Butchoff Antiques 2019 by Masterart

This year marks the 55th Anniversary of Butchoff Antiques, something we are proud to celebrate with our friends and clients. We have seen many changes to the antique market in the intervening years, but one enduring legacy has remained throughout – a demand for the rare and exceptional. As a third-generation family run business, we at Butchoff Antiques have an unbridled passion for the finest antique furniture and decorative arts. Collectors, museums and decorators alike remain confident in our curated collection which brings together the refined, the unusual, and the truly divine. This year, our commitment to celebrating good design, craftsmanship, and artistry has encouraged us to travel around the world in the pursuit of the best European furniture and decorative arts. As a result, the global reach of our London-based business has been unsurpassed this year, expanding our art fair exhibition calendar to include Asia as well as North America and the United Kingdom. We are pleased to present a carefully selected collection of furniture and objects which showcases excellence, in all its forms. Several previously unrecorded pieces of furniture are being offered on the market for the first time, including some of the finest Boulle marquetry items made in the nineteenth century, as well as a most unusual chair incorporating monumental deer antlers. The diverse range of English, French, and Italian pieces within this volume represent the height of several artistic disciplines including the arts of gilt bronze, inlay work, carving, cabinetmaking, horology, and painting. Our continual search for the rarest exceptional pieces from the 19th century has uncovered three pieces by one of the finest—and certainly lesser known—master Parisian cabinet makers, CharlesGuillaume Winckelsen (1812-1871). Winckelsen worked in the style of the ancien régime, creating faithful reproductions of two exceptional cabinets made and designed by André-Charles Boulle which are now housed in the Hermitage & the Louvre respectively. Winckelsen died in 1871, upon which time his business and workshop were purchased by Henry Dasson, who became one of the most celebrated cabinet makers of the 19th century, owing a huge debt of gratitude to the work done by his predecessor. As tradition turns to innovation, Butchoff continues to collaborate with contemporary partners, presenting cutting-edge displays which mix the old & the new, and introducing a stylish eclecticism united by quality and grace. Our collaboration with Hauser & Wirth at last years’ Masterpiece London created much interest for both galleries, highlighting the synergy that mixing contemporary art and antique furniture brings. We have certainly seen a move towards clients and decorators incorporating pieces of different periods and styles to create stunning, unique interiors that have great presence. Our website aims to amplify this, presenting nearly 400 hundred items carefully chosen by our team to reflect the diverse tastes of our clientele. We are excited to be participating in two Masterpiece Fairs this year – our annual return to the London Fair, now in its 10th edition will be supplemented by the Masterpiece Pavilion held at the Fine Art Asia Fair in Hong Kong later this year. We are also looking forward to returning to the LAPADA Art & Antiques Fair at Berkeley Square in September and the Palm Beach Jewelry, Art & Antiques Show in February. As we look towards the next 55 years we are exploring new avenues, cultivating relationships with new and existing clients, collectors, and friends and uniting them with the pieces they admire so dearly. If you are unable to find what you are searching for within the pages of this catalogue or on our website, please do not hesitate to contact us with your specific needs – our warehouses are stocked with many more hidden gems that we would be very pleased to share with you.

Ian, Adam & James AN

T IQUE DE

KENSINGTON A

CHURCH STREET

O SO CIATI

Butchoff Antiques 154 Kensington Church Street, London W8 4BN Tel: +44 (0)20 7221 8174 | Email: enquiries@butchoff.com Web: www.butchoff.com

ButchoffAntiques

@Butchoffboys

A Very Important Pair of George III Mirrors Attributed to John Linnell Circa 1760

Constructed in carved giltwood; having the graduated descending pendant central elliptical mirror plates framed within finely carved stylised palm reeds and acanthus leaves, the conjoining borders tied with ‘lovers bows’, and surmounted with crestings having central wreaths of leaves and fruit, above broken swan neck pediments, the marginal mirror plates bordered with conforming acanthus decoration and flanked with urns, the serpentine aprons with scallop shell motifs and mirrored ‘C’ scrolls.

Provenance:

Literature:

Comparative Literature:

Robert Parker and Thomas Smith. An inventory of the Plate, Linen & Furniture in Lord Mexborough’s Mansion House at Methley Park in Yorkshire, 1778. Leeds: West Yorkshire Archives. WYL 156/437, p. 2 (recorded are ‘Two large glasses with gilt frames’).

Oswald Barron. “Country Homes: Methley Hall, Yorkshire: The Seat of the Earl of Mexborough,” Country Life 21, no. 541 (18 May, 1907) , pp. 702-709.

Cecil R (ed) Grundy. The Connoisseur 51, no. 202 (June 1918), p. 18 (illus.).

DIMENSIONS:

REFERENCE:

109 in

276 cm

63.5 in

161 cm

9080

By repute, commissioned by the 1st Earl of Mexborough for Methley Hall, Yorkshire, from the renowned cabinetmaker John Linnell. Thence by descent to the 5th Earl of Mexborough (18431916).

Helena Hayward and Pat Kirkham. William and John Linnell: Eighteenth Century London Furniture Makers Vol II. London: Studio Vista, 1980. pp. 63, 84 & 98 (illus. figs. 127, 128, 163, 187 & 188).

John Linnell Several formal features demonstrated in the pair of Methley Hall mirrors affirm the present attribution to Linnell. Alongside the masterful carving typical of Linnell, his leitmotifs included symmetrical c-scrolls, miniature urns, flowering baskets, and lovers’ bows which are all unified in this mature design of the great master. John Linnell (1729-1796) and his father William (c. 1703-1763) were amongst the leading designers and craftsmen of furniture in the second half of the eighteenth century. They produced works of the highest quality and their reputation matched that of respected contemporaries such as Thomas Chippendale, John Cobb, John Mayhew and William Ince. Their clientele included Catherine the Great of Russia, Robert Childs of Osterley Park and the 1st Duke of Northumberland. Several drawings by John Linnell, today in the permanent collection of the Victoria & Albert Museum, echo the design of the Methley Hall mirrors. A design for a pier-glass mirror for Sir Monoux Cope of Bramshill, Hampshire, dated circa 1755-1760 (V&A, E. 177 1929 and illustrated below) and bears a very close resemblance to the Methley Hall pair. One of the pair, after this design, sold Sotheby’s London, 12 February 1988, lot 77. Notably, the mirrors exhibit tantamount crests characterised by flowering baskets flanked by wreaths of leaves, broken swan-neck pediments and the terminating symmetrical c-shaped scrolling acanthus at the bottom of the mirrors. Equally fascinating, the original Linnell drawing suggests an organic rococo finish (particularly in the outer frame carving), which is more faithfully rendered in the Methley Hall mirrors vis-à-vis Sir Cope’s. This suggests a more mature development of the carver and designer throughout the 1750s-60s of which this pair is a great testament. The Earl of Mexborough, Methley Hall Methley Hall in Yorkshire has an illustrious history dating back nearly a millennium, its foundations dating back to the Norman Conquest. Over the centuries, a distinguished roster of owners, including Sir Lionel de Welles, 6th Baron of Welles (who was involved in the War of the Roses from 1455-1485), turned Methley into a fine manor house. The Dymoke family, who hold the feudal hereditary office of King’s Champion to this day, inherited Methley before passing ownership to the Oxford-educated lawyer John Savile of Bradley (1546-1607). Savile was responsible for great renovations at Methley Hall, completed in 1593. In 1741, Methley was inherited by John Savile (1719-1778), the great great grandson of the original family owner. This Savile became the 1st Earl of Mexborough in 1766.

DIMENSIONS:

REFERENCE:

109 in

276 cm

63.5 in

161 cm

9080

The 1st Earl of Mexborough, having travelled extensively on his Grand Tour while in his youth, decorated his country seat at Methley according to the latest tastes and displayed a vast collection of fine and decorative arts. It is during his lifetime, and ownership of Methley, that the pair of mirrors were commissioned from John Linnell. An inventory at the time of his death in 1778 records the mirrors as ‘Two large glasses with gilt frames.’ Like the vast majority of grand English country homes, the twentieth century foresaw the eventual decline of the manor and its grounds. Instability in the soil caused by mining practices in the vicinity, coupled with the detection of irreparable damage to the home, inspired the 5th Earl of Mexborough to move the family seat to Arden Hall, where it remains to this day. The fate of Methley was sealed when it was demolished in 1963. This instability throughout the twentieth century resulted in the sale of these mirrors.

A Carved Walnut Library Table Circa 1860

Of grand proportions, the rectangular writing table rising from substantial cabriole legs terminating in firmly carved ball & paw feet. Having a tooled leather top set within an elaborate border incorporating carved roses, shamrocks, and thistles—representing England, Ireland, and Scotland respectively— as well as candle holders underneath removable carved bosses. The whole

DIMENSIONS:

REFERENCE:

30 in

76 cm

85.5 in

216 cm

45 in

114 cm

9146

frieze richly carved and bearing a central scallop shell, flanked by vines and bunches of grapes incorporating lozenges representing Latin books above sayings of wisdom, including ‘fons et origo’ (Source and Origin) as well as ‘verb sap’ (verbum sapienti, meaning A Word to the Wise is Enough), among others.

A Good Pair of Library Armchairs of the Late Georgian Period Circa 1825

Constructed in mahogany, and rising from ring turned columnar legs terminating in porcelain castors; the upholstered arms conjoin with the arched panelled backs, being upholstered in brass studded close nailed buttoned green leather.

DIMENSIONS:

REFERENCE:

40 in

101 cm

26.5 in

67 cm

32 in

80 cm

9168

A Tour de Force Table Vitrine in the Louis XVI Manner By Alfred-Emmanuel-Louis Beurdeley, of Paris Circa 1880

Of free-standing form, constructed in a finely patinated fruit wood, adorned with carving of finest Exhibition quality; rising from tapering, turned and torsade carved legs terminating in capitols a la Grecque issuing carved chain links; the conjoining swept ‘X’ form stretcher, festooned with remarkably carved ‘ropes’, having a centrally situated carved Grecian lyre dressed with foliage; the pierced and leaf carved apron has roundels to the centres, and supports the lockable and hinged rising top vitrine, with inserts of bevelled glass and ogee stiff leaf running leaf carvings. Stamped to the underside twice by the maker, ‘A. Beurdeley Paris’. Paris.

DIMENSIONS:

REFERENCE:

35.5 in

90 cm

39 in

99 cm

23 in

59 cm

9170

Literature: Christopher Payne. Paris Furniture: The Luxury Market of the 19th Century, Château de SaintRémy: Éditions Monelle Hayot, 2018, p. 274. Camille Mestdagh and Pierre Lecoules. L’ameublement d’art français: 1850-1900. Paris: Les Éditions de L’Amateur, 2010. Denise Ledoux-Lebard. Le mobilier français du XIXe siècle, 1795-1889 : dictionnaire des ébénistes et des menuisiers. Paris: Éditions de l’amateur, 2000; pp. 75-82 (documented on pp.76-77 as sold at Hôtel Drouot, 1996). A table of similar form, but less richly carved, by Alfred Beurdeley, was exhibited in the Paris Exhibition of 1878.

