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Lot 38
George Spaventa (American, 1918-1978). Cast bronze figure with a gold patina in the form of a feminine figure, 1962. Stamped CAF and numbered 2/6 along the base; incised signature along the other side of the base. Attached to a polished black stone base.Provenance: Distinguished Corporate Collection, Minnesota.(Incl stand) Height: 14 in x width: 4 1/2 in x depth: 4 1/2 in.Condition:No bends, breaks, losses, or restorations. Natural patina throughout. Some dirt/dust gathered in the recessed areas. Some light wear to the underside.
Lot 37
George Spaventa (American, 1918-1978). Cast bronze figure with a black patina in the form of a reclining feminine figure, 1962. Stamped CAF and numbered 5/6 along the base; incised signature along the other side of the base. Attached to a polished black stone base.Provenance: Distinguished Corporate Collection, Minnesota.(Incl stand) Height: 5 1/2 in x width: 5 in x depth: 12 3/4 in.Condition:No bends, breaks, losses, or restorations. Natural patina throughout. Some dirt/dust gathered in the recessed areas. Some light wear to the underside.
Lot 122
Ralph Rapson (American, 1914-2008). Ink drawing architectural concept design depicting a house on a hill surrounded by trees with mountains in the background. The house consists of two stone bases upon which sits a two-story Modernist glass home. Rapson was Head of the School of Architecture at the University of Minnesota for 30 years and, at the time of his death, was one of the oldest practicing architects.Sight; height: 11 1/4 in x width: 14 1/4 in. Framed; height: 16 1/4 in x width: 19 3/4 in x depth: 1/2 in.Condition:The colors are bold and deep. No visible tears, losses, or restorations. The sheet is toned. There are some light creases throughout, especially along the lower left quadrant. There is a small band of darker yellow along the lower left corner. Extreme edges and verso not inspected; not inspected out of frame. Framed under glass; light wear to the frame.
Lot 78
Dunbar, United States. Mid-century Modern low coffee table base, ca. 1970s. Chrome-plated steel. Missing the top stone piece.Provenance: Distinguished Corporate Collection, Minnesota.Height: 15 in x width: 42 in x depth: 42 in.Condition:The item is structurally stable, and the components seem to be firmly attached. Missing top. Black rubber strips along the edges are not fully attached to the table; one is missing. Glue residue visible along the edge that misses the rubber strip. Heavy wear throughout. To the center of the top, there are several scratches, the longest being 18 inches. Several scattered areas with white stains. Wear to the metal components. No visible sign of restoration.
Lot 89
Curt Frankenstein (American, 1922-2009). Oil on canvas painting titled "Justice Fragmented" depicting a surreal scene of a seated marble figure surrounded by blindfolded stone heads, 1982.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 47 1/2 in x width: 59 1/2 in. Framed; height: 52 in x width: 64 in.Condition:There is a puncture and a scratch extending horizontally from said puncture near the lower center of the canvas. No other issues. Light wear to the frame. Verso and extreme edges not inspected.
