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Click here to subscribeA Zsolnay Pecs gilt metal mounted urn and cover. Circa 1900, painted with flowers and foliage on a cream ground, the gilt metal base with four female masks, printed mark on cover, height 40.5cm.Crackle to glaze and general wear commensurate with age. Image of the affected area on Lay's website.
Large post impressionist painting on canvas by Postwar and Contemporary artist Jean Lamouroux. This gorgeous still life features an urn bursting with white lilies over a golden yellow background. Lovely cool blue tones bring balance to the striking yellow background. White recessed frame with glossy finish. Artist signature on lower right corner. Sight size: 46""H x 35""W; frame 46.5""H x 35.75""W x 1.5""D. Artist: Jean LamourouxIssued: 1993Country of Origin: FranceCondition: Age related wear.
Vintage French Tole style Italian chandelier. Metal with painted enamel decoration in mustard yellow and black. The six arms with shades decorated with palm leaf fans and scrollwork. The arms radiate outwards from a central element in the form of an urn. The urn is painted with baskets overflowing with floral swags. Marked "Made in Italy" along the top of the chandelier.Without Chain; height: 22 in x diameter: 29 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Vintage bronze and green marble continental candelabra. Baroque style in the form of an urn with four arms and applied brass elements.Height: 28 in x width: 9 1/2 in x depth: 9 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
A late 18th century ivory and enamel memorial ring, the oval ivory panel painted to depict a maiden gesturing towards a funerary urn on plinth, inscribed 'LIFE HOW SHORT', framed by a weeping willow tree, within a black enamel border inscribed 'AARON MORRITT OB 29 APR 1793 AE 43', between tapered foliate engraved shoulders, together with an agate and purple stone double cluster brooch, (later fitting), ring size approximately L, brooch length 3.3cm (2)Ivory registration no. FP25K67V Ring: crazing, surface wear and dust/dirt residue to ivory miniature panel, with scuffs, scratches and nicks to glazing above. Small chips/nicks and scuffs to enamel inscription. Panel measures approximately 2.8cm length x 1.8cm width. The ring mount has surface wear, with solder seams visible at junctions to the panel reverse and shoulders, and is untested as gold/gilt metal. Engraved decoration has patchy light wear. Gross weight approximately 5.8gm. Brooch: The central agate cabochons are foil-backed and the purple stones are possibly foil-backed pastes, all with considerable abrasion, scuffs and chips to the surface. Mount is two-colour with considerable wear and tarnishing, untested as silver/gold/gilt metal. Fittings are later replaced/added. Gross weight approximately 8.2gm.
A collection of antique hairwork memorial jewellery, comprising a Georgian ivory, enamel and half pearl memorial bracelet, the navette-shaped ivory panel painted to depict a sorrowful maiden and cherub with funerary urn en grisaille, inscribed 'NOT LOST BUT GONE BEFORE', framed by blue and white enamel and half pearl borders, on a plaited hairwork bracelet with foliate scroll engraved collars, (half pearls untested for origin), together with a further plaited hairwork bracelet, (clasp deficient), and a woven hairwork necklace, the clasp inscribed 'Eliza Hick 1833', first bracelet panel length 3.9cm (3)Ivory registration no. MV3UP4H1 First bracelet: surface wear and dirt/dust residue to ivory panel. Scuffs, nicks and grazes to glazing above. Chips, nicks and scuffs to enamel borders. Surface wear, scuffs and small fractures to half pearls. Surface wear, scuffs, scratches and nicks to mount and engraved collars, the tongue clasp has possible solder repairs but is currently functioning. One of the rivets protrudes to one side. The mount and collars are untested but appear to be gold. Surface wear and some loose strands to hairwork bracelet. Gross weight approximately 20.5gm, length 16.8cm. Second bracelet: many loose strands and sections to hairwork, surface wear throughout. The clasp fittings are missing and the collars appear to be gilt metal. Gross weight approximately 3.8gm, length 16.8cm. Necklace: loose strands and kinked sections to hairwork, surface wear throughout. The fittings and spacers are untested as gold/gilt metal and the clasp is functioning. Gross weight approximately 3.7gm, length 72cm
A George III silver oval tea caddy, with beaded borders, embossed and engraved with flowers and scrolling foliage, and having urn finial, by John Robins, London 1782, 13.5cm wide, 11.5ozThe decoration is worn, and the lid does not stay closed. Hinge is fine though. Lid is dented and split where the finial is attached. Dent to lower edge and base, and further small dents, knocks and scratches throughout. Marks to base are clear.