Beurdeley Dynasty Jean Beurdeley (1772-1853), a native Burgundian, enlisted as a saddler in the Murat Regiment for the duration of the French Revolutionary War, and on leaving the army, set up in 1818 as a marchand-mercier in the Rue Saint-Honoré in Paris, moving later to The Hanover Pavilion in the Bvd. des Italiens, when he was joined by his son, Louise-Auguste-Alfred (1808-1882), who commenced reproducing copies of the very

finest example of the ancien régime, and to the very highest standards, so becoming one of the major suppliers to the Garde Meuble Imperial, creating pieces for the wedding of Napoleon III and Eugénie, whilst acquiring commissions from many European Royal Households. An exhibitor at the Parisian Universal Expositions of 1855, 1867, 1878 and 1889. Beurdeley was a notable medal winner. His son, Alfred-Emmanuel-Louis (1847-1919) joined the business in 1875, and the

business continued to prosper, until its closure in 1895 – the remaining stock was disposed in five separate auction sales between 1897 and 1898.

An Exquisite Chandelier In the Chinese Chippendale Manner Circa 1900

The whole in carved and gilt wood, the eight arms, adorned with resting Ho-Ho birds emanate from a central octagonal cage, with Chinese fretwork, and a large carved Ho-Ho bird inside; atop, pendant shaped bells: the inverted bowl form base having pierced Gothic fretwork; with a complex bud terminal. The top is of hemispherical form with Gothic piercings, with exotic sprouting tendrils. Bearing similarities to the Chinese Chippendale chandelier shown in The Cabinet Makers Directory of 1756, illustrated below. A very similar chandelier is in the possession of Her Majesty Queen Elizabeth, and was exhibited at the Royal Pavilion Brighton.

DIMENSIONS: H: Dia:

REFERENCE:

54 in

137 cm

35.5 in

90 cm

9014

A Rare Library Desk Circa 1870

Of pedestal form, constructed in Bois Noirci, carved with ornamentation in the Neo-Classical manner; having everted radiused corners; the kneehole flanked by lockable cupboard pedestals, housed within a framework of Corinthian columns, and closed with a â&#x20AC;&#x2DC;modesty screenâ&#x20AC;&#x2122;: to the right pedestal, the interior is fitted with pull-out slide drawers, and to the left, vertical dividers, to house files and folios; three drawers in the apron, which also houses two leather lined extending slides; the writing surface having conforming gilt tooled leather surfaces. French.

DIMENSIONS:

REFERENCE:

30 in

76.5 cm

68 in

173 cm

36 in

91.5 cm

7146

A Good Longcase Clock in the Chinoiserie Manner Circa 1910

The black lacquer case, with gilt and polychrome decoration, depicting court scenes, rises from bracket feet, the waisted case having a central inspection blind door, the hood, with a fluted pagoda top, housing the arched dial brass face, with the hours shown in Roman numerals below an engraved chimes dial, operated by an eight day quarter hour striking movement on Westminster and Whittington chimes.

DIMENSIONS:

REFERENCE:

8695

82.5 in 209.5 cm

A Fine Pair of Cabinets By Henry Dasson Circa 1880

Constructed in amaranth and amboyna, and dressed with high quality ormolu bronze mounts, and Verdun Breccia marble platforms; rising from tapering cylindrical toupie feet supporting rectangular plinths having radiused everted angles, with tapering fluted side columns housed by ormolu capitols and bases; the lockable doors having oriental lacquer panels of landscapes on dark grounds, enclosing shelved interiors; lockable drawers in each apron, with conforming lacquer panel fascias enclosed within ormolu frames; running stiff leaf moulding to the tops, enclosing marble platforms with slight thumbnail angles. Stamped to the tops of the carcasses by the maker ‘Henry Dasson’. French.

Henry Dasson (1825-1896) Established at 106 rue Vielle du-Temple, Dasson was one of the most highly celebrated Parisian makers of gilt-bronze mounted furniture in the nineteenth century. Dasson began his career as a bronze sculptor, and his work is renowned for the fine quality of the metalwork, utilising the designs of the ancien régime, and adapting them to conform to the needs of the times. He participated at the Exposition Universelle in 1878, receiving the laudatory critique of Louis Gonse, the Parisian arbiter of bon ton and quality, ‘nouveau venu dans la carrière industrielle Henry Dasson, s’est rapidement créé par la perfection de ces oeuvres une très haute situation a laquelle nous applaudisons chaleureusement’ newcomer to an industrial career, Henry Dasson has quickly achieved a favorable and highly-regarded position for himself by virtue of the perfection of his pieces, which we warmly applaud. Lord Dudley and Lady Ashburton were among his renowned clients at the exhibition. He was awarded the ‘Grand Prix Artistique’ at the 1889 Paris Exposition Universelle, and examples of his work were purchased by the English Royal Family. Made a chevalier of the Légion d’honneur in 1883, he was elevated to an officier in 1889, following his success at the Paris Exposition of the same year. Dasson ceased production in 1894, and the enduring reputation of the finest maker of gilt-bronze mounted furniture was echoed DIMENSIONS:

REFERENCE:

42 in

107 cm

32 in

81.5 cm

19 in

48.5 cm

9120

and acknowledged when his contemporaries Paul Sormani, J.E. Zwiener, Maison Millet, and Beurdeley all jumped at the chance to acquire drawings and models by Dasson. Nevertheless, the pieces created by Dasson remain without equal, and stand at the epitome of nineteenthcentury French furniture.

A Pair of North Italian Girandoles of Large Size Circa 1870

Constructed in carved giltwood, etched mirror plates and gilt metal candle arms; the trapezoidal serpentine mirror plates, etched with male and female figures in 18th century costumes, within borders of running floral garlands are enclosed within conformingly shaped frames, richly carved with foliates and foliage, with addorsed mermaids reclining between pierced scallop crests, and pendant floral terminals below, issuing double scrolled candle arms, the bobeches fitted with drip trays. Italian, probably Venetian.

Literature: Graham Child. World Mirrors 1650-1900. London: Published for Sothebyâ&#x20AC;&#x2122;s Publications by Philip Wilson, 1990, pp.272-273 (illus. 574-577, & 588 illustrated below).

DIMENSIONS:

REFERENCE:

46.5 in

117 cm

30 in

75 cm

9017

A Fine Table Cabinet By Giovanni Battista Gatti Circa 1870

The ivory inlay being laid down on an ebony ground, the front having four drawers and two doors having thuya veneer on the interior revealing eight drawers within, each with marquetry fronts; all with ivory turned handles. The whole intricately decorated with scrolling foliage of rinceaux form interspersed with grotesques, birds, fountains, flowers and winged putti. The frieze drawers flanking a central cat’s mask indicative of the artist. Bearing a paper label to the back depicting an unknown man, presumably Gatti himself. Stamped twice to the bottom drawer fronts ‘G.B. Gatti.’ Italian.

Giovanni Battista Gatti (1816-1889) Gatti was one of the most distinguished European intarsia artists of the 19th century. Having studied in Rome and Florence, he trained under the renowned Falcini Brothers before establishing his own workshop at Faenza in the 1870’s specialising the Milanese intarsia manner with ivory on a background of ebony. Ill health saw him ceasing work in 1881. Working in the Renaissance Revival manner pioneered in the first half of the century by craftsman such as Pietro Bertinetti, Gatti and his Italian contemporaries helped to establish this style as a dominant aesthetic mode in the 1860’s and 1870’s. He enjoyed the support of imperial, aristocratic and ecclesiastical patrons in Europe including the Austrian Emperor, the Duke of Hamilton and Cardinal Amant, and was also popular amongst American industrial collectors such as Wright E Post and William Gilstrap. Examples of his work are found not only in the Victorian and Albert Museum, but also in the Nelson-Atkins Museum, Kansas City, and the Minneapolis Institute of Arts. Gatti’s spectacular inlaid exhibition pieces gained him numerous awards at Europe’s international industrial and cultural expositions: at the ‘Paris Expositions Universelles’ (First Class Medal 1855; diplôme d’honneur, 1867; Gold Medal 1878) and at ‘Vienna’s Internationalische Ausstellung’ (1873) Gatti, whose name translates from the Italian as ‘cats’, occasionally incorporated a cat into his complex work.

DIMENSIONS:

REFERENCE:

16 in

40.5 cm

21 in

52.5 cm

11 in

27 cm

9054

A Carved White Marble Figure of a Flower Girl Signed to base ‘Monti’ 1818-1881

Modelled as a young girl, dressed in a classical toga with generous billowing folds, sat on a rocky outcrop holding a basket of flowers, with one hand outstretched offering a variety of fresh flowers. The whole raised on circular plinth base. Italian.

Possibly by Raffaele Monti (1818-1881) Monti studied under his father, Gaetano Monti (1776–1847) of Ravenna, who worked on Milan Cathedral and on monuments initiated under Napoleon. He also studied in Milan but was DIMENSIONS:

REFERENCE:

35 in

88 cm

14 in

35 cm

18 in

45 cm

9018

averse to the emergence of new realism around him, throughout his studies Monti remained more traditional. Early on in his career he spent time in Vienna, working with the Munich sculptor Ludwig Schaller on a monumental pediment in zinc for the National Museum in Budapest. He returned to Milan for a couple of years and then moved to London in 1846 where he executed a marble structure of a veiled Vestal for the Duke of Devonshire. From this commission onwards Monti became linked with veiled female sculptures. When Italy was defeated by the Austrian army in 1848 Monti fled back to London where he remained for the rest of his life. In 1851 his work ‘Eve After the Fall’ was shown at the Great Exhibition and he began working on tomb

sculptures, the most conspicuous of these works being a high-church monument to Lady de Mauley in Gloucestershire. Aligning himself with architects and manufacturers Monti became involved with the Crystal Palace Company, providing statues for the palace and grounds as well as overseeing the installation and colouring of the reconstructions of the Parthenon sculptures in its Grecian Court. In 1857 he worked on the Rothschild’s country house in Buckinghamshire as well as the Royal Opera House in Covent Garden. Monti was most prominent in the public eye in the early 1860s; his equestrian bronze statue of the Marquis of Londonderry in hussar’s uniform was placed in Durham and in 1862 he exhibited his poetic allegory of the Italian Risorgimento, ‘The sleep of sorrow and a dream of joy’, at the London International Exhibition.

A George III Style Carved Giltwood Mirror After a Design By Thomas Johnson Circa 1870

Of grandiose proportions, the central oval glass plate built up in a concentric arrangement of mercury plates surrounded by an ornately carved giltwood frame incorporating a medley of C-scrolls, flowering branchwork, stylized icicles, acanthus leaves, and distinctive architectural follies and figures; the whole crescendoing to a figure of a musician above an arrangement of musical instruments and an outer frame having carved Classical urns, and fantastical Ho-Ho birds. The present mirror closely follows the original illustration of Thomas Johnson’s design for a mirror published in his “Collection of Designs” (1758) as plate 7, and republished in his “One Hundred and Fifty New Designs” (1761) as plate 8, illustrated below. Typical of Johnson’s designs, this mirror includes various fauna such as dogs, wolves, and sheep, as well as branching foliage and architectural elements.