Lot 12
Charles Sargeant Jagger (1885-1934) A pair of rare Portland stone groups of a nymph and satyreach in the form of a satyr carved with curly hair and cloven hooves squatting on a tapering square pedestal and leaning over a naked nymph, one with the nymph with flowing hair facing towards him and raising herself on tiptoe to offer a kiss, the other with the nymph leaning backwards the satyr grasping her arms and pulling her up towards his embrace, 350cm high *** This lot is being sold insitu - appointments can be made to view*** Provenance: Melchett Court, Hampshire, 1927Alfred 1st Lord Melchett Colworth, Bedfordshire 1936, Henry 2nd Lord Melchett, Beale Park, Berkshire, 1948Charles Sargeant Jagger was born at Kilnhurst, Yorkshire on 17th December 1885, the second child of Mary (née Sargeant) and Enoch Jagger, he had a younger brother David who later became a society portrait painter, and an older sister Edith, who also became a gifted painter. Their father was a colliery manager. In 1907 he was awarded a scholarship by West Riding county council to study at the Royal College of Art. Under Professor Lanteri he achieved considerable success including a major college travel bursary which enabled him to visit Italy and North Africa in 1911.In 1914 he was awarded the Prix de Rome, with a relief entitled Bacchanalian Scene. The romantic classical feeling of his work at this time was not to be repeated until the late 1920’s when the Melchett Court groups were commissioned. Before he could take up his scholarship in Rome war was declared and Jagger made a considerable personal sacrifice by renouncing it and instead enlisting in the Artists Rifles. In 1915 he sailed with the British Expeditionary Force to Gallipoli. In the most appalling conditions, he was eventually shot through the shoulder and shipped out to a hospital in Malta. He was subsequently posted to the Front in France and in April 1918 was badly wounded at the Battle of Neuve Église. In recognition of his valour he was awarded the Military cross. Whilst he was convalescing a friend at the Royal College of Art told him that the British War Memorials Committee were about to employ sculptors. In 1919 Sir George Frampton (who had been on the panel judging the Rome scholarship) recommended him to design a memorial planned for Hoylake and West Kirby, Lancashire. This proved a turning point in his career, and between 1921 and 1923 he completed six war memorials and started on his most well-known work, the Royal Artillery memorial at Hyde Park Corner. All of these are characterized by the same brutal and grim, but also massively strong treatment of the soldiers or ‘Tommies’. His recorded comments on war memorials repeat the basic notion of ‘showing the Tommy as I knew him in the trenches’. There followed a number of other commissions both at home and abroad for the Imperial War Graves Commissions. By the second half of the 1920’s Jagger’s eminence as a sculptor had become established. The Royal Artillery Memorial had a somewhat mixed reception when it was unveiled in 1925, but nevertheless secured Jagger’s name as a public figure. In 1926 he became an associate of the Royal Academy and was awarded a medal by the Royal Society of British Sculptors. At this time Jagger also built up an influential circle of patrons, including Sir Edwin Lutyens, who also became a close friend, and Sir Stephen Courtauld, who commissioned two decorative plaques from him. He was also commissioned to do a statuette of H.R.H. the Prince of Wales. The Prince was known to have admired Jagger’s work and commissioned a cast of one of Jagger’s bronzes. ‘Wipers’ in 1921. This informal portrait of the Prince portrayed holding a tennis racquet was considered one of Jagger’s finest works and helped him avoid being stereotyped as a war memorial sculptor. It was also at this time that Jagger began his association with Sir Alfred Mond, the first Lord Melchett, and his son Henry. Sir Alfred served on the council of the British School at Rome from 1925, but already knew Jagger’s work. It is likely that they got to know each other as a result of the work Jagger did for the British War Memorials commission. Mond was heavily involved in setting up the Imperial War Museum which took over the commissions made by the B.W.M.C. at the end of 1918 and so probably saw Jagger’s work at that time. Certainly, from the early 1920’s the Mond family were active supporters of Jagger’s work and from this association there emerged a close relationship between them. Charles Jagger and Henry Mond, who were almost the same age, were particularly close and the Jaggers often visited the Monds at their Hampshire home. Amongst the many commissions the Mond family gave Jagger, were the sculptures on Imperial Chemical House. This building, a well-known London landmark on the River Thames at Millbank, was designed by Sir Frank Baines to provide the central offices of I.C.I. when it was formed out of a merger between companies belonging to the Mond family and to Sir Harold McGowan in 1926. Jagger produced four massive sculptures typifying great industries of the world, Agriculture, Marine Transport, the Building Industry and Chemistry. At around the same time Jagger was commissioned by Lord Melchett to carve this pair of Portland stone groups of nymphs and satyrs for his home, Melchett Court, Hampshire. These form an important part of a small group of privately commissioned works on literary and classical themes. In a similar vein Jagger produced a relief based on Sheridan’s School for Scandal for Henry and Gwen Mond’s drawing room at Mulberry House, Smith Square, London. This features a man embracing a naked woman. Also, a pair of reliefs for Sir Stephen Courtauld circa 1930 feature a nymph and a satyr mocking an elderly satyr who is offering jewels to the young nymph. The Melchett Court satyrs and nymphs are the only known work by Jagger in which he explores this romantic classical approach with its mildly erotic overtones in a large-scale three-dimensional way. The salacious expression of the squatting and kneeling satyrs contrasts brilliantly with the yearning expressions of the nymphs with their languid nubile bodies. The gentle satire employed in these works is striking because of the contrast it makes with the serious subject matter of much of Jagger’s work. It reinforces the view that he felt no obligation to be predictable concerning the content of his work. The Courtauld reliefs and the Melchett Court nymphs and satyrs also reveal that Jagger’s romantic temperament, which is evident in this works prior to 1914, had not been entirely crushed by his experiences during the War. All the same, these later works are easily distinguishable from the earlier classical reliefs by their boldness and simplicity of form which is distinctly Art Deco. Jagger died in November 1934 at the early age of 48. Between 1918 and 1934 Jagger produced some 45 works, most of which were war memorials or commissions for large buildings. These groups are amongst the most important of the private commissions which he undertook. Following his death these two groups were exhibited in the Charles Sargeant Jagger Memorial Exhibition at the Royal Society of Painters in watercolours in Pall Mall, on 21st May to 20th June 1934. The chairman was Lord Melchett. The exhibition list also includes small bronzes of the nymphs and satyrs priced at 25 guineas each, which presumably were maquettes for the full-size groups. Sadly, no price is given for these, however since they formed an integral part of Melchett Court it is doubtful whether they would have been for sale. A plaster...
