Mallett Catalogue 2005 by Mallett

* -J-.

M A L L E T T IN B O N D S T R E E T Mallett was f o u n d e d in Bath in 1 8 6 5 a n d has been established in B o n d Street in L o n d o n since 1 9 1 0 . Here there are five floors o f s h o w r o o m s a n d galleries displaying the finest English antique furniture, as well as objets d art, paintings a n d glass. Every item, large or small, is selected for its quality, rarity a n d individual charm. 141 N E W B O N D S T R E E T T: +44 (0) 20 7 4 9 9 7 4 1 1

L O N D O N W I S 2BS

F: + 4 4 (0) 20 7 4 9 5 3 1 7 9

M A L L E T T AT B O U R D O N H O U S E In 1 9 6 2 Mallett acquired B o u r d o n H o u s e in Mayfair, which houses the second m a j o r part o f Mallett's business. Within its 18th century Interiors is shown a fascinating and more eclectic range o f high quality continental furniture, together with precious a n d decorative objects. T h e r e is even a small courtyard for garden furniture a n d statuary.

2 DAVIES S T R E E T

LONDON

T: +44 (0) 20 7 6 2 9 2 4 4 4

W1K3DJ

F: + 4 4 (0) 20 7 4 9 9 2 6 7 0

M A L L E T T IN MANHATTAN In the spring o f 2 0 0 3 Mallett opened new premises at 9 2 9 M a d i s o n Avenue, N e w York, where there are extensive s h o w r o o m s ottering a regularly changing selection ol fine pieces drawn from the two L o n d o n shops. I'his business operates as a close link with L o n d o n and acts as a portal to the treasure houses o f our international business. 9 2 9 M A D I S O N A V E N U E , A'l' 74 I H S T R E E T , N E W Y O R K T: +1 2 1 2

249 8783

E: +1 2 1 2 2 4 9

Website: www.mallettantiques.com

NY 10021

8784

E-mail: info@mallettantiques.com

MALLETT LONDON • N E W YORK

MALLETT I .ONDON • NEW YOKK

141 NEW B O N D STREET, L O N D O N W1 B O U R D O N H O U S E , 2 DAVIES S TREET, L O N D O N W1 929 MADISON AVENUE, AT 7 4 T H STREET, NEW YORK, NY 10021

M A L L E T T IN B O N D S T R E E T 141 NEW B O N D S T R E E T L O N D O N WIS 2BS T E L E P H O N E : +44 (0) 20 7499 7411 FAX: +44 (0) 20 7495 3179

M A L L E T T AT B O U R D O N H O U S E 2 DAVIES S T R E E T L O N D O N W I K 3DJ T E L E P H O N E : +44 (0) 20 7629 2444 FAX: +44 (0) 20 7499 2670

M A L L E T T IN MANHATTAN 929 MADISON AVENUE, AT 7 4 T H S T R E E T NEW YORK NY 10021 T E L E P H O N E : +1 212 249 8783 FAX: +1 212 249

8784

Website: www.mallettantiques.com E-mail: info@mallettantiques.com

Cover: Detail from a red lacquer longcase clock by Daniel Q u a r e ( s e e p p 18-19) Frontispiece: Detail from a buhl writing table by Town & Emanuel (see pp 132-134) Opposite page: An important marquetry side table by John C o b b ( s e e p p 48-51)

CHANGING CONTEXTS In m u c h the same way as we are all affected by

be eclectic and by c o m b i n i n g all that we really

pages 28-29, will express modernity in a context

changes in the weather, so we join in with the

admire we inevitably find ourselves drawing

of genuine quality. In any suitable setting such a

changes in fashion that surround us. Today's

f r o m the past as well as the present. Greatness

piece would engender a sense of proportion and

m o o d tends towards elements of plainness and

f r o m any age should not be neglected. If o n e

sculptural form.

simplicity in all forms of living, art, architecture

were to look for c o n t e m p o r a r y lines in

and the decorative arts in general. T h e appetite

architecture a n d sculpture, and include wonders

T h e r e are so m a n y ways of using and enjoying

we witness in m u c h c o n t e m p o r a r y art and for

of the past, what a magnificent m o d e r n i t y can

the best. We hope you will like the selection of

twentieth century furniture exemplifies this

be there.

treasures from all ages we have gathered for you this year, and we h o p e you will be able to visit us

vogue. An e c o n o m y of o r n a m e n t is rightly preferred in contrast to a surfeit of complexity.

