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Lot 209
A GEORGE III STYLE MAHOGANY LONGCASE CLOCK 19th century, the two train movement with a painted dial, roman numerals, a subsidiary date dial, and a painted figural roundel to the top, inscribed to James Turner of Lincoln, the case with a swan neck pediment and gilt metal orb finial, above a hood with column supports, the body with canted and fluted corners, on ogee bracket feet, 226cm high
Lot 3006
A 19th century collector's table-top box, enclosing a wunderkammer collection of antiquities, natural history specimens, and curiosities, including an Ancient Egyptian faience scarab, hieroglyphs to verso, 1.5cm long; an Ancient Egyptian faience with Bastet, 1cm long; further faience beads; four Stone Age flint arrow heads, various shapes and sizes, Neolithic period, 4,000-2,000BC, (4); 13 Ancient bronze coins, comprising 12 Roman and 1 Byzantine, (13); Grand Tour Nero Claudius Drusus coin impression, (1); Roman lead slingshot bullet, (1); Medieval/post-Medieval verdigris patinated bronze stud, as a lion's mask, (1); mosasaur tooth, fossilized shark's teeth, further fossil; dog's tail bone tip; seahorse; corals; geology; lead seals and weights; etc,. [collection]
Lot 197
After the Antique (Greco-Roman Hellenistic) - Boy with Thorn also called Fedele (Fedelino) or Spinario , bronze depicting a seated boy with a thorn in his foot, stamped: NELU? ROMA on the plinth back right behind boy, on plinth base (1)Plinth 14cm long x 9cm wide approx 24cm high overallFurther details: some surface scratches, some dents to border / edge of top and bottom plinth/wear to bronze surface particularly at feet and toes
Lot 162
Rolex- a gentleman Oyster Perpetual Date steel and 18ct gold bracelet wristwatch, white dial dial with black Roman numeral and applied gold tone baton markers, date aperture at 3, dial approx 29mm, case approx 35mm, gold bezel to a bi metal outer seconds track, with bi metal jubilee bracelet strap, logo fold over clasp, with gold crown winder, along with presentation box, outer box, warranty original sales tag R421768 Further details: working at time of report, movement untested, crown will not wind down fine scratches to glass, and bracelet strap, wear and tear commensurate with age
Lot 263
Polidoro da Caravaggio, um 1497 Caravaggio – um 1543 MessinaGemäldepaar RÖMISCHER TRIUMPHZUG sowie BACCHANAL Jeweils Öl auf Leinwand. Doubliert. Je 34 x 100 cm.Die beiden Gemälde in extremem Längsformat, in Entsprechung antiker bzw. Renaissance-Friesmalereien oder -Reliefs. Möglicherweise wurden sie als Supraporten oder für Kabinettfelderungen geschaffen. Die Farbigkeit in beige-bräunlichem Camaieu lässt die Figuren im Sinne eines Steinreliefs erscheinen, jedoch mit völlig dunklem Hintergrund, vor dem sie sich betont abheben. Im erstgenannten Bild zieht ein römischer Triumphzug nach links. Die Hauptfigur, ein Feldherr oder Imperator, sitzt mit erhobenem Feldherrnstab und einer Siegespalme in der Linken auf einer Biga, von zwei Pferden gezogen. Er hält den Kopf zurückgewandt und blickt auf den behelmten Träger einer Legionsstandarte, dem zwei Krieger folgen. Dazwischen ein Mann mit Helm, der den Rotulus mit der Aufschrift „SPQR“ hochhält. Kannen und Amphoren tragende Frauen sowie ein Musiker mit Doppelaulos und Lorbeerkranz begleiten den Zug. Die Gefangenen, zwei davon in langen Philosophenmänteln, ziehen voraus, die Köpfe gesenkt. Am linken Bildrand ein geharnischter weiterer Standartenträger zwischen einem Jüngling mit erhobener Beuterüstung sowie einem weiteren, der