Lot 37
An Iguanodon rear footprint60cm by 53cm; print 29cm wideThe footprints of long extinct creatures preserved in stone have a magicand intrigue of their own, as they reveal the actual activity of prehistoric animals. They are known as ‘trace’ fossils due to the fact that they are not parts of the animal itself (bones etc.) preserved in stone. In other words they are not what are generally called ‘fossils’. In many respects, however, such evidence of a remote prehistoric past is every bit as fascinating as that provided by more conventional fossils.Some of the most celebrated footprints of extinct creatures are, of course, those of dinosaurs, and the best known of these have been found in the USA. It is a little known fact, however, that a few very rare footprints have been found in southern England.Certain areas close to Horsham are renowned for a kind of sandstone known appropriately as Horsham Stone, and this substance is quarried and commonly used for paving and other building purposes. In among this quarried material are sometime found the remarkable remains of dinosaurs.Occasionally, dinosaur remains have been found that are remarkably complete and one in particular, known as Baryonix, is unique and is quite distinct from any other known predatory dinosaur. In fact it has become world famous, but what is less well known is that along with fossilized bones there are found in the Horsham Stone, very rarely, dinosaur footprints. Summers Place Auctions are proud to be able to offer several of these. Among them are footprints of the well known dinosaur Iguanodon, and another that looks as if it was left by the rare Polacanthus. Most excitingly, however, is a footprint that seems to have been left by a specimen of Baryonix itself.Fossil, interior design, decorative, natural history
Lot 18
▲Jean Phillipe RichardDraped female bronze signed Richard and dated ’02 and numbered III/IV together with indistinct foundry stamp on stone base 190cm high overall, the bronze 172cm highJean-Philippe Richard is a French sculptor, born in Paris in 1947 and has been working as a sculptor for over 3 decades. A self-taught artist, Jean-Philippe Richard sculpts without relying on a model, this allows him to sculpt freely and even get away from the restrictions of reality. This artist is an accomplished technician whose first bronze pieces were cast in an artisan foundry that he created in the Provencal village where he has been living since mid-70s. Garden Ornament, Garden Statue, Sculpture
Lot 42
An Iguanodon forelimb footprint33cm by 20cmThe footprints of long extinct creatures preserved in stone have a magicand intrigue of their own, as they reveal the actual activity of prehistoric animals. They are known as ‘trace’ fossils due to the fact that they are not parts of the animal itself (bones etc.) preserved in stone. In other words they are not what are generally called ‘fossils’. In many respects, however, such evidence of a remote prehistoric past is every bit as fascinating as that provided by more conventional fossils.Some of the most celebrated footprints of extinct creatures are, of course, those of dinosaurs, and the best known of these have been found in the USA. It is a little known fact, however, that a few very rare footprints have been found in southern England.Certain areas close to Horsham are renowned for a kind of sandstone known appropriately as Horsham Stone, and this substance is quarried and commonly used for paving and other building purposes. In among this quarried material are sometime found the remarkable remains of dinosaurs.Occasionally, dinosaur remains have been found that are remarkably complete and one in particular, known as Baryonix, is unique and is quite distinct from any other known predatory dinosaur. In fact it has become world famous, but what is less well known is that along with fossilized bones there are found in the Horsham Stone, very rarely, dinosaur footprints. Summers Place Auctions are proud to be able to offer several of these. Among them are footprints of the well known dinosaur Iguanodon, and another that looks as if it was left by the rare Polacanthus. Most excitingly, however, is a footprint that seems to have been left by a specimen of Baryonix itself.Fossil, interior design, decorative, natural history
Lot 41