DIMENSIONS:

REFERENCE:

115 in

292 cm

62 in

157 cm

9020

Thomas Johnson (1714-1778) A highly talented carver & later, designer, and a contemporary of Thomas Chippendale & Matthias Lock, he published to great acclaim in 1755 ‘Twelve Girandoles’, and followed this with, in 1756, ‘53 Designs’, and between 1758 and 1759, ‘A Collection of One Hundred and Fifty Designs’. Drawing inspiration from the Fables of Aesop, the rococo, China, and the idealised rustic life, his work is whimsical, exuberant and witty. Chippendale borrowed freely from his work, and Johnson, a founder member of the ‘Antigallican Society’, a group who excoriated the French taste.

A Pedestal By E. Kahn of Paris After a Model By Jean-Henri Riesener Circa 1890

Constructed in the Neo-Classical manner in fine specimen woods and high quality ormolu work; the incurved base, rising from ormolu toupie feet and conforming claspwork, the tapering column has ormolu paw feet, conjoined with full length spandrels enclosing an urn within a complex framework of foliates, and musical instruments, with parquetry work in the side panels, an ormolu suburst of Apollo to the apron, and a shaped marble top. The reverse of the mounts with the maker’s stamp ‘Kahn’. French. E. Kahn & Cie. are recorded as being based in the Avenue Ledru-Rollin, in south east Paris, with a London branch in Charlotte Street, near Oxford Street, (with its’ many furniture makers and retailers) and a factory operating from Gough Street, Clerkenwell. Kahn were endorsed and approved of by the doyen of French 19th century cabinet makers, François Linke, who permitted Kahn to use an illustration of his award winning model of the Bureau du Roi in their catalogue. The company produced and sold faithful recreations of models by Weisweiler, Stöckel and Riesener amongst others. Our pedestal was originally designed and made by Jean-Henri Riesener (1734-1806), as a base for a floor clock, which now may be seen in the Louvre, Paris.

Literature: Daniel Alcouffe, Anne Dion-Tenenbaum, Amaury Lefébure, and Bill, G. B. Pallot. Furniture Collections in the Louvre. Dijon: Editions Faton, 1993, Vol. I, p. 286. Pierre Kjellberg. Le mobilier français du XVIIIe siècle: dictionnaire des ébénistes et des menuisiers. Paris: Éditions de l’Amateur, 2008.

DIMENSIONS:

REFERENCE:

58 in 147.5 cm

21 in

53.5 cm

13 in

33.5 cm

9075

An Ormolu and Wedgwood Jasperware Mounted Mahogany Commode à l’Anglaise Firmly Attributed to Julius Zwiener Circa 1895

A fine commode a l’anglaise having a shaped marble top inset within a gilt-bronze border, above a frieze applied with finely cast gilt-bronze foliate mounts flanking a running pattern of alternating semi-hollow arched fluting and floral appliqués. Having a central drawer adorned with a central laurel wreath supported by winged putti. Below, a central cupboard with finely cast giltbronze circular egg & dart moulding supported by scrolling foliage and a lover’s bow garland at its apex. The central door is flanked by carved fluted pilasters with anthemion scrolled ancones, the whole resting on fine tapering legs with giltbronze caps, with later replacement marble. The central jasperware plaque, signed Wedgwood, ornamented with an applied moulded relief of ‘L’Amour Comédien’: Cupid masked in front of two women receiving offerings at the sacrificial alter of love adorned with bow and arrow. Prof. Dr. Gisela Zick, in her 1990 article about Wedgwood and Sèvres, used this relief as an example of how Neoclassical motifs were disseminated across Europe and realised in varying media, although she was unaware of its origins. Undoubtedly, the model is an impressive 1st Century A.D. Roman marble figure of a Young Satyr wearing a Theatre Mask of Silenus which appeared in 2013 at Sotheby’s New York (12 December 2013, lot 43), having been exhibited at the J. Paul Getty Museum from 2011-2013. It was originally found in the grounds of the Villa Ludovisi (the Gardens of Sallust in antiquity) in 1620. The work caused a sensation when it was found in the 17th century and continued to be a popular motif in the decorative arts until the turn of the 20th century. The satyr figure certainly provided the inspiration for this composition. The bronze mounts stamped ‘ZJ’, probably by Zwiener. French. Literature Christopher Payne, Paris Furniture: The Luxury Market of the 19th Century, Château de SaintRémy: Éditions Monelle Hayot, 2018, pp. 395-9, 555-69 (illus. pp. 397, 441). Gisela Zick, “Sèvres und Wedgwood: Künstlerischer Austausch Zwischen Frankreich und England im Späten 18. Jahrhundert”, Keramos (April 1990), no. 128, pp. 11-34, p. 23, illus. pl. 14. DIMENSIONS: 37 in

54 in 137.5 cm

REFERENCE:

20.5 in

94 cm

52.5 cm

9029

A Fine Mantle Clock in the Louis XVI Manner Circa 1870

Constructed employing ‘Sèvres’ Bleu céleste gilded, hand painted polychromes and jewelled porcelain, set in finely cast gilt bronze mounts; rising from scroll footed elliptical ormolu base dressed with musical attributes flanking the central female mask; a porcelain tapered polychrome painted column supports the most unusual spherical clock case, flanked by scrolled ormolu supports terminating in busts of female figures, and having an eagle finial with wings in the displayed position; the silk suspension two train clock movement, of eight day duration, with the hours striking on a bell, the backplate bearing the numbers ‘8567’; the hours delineated in Roman numerals, framing the central painting of Chronos, with his scythe, the personification of Time.

DIMENSIONS:

REFERENCE:

20 in

50 cm

14 in

35 cm

7 in

18 cm

9157

A Pair of Figural Porte-Lumières, Cast by Barbedienne from the celebrated Armand Toussaint Models Circa 1860

Constructed in bronze, and having a patinated natural, and a highlighted gilt patination, the male and female semi-clothed figures, standing on plinth bases hold aloft flambeaux. Each figure signed by the artist and dated 1850, and further inscribed F. Barbedienne. French. Armand (François-Christoph-Amand) Toussaint (1806-1862) A pupil of the illustrious David d’Angers, he showed at the Paris Salon from 1836-1850, gaining medals of distinction, and later became professor of the École des Beaux-Arts, and was elected a Chevalier of the Légion d’Honneur in 1852. These figures were originally made in plaster and exhibited at the Salon in 1847, and the French state commissioned a pair in bronze for the Élysée Palace, which were shown in 1850. Ferdinand Barbedienne Barbedienne purchased 125 casting models from the late Antoine Louis Barye’s sale in 1876. He set about casting and selling editions of these sculptures which was very successful, devoting an entire catalogue to these works. Ferdinand Barbedienne died on March 21 1891 and was mourned by many in the world of sculpture. It was said that he strove to the highest quality in his castings Albert Susse said of him that he was the “pride of the nation” and that he “carried the splendour of our industry so loftily to all international competitions”. The running of the foundry was taken over by Gustave Leblanc, a nephew, and continued the high standards set DIMENSIONS: H:

47.5 in

REFERENCE: 120 cm

8963

by M. Barbedienne. The foundry set up agencies in Germany, Britain, and the United States to market their production. Leblanc actively purchased models and production rights from sculptors including Auguste Rodin and the estates of sculptures including Emmanuel Fremiet. The foundry continued under the stewardship of M. Leblanc until 1952. A copy of the Barbedienne catalogue of 1894, illustrated here, is in our possession and shows these models illustrated, and costing the equivalent value of two years salary of a professional man – a very considerable sum.

Literature: Benezit Dictionary of Artists, Volume 13.

Ferdinand Barbedienne

‘David, the Conqueror of Goliath’ An Exceptional Barbedienne cast of the statue executed by J.A. Mercié Circa 1880

Of good size, using very finely cast and chased patinated bronze, depicting the young David with the head of Goliath at his feet, on a circular base; signed ‘A. Mercié, and inscribed ‘F. Barbedienne’ and showing the A. Collas mechanical reduction cartouche, the underside numbered 109. French. Jean Antonin Mercié (1845-1916), a Toulousian, made a plaster cast of the model during his studies in Rome in 1872, two years after the Franco-Prussian war, which was received with great acclaim by the French State, who, casting themselves as the underdogs, looked to avenging the battering they had received, and commissioned a full size model, which was installed in the Museum Luxemboug in 1874; the artist was inducted into the Legion of Honour - a great achievement for one so young. Ferdinand Barbedienne and Achille Collas, who was the inventor of a machine that would mechanically reduce statues, started the F. Barbedienne foundry in Paris in 1838. At first they produced bronze reductions of antique sculptures of Greek and Roman origin. Their first contract to produce bronzes modelled by a living artist was made in 1843 when they arranged to DIMENSIONS: H:

43 in

REFERENCE: 109 cm

9142

produce the works of Francois Rude. They barely survived the revolution and financial collapse of 1848, which caused many artists and foundries to declare bankruptcy. Barbedienne actively pursued contracts with the many sculptors of Paris contracting with David D’Angers, JeanBaptiste Clesinger, and even producing some casts for Antoine Louis Barye as well as others. Achille Collas died in 1859 leaving Ferdinand Barbedienne as the sole owner of the foundry which by that time had grown to employ over 300 workers at their workshop located at 63 Rue de Lancry in Paris. Ferdinand Barbedienne was made the President of the Reunion of Bronze Makers in 1865 a post he held until 1885. The outbreak of the Franco-Prussian war in 1870 and the shortage of raw metals caused him to have to stop making sculptures but he did receive a contract from the French government for the production of cannons which kept his foundry open. After the war he resumed his casting of sculptures and put even more effort into signing contracts with various sculptors. A copy of the Barbedienne catalogue of 1894, illustrated here, shows the original design was offered for 1250 francs, a considerable sum.

Ferdinand Barbedienne

A Bust of ‘Helen of Troy’ Sculpted by J-B Clesinger, and cast by the Barbedienne Foundry Circa 1870

Cast in bronze, and having three distinct patinations of natural bronze, brown and gilt. Marked to the base of the bust ‘J. Clesinger Rome 1860’ denoting the sculptors original model, and the founder’s mark ‘F. Barbedienne Fondeur’. French. A copy of the Barbedienne catalogue of 1894, illustrated below, is in our possession and describes this bust of Helen by Clésinger as the largest produced, and costing the equivalent value of about 6 months’ salary of a professional man – a very considerable sum. Recorded in Homer’s ‘Odyssey’ and ‘The Iliad’, and by other antique writers as the most beautiful woman in the world, whose abduction by Paris of Troy occasioned the Trojan War. Our own Christopher Marlowe asked of her ‘was this the face that launched a thousand ships?’. Jean-Baptiste Clesinger (1814-1883), after studying with his sculptor father, trained in Rome with Bertel Thorvaldsen, and settled there, for some years, during which he created a life sized marble figure of Helen of Troy which was shown in Paris in 1864 along with this reduction of the original, made in bronze. His colossal bust of ‘Liberty’ is to be seen in Paris, on the Champ de Mars, and his work is represented in many museums and collections.