mit geschultertem Beil einen jungen Stier führt, der zum Tempel als Opfertier geführt wird. Im Gegenstück wird das wilde Treiben eines antiken Bacchanals präsentiert. Die Ausführung in entsprechender Farbigkeit. Auch hier findet sich die Hauptfigur rechts im Bild, ein beleibter Bacchus mit Weinschale schwankend auf einem Esel reitend, gestützt von einem Satyr und einem Knäblein, der sein Bein sichert. Davor ein Ziegenbock, Symbol der Trunkenheit. In die rechte untere Ecke hat der Maler eine junge Frau eingefügt, darüber ein Hornbläser. Die linke Bildseite ist durch eine Herme betont, die mit einem Kranz geschmückt wird. Die gesamte Mittelzone wird von musizierenden Jünglingen und Mänaden im Tanzschritt belebt, mit Triangel, Serpenthorn, Doppelauloi, Becken oder Tyrsosstab. Der bocksbeinige Pan mit Panflöte. Die Darstellungen evozieren den Eindruck eines Hochrelief-Plastikfrieses, dies besonders durch die Beleuchtung von links, mit entsprechenden Schattenbildungen und dunkler gehaltenen Figuren im Hintergrund. A. R. Der Maler ist bereits in den Künstlerviten des Vasari genannt. Demnach kam er 18-jährig nach Rom, wo er wahrscheinlich in der Werkstatt von Giulio und Giovanni da Udine lernen konnte. Schon zu seiner Zeit wurde er durch seine Malereien an Gebäudefassaden in der monochromen Sgraffito-Technik gerühmt. Die Thematik seiner Werke greift fast ausschließlich in die Mythologie der Antike. Verblüfft hatte er seine Zeitgenossen mit seiner damals völlig neuen Chiaroscuro-Malerei. Auch die Tatsache, dass er als Erster in Italien Heiligenfiguren als winzige Gestalten in die Landschaften setzte, lediglich als Staffagefiguren. Die Pestepidemie und der Sacco di Roma veranlassten den Maler 1527 nach Neapel zu ziehen, um dann 1530 in Messina Aufträge des spanischen Konsuls anzunehmen, Werke die jedoch dem Erdbeben 1908 zum Opfer fielen. Die letzte Nachricht über seine Tätigkeit ist der Auftrag der Stadt Messina, den Sieg Kaiser Karls V auf ein hölzernes Triumphtor zu malen. 1543 starb der Maler eines gewaltsamen Todes. Quellen nennen seinen Schüler Tonno Calabrese als den Täter, der angeblich an sein Geld kommen wollte. Neben Deodato Guinaccia waren Antonio Catalano, Stefano Giordano, Jacopo Vigneri und Mariano Riccio seine letzten Schüler in Messina. Werke seiner Hand finden sich in zahlreichen bedeutenden öffentlichen Sammlungen und Museen, wie der National Gallery London, der Royal Collection Windsor, dem Nationalmuseum Capodimonte Napoli oder dem Metropolitan Musem of Art, N.Y. Literatur: Die beiden Gemälde sind besprochen und abgebildet in: Maurizio Marini (Hrsg.), Polidoro Caldara da Caravaggio. L‘Invidia e la fortuna, Venedig 2005. (1281111) (11)Polidoro da Caravaggio,ca. 1497 Caravaggio – ca. 1543 MessinaA pair of paintingsROMAN TRIUMPHAL PROCESSION andBACCHANALEach oil on canvas. Relined. 34 x 100 cm each.The two paintings are painted in an extreme landscape format in line with antique or Renaissance frieze paintings or reliefs. They may have been created as overdoor paintings or as cabinet landscaping. The colouration in brownish-beige Camaieu makes the figures look like stone reliefs standing out against a completely dark background.Works by his hand are held in numerous important public collections and museums, such as the National Gallery London, the Royal Collection Windsor, the National Museum Capodimonte Napoli or the Metropolitan Museum of Art, N.YLiterature:Both paintings are illustrated and discussed in: Maurizio Marini (ed.), Polidoro Caldara da Caravaggio. L’invidia e la fortuna, Venice 2005.