Quite possible a Baryonix footprint37cm by 30cmThe footprints of long extinct creatures preserved in stone have a magicand intrigue of their own, as they reveal the actual activity of prehistoric animals. They are known as ‘trace’ fossils due to the fact that they are not parts of the animal itself (bones etc.) preserved in stone. In other words they are not what are generally called ‘fossils’. In many respects, however, such evidence of a remote prehistoric past is every bit as fascinating as that provided by more conventional fossils.Some of the most celebrated footprints of extinct creatures are, of course, those of dinosaurs, and the best known of these have been found in the USA. It is a little known fact, however, that a few very rare footprints have been found in southern England.Certain areas close to Horsham are renowned for a kind of sandstone known appropriately as Horsham Stone, and this substance is quarried and commonly used for paving and other building purposes. In among this quarried material are sometime found the remarkable remains of dinosaurs.Occasionally, dinosaur remains have been found that are remarkably complete and one in particular, known as Baryonix, is unique and is quite distinct from any other known predatory dinosaur. In fact it has become world famous, but what is less well known is that along with fossilized bones there are found in the Horsham Stone, very rarely, dinosaur footprints. Summers Place Auctions are proud to be able to offer several of these. Among them are footprints of the well known dinosaur Iguanodon, and another that looks as if it was left by the rare Polacanthus. Most excitingly, however, is a footprint that seems to have been left by a specimen of Baryonix itself.Fossil, interior design, decorative, natural history
Lot 56
PAUL MCCARTNEY AND RELATED - CD COLLECTION (INC PROMOS/ JAPANESE/ CASSETTES). A wonderful collection of around 56 CDs, including a couple of cassettes. Lot includes a large selection of promos and some Japanese issues. Titles include New (UCCO-90300, Japanese), Off The Ground (TOCP-7580), The World Tonight (promo), Beautiful Night (x2) (promo), FLaming Pie (promo), New (promo), Run Devil Run (promo), I Want To Come Home (x3) inc (promo), The Art Of McCartney (promo), Young Boy (promo), Say Say Say, Dance Tonight, C'Mon People, Queenie Eye, Standing Stone, Ecce Cor Meum, Sing The Changes, McCartney II, McCartney, Band On The Run, Ram. CDs appear to be in Excellent condition. Some are M/ Sealed. See pictures for details overview images.
Lot 324
A diamond cluster ring, the central round brilliant cut diamond, estimated approx. 1.66cts, in a four claw mount and set to either side with three marquise cut diamonds, total gross weight of diamonds estimated approx. 2.20cts, all claw mounted to a plain band of unmarked white metal (tests as approx. 18ct gold), size K-L, 3.9gcentre stone - colour estimated approx. G-H / clarity estimated approx. SI - SI1centres stone - small scratch across one of the kite facets, possible natural just under one claw, even bruted girdlemarquise stones - bright, lively & well matchedfluorescence - centre stone and one of the marquise stones have medium fluorescence, others inertlight wear to band, overall good
Lot 546
A PAIR OF COMPOSITION STONE ANIMALIER FIGURES OF SEATED DOGS MODERN Depicted alert the taller example 93cm high, bases 37.5cm wide, 82cm deep Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Modern decorative with mild weathering- some scuffs to plinth bases 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. ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer
Lot 575
AFTER GIAMBOLOGNA, A LEAD FIGURE OF MERCURY ON A PEDESTAL LATE 19TH CENTURY Marble and composition stone pedestal figure 120cm high, 207.5cm high overall, pedestal base 44.5cm x 45.5cm Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Weathering- the cap to head with some loss- this may however be from casting. Caduceus looks to have been restored. Left ankle and upper fingers probably restored- pedestal with some edge wear and losses - green from weathering 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
Lot 46
A CARVED STONE PLAQUE DEPICTING CHRIST PREACHING POSSIBLY ITALIAN, EARLY 17TH CENTURY Carved in high and low relief with seated Christ, right hand raised, left hand holding the cross of Resurrection, lamb below, attentive figures seated to lower left, trees and rocky landscape beyond, inscribed in ink illegibly to reverse but possibly "Alabaster bas relief by Valerio Belli (called il Vicento). 1477-1546" 24.5cm high, 18cm wide, approximately 3cm deep
Lot 479