SWEDISH GILT METAL MIRROR, IN THE MANNER OF BURCHARD PRECHT EARLY 18TH CENTURY the rectangular bevelled mirror plate within a floral engraved margin plate border surmounted by a compartmentalised cresting with a flowering urn finial flanked by smaller flowering urnsDimensions:133cm high, 75cm wideProvenance:Provenance: Henryson-Caird Collection, Cassencarie House
EARLY VICTORIAN WALNUT, KINGWOOD, EBONY AND MARQUETRY GILT METAL MOUNTED CREDENZA MID 19TH CENTURY of serpentine outline, with a central cupboard door with flowering urn marquetry opening to a velvet lined shelved interior and flanked by glazed cabinets, all with further marquetry of ribbon-tied floral garlands and sprays and outlined with gilt metal mounts, on a plinth baseDimensions:186cm wide, 116cm high, 50cm deepProvenance:Provenance: Stevenson Collection
REGENCY MAHOGANY CHEVAL MIRROR, MANNER OF GILLOWS EARLY 19TH CENTURY the rectangular mirror plate supported between turned uprights with urn finials and adjustable brass candle arm, untied by upper and lower stretchers, raised on hipped and inlaid sabre legs ending in brass caps and castorsDimensions:72cm wide, 177cm high, 60cm deepProvenance:Provenance: Henryson-Caird Collection, Cassencarie House
CONTINENTAL 'APOLLO' CARVED GILTWOOD BED EARLY 19TH CENTURY the headboard with a richly carved pediment with scrolls, an urn, acanthus and laurel garlands, flowerheads and a central medallion with a mask of Apollo on a sunburst, above an acanthus carved frieze and peach silk covered panel, the giltwood frame raised on acanthus carved feetDimensions:205cm long, 182cm high, 161cm wide
FRENCH GILT BRONZE AND PORCELAIN MANTEL CLOCK LATE 19TH CENTURY the blue porcelain and gilt dial with Roman numerals, the arched case with an urn finial, flanked by acanthus scrolls, husk trails, and berries, a central porcelain panel of an amorous couple in a garden, on an acanthus moulded plinth with four bracket feet, the twin-train movement striking a bellDimensions:40cm high, 18cm wide, 13cm deep
FRENCH GILT BRONZE AND SÈVRES STYLE 'BLEU DE ROI' PORCELAIN MANTEL CLOCK GARNITURE LATE 19TH CENTURY the jewelled and gilt porcelain dial painted with a landscape mask, the clock set within an a gilt bronze oval case with acanthus moulding and porcelain frieze panels, surmounted by a porcelain urn painted with reserves of courting figures and landscapes with female mask handles, the base with floral garland swag appliques on a pair of bracket and four toupie feet, the brass Japy Frères twin train movement striking a bell; with a pair of matching vases en-suiteDimensions:the clock 33cm wide, 42cm high, 21cm deep
PAIR OF FRENCH PATINATED AND GILT BRONZE TWO-LIGHT CANDELABRA, AFTER EMILE-JOSEPH-NESTOR CARLIER 19TH CENTURY the twin arms with urn-shaped sconces and centred with a naked female gymnast, signed 'E. Carlier', the base in the form of an oil lamp embellished with theatrical masks and stamped 'MARNYHAC, 1 RUE DE LA PAIX', the foot with anthemion motifs and pine cones heightened with giltDimensions:24cm wide, 25cm high, 9.5cm deepNote: Note: Marnyhac et Cie was the commercial name for the Société des Marbres et Bronzes Artistiques de Paris which was established in Paris in the mid 19th century. A competitor of the Barbedienne Foundry, the company specialized in luxury pieces and casts from models made by the best sculptors of the period.