A magnificent table such as the one shown on

in L o n d o n and N e w York.

pages 4 8 - 5 1 displays a synthesis of antique' But all actions trigger an opposite reaction and

French and English forms, a pleasing aspect in

having purged our spirits, m a n y n o w feel

itself b u t imagine h o w splendidly this might

constrained by the rigid b o u n d a r y of minimalist

stand below a powerful c o n t e m p o r a r y work,

taste. T h e direction we n o w observe is towards

each enriching the other in an impressive and

the reintroduction of some of the o r n a m e n t we

satisfying manner. Likewise a great rococo

Lanto Synge

tended to exclude. T h e m o d e r n interior needs to

mirror of the C h i p p e n d a l e period, shown on

Chief Executive

A s

* *» ^

A G E O R G E I BEACK EACQUER BUREAU BOOKCASI

1 mm.

A C.EORGF.

I B L A C K

LACIQUHR

BLIRHAU

BOOKCASl'!

Continual

l i i i i v a u c a l i i n c l , arc b o i l i at F.rdigj;, near

t h e m a g n i l l c e n t State B e d , w i t h its c a r v e d a n d

NXVcxliam, N o r t l i Wales. I hcsc arc associaiccl

g i l d e d hawk"s heails t h a t are c l o s e l y

w i t h (lie L o i u l o n c a h i i i c m i a k c r , l o h i i B c k l i i c r

c o m p a r a b l e t o o r n a m e n t o n g i l t p i e r gla.sses

w h o , a m o n g s t others, s u p p l i e d

a n d a gilt pier table w i t h bevelled m i r r o r t o p ,

fiirniture

Fadigg ' i n ye grandest m a n n e r & after ye newest

s u p p l i e d t o t h e h o u s e i n 172.3 a n d 1 7 2 6 b y

fashion . A black cabinet o n chest w i t h the .same

Belchier. I'he a m o u n t o f w o r k that Belchier

s t a m p a n d a t t r i b u t e d t o t h e Belchier w o r k s h o p

was, d i r e c t l y o r i n d i r e c t l y , i n v o l v e d i n at

w.is .sold at a u c t i o n in O c t o b e r 2 0 0 1 . A n o t h e r

F.rdigg a m o u n t e d t o a s u b s t a n t i a l t o t a l b i l l

red j a p a n n e d b t n e a u bookcase o l c o m p a r a b l e

b e t w e e n 1 7 2 2 a n d 1 7 2 6 , o f 1,262 12 s. D u r i n g

f o r m to b o t h the M a l l e t t a n d t h e I ' r d i g g

this time, Mellor's nephew, S i m o n Yorke,

examples, w i t h an i d e n t i c a l i n t e r i o r c o n s t r u c t i o n ,

a c t e d as his uncle's agent i n L o n d o n , c h o o s i n g

is i n the de Lisle t a n i i l v c o l l e c t i o n , I'enshtirst

f u r n i s h i n g s for the house f r o m L o n d o n ' s finest c a b i n e t - m a k e r s . H e was w e l l r e w a r d e d , i n h e r i t i n g t h e h o u s e a n d its e n t i r e c o l l e c t i o n

J o h n Belchier, c a b i n e t - m a k e r , advertised at ' I he

o n his tincle's d e a t h , i n 172.3.

Sun", .South side o l St Paul's ( ! h u r c h v a r d . London.