JOHN WARRINGTON WOOD (1839-1886) A CARVED MARBLE GROUP 'SISTERS OF BETHANY' DATED 1876 Depicting the scene as told in the Gospel of John, chapter 11, with Martha entreating her sister to meet with Christ and with the imminent resurrection of their brother Lazarus to follow, signed, inscribed and dated in cursive script on rear of chair J. WARRINGTON WOOD Sculpt Rome 1876, plinth inscribed: "SISTERS OF BETHANY, THE MASTER IS COME AND CALLETH FOR THEE" approximately 109cm high, base 49 by 33.5cm John Wood was a sculptor mainly of mythological and biblical subjects, and also portrait busts. Born in Warrington, Lancashire in 1839, he adopted Warrington as his middle name to distinguish himself from the older sculptor John Wood (1801-70). After training as a stonemason, he moved to Rome in 1865 where he studied under John Gibson. His success afforded him the wealth to purchase the Villa Campana. He exhibited works at the Royal Academy of Arts from 1868 to 1884 including a version of this sculpture in the 1879 Royal Academy Exhibition, catalogue No. 1509, which was displayed in the Central Hall.In 1877 he was elected to the Guild of St. Luke in Rome and his statues of Raphael and Michelangelo stand at the entrance to the Walker Art Gallery in Liverpool with further work in Manchester Town Hall and in the museum and art gallery in Warrington. Another version of this work, dated 1871, is currently exhibited at the Kibble Palace, Glasgow Botanic Gardens, Glasgow, Scotland. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with surface dirt- some of which is engrained leading to a yellowish tint in some areas. With some wear and minor losses including but not limited to: Seated figure: left hand's fingers- loss and repair Standing figure- repair to thumb of her right hand Natural flaws and veining to stone, with some remedial infill- mostly probably at time of carving including but limited to: sections of raised edges of drapery to reverse. Hairline faults including to seated figure left forearm, stains to standing figure right forearm and small scattered spot stains throughout Some edge wear and nibbles including to raised areas of drapery to reverse, bottom edge of plinth including larger loss to front corner Approx 200kg- requires careful lifting and transit 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 545
A COMPOSITION STONE LIDDED GARDEN URN IN THE MANNER OF COADE AND SEALY, CONTEMPORARY 85cm high, 55cm diameter Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Modern decorative and with surface roughness and staining to suggest greater age. Edge chips may be part of this process as well- some scuffing to one side 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. ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer
Lot 445
WORKSHOP OF ANTONIO FRILLI, A CARVED ALABASTER FIGURE OF NAPOLEON ITALIAN, LATE 19TH CENTURY Depicted full length, hands behind his back, signed to reverse A Frilli Firenze 91cm high, base 25cm wide Established in 1860 by Antonio Filli- the workshop of Frilli is still in production in Florence. Antonio's work is recorded as an exhibitor at the Espozione Nazionale di Roma in 1883, Glasgow in 1888 and Paris in 1889. He and his studio specialised in replicas of classical and portrait sculpture- as well as more 'modern' orientalist figures in marble, alabaster, and bronze. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with darker natural inclusions to the stone- the signature and eyeballs with later darker tinting- some surface marks, small scuffs and abrasions 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
Lot 570
AFTER THE ANTIQUE, A BRONZE FIGURE OF NIKE ON A CARVED STONE PEDESTAL OF RECENT MANUFACTURE, AFTER THE CHIURAZZI FOUNDRY, NAPLES 166cm high overall, the pedestal 34cm square Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Modern and decorative- some surface wear to figure- notably to reverse- pedestal with greening from weathering and some edge wear. 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
Lot 574
A PAIR OF COMPOSITION STONE HERALDIC LIONS 20TH CENTURY Lions modelled seated 114cm high, the bases 32.5 x 33.5cm Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Fairly modern, weathering with lichen and rain deposits, some edge chips and loss 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
Lot 264
A BRONZE DOG VISTING CARD HOLDER IN THE MANNER OF THOMAS WEEKS, EARLY 19TH CENTURY The standing dog with hinged jaw for card holding, polished back stone base, possibly Ashford 14.5cm high, base 16.2 x 9cm Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Generally in good condition- jaw with strong "bite"- base possibly formerly with baize covering- small edge wear 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