Lot 274
Francesco Solimena, 1657 Canale di Serino – 1747 Barra di Napoli, zug.RUHE AUF DER FLUCHT NACH ÄGYPTEN Öl auf Leinwand. 99 x 135,5 cm. In plastisch verziertem und vergoldetem Rahmen.Der Künstler lässt keine Zweideutigkeiten zu, wenn er uns hier die Flucht nach Ägypten zeigt: Auf einem Sockel ganz rechts, der zudem als Repoussoir dient, ruht eine nach links blickende Sphinx und wird von einer Palme überragt. Davor Maria in den von ihr typischen Farben auf ihrem Schoß das blonde Jesuskind, vor der Figurengruppe zwei geflügelte Putti, deren blonde Haare mit den dahinterliegenden Sonnenblumen korrespondieren. Die linke Bildhälfte wird von allerlei Hausrat eingenommen, der von der Heiligen Familie mitgenommen worden ist, daneben ein Rind, ein Esel und ein Huhn. Dahinter, sich abzeichnend vor einem Hügel mit Häusern, sitzt Joseph.Neben Luca Giordano (1632/34-1705), von dem er sich stark beeinflussen ließ, gilt er als einer der führenden Vertreter der neapolitanischen Malerei seiner Zeit. Da Neapel etliche Jahre aufgrund des Spanischen Erbfolgekriegs an das österreichische Habsburg ging, erhielt Solimena auch zahlreiche Aufträge aus Wien (z.B. Hochaltarbild der Kapelle im Schloss Belvedere) und beeinflusste so auch die österreichischen Barock-Maler wie Daniel Gran (um 1694-1757) oder Paul Troger (1698-1762).Anmerkung: Von dem hier angebotenen Gemälde existiert ein Kupferstich mit seitenverkehrter Wiedergabe des Themas (siehe Vergleichsabbildung) von 1724 durch Bernard Baron.Vergleichsliteratur: K. Berger, A picture by Sebastien Bourdon, in: The Register of the Museum of Art of the University of Kansas, Juni 1951, Nr. 1, Abb. 1, als Sebastien Bourdon. P. Rosenberg, Quelques tableaux inédits du dix-septième siècle français, Art de France : revue annuelle de l‘art ancien et moderne, Paris, IV, 1964, S. 299, als zugeschrieben an Giuseppe Bartolomeo Chiari. B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge 1972, p. 52, als Giuseppe Bartolomeo Chiari. A.M. Clark, Studies in Roman eighteenth-century painting, Washington, D.C. 1981, S. 8, n. 5, als Sebastiano Conca. N. Spinosa, Pittura napoletana del Settecento, Neapel, 1988, S. 185, Nr. 13. G. Finaldi and M. Kitson et al., Discovering the Italian Baroque: The Denis Mahon Collection, London 1997, S. 160, Nr. 76. S. Carotenuto, Francesco Solimena: Dall‘attività giovanile agli anni della maturità (1674-1710), Rom, 2015, S. 169-70, under no. A27, Abb. A27.3.Literatur:N. Spinosa, Francesco Solimena (1657-1747) e le Arti a Napoli, Rom 2018, S. 247, Abb. 76d. (1321981) (13)Francesco Solimena, 1657 Canale di Serino - 1747 Barra di Napoli, attr.REST ON THE FLIGHT INTO EGYPT Oil on canvas.99 x 135.5 cm.Comparative literature: K. Berger, A picture by Sebastien Bourdon, in: The Register of the Museum of Art of the University of Kansas, June 1951, no. 1, ill. 1, as Sebastien Bourdon. P. Rosenberg, Quelques tableaux inédits du dix-septième siècle français, Art de France: revue annuelle de l’art ancien et moderne, Paris, IV, 1964, p. 299, as attributed to Giuseppe Bartolomeo Chiari. B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge 1972, p. 52, as Giuseppe Bartolomeo Chiari. A.M. Clark, Studies in Roman eighteenth-century painting, Washington, D.C. 1981, p. 8, no. 5, as Sebastiano Conca. N. Spinosa, Pittura napoletana del Settecento, Neapel 1988, p. 185, no. 13. G. Finaldi and M. Kitson et al., Discovering the Italian Baroque: The Denis Mahon Collection, London 1997, p. 160, no. 76. S. Carotenuto, Francesco Solimena: Dall’attività giovanile agli anni della maturità (1674-1710), Rome 2015, p. 169-70, under no. A27, ill. A27.3.Literature:N. Spinosa, Francesco Solimena (1657-1747) e le Arti a Napoli, Rom 2018, S. 247, Abb. 76d.