DIMENSIONS: H:

31 in

REFERENCE: 78 cm

9201

Ferdinand Barbedienne

A Pair of Bronze Vases By F. Barbedienne After F. Levillain Circa 1890

Cast in bronze of baluster form, rising from a circular base, the whole decorated extensively with bucolic ornament of flora and fauna raised in relief; an Arcadian couple symbolic of bounty flanking the central motif with birds of paradise, plants and a mask of Dionysus. The doublefrieze depicting idyllic scenes of human labour and production. After an original design by the sculptor Ferdinand Levillain, and signed to the base “F. BARBEDIENNE” & “F. Levillain.” French.

DIMENSIONS:

REFERENCE:

19 in

48 cm

Dia:

8.5 in

21.5 cm

9195

Ferdinand Barbedienne

An Elegant Pair of Gilt Bronze Mounted Urns By Ferdinand Barbedienne Circa 1870

Constructed using a finely striated vert de mer marble, dressed with ormolu mounts; the marble bases of incurved-corner form rising to a fluted gilt-bronze support. The marble body of Classical form and carrying pendant bell-flowers within the fluting. The principal sculptural mount incorporating ribbons and floral swags flanking a central mask of a bacchanalian satyr; all expertly moulded and chased. The lid adorned with floriate radiating mounts above a frieze of consecutive circles. Signed to the base, â&#x20AC;&#x153;F. Barbedienne.â&#x20AC;? French.

DIMENSIONS: H: Dia:

REFERENCE:

19.5 in

49 cm

9.5 in

23.5 cm

9214

Ferdinand Barbedienne

‘Les Lavandières’ By Sir William Llewellyn PRA (1858–1941) Dated 1887

Oil on canvas, signed and dated lower right 1887, this is a large scale, rare to the market example of Llewellyn’s mature work in the plein air manner, and is provenanced to the descendants of the original purchaser. Sir (Samuel Henry) William Llewellyn PRA (1858–1941) was a noted and important English painter of the late 19th and early 20th centuries, and served as President of the Royal Academy from 1928 to 1938. He was awarded the Albert Medal (Royal Society of Arts) in 1933. Llewellyn has 67 paintings in British national collections, including a portrait of industrialist and philanthropist Sir Alexander Grant held by the University of Edinburgh. A student of Sir Edward Poynter, (whom he later succeeded as the President of the Royal Academy), and later, in France, under the direction of Jules Joseph Lefebvre, (member of the Légion d’honneur, and a leading light in the Académie des Beaux-Arts, and painting professor at the Académie Julian); Sir William Llewellyn worked in the broad brush plein air manner in the French countryside, especially in Brittany, with the women (Les Lavandières) depicted being shown in regional Breton costume. Returning to England, he worked with the Newlyn School artists colony; his early exhibited works, around the date of our painting, include prosaic life views of the locals of St Ives and Newlyn. He exhibited at the Royal Academy from 1884 onwards in a more conservative manner from the early 1900’s as a portraitist, his subjects including Queen Mary (1912), a gift from Queen Mary to King George V, now in the Royal Collection Trust. Exhibitor at the New English Arts Club, the Grosvenor Gallery and the Royal Society of British Artists, he was appointed a trustee of the National Gallery from 1933-1940.

SIGHT SIZE:

REFERENCE:

51 in

130 cm

35 in

89 cm

9069

A Fine Side Cabinet in the Louis XVI Manner By G. Durand of Paris Circa 1875

Of elegant demilune form and employing exquisite Cuban flame mahogany, the whole dressed with restrained neoclassical mounts in the manner of Jean-Henri Riesener; rising from tapering legs mounted with ormolu sabots. The convex side doors incorporating an adjustable shelved interior and flanking a double-column of nine graduated drawers with laurel loop handles, ingeniously locked by the pivoting mahogany moulding running down the sides of the drawers. Surmounted with a fine bleu turquin marble top delineated by a three-quarter gallery. Bearing the maker’s stamp “G. Durand” to the rear, as well as a manuscript note of the renowned Maison Lécoules of Paris. French.

et des menuisiers. Paris: Éditions de l’amateur, 2000; pp 181-4. Camille Mestdagh, and Pierre Lécoules. L’ameublement d’art français: 1850-1900. Paris: Les Éditions de L’Amateur, 2010, pp. 284-293 (figs 336, 346-7). Payne, Christopher. Paris Furniture: The Luxury Market of the 19th Century. Château de SaintRémy: Éditions Monelle Hayot, 2018, pp 338-41.

Gervais-Maximilien-Eugene Durand (b. 1839) et Fils Specialising in the production of 18th century style furniture of the finest quality, GervaisMaximilien-Eugène Durand (b. 1839) exhibited at the Exposition Universelle of Paris in 1889, gaining a silver medal, and the praise of the judges, who compared their work with that of Beurdeley and Dasson. With his son FredericLouis joining him in 1902, the firm changed its name to Durand et Fils. His work may be seen in the Museum of Decorative Arts of Lyon. Maison Lécoules (Paris, 1905-1992) The Maison Lécoules, established in Paris, 62 rue Taitbout, had been founded in 1905 by Justin Lécoules and continued by his son, Pierre Lécoules, until 1992. During their career they earned the reputation of assembling in their gallery the very best of the French 19th century furniture. Literature Denise Ledoux-Lebard. Le mobilier français du XIXe siècle, 1795-1889: dictionnaire des ébénistes

An Emblematic Pair of Ormolu-Mounted Urns Carved from rosso levanto marble and dressed with gilt-bronze mounts, rising from square tapering feet and a square base inset with scrolling ormolu foliage having tasselled tripartite aprons reminiscent of heraldic flags to all facets; the ovoid bodies finely carved with a toursade relief which is further echoed in the ormolu lids. The twin-handles incorporating a primary motif of a wolf’s head, his claws, and hybridized with bearded male masks. For many centuries, the wolf has been a sign of loyalty in battle, as well as bravery. Historically, the great city of Rome was founded by two brothers, Romulus and Remus, who were nursed by a wolf as babies. The wolf imparted the qualities of strength, cunning, endurance and nobility, and it can rightly be numbered amongst the honourable creatures of heraldry, along with the lion, leopard, eagle, and horse.

DIMENSIONS: H:

REFERENCE:

112 in

44.5 cm

127 in

50.5 cm

45.5 in

18 cm

French, circa 1870.

9150 DIMENSIONS: H:

14.5 in

REFERENCE: 36 cm

9085

A Pair of French BonbonniĂ¨res in the Louis XIV Manner Circa 1870

Constructed in ormolu of exceptional colour and casting, rising from four swept and scrolled legs conjoined by incurved stretchers set with finials, the baluster form bodies having a central decoration in the Classical manner of putti; loop handles to the sides, dressed with pendant laurel wreaths. French.

DIMENSIONS: H: Dia:

REFERENCE:

12 in

30 cm

11.5 in

29 cm

9116

An August Pair of Napoleon III Silvered and Gilt Bronze Candelabra Circa 1870

Rising from sumptuous scrolling ormolu tripod bases incorporating a slate support and exquisite military regalia; the chivalrous men, one holding a sword and the other his axe, posing in a noble contrapposto fashion; their armour, faces, and helmets decorated to the highest degree of detail and showing marked differences between the two knights. The seven clustered ormolu branches decorated with further military regalia including axes, swords, and flails, and terminating in a swallowtail emblematic flag. French.

DIMENSIONS: H:

41.5 in

REFERENCE: 105 cm

9191

A Remarkable Scottish Laird’s Armchair Circa 1850

This astonishing creation incorporates carved mahogany and a pair of indigenous Fallow Deer antlers, of considerable antiquity; rising from ring turned, tapered and lobed front legs shod with castors, having a conjoining arc-en-arbalette reeded frontrail; housed within the eighteen point antlers, the back is of lancet form, carved with sinuous flowering foliates, having fruiting vines over, and capped by a shaped finial; the arms shaped and swept. Scottish.

DIMENSIONS:

REFERENCE:

58 in

146 cm

51 in

129 cm

28 in

70 cm

9138

Found only on bucks, antlers of the Scottish naturalised fallow deer are palmate — they have a flat area like the palm of your hand, with ‘fingers’ extending from them in adults. The antlers increase in size with age, this particular example being exceptionally large and mature.

A Very Large Black Forest Carving of a Bear Circa 1890

Constructed using linden wood, the animal naturalistically carved, and with coloured highlights and glass eyes. Swiss.

Brienz, Bernese Oberland, Switzerland Brienz, in the Bernese Oberland, Switzerland was remarked upon in Baedeker’s Travel Guide, as having a population of 2400, of whom 600 persons were employed as woodcarvers, to supply the tourist trade to Switzerland with mementos of the tour. A museum devoted entirely to the art of wood carving may be visited today. Literature: ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004 for similar examples. DIMENSIONS:

REFERENCE:

28 in

71 cm

17 in

43 cm

55 in

140 cm

9155

A ‘Black Forest’ Carved Dog Group Circa 1890

Constructed in naturalistically carved and stained limewood, on a rectangular base with radiused angles, the bitch couchant, and attending to her two pups, all fitted with realistic glass eyes, in the manner of Walter Mäder. Brienz area.

having a population of 2400, of whom 600 persons were employed as woodcarvers, to supply the tourist trade to Switzerland with mementos of the tour. A museum devoted entirely to the art of wood carving may be visited today.

Brienz, Bernese Oberland, Switzerland.

Literature:

Brienz, in the Bernese Oberland, Switzerland was remarked upon in Baedeker’s Travel Guide, as

‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004, pp 78 for similar examples.

DIMENSIONS:

REFERENCE:

12 in

30 cm

24.5 in

62 cm

12 in

30 cm

9261

A Fourfold Indian Room Divider Circa 1870

Four hinged conjoining panels of carved teak, the uprights and bases chanelled, the tops pierced and shaped, with lancet trefoil crenellations, betwixt, vase finials, house hand embroidered watered silk panels utilising gold and silver threads, depicting trees of life with peacock, herons, serpents and fish. Indian.

