A magnificent cut glass five tier chandelier late 19th century, attributed to F. C. Osler

with thirty-six lights; the silvered metal skeleton supporting four tiers with scrolled branches hung with tuilip form shade pendants, and a further lower tier with twelve upright reserves and conical shades, hung throughout with lustres and drops, the whole ending in a faceted flattened ball and pendant

Probably commissioned by Robert Stayner Holford (1808–1892), for The Green or Red Drawing Room at his London mansion Dorchester House, Park Lane;
Thence by descent to his son, Sir George Holford (1860-1926);
Until sold Phillips, Son & Neale, 1 May 1928 as Lot 300 or 301 and described; 'The costly cut glass electrolier of pagoda design, for numerous lights in 5 tiers, with festoons of cut glass lozenge and pear drops, with chain suspension'
And possibly purchased at this sale by Weetman Harold Miller Pearson, 2nd Viscount Cowdray (1882–1933) for the staircase at Dunecht.

There is also another intriguing possibility as to why the chandelier was deployed at Dunecht. It could well have formed part of larger commision installed there not in 1928 but at the end of the 19th century. Robert Staynor Holford married Mary Anne Lindsay, a daughter of Lt. General Sir James Lindsay of Balcarres (himself grandson of James Lindsay, 5th Earl of Balcarres). Mary Anne's sister Margaret had married their second cousin Alexander Lindsay, 25th Earl of Crawford. Dunecht had been purchased in 1845 by the Earl of Balcarres, later Earl of Crawford who in the same year conveyed the house to his eldest son Lord Lindsay. This connection with the Holfords and Lindsays and Dunecht and Dorchester House is interesting and whilst it is not possible to say whether the Chandelier was a shared commission bought along with the two at Dorchester House by different members of the Lindsay family, it cannot be ruled out. Or perhaps it was purchased at the 1928 auction as a result of this connection with the previous owners of Dunecht by the Pearson family who from 1909 became the new custodians of the great house.

This extraordinary piece is generally in good order. It wil require wiring by a professional and assembly by an expert. Some of the downswept scrolls to the lower section with chips and losses to the ends. A few lustres with chips and losses. There are some losses to glass. The 'basket' (the lower section) will require some attention as this area has some associated glass components and is lacking some components including the stellar ornaments from the corona, and strands of drops and is photographed in the catalogue and currently hung in Sotheby's galleries in a way that was not originally conceived. One fluted glass cover to the base of one light is cracked and will need to be replaced. It hangs well though and looks spectacular.
"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."

This magnificent cut glass chandelier hung on the great Italianate staircase at Dunecht. This space, flooded with natural light, decorated with wonderful mannerist style murals was an extraordinary setting and entirely appropriate for such an exhibition quality chandelier.

There are a number of factors which point to the piece being by the firm of F. C. Osler. The cut glass shades, of tulip form, relate to shades produced by them and are seen on other chandeliers and ceiling pendants. Osler, a truly global 19^th century manufacturer - exported finely worked glass across the world. Founded in 1807 in Birmingham their reputation grew and by the middle of that century they had some defining commissions. In 1847 Ibrahim Pasha (1789-1848) visited and commissioned a pair of candelabra for the tomb of the Prophet Mohammed.  In the same year Prince Albert purchased a pair of candelabra for Queen Victoria which are now installed at Osborne.

They were expertly equipped when it came to creating work of monumentality. Producing the fabled crystal fountain positioned in the centre of Paxton's Crystal Palace for the Great Exhibition in 1851, they went on to exhibit work in the UK and France throughout the last half of the 19^th century at a series of International Exhibitions. Commissions were to follow for St. Georges Hall, Liverpool and for the Mansion House in London. They produced magnificent pieces for an illustrious elite, for the very best homes and wealthiest families, the quality and scale of the offered lot and from where it has come has all the hallmarks of this great company.