Lot 352
Apollonio Domenichini, 1715 Venedig – um 1770RÖMISCHE VEDUTE: PIAZZA DEL QUIRINALEÖl auf Leinwand. 56 x 80 cm.Beigegeben eine Expertise von Prof. F. Spadotto. Der Quirinalspalast und die davorliegende Piazza mit dem Dioskuren-Brunnen sind hier aus der Kavaliersperspektive ins Bild gesetzt. Der Blick lässt daher die Figurenstaffage im Vordergrund tiefer liegend erscheinen, jedoch bietet er links auch eine Sicht auf die Kuppel der Basilika Sant Andrea delle Fratte. An der Fassade wölbt sich der mittelalterliche Rundturm der Befestigung vor, hier mit Kanonen in den Fensterluken gezeigt. Rechts ist der Blick in die Via del Quirinale gegeben, hier noch mit einem die Straße abschließenden Gebäude, das nicht mehr existiert, rechts ist über der Häuserfront die Kuppel der Kirche St. Andrea al Quirinale zu sehen. Die Besonderheit des Gemäldes liegt vor allem darin, dass hier noch der frühere Zustand des Platzes vor der Aufstellung des Obelisken zu sehen ist der sich heute zwischen den beiden antiken Steinplastiken der Dioskuren Kastor und Pollux erhebt. Die Figuren, die den Brunnen flankieren, wurden von den Konstantinsthermen von Domenico Fontana hierher auf den Platz gestellt. Der Obelisk, erst 1781 ausgegraben, wurde auf Anordnung von Papst Pius VII. 1786 zwischen den beiden Steinfiguren aufgestellt. Damit bietet das Gemälde nicht nur den Blick in die Zeit des ausgehenden 18. Jahrhunderts, mit all den hier ins Bild gesetzten Figurenstaffagen und Kutschen, sondern ist ein hervorragendes Zeitdokument der Stadtgeschichte Roms vor 1786. Der Maler, auch Menichini oder Menichino genannt, wird aufgrund von vierzehn seiner Werke in einer Sammlung in Baden bei Zürich als „Meister der Fondazione Langmatt“ bezeichnet. Zwischen 1740 und 1770 wirkte er als Schüler von Luca Carlevarijs und Hohan Richter als Vedutist in Venedig. Neben seinen bekannten Venedigansichten entstanden jedoch auch eine Reihe höchst phantasievoller Capricci und wie hier Veduten von Rom. (1321381) (11)Apollonio Domenichini, 1715 Venice - ca. 1770ROMAN VEDUTE: PIAZZA DEL QUIRINALEOil on canvas.56 x 80 cm.Accompanied by a recent expert‘s report by Prof. F. Spadotto.
Lot 433
Römischer Meister der ersten Hälfte des 17. JahrhundertsDER HEILIGE PETRUS IN EKSTASE Öl auf Leinwand. Doubliert. 75 x 59 cm. In vergoldetem Kehlrahmen des 19. Jahrhunderts.Vor dunklem Hintergrund das Bruststück des Heiligen Petrus, welcher sich ekstatisch gegen das links auf ihn zukommende Licht richtet. Wenige vereinzelte Retuschen meist am Rand. (12214711) (13)Roman School, first half of the 17th centurySAINT PETER IN ECSTASYOil on canvas. Relined.75 x 59 cm.In gilt, moulded 19th century frame.With a few isolated retouches on the edges.