DIMENSIONS:

REFERENCE:

67.5 in

171 cm

91.5 in

232 cm

9071

A Very Fine Louis XVI Style Gilt-Bronze Mounted Marquetry Commode By Charles-Guillaume Winckelsen Dated 1869

After a model by Jean-Henri Riesener, supplied to Marie-Antoinette for Versailles. Constructed in a finely patinated harewood, with a antico rosso verde marble platform, atop a breakfront frieze, set with a drawer in the apron, over a unified central panel of floral still life marquetry within a gilt-bronze frame enclosing a shelved interior, DIMENSIONS:

REFERENCE:

37.5 in

95 cm

41 in

103 cm

23 in

58 cm

9063

flanked by panels of foliate parquetry. The apron is mounted with finely cast acanthus and the scroll-mounted legs on block feet. The concave sides are set with trellis marquetry. Stamped ‘Charles Winckelsen 49, Rue de Turenne à Paris.’ French. Regarded at the time as one of Riesener’s masterpieces, several copies were made in his workshops, and examples may be seen in Waddesdon Manor, The Getty Museum, and Versailles, inter alia.

Charles-Guillaume Winckelsen Literature: Christopher Payne, Paris Furniture: The Luxury Market of the 19th Century, Château de SaintRémy: Éditions Monelle Hayot, 2018, pp 549-554. Denise Ledoux-Lebard, Le mobilier francais du XIXe siècle, 1795-1889: dictionnaire des ébénistes et des menuisiers, Paris: Éditions de l’amateur, 2000; p 635.

A Very Fine Meuble d’Appui after a design by André-Charles Boulle, Firmly Attributed to Charles-Guillaume Winckelsen Circa 1865

Constructed in ebony and ormolu, and adorned extensively with both première and contre-partie inlay work of tortoiseshell, pewter and brass, and a vert de Mer marble platform; rising from tapering conical torsade feet supporting the base, dressed with paterae within a beaded border, and a gentle breakfront plinth over, adorned with three arabesque inlaid panels; over, the centrally situated door is set within an ormolu frame, two bold paw feet housing a central mask of Ceres, and above, a medallion of Louis XIV in profile, bearing the legend ‘Ludovicus Magnus Rex’, garlanded with bellflowers, issuing from a scallop shell, with two addorsed Zephyrs; the lockable door opens to reveal four oak lined drawers, with further inlay, and the door’s reverse conformingly inlaid; the door is flanked by further inlays to the panels, and the whole framed within a brass inlaid border; each side has banks of four lockable oak lined drawers with ormolu escutcheons cast as leafy wreaths. Surmounted by a Vert de Mer thumb nail moulded edged marble top. French.

REFERENCE: 9205

The Louvre in Paris houses a pair of cabinets by André-Charles Boulle (1642-1732), dated circa 1700, as per the original drawing shown here, taken from the Musée des Arts décoratifs, which now bear the stamp of Étienne Levasseur (1721-1798), a maître ébéniste who apparently restored them, and made copies, dated to circa 1775 which now are with the Wallace Collection, London. This pair were exhibited in the Musée Retrospective Paris Exhibition of 1865 when they were indubitably viewed by Winckelsen. Our cabinet has the door lock with the name of the maker ‘Souchet à Paris’, which was utilised on a cabinet also attributed to Winckelsen, perhaps the pair to ours, as the internal door facing has identical ‘Boulle’ inlays, in contre-partie, whereas ours is in première -partie; other furniture utilising Souchet locks is to be found within Wincklesen’s oeuvre.

Charles-Guillaume Winckelsen

Charles-Guillaume Winckelsen (1812-1871) First came to prominence for the excellence of his work from his address at Rue Val-SainteCatherine, and he later worked from Rue de Turenne; specialising in fine furniture, lighting and decoration of the ancien régime ; his clients included the Prince Radziwill and the Marquis de Lilliers. Ledoux-Lebard notes the small output of the company, since quality was his main aim; after his death, his stock and workmen were taken over by Henri Dasson (qv).

Literature: Christopher Payne. Paris Furniture: The Luxury Market of the 19th Century, Château de SaintRémy: Éditions Monelle Hayot, 2018, pp 549-554. Daniel Alcouffe, Anne Dion-Tenenbaum, Amaury Lefébure, and Bill, G. B. Pallot. Furniture Collections in the Louvre. Dijon: Editions Faton, 1993, Vol. I, pp 64-69. Peter Hughes. The Wallace Collection : Catalogue of Furniture. London: Wallace Collection, 1995, Vol. II, pp 585-594. Denise Ledoux-Lebard. Le mobilier français du XIXe siècle, 1795-1889: dictionnaire des ébénistes et des menuisiers, Paris: Éditions de l’amateur, 2000; p 635.

DIMENSIONS:

REFERENCE:

46 in

116 cm

31 in

79 cm

20 in

50 cm

9205

A Very Fine Cabinet After a Design by André-Charles Boulle By Charles-Guillaume Winckelsen Dated 1869

Constructed in ebony and ormolu, adorned exclusively in premiere-partie inlay work of tortoiseshell, pewter, and brass, having rare stained blue horn highlights throughout; rising from circular tapering toupee feet, the tripartite façade emerging from a gentle breakfront plinth, the central door set within an ormolu frame, a central ormolu and blue-horn terrace supporting a finely chased cassolette (perfume-burner), with lambrequins, masks and bold paw feet below and flanked by four lockable oak-lined drawers to each side of unique design, all adorned in the Baroque arabesque manner and having curvilinear bronze mounts; the sides unified with the facade by way of a conforming lower register of ormolu mounts with a grand central rose cartouche housed within a raised ormolu laurel wreath. Stamped variously “Charles Winckelsen / rue de Turenne à Paris.” French. The Hermitage in Russia houses the so-called Sheremetev pair of cabinets by André-Charles Boulle (1642-1732), the earliest of which is dated circa 1710-1720. According to Jean-Nérée Ronfort Boulle invented this type of cabinet in the late 1680s as indicated by the presence of red copper campanes inserted between the bronze ones. Other eighteenth-century renditions are known including two not quite identical examples in the United States of America, a single example in an English private collection and another in the Duke of Buccleuch’s collection at Boughton House. The rare nineteenth-century copies of this cabinet, including the present one by Winckelsen, took their inspiration following the exhibition of the cabinet at Gore House in 1853. A version made by Henry Dasson and dated 1880 caused much confusion among scholars recently, unable to explain how he executed his work. Having purchased the workshops, and bronze molds, of Winckelsen in 1872, Dasson almost certainly used the identical templates and modelss that Winckelsen first designed when completing this cabinet in 1869.

Charles-Guillaume Winckelsen (1812-1871) First came to prominence for the excellence of his work from his address at Rue Val-SainteCatherine, and he later worked from Rue de DIMENSIONS:

REFERENCE:

53 in

134 cm

56 in

141 cm

23.5 in

59 cm

9211

Charles-Guillaume Winckelsen

Turenne; specialising in fine furniture, lighting and decoration of the ancien régime ; his clients including the Prince Radziwill and the Marquis de Lilliers. Ledoux-Lebard notes the small output of the company, since quality was his main aim; after his death, his stock and workmen were taken over by Henri Dasson (qv). Literature: Denise Ledoux-Lebard. Le mobilier francais du XIXe siècle, 1795-1889 : dictionnaire des ébénistes et des menuisiers, Paris: Éditions de l’amateur, 2000; p. 635. Christopher Payne. Paris Furniture: The Luxury Market of the 19th Century, Château de SaintRémy: Éditions Monelle Hayot, 2018, p. 117. Jean Nérée Ronfort, André Charles Boulle, 16421732: A New Style for Europe. Paris: Somogy, 2011, pp. 208-211.

DIMENSIONS:

REFERENCE:

53 in

134 cm

56 in

141 cm

23.5 in

59 cm

9211

A Fine Games Table of the George IV Period in the Manner of André-Charles Boulle Attributed to Thomas Parker Circa 1820

Constructed in ebony with chessboard of parquetry in mother-of-pearl and tortoiseshell, incorporating “Boulle” marquetry panels in the manner of Jean Bérain the Elder (1640-1711), surrounded by a border in premiere-partie boulle-work and having extensive gilt bronze mounts incorporating satyr masks; rising from cabriole legs having hoof sabots, the shaped apron housing a frieze drawer similarly set with masks flanked by tortoiseshell and brass marquetry. A virtually identical table in corresponding contre-partie boulle-work, attributed to Thomas Parker, sold at Sotheby’s London, 28 March 2017 for £28,750. Designing furniture in the style of the ancien régime , Thomas Parker, being one of a small number of ‘Buhl’ specialists active in London in the early nineteenth century, turned to the decorative schemes of Jean Bérain, chief designer to the French court starting in 1690 under Louis DIMENSIONS:

REFERENCE:

28.5 in

72 cm

31 in

79 cm

18.5 in

46 cm

9135

XIV, for his Boulle marquetry panels. Notably, the satyr head gilt bronze corner mounts derive from some of the earliest known bureau plat models by André-Charles Boulle.

modern furniture (Cator, Charles. 1997. “Thomas Parker at Longleat”. Furniture History. 225-228.)

Literature: Thomas Parker (active 1805-1830) Thomas Parker was at 19 Air Street, London 1805-1817, but by 1820 in Warwick St, Golden Sq. Attracting royal patronage since 1805, the firm advertised themselves as “Cabinet & Buhl Manufacturer to H.R.H. the Prince Regent & Royal Family.” Most of Parker’s production comprises close copies of the ancien regimé Boulle furniture that was popular with George IV and his circle. He supplied, amongst other works, pairs of coffers which reside in the Royal Collection and at Woburn Abbey (van Duin, Paul. 1989. “Two Pairs Of Boulle Caskets On Stands By Thomas Parker”. Furniture History. 25: 214-220.) as well as two centre tables supplied by Parker to George IV which employ Boulle inspired decoration on a typically nineteenth-century form (Arch, Nigel. Carlton House: The Past Glories of George IV’s Palace. 1991, no. 62). According to Charles Cator, Parker may have reused old Boulle panels on his

Nigel Arch. Carlton House: The Past Glories of George IV’s Palace. 1991. Geoffrey Beard and Christopher Gilbert. Dictionary of English Furniture Makers 16601840. [London]: Furniture History Society, 1986. Charles Cator. 1997. “Thomas Parker at Longleat”. Furniture History. 225-228. Alexandre Pradère. French Furniture Makers: The Art of the Ebeniste from Louis XIV to the Revolution. London: Sotheby’s Publications, 1991. Esp see 78-83. Paul van Duin. 1989. “Two Pairs of Boulle Caskets on Stands by Thomas Parker”. Furniture History. 25: 214-220. Gillian Wilson, Jeffrey Weaver, Brian Considine, and Charissa Bremer-David. French Furniture and Gilt Bronzes: Baroque and Régence: Catalogue of the J. Paul Getty Museum Collection. Los Angeles: J. Paul Getty Museum, 2008.

A Large Casket of the Napoleon III Period in the ‘Boulle’ Manner Circa 1870

Constructed in Bois Noirci, finely cast ormolu and panels in the Boulle manner; rising from scrolled ormolu feet, the rectangular form base having bombé Boulle sides, incorporating the lockplate, with putti at the angles, all within an ormolu framework; the hinged caddy form top draped with swags has a Boullework platform with two putti atop; with a lined interior. French.