GEORGE II STYLE BRASS AND CAST IRON FIRE GRATE, BY BRATT COLBRAN & CO. EARLY 20TH CENTURY the arched fireback above a grate with bowed bars, flanked by pairs of acanthus and bead moulded columns with spiral urn finials, cast three times BRATT COLBRAN LONDON, and No. 140; with an associated grate insertDimensions:101cm wide, 53cm high, 47cm deep
19th Century Sudanese Sword26 1/2 inch, double edged, curved blade with central shallow rib. Polished wooden grip of typical form. Contained in its leather scabbard. Together with a late 19th century German foil. 22 1/2 inch, shortened, square form blade. Steel figure of 8 crossguard. Steel urn pommel. Wooden grip. 2 items. PAYMENT BY BANK TRANSFER ONLY
Montre de poche en or, fin du XVIIIe siècle, et chatelaine en pomponne et métal doré plus tardiveA gold pocket watch, late 18th century, and gilt-metal or pomponne chatelaine watch, slightly laterThe gold watch signed on the inside 'Mallet a Paris', the reverse in three types of gold with an urn and faithful dog, hanging from a slightly later chatelaine or gilt metal with engraving of gardening subjects, 19cm long including chatelaine, the watch 5.4cm, gross weight of the watch 45.26 engraved signature on the inside (some corrosion to the case)For further information on this lot please visit Bonhams.com
A silver Sugar Castor, of urn shape, on turned circular base by George Unite, Birmingham, approx. 6 1/2 ounces; a heavy silver Napkin Ring by Jay, Richard Attenborough, Co. Ltd., London, approx. 2 ounces, and another engraved silver Napkin Ring (marks worn) 1/2 ounce; and a set of 8 'Apostle' type Spoons, with embossed design and monogrammed, approx. 8 1/2 ounces, by Elkington & Co., as a lot, w.a.f. (a lot)
A silver plated Tea Urn, Sheffield, 19th Century, of unusual small proportions with two handles on a half reeded body with tap, on stem base and quadruple pod with shell capped paw feet, 31cms h (12"); together with an English silver Georgian style Cream Jug with pad feet, 2ozs, maker S. Blanckensee & Son, Ltd. (2)
An important large pair of 19th Century French bronze and ormolu seven light Candelabra, with cherub supports, the rustic design branches with vines and grapes interwoven, supported by cherubs on rock holding an urn, surmounted on circular bases with out scrolled leaf decorated legs, each approx. 76cms (30") h. (2)
A quality 19th Century Irish mahogany Stick Barometer, the rectangular glazed top with stamped capital, etched scales marked 'Mason, Essex Bridge, Dublin," and vernier adjustment, the trunk with glass thermometer (damaged) enclosed mercury tube, and urn shaped cistern cover, approx. 97cms (38") long. (1)
A collection of miscellaneous silver Platewares, comprising a large oval silver plated Teapot, a small silver plated Coffee Pot with cavity centre, an urn shaped Claret Jug, 34cms (13 1/2") a rectangular crested and plated Tray with pierced gallery and canted corners on lion paw feet, 46cms (18"), an oval Meat Platter, a four compartment Sandwich Stand, and two small circular Waiters. (8)
A fine pair of George III style demi-lune satinwood and kingwood crossbanded inlaid Commodes, each top inlaid with a central fan issuing anthemions above a frieze inlaid with hanging swags supported by ribbon bows including the frieze drawer, the two doors below and two side panels inlaid with a large classical urn on four square tapering spade legs, 92cms x 132cms (36'' x 52''). (2)
A French brass Mantle Clock, in the Indian style, the movement by Japy Freres, striking on a gong, the centre dome with an urn finial and a conforming urn to each corner above a brass turned column to each corner and a porcelain dial decorated with birds and flowers, and Arabic numerals, on a moulded step base, 30cms (12''). (1)
A Majolica Urn, of circular baluster form with flared rim, the body decorated with Renaissance style depictions of the Arts and Crafts in amber and pale blue, raised on circular stepped base, the underside inscribed 'Be Brave Be Not Too Brave,' approx. 42cms (16 1/2'') tall (some damage). (1)
Godfrey Kneller (1646 - 1723) Portrait of a Lady, said to be Agnes Huckle, standing by a Classical Urn O.O.C, 239cms x 147cms (84" x 58”) Signed and dated. Provenance: The Chamberlain family, Abbeycwmhir Hall, Llandrindod Wells, Powys, Wales. This full-length portrait depicts a young woman, said to be Catherine (also known as Agnes) Huckle, the natural daughter of the artist. Probably in her teens, Agnes is shown wearing a white satin dress and standing on a balcony. Her hair is tied back, allowing the painter to depict face and neck, emphasising the red lips and slight blush on her cheeks. The girl’s hand rests on a pedestal, on which stands a classical urn containing a bouquet of flowers. Beyond is a wooded landscape, with a sunset. Her blue satin wrap is held with a string of pearls, worn casually over the shoulder. Although Kneller was married to Susanna Grave, the marriage was childless, and he had a mistress named Voss (or Vos), who, according to one account, ran a coffee house in St. James’s Market. She and Kneller had a daughter, Catherine (also known as Agnes), who was born around 1690. Agnes was the model for several paintings by Kneller, including St. Agnes