Lot 607
Paar PortraitbüstenSEVERUS ALEXANDER und SALLUSTIA ORBIANAHöhe: je 52 cm. Italien, 18. Jahrhundert.Im Stil von römischen Kaiserbüsten wird hier das Ehepaar des Severus Alexander (208-235) und dessen Gattin Orbiana (gest. nach 227), mit der er von seiner dominierenden Mutter Julia Mamaea verehelicht wurde, potraitiert. Die tragische Geschichte der Familie, insbesondere des jungen Paares, wurde im 18. Jahrhundert Stoff für Opern von Antonio Lotti (1716) und Giovanbattista Pergolesi (1732). Dieser Popularität des römischen Kaiserpaares ist auch die Schaffung der beiden Büsten zu danken. Die Köpfe jeweils in hellem, die Togen in gesprenkeltem bräunlichem Marmor; die Sockel rundgedreht, über Basis in Veroneser Marmor. A.R. (1300863) (11)A pair of portait bustsSEVERUS ALEXANDERandSALLUSTIA ORBIANAHeight: 52 cm each.Italy, 18th century.In the style of Roman imperial busts. The pair depicted here are the married couple of Severus Alexander (AD 208-235) and his wife Orbiana (died after AD 227) to whom he was married by his dominating mother Julia Mamaea.
Lot 673
Auguste Renoir, 1841 Limoges – 1919 Cagnes/ NizzaPETITE VÉNUS DEBOUT60 x 30 x 20 cm.Auf der Plinthe signiert. Außerdem römische Zahl „XVII“.Im griechischen Mythos kämpfte Venus um den Preis eines goldenen Apfels, den sie gewann, indem sie Paris versprach, er würde Helena von Troja, die schönste Frau der Welt, heiraten. Renoirs Skulptur zeigt Venus, die den Apfel in ihrem Moment des Triumphs hält. Renoirs Konzeption dieser Arbeit wurde von Erinnerungen an antike Skulpturen und vom „modernen Klassizismus“ des zeitgenössischen Bildhauers Maillol beeinflusst. Renoir war schwer durch Arthritis verkrüppelt und wurde bei der Herstellung dieser Skulptur von einem Assistenten, Richard Guino, unterstützt. Braune Patina. (†) (13211320) (10)Auguste Renoir, 1841 Limoges – 1919 Cagnes/ NizzaPETITE VÉNUS DEBOUT60 x 30 x 20 cm.Signed on the plinth. Also Roman numeral “XVII“. (†)
Lot 203
Rolex, gent's stainless steel Rolex Oyster Perpetual Datejust 41 'Wimbledon' limited edition automatic wristwatch, as new condition, with slate grey dial and roman markers surrounded by 'green grass' colour, serial number 962L11L6, model 126334, SAP 39139.64, diameter 41mm, comes with International Guarantee retailer 535 The Modern Home, Qatar, dated 23 Jan 2019, guarantee manual, booklet, all original tags, inner & outer boxes and gift bag, the watch was gift to the owner from the Royal Family of Qatar.Condition reports are offered as a guide only and we highly recommend that you inspect any lot to satisfy yourself as to its condition. Plymouth Auction Rooms do not guarantee the working order or accuracy of any watches sold. Please refer to clause 15 on our terms of business.
Lot 388
Gabriel von Max1840 Prag - 1915 München"Fabiola"R. u. signiert, r. o. betitelt. Öl auf Lwd. 59 x 43,5 cm. Rest. Rahmen min. besch. (71,5 x 56 cm). Der Künstler bezieht sich bei dieser Darstellung auf den 1854 erschienenen Roman "Fabiola oder die Kirche der Katakomben" von Nicholas Patrick Stephen Kardinal Wiseman. In Rom zur Zeit der Christenverfolgungen unter Kaiser Diokletian findet Fabiola, reiche und schöne Patriziertocher, letztlich zum Christentum.
Lot 129
A PLASTER BUST OF A 'HEROIC HEAD'BY DOMENICO BRUCCIANI & CO, CIRCA 1900 Numbered to socle 2258 and inscribed to cast reverse "Heroic head British Museum D Brucciani London" 52.5cm high, 29cm wideThis head is based on the original from The Antique, which is in the British Museum. It was found in Ostia in ca. 1795, and came to the British Museum in 1856 via the collection of Samuel Rogers. The head is a Roman copy of a late classical or early Hellenistic original, and probably depicts HermesCondition Report: Losses from wear most notably to nose, eyebrows, right and left shoulder edges and with fritting and other edge losses, dirty- cast marksCondition Report Disclaimer
Lot 134
AN EBONISED BRONZE ATHENIENNEIN THE MANNER OF CHIURAZZI, LAST QUARTER 19TH CENTURY96cm high, the top 64cm diameterThis design is based on an original Roman example found at Pompeii, now in the Museo Archeologico Nazionale in Naples. Copies were popular in the 19th century. The foundry Chiurazzi & Fils was established around 1870 by the sculptor J Chiurazzi. A similar model to this appears as number 150 in the 1900 catalogue and is described as a Trepied Isiaque.