Lot 456
AN ITALIAN WHITE MARBLE FIGURE OF APHRODITE (VENUS) ANADYOMENE LATE 19TH OR EARLY 20TH CENTURY, AFTER THE ANTIQUE Depicted standing, braiding her hair, now on a tapering serpentine marble pedestal approximately figure 149.5cm high, pedestal 108cm high, 257.5cm high overall The title "Venus Anadyomene" is derived from Greek "Venus Rising from the Sea" and is inspired from a now lost painting by Apelles described in Pliny's Natural History. In the ruins of Pompeii can be seen a mural of the subject in the Casa del Principe di Napoli. For a comparable example, of same proportions, form and finish but additionally signed S Palla, see Christie's Amsterdam, The Decorative Arts Sale, September 23rd 2009, Lot 578 (€27,400) Another, slightly taller and from the Florence studio Of Antonio Frilli (Italian, D. 1902) sold, Christie's King Street, The Collector: Live, 12 Nov 2020, Lot 229 (£21,250). Condition Report: The figure- generally good if a little dirty. Some natural inclusions to stone such as to top of right forearm. The white marble with natural slightly smoky grey veining. chips to foot rim. Some spot/rain splash trails and stains. Slight grazing to buttocks The pedestal- the top is 55cm wide- and has been restored. The top with ground section to centre. Otherwise generally good- some edge fritting and some rubbing and small losses to base edgesPlease 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 537
A LEAD AND COMPOSITION STONE PEDESTAL SUNDIAL 20TH CENTURY With a 17" lead sundial plate, with winged hourglass flanked by numeral chapter ring with compass notations, on bulbous pedestal approximately 93cm high Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Breaks down into 5 or six sections with the dial plate loose and unfixed. Plate with some deformation and surface wear Base with edge wear and softening from weathering, plinth at bottom discoloured from ground contact 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
Lot 571
A PAIR OF COMPOSITION STONE MODELS OF SEATED LIONS MODERN 95cm high, bases 38.5cm wide, 67cm deep Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Fairly modern- some artificial aging from weathering with moss, lichen and water staining- the fronts paler from overhang of head occluding rainfall - some plinth edge wear 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
Lot 436
AMELIA ROBERTSON PATON (SCOTTISH, 1821-1904) A MARBLE BUST OF A YOUNG WOMAN DATED 1860 Portrayed wearing classical style low cut wrap, head tilted wistfully up to her right, signed a to reverse AMELIA R. PATON SC EDINr 1860 approximately 58.5cm high, 46.5cm wide acrossProvenance: Formerly from the collection of Baroness Nancy Oakes von Hoyningen-Huene, daughter of Sir Harry Oakes, 1st Baronet, British gold mine owner, entrepreneur, investor and philanthropist.'Amelia Paton (1821-1904) was a largely self-taught sculptor of considerable ability. She could, probably should, have become our first woman member but sadly that was not to be. Robin Rodger; 'The Patons of Dunfermline'- Royal Scottish Academy, December 10, 2021.Amelia Paton was born at Dunfermline Park, Fife into an artistic family. Her brothers, Joseph Noel Paton, and Walter Hugh Paton, became famous painters and illustrators, respected by contemporary collectors, elevated by royalty and with a legacy of work that's embraced and celebrated by collectors. Amelia, denied official recognition within her lifetime, has yet to be celebrated in quite the same way.Her childhood was spent at the family home of Wooer's Alley, Dunfermline. She seems to have been largely self-taught, creating small miniature portraits and starting to learn the rudiments of sculpting through modelling in clay. It seems that her first tools were an ivory crochet-needle and a knife but eventually she was able to borrow better tools - from a plasterer.This foray into work as a sculptor was short-lived as first she fell ill, then her brothers left home, and her mother fell ill. She remained at home nursing her mother through her final illness until her passing and her father's remarriage. At the age of 39, she moved from her childhood home to live with her two brothers in at 33 George Square, Edinburgh, At this time it seems she started working from her own studio and trained as a sculptor under William Brodie. The crossover of taste from her brothers' works would have been almost osmotic. In 1860 she exhibited publicly for the first time when two