DIMENSIONS:

REFERENCE:

20.5 in

52 cm

30 in

75 cm

23 in

58 cm

9011

A Fine Commode By Mellier and Company In the Manner of André-Charles Boulle Circa 1880

Of serpentine form, constructed in ebony with première-partie inlay into tortoise shell, using designs in the manner of Jean Bérain the Elder (1640-1711) reproduced here, and decorated with bold ormolu mounts; rising from scrolled feet either side of the swept apron, and issuing espagnolettes terminating in winged female busts, enclosing shaped ormolu shod doors, with the platform edge dressed with an ormolu egg and dart running mount. Signed by the maker. England. French born, Charles Mellier moved to England, worked for, and eventually took over the illustrious Anglo-French cabinet makers Monbro and Company, circa 1870. Working from Frith Street and later Margaret Street, he soon became a major force in designing and making furniture, and executing grand decorative schemes. The company furnished the great cross-Atlantic liner Mauretania and exhibited at the 1904 International Exhibition in St Louis. André-Charles Boulle (1642-1732) was received as a Maître Ébéniste in 1666, quickly becoming known as ‘the most skilful artisan in Paris’, and was appointed ‘Ébéniste du Roi’ in 1672, when he became a resident of the Louvre Palace, and was granted the especial privilege of being permitted to work in both bronze and wood. Although not the inventor of the method of inlaying the combination of ebony, tortoiseshell and brass, his ability and creative ability in the medium became at once associated with the patrynomic, ‘Boulle’ and many of his masterpieces, which are represented in many museums and prestigious Royal collections throughout the world.

DIMENSIONS:

REFERENCE:

34 in

86 cm

59 in

150 cm

23 in

5 cm

9045

A Substantial Pair of Gilt and Patinated Bronze Candelabra After the model by Clodion Circa 1900

Rising from important circular Rouge de Vérone marble bases, the gilt- and patinated-bronze figures of female and male Bacchic figures after the original model known as “les grands faunes” by Claude Michel dit Clodion. Resting at their feet, a thyrsus, ewer, and pan pipes in gilt bronze; with finely cast tambourines suspended from their hips. The toursade cornucopia issuing nine scrolling branches decorated with acanthus leaves, an abundance of grapes, and gilt-bronze eagles’ heads, terminating in foliate sconces. Signed to the base, “Clodion.” French. The models of these figures have traditionally been attributed to Clodion (1738-1814). A drawing in the Musée des art décoratifs (Paris) and illustrated below, dated circa 1785, corresponds closely to the figure of the female faun. The model of “les grands faunes” was consistently produced throughout the nineteenth-century, spurred on by royal interest (one pair residing at the Louvre and the other at Fontainebleau). Notable examples belong to Ostankino palace in Moscow, the royal palace in Madrid, Waddesdon Manor, Buckingham Palace, and Blenheim Palace.

Literature: Daniel Alcouffe, Anne Dion-Tenenbaum, and Gérard Mabille. Gilt Bronzes in the Louvre. Dijon: Faton, 2004, pp. 188-9. Hans Ottomeyer, and Jean-Dominique Augarde. Vergoldete Bronzen d. Bronzearbeiten d. Spätbarock u. Klassizismus 1. München: Klinkhardt u. Biermann, 1986, p. 283, fig. 4.14.5. Jean-Pierre Samoyault. “L’appartement de la Générale Bonaparte puis de l’impératrice Joséphone aux Tuileries (1800-1807),” in Bulletin de la Société de l’histoire de l’Art français, 1999, pp. 153-4.

DIMENSIONS:

REFERENCE:

45 in

113 cm

Dia:

17 in

42.5 cm

9199

A Fine Pair of Console Tables in the Louis XV Manner Circa 1870

Constructed in carved and gilded wood; rising from four swept and scrolled legs adorned with acanthus designs, and dressed with looped garlands, and having conjoining stylised â&#x20AC;&#x2DC;Xâ&#x20AC;&#x2122; form stretchers carved with imbrication, having centrally situated urns with foliate flambeaux

DIMENSIONS:

REFERENCE:

37 in

93 cm

61 in

154 cm

20 in

51 cm

8986

atop, and draped floral festoons; the aprons have three ostrich feathers to the centre, issuing flowering curlicues, interspersed with paterae at the angles, and having arc-en-arbalette shaped Cararra thumbnail edged marble platforms. French.

A George II Style Pier Glass in the Manner of Matthias Lock Circa 1850

Of rectangular form, constructed in giltwood and gesso, elaborately carved incorporating filigree inner-moulding and floriate branches to the sides; above, a flower basket at the apex is flanked by a twin-scroll pediment supported by a carved balustrade, a central stylised shell, and a pendant pair of oriental masks; and below, a large scallop shell, emblematic of birth and unity, the whole enclosing a mercury glass plate.

DIMENSIONS:

REFERENCE:

100.5 in

255 cm

45.5 in

115 cm

8931

Matthias Lock’s ‘Six Sconces’, published in 1744, the very first pattern book of Rococo designs; strong concordances showing the influence of Lock can be seen, especially on Plate 2 of this revolutionary work, illustrated here. Literature: Morrison Heckscher, “Lock And Copland: A Catalogue Of The Engraved Ornament,” Furniture History, Vol. 15 (1979), pp. 25 (pl. 2).

An Important Pair of Candelabra in the Louis XV Manner By Raingo Frères Circa 1870

Constructed in a finely cast, chased and planished bronze ormolu; the serpentine form square bracket footed bases, dressed with paterae to the angles support scroll adorned reeded plinths, with monumental putti atop, each of which hold six candelabra, with scrolled and foliate dressed arms, interspersed with sprays of lilies. Signed under the base ‘Raingo Frères’. French.

Raingo Frères Bronzier and clockmakers Raingo Frères were founded in 1813 in Paris, becoming patronised

DIMENSIONS:

REFERENCE:

44 in

112 cm

Dia:

22 in

56 cm

9078

by George IV of England, and appointed to the Garde Meuble de France in 1824. In 1834, the company received an honourable mention in the Paris exhibition; noted for their excellence of workmanship of their clocks, adding in the early 1840s household decoration and furnishings to their output, counting Napoleon III and Empress Eugénie among their Royal clients, and became suppliers of bronze work to François Linke. They were exhibitors at the 1862 Great Exhibition in London, and further international exhibitions of 1867, 1878 and 1889. Examples of their work may be seen in the English Royal Collection, as well as the Louvre, and the Palacio Real de Madrid.

A Fine Quality Astrological Centre Table Firmly Attributed to Maple & Co. Circa 1890

Constructed in very finely figured mahogany and satinwood, and having marquetry inlay of superior quality, rising from square-taper legs and spade feet on castors supporting the oval top; a central cartouche housing astrological instruments, set within radiating segments inlaid with bellflowers pendant drops and terminating in a twelve-lobed band of semi-circular segments containing the signs of the Zodiac; all set within a floral border of specimen wood composition

DIMENSIONS:

REFERENCE:

30 in

76 cm

41 in

103 cm

31 in

78.5 cm

9083

and satinwood crossbanding. The apron and legs similarly inlaid with fine marquetry of geometric floral oval inlays and continuous swags.

Maple & Co Founded in 1841 by John Maple, manufacturing and retailing from the hub of the furniture centre in Londonâ&#x20AC;&#x2122;s Tottenham Court Road, and through the founder & his sonâ&#x20AC;&#x2122;s drive and excellence of

the products of the company, expanded greatly, to have further workshops and points of sale in both Paris and Buenos Aires, and later, a shop in Smyrna. Clientele included Queen Victoria, King Edward VII, members of the Royal Household, the King of Siam, and the Nicholas, Tsar of Russia. Later, Maples would furnish the Royal yachts, the QE1, QE2 and the Queen Mary, as well as hotels in Nice, London, Paris and Siam.

Maple & Co.

A Fine Corner Cabinet in the Neo-Classical Revival Taste Firmly Attributed to Maple & Co. Circa 1880

Constructed using the very finest timbers and workmanship, the lustrous satinwood counterpointed by inlays in specimen woods including sycamore and harewood; rising from turned and knopped legs, the single lockable blind door quarter veneered about a central roundel depicting with great depth and clarity a meeting between Cupid and Euterpe, the goddess of music in a Grecian landscape, and flanked by foliate full length inlays; a single lockable drawer in the decorated apron, having quadrant mouldings; the top conformingly inlaid.

Detail of top

Maple & Co. Founded in 1841 by John Maple, manufacturing and retailing from the hub of the furniture centre in Londonâ&#x20AC;&#x2122;s Tottenham Court Road, and through the founder & his sonâ&#x20AC;&#x2122;s drive and excellence of the products of the company, expanded greatly, to have further workshops and points of sale in both Paris and Buenos Aires, and later, a shop in Smyrna. Clientele included Queen Victoria, King Edward VII, members of the Royal Household, the King of Siam, and the Nicholas, Tsar of Russia. Later, Maples would furnish the Royal yachts, the QE1, QE2 and the Queen Mary, as well as hotels in Nice, London, Paris and Siam.

DIMENSIONS:

REFERENCE:

29.5 in

100 cm

31 in

79 cm

22 in

56 cm

9113

Maple & Co.

A Fine Side Cabinet Firmly Attributed to Wright & Mansfield Circa 1870

Constructed in a brilliant satinwood, and skilfully incorporating tulipwood, harewood and various specimen wood marquetry work, and expertly carved giltwood accents; of gentle breakfront form, rising from a plinth of conforming shape, the central door bearing a Wedgwood jasperware lozenge depicting a male figure within a medley of marquetry incorporating paterae, riband tied swags, husk chains within a geometric border, enclosing a single-shelved interior; the flanking cupboard panel of similar decoration with inset pendant jasperware medallions of classical profile and enclosing an adjustable shelved interior; the whole body enclosed by fluted columns of the Ionic order, having scrolling capitals, riband and swag decoration and acanthus balusters, and bearing geometric banding to the side panels. Above, a central frieze drawer carrying a Wedgwood plaque of frolicking putti, flanked by smaller drawers with conforming floriate, palm leaf, and geometric marquetry inlay beneath an ormolu egg-and-dart moulding running the perimeter, supporting a shaped platform giving rise to an arcaded threequarter pierced brass superstructure surmounted by urn finials and supported by fluted pilasters to the back and gilt-accented acanthus decorated columns to the front. This cabinet relates closely to the famous cabinet exhibited by Wright & Mansfield at the Paris Exposition of 1867 where it was the only English piece to be awarded a gold medal, and which is currently in the collection of the Victoria and Albert Museum in London (V&A No.548-1868, shown here). It was praised for the high quality of its materials and workmanship and seen as very â&#x20AC;&#x2DC;Englishâ&#x20AC;&#x2122; owing to the use of satinwood and Neo-classical decoration also present in this cabinet. The central Wedgwood plaque, as well as the plaque of the putti are both identical to the plaques used in the award-winning V&A cabinet.

