchased by Robert Kime Exhibited: Grosvenor Gallery, London, 1883, no. 59, as Study on Brighton Downs Manchester, Royal Jubilee Exhibition, 1887, Fine Art Section, no. 249, as Haystacks, lent by the artist Royal Academy, London, Exhibition of Works by the late George Frederick Watts, R.A., O.M and the late Frederick Sandys, Winter 1905, no. 26, as Landscape, lent by Sir William Agnew City Art Gallery, Manchester, G.F Watts Memorial Exhibition, 1905, no. 148, as Landscape, lent by Sir William AgnewLiterature: Times, 30 April, 1883, p.4 Mrs Watts's Manuscript catalogue, vol. I, p.16 as Brighton Downs The present lot was painted in 1882 and exhibited the following year at the Grosvenor Gallery as Study on Brighton Downs, although the name Haystacks was already given to it when it was noticed briefly in a review in the Times, and Watts himself seems to have adopted this title later. No doubt the subject was one he had seen when travelling to or from the town, where he had a winter studio from 1876. Like so many of Watts's landscapes, Haystacks (Study on Brighton Downs) is astonishingly minimal. No other Victorian artist made more daring experiments of this kind; they are one of his work's most original aspects. Haystacks as a subject seem to have been a constant source of wonder and inspiration to Watts. The picture is reminiscent of Evening (Ashmolean Museum, Oxford), a small panel of 1864 in which he introduced some examples he had seen in the vicinity of Little Holland House, Kensington. However, unlike the Oxford picture which has overt literary associations; an armed knight is seen riding by, and the picture's alternative title, 'All the air a solemn stillness holds', taken from Thomas Gray's Elegy, this picture focuses attention on the haystacks alone. Characteristically though, Watts still manages to suggest a symbolist dimension. Stark as it is, the image has none of the objectivity of a painting of a haystack by for example, Monet. Watts must have thought highly of the picture to have sent it to the Grosvenor, and it was still in his possession when he lent it to the Royal Jubilee Exhibition at Manchester in 1887. He subsequently gave it to Sir Frederic Leighton, who had, according to Mrs Watts in her manuscript catalogue of her husband's works, 'admired' it. Leighton and Watts were not only close friends but neighbours in the artists' colony which had developed in the Holland Park area since the 1860s. When the picture appeared at Leighton's posthumous sale at Christie's in July 1896 it was bought by the dealer Sir William Agnew, who apparently wanted it for his own collection rather than stock. He still had it nine years later, when he lent it to the first two venues of the memorial exhibition which toured the country following Watts's death in 1904. Condition Report: The canvas has been lined with a new stretcher, but this is providing good supports and the paint layer is stable, and the old exhibition labels have been preserved. There is a diagonal surface scratch (approx. 4cm) to the upper right corner, and a very small spot of paint loss above it. Inspection under UV light reveals no visible signs of retouching, although the glaze layers and discoloured varnish do make it difficult to read under UV.Condition Report Disclaimer
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