and Mary Magdalene. She later married James Huckle and had a son named Godfrey, who changed his name to Kneller and became the artist’s heir. Born in Lubeck, Germany, the son of a surveyor, Godfrey Kneller attended the University of Leiden where he studied mathematics. An interest in art led him to move to Amsterdam, where he was apprenticed to Rembrandt. His early works, such as Isaac blessing Jacob, reveal the influence of Rembrandt and Ferdinand Bol. Painted in 1672, his Elijah and the Angel is in the Tate collection. That same year, Kneller, along with his brother, went to Rome to study with Bernini and Carlo Maratta, and copy works by Raphael. They returned to Lubeck in 1675, before travelling to England, where they were keen to see works by Anthony Van Dyck. In London, Kneller, competed with, and imitated, the leading portraitist Peter Lely. Building up his reputation and studio, he painted portraits of King Charles II, the Duke of Monmouth and other leading members of society, including James Cecil, Earl of Salisbury, and Henry Somerset, Duke of Beaufort. Two years after Lely’s death in 1680, the Kneller brothers moved to the Piazza, Covent Garden, where Lely had lived. In 1684, Godfrey, by now the leading portrait painter in England, went to France to paint Louis XIV. During the reign of William and Mary, he was appointed court painter, and painted equestrian portraits of the Duke of Schomberg and William III. In 1700 he was made a Knight of the Holy Roman Empire. For Queen Mary, he painted a series of portraits known as the ‘Hampton Court Beauties’. He also painted a series of admirals. Kneller maintained a large studio, with assistants, and had many sitters per day. He is famous for his ‘kit-cat’ portraits, measuring 36 x 28 inches and named after a Whig dining club. In the early eighteenth century, his style became more classical. With the accession of George I in 1714, Kneller was named principal painter and created a baronet. He died in 1723. Dr. Peter Murray, 2023
A very fine Irish brass mounted Longcase Clock, the shaped cornice above a square brass dial, Signed Dan O'Neill, Dublin, the silverised chapter ring with Roman & Arabic numerals and a subsidiary dial for seconds, the arched and ebony strung trunk door with bead and urn pilasters, on a conforming moulded and ebony strung box base with plinth, 211cms x 47cms (83'' x 18 1/2''). (1)
A GEORGE II MAHOGANY KETTLE OR URN STAND CIRCA 1740 Incorporating a well figured top 60cm high, 37cm wide, 34cm high 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: under close inspection there are some indistinct possible small dowel fixings to the top, with some fine cracks; some cracks to the leg/frieze joint areas and to some sections of the frieze border; some later blocks and stain to the underside; some marks to the underside of the feet; the simplicity of the design belies the quality of this piece.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer
A PAIR OF GEORGE III BLUE JOHN, ALABASTER, AND POLISHED BLACK ASHFORD SLATE COLUMNS CIRCA 1800 Each with urn finial above well figured columns, stepped bases 50.4cm high, bases 9cm square Condition Report: Under strong light signs of old glue around joint sections of urns finials, column shafts and around margins of bases Under UV clearer signs of restorations to losses and breaks throughout- UV images taken but difficult to catch on camera Variance in colour between the two urns and slight difference in turning to upper banding- this may be original to the pieces from the selective use of minerals employed but one ball clear urn finial almost certainly later 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 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. Condition Report Disclaimer
A FRENCH LOUIS XV ORMOLU CARTEL WALL TIMEPIECE WITH PULL-QUARTER REPEAT GODEFROY, PARIS, CIRCA 1770 The single train movement with later Brocot-type recoil escapement and pull-quarter repeat mechanism visible on the backplate, the circular white enamel Roman numeral dial Signed 'GODEFROY, A PARIS' to centre and with fine scroll-pierced and engraved gilt brass hands, the case cast with urn surmount and female terms flanking the dial 66cm high, 33cm wide Condition Report: Ormolu case looks to be largely untouched- surface dirt from age which has left overall appearance slightly less impressive than it actually is- will be rewarded from having a good sympathetic clean. Small hole drilled to side of top- no missing ornament that we can tell- perhaps for suspension? Dial with loss around winder and further small nibbles to outer edge- later screws to margins around dial, hands possibly original and minute hand with old repair. Movement as per cataloguing- later additions and in need of clean and overhaul, with a later pendulum but no winder. Has not been in use or working order for some time Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Condition: due to the mechanical nature of clocks and the fact that most are of great age we cannot offer any guarantee as to whether they are in working order or free from major faults or restoration. Although we endeavour to catalogue items in a fair and informed manner, omission of any comments or observations regarding the condition or originality of a clock in the description does not necessarily indicate that it is free from significant faults, restoration or is in working condition. We would strongly advise any prospective purchaser to view the item in person or request a condition report and/or further images prior to bidding. 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