A n i a g n i t i c e n t CIcorgc I b l a c k lacqiicr b u r e a u bookcasc a t t r i b u t e d t o J o l i t i B c l c h i c r , j a p a i i n c i l t h r o u g h o u t o n a p i n e carcass w i t h e x q u i s i t e g i l t chinoiseries, i n c l u d i n g a h i m t i n g scene, small landscapes, vases o t llowers, birds, butrerHies a n d r e p e t i t i v e g e o n i e r r i c d e c o r a t i o n ,

A l t h o u g h t h e n a m e o f t h e o w n e r of t h e

dre.ss is first

an insurance d o c i n u e n t ' l o r g o o d s a n d

i n i t i a l s RF a l r e a d y r e f e r r e d t o has n o t yet

merchandi.se i n his .said D w e l l i n g I louse . I lis

c o m e t o l i g h t , it seems t h a t t h e y m a y w e l l

trade bills i n d i c a t e that he was a s u p p l i e r o f ' A l

have b e l o n g e d t o a h i g h l y s k i l l e d l a c q u e r

sorts o f C.abinet W o r k s / (Chairs, (lla.sses.

s p e c i a l i s t , e i t h e r i n Belchier"s d i r e c t e m p l o y ,

Sconces, & C ioach-C .lasses" a n d ' ( i r i n d s &

or to a w e l l - k n o w n

M a k e s - u p , / all .sorts o l fine Peer &

l.ondon-based artist, familiar to the m a n y

(!hinuiey-

(ilas.ses a n d Cllass Sconces,/ likewise all ( j h b i n e t

a fitted i n t e r i o r , i n superb, o r i g i n a l c o n d i t i o n , w i t h p i g e o n holes a n t l vertical c o m p a r t m e n t s arranged a r o u n d a c e n t r a l c o n c a v e c u p b o a r d . Hanked b y H u t e d a n d o i l - g i l t c o l u m n s , t h e fall f r o n t e n c l o s i n g a fitted i n t e r i o r a n d secret w e l l , s t a n d i n g o n its o r i g i n a l c u s h i o n e d ball feet.

English,

circn 1725

T h e feet p a r d y restored.

c a b i n e t - m a k e r s i n St Paul s ( C h u r c h y a r d .

M a k e r s Cloods'. 1 le also advertised that he c o n l i l

| o h n Pariloe also s u p p l i e d pieces l o r ICrdigg

o f f e r '("iieat c h o i c e of all Readv \ L i d e ' .

I r o m t h e v i c i n i t y o l St Paul's, as a p p a r e n t l y

the d o u b l e d o m e p e d i m e n t s u r m o u n t i n g t w o archeci a n d m i r r o r e d d o o r s , o p e n i n g to reveal

self-employed

d i d the l l r m o f J o h n ( l u m l e y , c a b i n e t - m a k e r A g r o u p o f related b u r e a u cabinets, either

to b o t h Si James's Palace a n d K e n s i n g t o n

veneered in w a i m n o r j . i p a i m e d , have a sm.ill

P.ilace. ' I ' h e l i k e l i h o o t i is t h a t t h e r e was a

r o u n d label w i t h ' m a d e b v / J o h n Bel ( l l i i e i / at \'e

partnership o f London cabinet-makers

S t m / i n St Paul's C Church/Yard'. A l l have a

r e s p o n s i b l e l o r s u p p l y i n g t h e v e r y best a n d

m i r r o r e d d o o r o r i l o o r s a n d the j a p a m i e d

most l . i s h i o n a b l e i t e m s t o F.rdigg d u r i n g t h e

examples are i l e c o r a t e i l in the most exi|uisite a n d

1720's a n d t h a t w o r k was s o u r c e d I r o m o t h e r

reltned g i l l chinoiseries. O t h e r s i m i l a r pieces,

su|>pliers as w e l l . As B e l c h i e r a d m i t t e d , he

s t a m p e d w i t h the i n i t i a l s I B m a y also b e l o n g to

c o i i l d o i l e r great c h o i c e o l all R e a d y m a d e ' so

his o u t p i u .

w e m i g h t assume t h a t t h r o u g h his c o n t a c t s , e x p e n s i v e lac(|uer pieces l i k e these w e r e

B e l c h i e r s t i p f i l i e d J o h n M e l l o r al I j i l i g g w i t h .1 n u m b e r ot i m p o r i a i n c o m m i s s i o n s ,

inclmling

a v a i k i b l e even i f t h e d e c o r a t i o n h a d t o he d o n e by a s p e i i . i l i s i o u t w o r k e r .