Lot 142
A SET OF EIGHT FRAMED PRESSED PAPER PANELS DEPICTING ROMAN PROFILES POSSIBLY FRENCH, IN THE GRAND TOUR MANNER, LATE 19TH CENTURY Variously inscribed, within marbleised slip surrounds and ebonised frames each 42 x 38cm overallCondition Report: Generally fair but will benefit from a careful cleanCondition Report Disclaimer
Lot 162
A LOUVRE MUSEUM FULL SIZE PLASTER CAST OF 'THE APOLLO BELVEDERE' LATE 19TH/EARLY 20TH CENTURY The plinth base with impressed oval medallion mark "Musee Du Louvre, Reproduction Interdite, Ateliers De Moulage'approximately 230cm high, 160cm wideViewing: Please note this lot is on view at our Hambridge Lane Premises - approximately 10 minute drive from Donnington Priory. The original white marble statue from which this is a cast is thought to be a Roman copy of a lost bronze original made between 350 and 325 BC by the Greek sculptor Leochares and depicts Apollo as a standing archer. The statue was rediscovered during the Renaissance, probably in 1489 in the Anzio region of Italy and was in the private collection of Giuliano della Rovere before he became Pope Julius II.Condition Report: Viewing and collection; Please note this lot is on view by appointment only at our Hambridge Lane Premises- approximately 10 minute drive from Donnington Priory There are multiple marks, scratches, knocks, chips, cracks, damage, repairs and abrasions consistent with age, use and nature of material.Restorations including; to the right hand, left wrist, base, right elbow, and possibly feet etcHairline cracks visible including; to top of right leg- front and back, quiver, base throughout including most notably around Louvre roundel and upwards, right ankle, junction point of right arm and support etc Losses including to hair and some edges etc Please see the additional photographs as a visual reference of condition and 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
Lot 40
A 'GRAND TOUR' MICROMOSAIC PAPERWEIGHT DEPICTING ROMAN VIEWS ROME, 19TH CENTURY St. Peter's Of The Vatican, The Colosseum, The Pantheon, Ruins Of The Roman Forum And The Temple Of Vesta on black marble ground, modern supporting base 15cm wide, 11.5cm high, 19cm high overall Provenance: Property from the Kingshott CollectionCondition Report: Generally good- mild edge/corner nibbles- slight surface discolouration around bottom right cornerCondition Report Disclaimer
Lot 5
TWO GIALLO ANTICO MODELS OF THE TEMPLES OF VESPASIAN AND CASTOR AND POLLUX ROME, 19TH CENTURY Of conventional form, set on varying variegated black marble plinths 49cm high, 15cm wide and 50cm high, 24.5cm wide and respectively Provenance: Property from the Kingshott CollectionMarble renditions of Roman monuments were popular souvenirs for Grand Tourists visiting the Eternal City during the later 18th and 19th centuries, and both temples represented by the present models were much-visited stops at the Forum Romanum. The Temple of Castor and Pollux, or Tempio dei Dioscuri, was erected in 495 century BC to commemorate the victory in the Battle of Lake Regillus. The temple was dedicated to Castor and Pollux, the twin sons of Zeus and Leda, as legend had it they fought on the side of the Romans during this battle. The iconic columns however are from a much later date, as the temple was rebuilt after a fire and dedicated by Emperor Tiberius in 6 AD. The Temple of Vespasian was built by the late Emperor's son Titus several decades later, in 79 AD.Both temples sustained significant damage including during the middle ages, and their ruinous nature likely appealed to the romantic imagination of foreign tourists. For a similar larger pair, executed in Marmo Giallo, please see Dreweatts The Collection of Sir William Whitfield CBE, 10th March 2020, lot 53 sold £21,000.Condition Report: Slight colour variance and choice of differing marble plinth bases suggestive that this is a matched pair.With characteristic veining which makes identifying cracks difficult- and in some cases may have been utilised to suggest antiquity and wear of ages. Both with some edge rubbing wear and minor loss.Vespasian- small old repairs to moulding at bases of each column,Castor & Pollux- Overall slightly 'wobbly' old glue remedial work visible to joins and to surfaces- old losses to bases of each column moulding- slightly loose on its base and may require remedial work to stabilise and make goodCondition Report Disclaimer