DIMENSIONS:

REFERENCE:

67 in

169 cm

55.5 in

140 cm

25.5 in

64.5 cm

9046

Wright & Mansfield

A Good Centre Table By Johnstone & Jeanes of London Circa 1865

Constructed in amboyna, with extensive marquetry inlays in specimen woods, and enhanced with parcel-gilt highlights. Rising from a cruciform platform base adorned with knops, and having concealed castors, supporting the inlaid, and gently stepped and tapering centre column with stylised ‘c’ form brackets bracing the octagonal top, the outer guard band having English roses inlaid at the angles, with foliates with the national emblems of Scotland and Ireland, thistles and shamrocks. Stamped by the makers to the underside, ‘Johnstone & Jeanes 67 Bond Street’.

Johnstone, Jeanes & Co John Johnstone of Bond Street came to prominence after his collaboration with Robert Jupe, an ‘upholder’ of 47 Welbeck Street, Cavendish Square, London, who patented a

DIMENSIONS: H: Dia:

30 in

REFERENCE: 76 cm

54.5 in 137.5 cm

9139

remarkable design for a circular expanding dining table with a segmented top in 1835. After Jupe’s death, the firm traded as ‘Johnstone and Jeanes’ from 1842 until 1880, having moved to 67 Bond Street and continuing the tradition of producing high quality furniture. After 1880, the company was re-named Johnstone & Norman. They exhibited at the Great Exhibition 1851, The International Exhibition of London in 1862, and The Paris Exhibition of 1878. Both the Royal Collection Trust and the Victoria & Albert Museum own stamped pieces of furniture in their collections. The company of Crace were designers and decorators to the Royal household from 1768 until 1899, working for every monarch from George the Third until late in the reign of Queen Victoria, and the idiosyncratic design of this table, with its’ usage of national emblems suggests to us an affiliation with the Craces as designers

and Johnstone & Jeanes as the makers, both participants and exhibitors at the 1862 Great Exhibition (at which they designed the Royal throne). The cruciform base appears in other pieces designed by the Craces.

Literature: Christopher Gilbert. Pictorial Dictionary of Marked London Furniture 1700-1840. [London]: Furniture History Society, 1996, pp. 35-36, 280286. Megan Aldrich. The Craces - Royal Decorators 1768-1829. [Brighton]: The Royal Pavilion, Art Gallery and Museums, 1990. Pat Kirkham. 1988. “The London Furniture Trade 1700-1870”. Furniture History, pp. 131-133.

Johnstone & Jeanes

A Fine Inlaid Étagère Attributed to Holland & Sons Circa 1880

Constructed in coromandel, harewood with boxwood stringing, with further inlays in ivory and gilt bronze ornamentation; of rectangular form with incurved sides, rising from toupie feet, two turned, inlaid and bronze mounted columns support the shelves, having a mirror back, and the platform with etched ivory roundels to the angles, and fitted with an arcaded pierced brass backrail.

Holland & Sons Originally founded in 1803 by Stephen Taprell and William Holland, a relation of the architect Henry Holland, the firm of Holland & Sons soon became one of the largest and most successful furniture making companies in the 19th Century. The firm worked extensively for the Royal Family, being granted the Royal Warrant early in the reign of Queen Victoria, hence taking a leading part in the decoration and furnishing of Osborne House, Sandringham, Balmoral, Windsor Castle and the apartments of the Prince and Princess of Wales at Marlborough House. Holland and Sons also worked extensively for the British Government, for whom they executed over three hundred separate commissions, including the Palace of Westminster, the Victoria and Albert Museum, and oversaw the State funeral of the Duke of Wellington. Among their private commissions the firm produced a celebrated suite of bedroom furniture for the late Sir Harold Wernher at Luton Hoo. Always at the forefront of fashion, Holland & Sons employed some of England’s leading designers and participated in all of the International Exhibitions of 1851, 1855, 1862, 1867, 1872 and 1878 and the Vienna Expo of 1873.

DIMENSIONS:

REFERENCE:

45.5 in

115 cm

46.5 in

118 cm

16 in

40 cm

9021

Holland & Sons

A Fine Centre Table Firmly Attributed to Holland and Sons Circa 1860

Of free standing rectangular form, constructed in the manner of the Anglicised Louis XVI taste, using Circassian book matched walnut, tulipwoods, green-stained Sycamore and adorned with fine quality marquetry work, ormolu mounts and a Sèvres plaque; rising from tapering legs adorned with ormolu foliate cast sabots, paterae and swags, two drawers in the frieze, interspersed with a Bleu Céleste ‘Sèvres’ plaque painted with putti, with faux counterparts to the obverse, the top with splendid book matched veneers, enclosed within a green stained border, with penwork type engraving in the guard band.

DIMENSIONS:

REFERENCE:

29 in

74 cm

42 in

107 cm

23 in

59 cm

9137

Holland & Sons

A Very Fine Kidney Desk Firmly Attributed to Gillows of London & Lancaster Circa 1850

Constructed in a well-figured walnut and noteworthy amboyna veneers, dressed with splendid bronze handles and escutcheons; of kidney form, an ogee shaped plinth, having an arrangement of nine drawers to the front, with everted pilasters separating the drawers in two banks secured by a ‘Wellington’ locking bar/ cupboard arrangement, with a bookshelf flanked by cupboards to the reverse; the platform having an inset tooled leather, and an arcaded bronze gallery to the rear. The Gillows Archives, held in the City of Westminster Library, shows this unique desk design from the 1840’s onwards, illustrated here. Although the piece is unsigned, the construction and quality of the desk is typical of Gillows, due to the exceptional blending of materials and craftsmanship.

DIMENSIONS:

REFERENCE:

30 in

76 cm

52 in

132 cm

28 in

70 cm

9197

A Substantial Walnut Library Bookcase Circa 1860

Of low breakfront form, the whole bookcase constructed using a sumptuously grained circassian walnut. Below a quarter pierced gallery, the frieze, plinth moulding, and openshelved front are crossbanded with tulipwood, boxwood, and carry ebonized mouldings and carved rosettes as well as floral marquetry inlay. The interior housing twelve adjustable shelves.

DIMENSIONS:

REFERENCE:

49 in

124 cm

122.5 in

310 cm

15 in

37.5 cm

8530

Pair of Victorian Library Armchairs From the Naval & Military Club of St James, London Circa 1870

Constructed in oak, rising from turned and lobed front legs, having sabre legs to the rear; the show wood shaped frames have slab carving to the side rails with scrolled uppers, the seats and backs upholstered, dressed with carved lions heads terminals to the arms. Founded in 1862, the Naval & Military Club, also known as the â&#x20AC;&#x2DC;In and Out Clubâ&#x20AC;&#x2122; is a private members club established in St James, as a base for men and women serving in the armed forces.

DIMENSIONS:

100

REFERENCE:

40 in

101 cm

30.5 in

77 cm

32 in

80 cm

8681

101

A Good Extending Dining Table of the Late Georgian Period Circa 1830

Constructed in a finely patinated and figured mahogany, the outer supports having reeded swept legs with ogee toes with latent castors, issuing from incurved rectangular plinths, with turned gunbarrel columns over; the central support of cage form having conforming reeded legs; the platform, with radiused angles, has a reeded edge, and three additional leaves, secured by clips.

DIMENSIONS:

102

REFERENCE:

30 in

76.5 cm

146 in

370 cm

53 in

135 cm

9140

103

A Pair of Georgian Pedestal Cupboards Circa 1820

Constructed in a well figured flame mahogany; rising from plinth bases, of rectangular form, with protruding parapets to the upper platforms; side opening knobs effect the opening of the rectangular channelled doors, and having shelved interiors.

DIMENSIONS:

104

REFERENCE:

48.5 in

122 cm

14 in

35 cm

14 in

35 cm

9048

105

A Regency Double Sided Bookcase Circa 1810

Constructed in mahogany, with brass adornments; of freestanding form, rising from castor shod ‘cotton reel’ legs, with fluted columns at the angles, each side housing three shelves, and large circular lion’s head mask ring pull patinated bronze handles to the sides which are line inlaid, with the demi-lune everted angle platform dressed with a running arcaded pierced brass gallery.

DIMENSIONS:

106

REFERENCE:

39 in

98 cm

33.5 in

85 cm

15 in

37 cm

8974

107

A George III Giltwood Pier Mirror In the Manner of Thomas Johnson Circa 1760

An exceptionally detailed design; the superb carved decoration housing a shaped rectangular plate and undulating mirrored borders; the inner frame closely tied to the outer frame and leading the eye around the mirror. The grandiose masterful carving incorporating C-scrolls, flowering branchwork, stylized icicles, acanthus leaves, and distinctive architectural DIMENSIONS: H: W:

108

REFERENCE:

95 in 241.5 cm 42.5 in

108 cm

8983

follies and figures which firmly place this mirror within the canon of Johnsonâ&#x20AC;&#x2122;s greatest designs. The confident execution is a great testament to the technical prowess and artistic creativity of one of the greatest carvers and designers of the eighteenth century. We are grateful to Dr Adam Bowett (Chippendale Society), Jeremy Musson (Country Life), Nuala Canny (Farmleigh House), Kevin Egan (Guinness), & Julius Bryant (Victoria & Albert

Museum) for their kind assistance with the cataloguing of the present mirror.

Provenance Edward Cecil Guinness, 1st Earl of Iveagh, Farmleigh, Co. Dublin, (1880?-1927); The Earls of Iveagh, Farmleigh, Co. Dublin & Elveden Hall, Suffolk (1927-2018).

Thomas Johnson (1723-1799) Thomas Johnson was one of the most skilled carvers and furniture designers in Georgian England. Drawing inspiration from the Fables of Aesop, the rococo, China, and the idealised rustic life, his work is whimsical, exuberant and witty. Chippendale borrowed freely from his work. Johnson was a founder member of the ‘Antigallican Society’, a group who excoriated the French taste. In addition to its relation to Johnson’s designs, this mirror also reflects the influence of Lock, the great master with whom he worked for a period. Lock published many sketches and pattern books, including A New Book of Ornaments for Looking Glasses in 1752, introducing several idiosyncratic features which Johnson would adopt such as the small decorative urns and shaped balusters seen especially in plate 4, and present in the Earl of Iveagh’s mirror. Johnson is recorded working in Dublin between 1746-55, where his “virtuosity and exuberant style were no doubt well-suited to the Irish taste for rich rococo furniture.”

109

An Ormolu-Mounted and Mahogany Parquetry Cabinet By François Linke Circa 1890

Constructed in the Louis XV transitional manner, in mahogany parquetry work, and dressed with ormolu mounts of the finest quality, with a Breccia Verde marble platform’ rising from swept cabriole legs, with ormolu sabots and foliate clasps to the knees, the cabinet is of gentle breakfront form, and having a single door, with a rich foliate ormolu pendant bouquet with swags and a ‘lovers knot’ bow over; male mask ormolu espagnolettes to their upper angles, with a rectangular pictorial motif to the apron of disporting putti; the marble platform, with a gentle thumbnail moulding over. Signed by the maker ‘F.Linke’. French. The ormolu bouquet on the central panel is a recurring motif of Linke’s œuvre, perhaps most often associated with his largest private commission, the residences of the King of Egypt.