Height: 86 in / 218.5 c m W i d t h : 4 1 i n / 104 c m D e p t h : 2.^ i n / 5 8 . 5 c m

PROVENANCF. By

repute b e q u e a t h e d to T h e H o n M r s Isabel

V'aughan- l h o m p s o n ( 1 8 8 8 - 1 9 8 0 ) , 4 t h c h i l d o f T h o m a s Shaw, L o r d S h a w o f D u n f e r m l i n e a n d 1st B a r o n C r a i g m y l e o f C r a i g m y l e , b y her m o t h e r - i n - l a w , Elsie Forrest, d a u g h t e r o f d e o r g e Forrest o f L u d q u h a r n , A b e r d e e n s h i r e , a n d by descent.

1 he t o p of t h e l o w e r section o f this b u r e a u bookca.sc is s t a m p e d RF. I'hree o t h e r pieces w i t h this s t a m p are k n o w n to exist, t h e pre.sent e x a m p l e b e i n g an i m p o r t a n t re-di.scovery to a d d t o this s m a l l a n d select g r o u p o f j a p a n n e d f u r n i t u r e f r o m t h e 172()'s. O n e i d e n t i c a l e x a m p l e , i n red, a n d a s i m i l a r black lacquer

...

(Siii'j

II mm In&f

D Da^-.,-..

} •i-.'iS

A PAIR OF WILLIAM A N D MARY A R M C H A I R S

A magnificent pair of late 17th century William and Mary japanned armchairs, richly decorated throughout with gold on a black ground and heightened with red, green and blue, having caned seats and backs, the tall narrow backs with turned side supports and arched and pierced cresting incorporating a coronet and coat of arms, the elegant, outswept arms terminating in scroll hand rests, the scrolled front legs joined by an arched stretcher reflecting the cresting, and all four legs joined by an 'H' stretcher. English, circa 1690 Now with pad cushions in green silk velvet Height: 5672 in / 143.5 cm Width: 26 in / 66 cm Depth of seat: 17 in / 43 cm LITERATURE Illustrated L Synge, Great English 1991, p23, fig 10

Furniture,

Continued

Carved within the crestings of these generous, japanned beechwood armchairs are stylised coats of arms which incorporate an oval shield flanked by eagle's wings and surmounted by a coronet. These elements are identical to those on a pair of side chairs which came through Mallett's hands in recent years and are clearly from the same, thus far unidentified suite. The elegant formality of this model displays the influence of Daniel Marot, a Huguenot designer and architect whose designs played a significant part in the history of English furniture in the late 17th and early 18th centuries. Marot was a French protestant, an architect, furniture designer and engraver. Born in Paris in 1661, he later studied under Pierre Le Pautre but in 1684 fled to Holland to escape the religious persecution in France and was soon in the employment of Prince William of Orange as his architect and interior decorator. Marot was strongly influenced

by the work of Andre-Charles Boulle and a volume of his furniture designs, which showed strong French and Dutch influences, was published in Amsterdam in 1695. In 1689 William and his cousin Mary acceded to the English throne as joint monarchs. On their accession, Marot styled himself Architect de roy de le Grande Bretagne'. The new King and Queen invited the persecuted Huguenots, many of whom were master craftsmen, to take refuge in England and in 1694 Marot himself followed them to England. During this time, therefore, England greatly benefitted from religious strife abroad in the form of the Huguenot flight from France. A distinctive feature of late 17th century fiirniture in England was the adoption of French and Dutch innovations, heralding new fashions of design, a new wave of craftsmanship and techniques and a greater understanding of the riches of materials which could be imported from Europe.