A GOOD PAIR OF ITALIAN GRAND TOUR ALABASTER VOLUTE KRATERS EARLY 19TH CENTURY 67cm high, 30cm wide across the handles, bases 19cm square These rare vases derive their shape from the Greek volute Kraters used as mixing vases for water and wine. The earliest date from around 600 B.C and were traditionally made in terracotta and then painted with scenes of feasting, mythological events, and allegorical vignettes. By the Roman times, craftsmen utilised the shape but in marble and semi-precious hardstones with relief carved scenes. Excavations in the late 18th century and early 19th century had brought rediscovery of these Roman vases to the attention and delight of collectors and travellers on the Grand Tour: Most notable were the krater with dancing figures in the Borghese collection, the Townley Vase, and the Sosibios Vase- the inspiration for Keats in his Ode to A Grecian Urn : O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought.... When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty,-that is all Ye know on earth, and all ye need to know." In this pair of vases the craftsmen has chosen to cherish for posterity the colour and beauty of the stone itself, with carved further embellishment deemed unnecessary. Comparison with the Faustino Corsi collection at Oxford would suggest that the stone is close to what Corsi called Alabastro di Palombara but with inclusion of further richer reds of iron oxides. Condition Report: Mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. With some natural flaws and faults- some of which have had remedial infill- from the varying colours of this under UV we would suggest that some is from original construction and some of which is later. Neck to one with remedial restoration and also to top of handle by it- the other with some nibbles and loss to neck- some corner fritting and losses to basesPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request.Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
ROMAN SCHOOL (LATE 18TH CENTURY) DRAWING OF A ROMAN CINERARY URN IN ORIENTAL ALABASTER, KNOWN AS THE URN OF LIVILLA Watercolour, pencil, and ink Inscribed 'English fecit for the vase' (lower right); further extensively inscribed (lower centre) 91 x 56.5cm (35¾ x 22 in.)Provenance: Mr. R. Doughty, Leominster, United KingdomThe ancient Roman urn of Livilla was discovered in 1777 in the remains of the Mausoleum of Augustus and takes its name from six travertine funerary cippi - the fragments of which are reproduced in the lower section of the present sheet - each bearing the name of a member of the Imperial family, and the nearest to the urn was that of Julia Livilla (c. 18-41 A.D.). She was the sister of Caligula, daughter of Germanicus and great-granddaughter of Augustus. Given the prominent location where the urn was found, its imposing size and exquisite material, it is possible that it did once contain Livilla's ashes, or those of another member of the imperial family. The urn is in the Vatican Museums and is most probably carved of Alabastro di Palombara, often referred to as Oriental, or Egyptian, alabaster. The lustrous patterns and changing hues of the alabaster's rings and veining have been so meticulously recorded , that it was most likely made in Rome, in the presence of the object. The inscription and scale in English indicates that it was made for a British audience, likely a Grand Tourist visiting the Eternal City. The art historian Professor Cinzia Sicca has suggested that given the date of the excavation of the Urn of Livilla and its presence in Rome, our sheet could have been commissioned by an agent such as the prominent antiquary Thomas Jenkins (c. 1722-1798), who employed draughtsmen including Claude François Nicole (c. 1700-1783), Nicolas Mosman (1727-1787) or Friedrich Anders (born c. 1734), all of whom specialised in drawings recording antiquities. Professor Sicca has also suggested that the present work may have served as the model for two drawings of the Urn of Livilla in the collection of the London Society of Antiquaries and perhaps the former was owned by a member of the Society, who offered to have it studied and copied. It is interesting to note that, like the present watercolour, the drawing in the Society of Antiquaries (Classical Antiquities Album 10) illustrates the alabaster urn without any cracks on its surface, nor the inscription added at the behest of pope Pius VI at its base, characteristics that reinforce the potential connection between the two drawings. Condition Report: There is a horizontal folding crease running along the centre of the sheet. Various repaired tears to the edges of the sheet, together with some further creasing. Some spots of discolouration scattered throughout. Under glass, unexamined out of frame.Condition Report Disclaimer
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