Lot 76
A BRONZE MODEL OF A POMPEIAN TRIPOD BRAZIER WITH MONOPODIA SATYR LEGS NAPLES, LATE 19TH CENTURY Each with a hand outstretched 47cm high, top 21cm diameter Provenance: Property from the Kingshott CollectionAfter the Roman ithyphallic satyr brazier stand from the Praedia of Julia Felix, Pompeii discovered 15 June 1755. This version with its fig leaf coverings was produced by firms such as Chiurazzi to accommodate the more 'delicate' sensibilities of British and other tourists. A matching example can be seen in the drawing room at Stoke Edith, Herefordshire in 1927, page 60, Giles Worsley's "England's Lost Houses from the Archives of Country Life"Condition Report: Has jointed construction for the arms- all three areshowing signs of weara dn old remedial work with one arm unscrewing- will benefit from further work. 1 spoke missing to top rim, surface dirtyCondition Report Disclaimer
Lot 86
A SILVER PLATED MODEL OF THE WARWICK VASE 19TH CENTURY Modelled after the original, the applied masks between the entwined vine handles, egg-and-dart rim, unmarked25cm high, base 15cm wide Provenance: Property from the Kingshott CollectionThe Warwick Vase is an ancient Roman (2nd century and partially restored) marble vase with Bacchic ornament that was discovered at Hadrian's Villa, Tivoli circa 1771 by Gavin Hamilton. Hamilton, a Scottish painter-antiquarian and art dealer in Rome, sold it to Sir William Hamilton from whom it passed to his nephew the 2nd Earl of Warwick from whom it takes its name. It is now held in the Burrell Collection near Glasgow, Scotland.Condition Report: Some rubbing and plate loss to exposed edges and margins, stem repaired, one handle mishapen and bent- foot plate lifting, old polish stains and tarnishing. Later felt pads to base Condition Report Disclaimer
Lot 96
A MARBLE BUST OF A ROMAN EMPEROR ITALIAN, 18TH CENTURY On variegated red marble base the marble 58.5cm high, 81.5cm high overall, the base 27cm wide Condition Report: Old wear and restorations to nose, neck and right shoulder. Some loss to reverse of neck around old repair and damagesSurface with marks and dirt, the face a little blotchy, some wear and paint marks to extremities. Base with losses to two corners and edge frittingsPlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. 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 114
A RARE GEORGE III BLACK JAPANNED AND POLYCHROME DECORATED SEMI ELLIPTICAL FOLDING TEA TABLEBY HENRY CLAY, LAST QUARTER 18TH CENTURY Veneered in papier mâché and painted, the top with neoclassical reserves and with Grand Tour style vignettes within bands of Roman style profile portraits, the interior with a Chinoiserie scene, the whole with 73.5cm high, 92cm wide, 46cm deep (when closed)The discovery of this rare table is an important addition to the very small number of known examples of furniture produced by the Birmingham manufacturer, inventor and entrepreneur Henry Clay (1738-1812).In 1776 Edward Daniel Clarke noted in his book that he had visited Clay- and seen two pier tables for Lord Bristol, "which were painted after some designs brought purposely from Rome". These tables for the 4th Earl disappeared until 1987 when two appeared at Christie's London with two further appearing in 2005 and two more known to be in a private collection. The Bristol tables were designed with decoration to the top in two styles. Either fully painted scenes of Italianate landscapes- or in the Pompeian manner with vignettes within formal borders with medallions of profile human and animal heads and with central medallion of Cupids sacrificing at an altar, while crowning a roundel portrait of Beatrice Cenci as seen in the Palazzo Barberini.This table corresponds to the second form of decorative design. A papier mâché tray in the Birmingham Museum stamped Henry Clay has this exact design- presented as an oval- which is how this table design would appear if two such tables were placed back-to-back. The frieze and top and legs are veneered in what Clay referred to as "panel"- his 1772 patented version of 'stoved', or