of her busts appeared at the Royal Scottish Academy. It may be that this lot is one of these two busts titled simply as 'A Young Woman' and recorded by 'Bedouin' as worthy of note in his review of the 1860 exhibition 'the works(of sculpture) are few but of high merit' (MacPhail's Edinburgh ecclesiastical journal and literary review, Volumes 29-30 1861, pp. 188-189). It's almost certainly the earliest work in marble she may have exhibited.It has been suggested that a better possible title for this work might be 'The Lover'- as inspired by her brother Joseph Noel Paton's illustration of 1857 'Hesperus the Evening Star, Sacred to Lovers' (now held in The Kelvingrove Art Gallery and Museum, Accession number 1033). This work does seem to strongly accord with their portrayals of women of legend and myth influenced by Pre-Raphaelitism.In 1862, Amelia became the second wife of the celebrated artist and early photographer David Octavius Hill and went onto to exhibit over 60 sculptures at the Royal Scottish Academy, the Royal Academy, Glasgow Institute, the Royal Hibernian Academy and at the International Exhibition in Dublin in 1865. Her work tended to be studies of Arthurian and Shakesperean heroes, family friends, and notable figures such as the historian Thomas Carlyle, artist Sir George Harvey and physicist Sir David Brewster. Her skill and talent shone through, and she was commissioned to carry out several public statues, rare for a female artist of this period. Buoyed by the confidence shown in her by her husband and her brother Joseph Noel in 1868/1869 she sculpted a full length statue of the explorer David Livingstone, who sat for Amelia during the modelling, just prior to leaving the country for his final journey to Africa. Exhibited to great acclaim in London in the New Rooms of the Royal Academy in 1869 the figure now stands in Princes Street Gardens, Edinburgh and was described by William Sharp in 1902 as the 'the first work of sculpture done by a woman which has been erected in any public place in Britain'. Subsequent public commissions included the statue of Robert Burns commissioned by Dumfries town council in 1877, and three of the statues which adorn the Scott Monument in Princes Street Gardens, Edinburgh.Despite the patronage of two eminent brothers and her husband, Amelia still faced the constraints of Victorian attitudes at the time towards gender equality and was excluded from membership of the Royal Scottish Academy. In response she took matters into her own hands and in 1877 helped establish the Albert Institute of Fine Arts at Edinburgh's Shandwick Place, an artistic institution that did not discriminate on grounds of gender. Above the ornate doorway to the building, Amelia's relief portrait bust of Prince Albert and the figures of 'Sculpture and Painting' can still be seen.The 1891 census described Hill as 'sculptor, retired' but she continued to exhibit at the Royal Scottish Academy until 1902, aged 82. She died at her house, Newington Lodge, 38 Mayfield Terrace on 5 July 1904 aged 83.At the time of cataloguing there is no catalogue raisonné of her work. Only a handful of work by her has appeared at public auction- with half of them miniature portraits, another of her passions. Her work is little known to the wider general public but in the last twenty years her work has started to be reappraised, lauded and celebrated with several books featuring her life and work. In 2021, the bicentenary of her birth, a walking tour of her Edinburgh works was instigated as 'The Amelia Tour' by a descendant Cat Berry. Hopefully the appearance at auction of this very early, elegant and sensual bust by this neglected Victorian female artist, with its leanings to the Pre-Raphaelite movement, may help redress some of the lack of awareness of her life and work.Please follow this link for the full catalogue footnote. Condition Report: Mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some loss to lowest edge, small scuffs and some later colour marks to hair and neck. Under UV there are signs of remedial infill- whether this is from construction or later we cannot tell. These are scattered across mainly the flesh areas- also to the left hand ear that looks to have been pierced for earring and filled. Some natural flaws to stone notably to her right shoulder. Overall with some surface dirt Please see additional images for visual references to condition which form part of this condition report. Condition Report Disclaimer
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