A George III ribbed, moulded and cut glass twelve light chandelier circa 1770

hung with chain and finial pear shaped cut-glass drapery  

A west country estate from whence acquired by the present vendor.  

Generally this is in good overall condition with typical minor chips to glass and possible minor replacements. The bobeches have been replaced and the canopy is cracked and repaired. Two drip-pans also cracked.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Closely related 18th century English glass chandeliers featuring moulded glass baluster stems include an example illustrated in Martin Mortimer, The English Glass Chandelier, 2000, p. 68 pl. 21 and another illustrated in H. Parrott Bacot, Nineteenth Century Lighting Candle-powered devices: 1783-1883, 1987, p.227 pl. 326.

Relatively few English moulded glass chandeliers from the neo-classical period have survived in relation to earlier examples of the second quarter of the 18th century. The most detailed record of this genre of chandelier is for a group supplied for the York Assembly Rooms between 1732 and 1736 under the direction of William Kent's protegé Lord Burlington who in the building's inaugural year arranged for a musical entertainment with Italian singers, to be staged there. The principal ballroom was the `Egyptian Hall' which was ultimately lit by fourteen chandeliers featuring a `magnificent centre lustre' donated by Lord Burlington himself. The subsidiary chandeliers were ordered from `Mr Watson, the glass man in London', probably the same Robert Watson, who was a member of the Glass Seller's Company, and who appears to have based his business at York House in the Strand. Besides this detailed contemporary account, there are few records referring to moulded glass chandeliers and hence little is knows about their production or when this technique fell from favour (see Martin Mortimer op. cit., pp. 64-69).