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Lot 119
A MATCHED PAIR OF GILT METAL MOUNTED BLUE JOHN 'GOAT'S HEAD' CANDLE VASES THE FIRST GEORGE III, CIRCA 1775, BY MATTHEW BOULTON, THE SECOND PROBABLY 20TH CENTURY Both with reversible gadrooned nozzles, tapering ovoid bodies hung with laurel swags, the shoulders with goat's heads, on waisted spiral fluted socle bases and square stepped plinths terminating in ball feet 21.5cm high as candlesticks Literature: N. Goodison, Matthew Boulton: Ormolu, London, 2002, p. 333, figs. 332-333.The 'goat's head vase' is derived from a sketch illustrated in Boulton and Fothergill's pattern books preserved in the Birmingham City Archives (Pattern Book 1, p.171). The model was one of the most popular of the smaller vases and first appeared in 1769 when a Mrs Yeats ordered '1 pair of goat's head vauses light blue cheny or enamelled'. In the same year, Sir William Guise ordered a pair with Blue John bodies. Other buyers of goat's head vases include Lord Digby in 1774 and Lord Scarsdale in 1772, who paid £4.4s a pair. Some examples feature 'antique' medallions depicting the head of Alexander the Great, suspended from the rim of the vase. Condition Report: Generally good and structurally secure. As noted one vase is 18th century with gilt metal of a more yellow colour - old cracks and repairs to the blue john of both with some vacant areas to surface. The second probably 20th century with more `brassy' gilt metal and slightly different proportions to the cradle and socle. Note that there may be some mixing of 18th century and later metal parts. 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 63
LAWRENCE GAHAGAN (1756-1820)- A BRONZE FULL LENGTH PORTRAIT OF GEORGE III CIRCA 1810 Depicted standing, stick to his right hand, naturalistic oval base, cast inscription to reverse of base L GAHAGAN FECIT & PUBd AS THE ACT DIRECTS JANy 1st 181* 27.5cm high, base 11.5cm wide Lawrence Gahagan (fl.1756-1820) specialised in small bronze portrait busts of contemporary notables. Amongst those exhibited at the Academy were Nelson, Pitt, Wellington and George IV. Another example in bronze had a legible inscription L GAHAGAN fecit & Publish'd as the Act Directs Decbr 1st 1818 (Anonymous sale, Christie's London, 21 July 1988, lot 23). It seems likely that many of these figures would have been retailed through William Bullock's museums in Liverpool and London. Gahagan is mentioned as the sculptor of a bust of 'Master Betty in Achmet' in an advertisement placed by William Bullock in the Liverpool Chronicle in 1805 (Lucy Wood, 'George Bullock in Birmingham and Liverpool', George Bullock Exhibition Catalogue, 1988, pp. 40 - 46. He was also the sculptor of the two massive limestone Egyptian figures which originally flanked the entrance to the Egyptian Room at Bullock's Museum in Piccadilly.Another related model in bronze, formerly with the New York dealer Cora Ginsburg, was sold Christie's New York, 18 October 2005, lot 347, another in painted plaster was sold from the collection of the late Simon Sainsbury, Christie's, London, 18 June 2008, lot 146. Condition Report: Country of origin: EnglandCondition Report Disclaimer
Lot 164
AFTER THE ANTIQUE- A WHITE BISCUIT PORCELAIN MODEL OF THE BORGHESE CENTAUR BY GIOVANNI VOLPATO (1735-1803), LATE 18TH CENTURY Impressed stamp to one side of plinth G. Volpato Roma 28cm high, base 18cm wide There are two Roman forms of these large centaur sculptures. The first are the 'Furietti' pair in Laconian grey black marble which were discovered during excavations at Hadrian's Villa in Rome during the 1720s. That pair were purchased by Cardinal Furietti, whose descendants sold the centaurs to Pope Clement XIII after which they were added to the Capitoline Museum collection. This form, with the young Eros figure riding on the back of the older of the two centaurs, was excavated in Rome in the 17th century and entered into the Borghese collection. Together with 694 other statues it was acquired from Camillo Filippo Ludovico Borghese by Napoleon in 1807 and is now held in the Louvre Museum. Working in