Literature: Christopher Payne. François Linke, 1855-1946: The Belle Epoque of French Furniture. Woodbridge: Antique Collectors’ Club, 2003, p. 277.

François Linke François Linke (1855-1946) is considered to be one of the finest ébénistes and bronziers of the 19th century at a time when the worldwide influence of French fashion was at its height. He moved from Pankraz, Bohemia where he undertook his apprenticeship under the strictest of training, to Paris in 1875, setting up shop in 1881 in the faubourg Saint Antoine and later with a showroom in the Place Vendôme. Over the next two decades his work attracted a wealthy international clientele, appreciative of the excellence of his work. Specialising in the style of the ancien régime and modifying the proportions of the eighteenth century to suit the smaller Parisian apartments, he was an exhibitor at the Paris Exposition Universelle of 1900, where he was a Gold Medal winner par excellence for his extraordinary and innovative display. His worldwide reputation as a master of high individualism and inventiveness earned him the highest distinction of France, the Chevalier de la Légion d’Honneur. DIMENSIONS:

110

REFERENCE:

43.5 in

110 cm

39.5 in

100 cm

19 in

47 cm

9187

Franรงois Linke

111

A French Ormolu-Mounted Mahogany Vitrine By François Linke, Paris Circa 1890

Of demi-lune outline, constructed in mahogany, with gilt bronze mounts, in the Louis XVI Transitional style, rising from scroll & acanthus cast sabots, with gently swept cabriole legs capped with floriate espagnolettes. Having a convex single door of symmetrical form enclosing a glass and mirrored shelved interior, the frieze mounted with two satyr putti and one central Dionysian putto held aloft in a hammock of abundant vine leaves and bunches of grapes, flanked at the outer corners with graeco-roman female herms and ribbon-tied floral swags. The central relief plaque beneath depicting four putti in an idyllic setting surrounded by flowers, vine leaves, and scrolling foliage. The whole surmounted with a fine Breccia marble top. The lock plate signed by the maker. French.

DIMENSIONS:

112

REFERENCE:

63.5 in

160 cm

33.5 in

85 cm

16 in

40 cm

9034

The original key was made by Linke, having a cypher of two interlaced Ls, called the Louis XVI couronne royale. This was one of the most popular Linke models, one that he made and developed over a period of years as register numbers 239, 619 and subsequently 1151. Sizes varies as did the embellishment. Although the style of oval plaque on the lower part of the door is not a definitive indicator of date, the black and white cliché in the Linke Archives has the same scene of frolicking putti as on our Transitional style vitrine.

Literature: Christopher Payne. François Linke, 18551946: The Belle Epoque of French Furniture. Woodbridge: Antique Collectors’ Club, 2003.

Franรงois Linke

113

A Sèvres Jasperware-Mounted Mahogany Vitrine By François Linke, registre 38 Circa 1890

Of rectangular form, constructed in mahogany, with gilt bronze mounts, in the Louis XVI Transitional style, rising from scroll & acanthus cast sabots, with gently swept cabriole legs capped with floriate espagnolettes. The glass & mirrored shelved interior having the original velvet lining; above, the frieze set with a Sèvres jaspwerware bacchanalian plaque and flanked by ormolu female herms and ribbon swags. The central Sèvres roundel below depicting Venus and Cupid within a gilt bronze ribbon & acanthus cartouche. The lock movement bearing the maker’s stamp. French.

DIMENSIONS:

114

REFERENCE:

59 in

149 cm

26.5 in

67 cm

15 in

38 cm

9204

This is a very early model by Linke made in various complexities by him from the early 1880’s. The intricate instructions and pencil drawing, in Linke’s own hand, is illustrated in in the Christopher Payne seminal book on the cabinetmaker.

Literature: Christopher Payne. François Linke, 1855-1946: The Belle Epoque of French Furniture. Woodbridge: Antique Collectors’ Club, 2003 (illus. p. 473).

Franรงois Linke

115

A Fine Cabinet of the Napoleon III Period Retailed by Grimard of Paris Almost Certainly by François Linke Circa 1890

Constructed in kingwood and mahogany, with extensive decoration of high quality ormolu work, and Vernis Martin painted doors; of rectangular form; rising from turned and tapering toupie feet supporting an inverted breakfront parquetry decorated lower tier, dressed with a running trellised pierced gallery; the shaped apron houses a central drawer, the fascias decorated with Vernis Martin bucolic scenes, dressed with ormolu,is supported by turned and tapering cannellure legs, with pendant ormolu bellflowers; over, a central vitrine lockable door houses a felt lined interior, and the flanking lockable Vernis Martin painted doors enclose shelved interiors, with drawers below, housed within ormolu foliate uprights, with the pediment decorated with extensive ormolu work; atop, an ormolu balustraded gallery. Bearing a part label, ‘Ebénisterie de Luxe, Grimard, Paris’. French. Maison Grimard are recorded to have produced and retailed fine ‘Meubles d’Art’ at 5 rue de Charonne in Paris in the second half of the nineteenth century. Grimard exhibited at many international fairs and exhibitions, including the Paris 1878 exposition universelle. Known for high quality furnishing, mainly in the Louis XVI and Neoclassical style, with finely chased ormolu mounts and often incorporating vernis martin style panels, their pieces rarely come up for sale and most remain in private collections. Like many of the other renown Parisian cabinet makers from the 19th century, Grimard’s furnishings were exported to high-end markets and clients all over the world. We are grateful to Christopher Payne for his assistance with the cataloguing of the present cabinet, and for suggesting the attribution to François Linke.

Literature: Christopher Payne, Paris Furniture: The Luxury Market of the 19th Century, Château de SaintRémy: Éditions Monelle Hayot, 2018, p 375.

DIMENSIONS:

116

REFERENCE:

74 in

188 cm

48.5 in

122 cm

18 in

46 cm

9081

Franรงois Linke

117

A Fine Octagonal Library Desk By H. Samuel of London Circa 1880

Constructed in a well figured mahogany, adorned with appliqué rocaille scroll work rising from foliate carved and shaped plinth inset feet, the pedestals separated by reeded stiles capped with inverted scallop shells; four cupboards at the angles, each with shaped fielded panels, with ‘c’ scrolls and shell motifs at the quadrants, and having two banks of four cock beaded drawers, with stylised swan neck handles. The stiff leaf carved thumbnail moulded edged top having an inset tooled morocco leather. The apron having two diametrically opposed long drawers, with hinged quarter drawers, all with conforming brasses.

DIMENSIONS:

118

REFERENCE:

30 in

75 cm

56.5 in

143 cm

54 in

136 cm

9169

Signed to the pedestal by ‘H. Samuel, 484 Oxford Street, London’. H. Samuel are recorded at this address from 1872 onwards, trading as ‘dealers in works of art and furniture’. This desk was probably made for a client, as they are not noted as makers of furniture. The company exists today, and is known mostly for watches and jewellery. The desk is based on a desk acquired by George IV for the Octagon Library at Buckingham Palace, then Buckingham House as illustrated below.

119

A Louis Vuitton Cabin Trunk Circa 1930

Constructed in wood and monogrammed canvas, and edged with brass guards, triple hinged, opening to reveal a tan leather lined interior, one side fitted with wooden hangers on a chrome plated double rail, with a clothes locking bar, the other with compartments; the manufacturer’s label indicating the serial number ‘808403’, and their retail outlets; the exterior strengthened with battens dressed with studs marked ‘LV’, and having a pocket for the owner’s name, a substantial carrying handle, with closure effected with two spring loaded clasps set about a lock bar, with the lockplate bearing the number ‘102932’, indicating a date of circa 1930. French. Louis Vuitton began making luggage from the family home in Asnières-sur-Seine, a north western suburb of Paris in 1859, having a workforce of 225 by 1914. Operational today worldwide, and recognised as the epitome of luxury in the field of luggage and accessories.

DIMENSIONS:

120

REFERENCE:

13.5 in

34 cm

41 in

103 cm

22.5 in

57 cm

9181

121

A Splendid Music Box, Numbered 20482 By B.A. Bremond of Geneva Circa 1880

The rectangular box, with a hinged lid, a drawer for the spare cylinders to the front, is constructed in amboyna, with boxwood stringing, and ebonised accents; there are four cylinders, each playing eight melodies, ranging from Tannhauser, to works by Gilbert and Sullivan, listed on the original cards, marked with the serial number; the crystal clear melodies have a device to give a mandolin-like enhancement operated by a lever; the number of the air playing is shown on a lyre marker to the rear centre, and has the maker’s plate. Several parts are stamped with the Bremond serial number. Musical boxes by Bremond are highly sought after instruments as well as works of art. They are to be found in numerous private and public collections, among them the Victoria & Albert Museum in London. Swiss.

B. A. Bremond of Geneva (active 1858-1916) Founded in 1858, the Swiss firm of Baptiste Antoine Bremond was located at the Place des Alpes in Geneva. Born to a dynasty of fine jewellers, Bremond’s musical boxes convey exquisite skill and mastery. By 1873, Bremond

DIMENSIONS:

122

REFERENCE:

12 in

30 cm

44 in

111 cm

17 in

42 cm

9127

was appointed manufacturer to HRH the Prince of Wales (the future King Edward VII). Bremond’s work, according to the expert Arthur W. J. G. Ord-Hume, “demonstrates not just beauty but sheer musical mastery.” His appointment as manufacturer to the court corresponded with the height of his career, and from 1878-1886 he was a town councillor of Geneva. Some of the finest musical boxes were made by Bremond in Switzerland and imported to England where the cases were made by renowned cabinetmakers. See: Ord-Hume, Arthur W. J. G. Musical Box: A History and Collector’s Guide. London: Allen & Unwin, 1980, pp. 69 (illus. fig. 14), 296, appendix II (illus. 11 & 14).

123

A Rare Vanitas Anatomical Bust Circa 1890

Carved in Carrara marble, the partially excoriated bust of a male accompanied by the austere figure of a fly, a poignant symbol used in conjunction of the skull and placing this bust firmly within the tradition of Vanitas painting and sculpture. Italian. Vanitas has been a theme present since medieval funerary art. By the 15th century it could be extremely morbid and explicit, reflecting an increased obsession with death and decay also seen in the Ars moriendi, the Danse Macabre, and the overlapping motif of the Memento mori. Paintings and sculpture, such as this bust, executed in the vanitas style were meant to remind viewers of the transience of life, the futility of pleasure, and the certainty of death. Common symbols included an hourglass, books, candles, insects, and skulls; the latter two used with great effect by this artist.

DIMENSIONS:

124

REFERENCE:

26.5 in

67 cm

22 in

55 cm

12 in

31 cm

9236

125

126