baked, japanning on papier mâché.Whilst the location and existence of the Bristol tables is recorded- it is also known that Clay carried out commissions for other similar examples of furniture and tables. Most notably it was said that he presented a pair of pier tables to Queen Charlotte, the wife of George III. There appears to be no trace of such tables in the Royal Collection but it seems that many pieces purchased by Queen Charlotte were later sold. The gift had been made with a view to currying favour and further commissions from the Queen, her retinue and the court. It is a tantalising possibility that this table may be from one such commission.The interior decoration on this table, especially the execution of the trees, may be compared with the Clay panel sold by Woolley & Wallis, 11 November 2008, Lot 365. The pendant heads bear comparison with the doors in the Marble Hall, at Keddleston Hall in Derbyshire (pl.11 p21 in "Japanned Papier Mache").We are most grateful to Yvonne Jones for her assistance and suggestions with cataloguing and researching this table.Related Literature:Yvonne Jones, 'A recent discovery of two papier mâché pier tables by Henry Clay', The Furniture History Society Newsletter, no. 162, May 2006Yvonne Jones, 'George Brookshaw - Japanner! Further light on japanned metal and papier mâché furniture c. 1740-c. 1820', The Furniture History Society Newsletter, no. 173, February 2009Yvonne Jones, 'Japanned papier mâché and tinware c.1740-1940', pp.128-130, Woodbridge, Antique Collectors' Club, 2012Condition Report: Wear, abrasions and loss from use, handling and as per age.The surface uniformly with build up of surface dirt and varnish(?) discolouration. The main top with undulations from carcass movement. Streaky patches of surface that might be from old water spillage. Interior much better condition. Some rubbing to exposed gilded detailsStructurally- all 4 legs have been off at one time or another. Back two with modern metal strip bracing, 1 front with underframe block repair- the other with cruder nail repair.Losses to veneer most notably to extremities and exposed edges notably back corners, feet and top and frieze marginsPlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Lot 117
A MARBLE BUST OF A ROMAN EMPEROR ITALIAN, 18TH CENTURY Set on a socle base 28cm high overall, the base 9cm diameterCondition Report: Restorations including to neck, the overall surface will benefit from a clean with some dirt build up. Also some blotchiness to surfacePlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. 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 67
John Chance of Chepstow, mahogany cased longcase clockthe 11 inch square brass dial having Roman numeral chapter ring, Arabic five minutes, engraved centre, brass spandrels, pendulum with a single brass weight, 208cm x 23cmHood has some cracks to veneer visible on front, scratches to where hood slides along body. Joints near the bottom of the body are starting to separate, there is also a crack near base which goes half way across. Have not had the clock running so cant comment on if it runs or not
Lot 307
Collection of pieces consisting of: a silver vesta case, bearing marks for William Neale, Chester, 1895, 4cm overall, 18g approx overall, a silver cased pocketwatch with white enamel dial having Roman numerals, 7cm across, cased silver cruet set 159g approx overall excluding glass liners, a silver-plated snuff box and a collection of nineteen Chinese white metal menu holders, stamped 'Made in Hong Kong'At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Lot 10
Boulle green tortoiseshell mantel clockFrench, late 19th Centurywith striking movement, marked A and N, the vase with gilt metal mounts, 31cm highMissing one of the porcelain Roman numerals, and with some wear and marks, particularly at the edges. With a key and pendulum, but the movement has not been tested.
Lot 62
Three brass cased carriage clocks early/mid 20th Century, one made in France, with white enamel dials and Roman numerals, one with marked 'Dent, 33 Cockspur Street, London', all 15cm high overall including the handle (3)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
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