white biscuit, Volpato mimics the white marble of the original and a pair of centaurs by Volpato are held in the Museum of Arts and Crafts Hamburg (1878.564.a). For a comparable pair of centaurs by Volpato please see Christie's New York, Important European Furniture, Works of Art, Ceramics, 21 May 2003 lot 99 (sold for $15,535 inc. buyer's premium). Condition Report: With engrained surface dirt throughout- resulting in browner patches- and odd fluorescence under UV. Cupid right foot and right wing repaired, lacking fingers to centaur's hand and section of rein/strap formerly over hand 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 17
AFTER THE ANTIQUE- A BRONZE MODEL OF THE PERSONIFICATION OF THE RIVER NILE IN THE MANNER OF RIGHETTI, CIRCA 1820-1850 15cm high, base 27cm wide, 13cm deep Provenance: Agnew & Co 2019 Masterpiece Fair This bronze depicting the River Nile is a reduced version of a colossal Roman marble group found in 1513 in Campo Marzio where it was probably part of the decoration of the Iseo Campense. The composition is an allegory of fecundity with a cornucopia placed prominently near the reclining Nile, and the sixteen small children who cavort on and about the figure of the river symbolize the sixteen cubits by which the river rose annually, fertilizing the surrounding areas. The complexity of the composition, due in large part to the incorporation of the children, meant that reproductions in bronze are scarce. A simplified version, without the children, and possibly executed by Carlier and Buviette is held in The Huntington Library, Art Museum, San Marino California. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Modern scuff to laurel wreath above his face- some edge wear and patina rubbing but generally in fairly good condition for age and likely handling 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 64
A BRONZE LIFE MASK OF ANNA PAVLOVA (1881-1931 CAST BY H.J. HATFIELD & SONS, EARLY 20TH CENTURY Stamped to cast 'H J HATFIELD & SON LONDON 1/4 19cm high, 16.5cm wide Provenance: This mask was bought directly from H. J. Hatfield by Philip Astley-Jones. The company records have been destroyed and as yet the artist of the mask remains unknown. Another known mask exists in the V&A Museum collection together with the plaster cast model (Museum number S.549-1978). A further bronze casting of the mask is held at The Royal Ballet School Collections which has been on display in White Lodge Museum. This mask was included in the exhibition 'Anna Pavlova at Ivy House' in 2012.
Lot 120
A PAIR OF REGENCY GILT BRONZE TWIN LIGHT GRIFFIN CANDELABRA EARLY 19TH CENTURY, AFTER THE DESIGN BY SIR WILLIAM CHAMBERS Each with a berried finial, the griffin's head turned slightly 36cm high, bases 16.5cm wide The earliest version of a design for a griffin candelabra dates from the period 1765 - 71 and was drawn by Chambers' assistant John Yenn (d.1821) and is now in the collection of the Victoria and Albert Museum (E.5029.1910). Versions were executed in ormolu most probably by Diederich Nicolaus Anderson (d.1767) and these are possibly the pairs at Blenheim Palace, Oxfordshire, and Hinton Ampner, Hants. The design was refined and then published in Chambers' Treatise on the Decorative Parts of Civil Architecture, 1791. Chambers was almost certainly inspired by the seated figure of a sphinx seen on a sarcophagus while on his Roman tour of 1750-54. In the meantime Chambers lent a griffin candelabra to Matthew Boulton, perhaps regarding him as the natural successor to Anderson and which might have provided the inspiration for Boulton's own griffin vases. He also gave a pearwood model to Josiah Wedgwood, probably the prototype for the versions in jasper and basalt that started to appear around 1771, Wedgwood's own comments to his associate Thomas Bentley indicate that the design or model was given by Chambers. Condition Report: Good, structurally secure, with slight general wear and tear. Some wear and abrasions to the gilding. Both would benefit from a clean. Condition Report Disclaimer
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