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A WILLIAM A N D MARY V E R R E E G L O M I S E PIER G L A S S

A rare William and Mary pier glass with arched top and bevelled mirror plates, the borders of red and gold verre eglomise with decoration of strapwork, scrolling foliage and arabesques in the manner of Jean Berain, within a carved giltwood frame, the sides carved with stylised foliage. English, circa 1700 The engraved top plate possibly later Height: 5672 in / 143.5 cm Width: 2472 in / 62 cm The art of engraving on gold under glass has origins which date back to ancient Damascus and Rome and which enjoyed a revival during the Italian Renaissance. At various times this process has been used to embellish lookingglasses and in the late 17th century, when mirrors with glass borders were coming into fashion, some were decorated with what has become known as verre eglomise. The fashion emanated from France where the designs of Jean Berain were proving so influential. In England such mirrors were produced during the reigns of William and Mary and Queen Anne. The borders would be inscribed with elaborate patterns of strapwork and arabesques, the gold leaf being set against a red, black or sometimes green background. Examples of great eglomis^ mirrors and pier glasses are in the Victoria and Albert Museum, at Chatsworth in Derbyshire, at Penshurst Place in Kent and in the Gerstenfeld Collection in Washington DC. The descriptive term verre eglomise derives from the name of Jean-Baptiste Glomy who popularised a similar process for framing pictures. He died in 1786 but the term lives on since no other suitable alternative has ever replaced it.

A PAIR OF Q U E E N A N N E WALNUT CHAIRS

A pair of Q u e e n Anne walnut side chairs, the

Sir William Burrell was one of the greatest

backs with scroll moulded top rail above a vase

British collectors of the 20th century. H e was

shaped splat veneered in burr walnut of fine

born into a Glaswegian shipping family and

colour and patination, carved at the top with a

had made his fortune while still a young man.

stylised shell with pendant harebells and at the

Burrell had already begun collecting avidly as a

sides with scrolling acanthus, the seats covered in

teenager and after he retired he devoted the rest

period needlework with foliage and flowers on a

of his life to forming his collection. His taste was

dark blue ground, on cabriole front legs with

eclectic and the collection encompassed a wide

similar shell and harebell carving on the knees,

variety of furniture, works of art and paintings.

all four legs ending in diamond toes.

Also a philanthropist, the collection, which by his death had risen to some 8,000 items, was

English, circa 1710

bequeathed to the City of Glasgow and is now

Height: 39V4in / 101 cm

on public display. It is highly likely that Sir

Width: 2 2 ' / n n / 5 7 cm

William advised his 'favourite sister' on her own

Depth: 23 in / 58.5 cm

acquisitions and he would himself have appreciated the quality, colour and form of this

PROVENANCE

pair of chairs.

Formerly in the collection of Mary Guthrie Mitchell ( d . l 8 6 4 ) the sister of Sir William Burrell. (Originally part of a set of six)

A GEORGE I WALNUT C H E S T OF DRAWERS

A Q U E E N A N N E WALNUT BUREAU OF SMALL SCALE

An early 18th century burr walnut chest of

An early 18th century burr walnut bureau of

drawers of small scale and of rich colour and

unusually small scale, the top, the fall front and

patination throughout, the quarter veneered

all the drawers finely cross-banded and inlaid

top having particularly dramatic figuring, with

with feather-banding, the interior fitted with an

cross-banded and feather-banded border and

arrangement of pigeon holes and drawers, the

with indented corners and moulded edge, the

base with four long graduated drawers with

four graduated drawers with rounded ends,

brass handles and escutcheons and raised on

feather-banded borders, brass drop ring handles

bracket feet.

and lock escutcheons, raised on unusual bracket feet with similarly indented corners.

English, circa 1710

English, circa 1715

Width: 23 74 in / 60.5 cm

Height: 29 in / 73.5 cm

Depth: 177, in / 44 cm

Height: 3574 in / 89.5 cm

Width: 237. in / 59.5 cm Depth: 1772 in / 44.5 cm

A Q U E E N ANNE RED LACQUER LObLGCASE CLOCK BY DANIEL QUARE (1648-1724) An knportant early 18th century japanned

surmounted by an el A o r a t e carved gikwood

A p p l k d to the inside o f the case door is a

longcase clock by Daniel Quare, decoratcd

cresting in die b a i x p i E matHier, c e n t ^ by a

comenif orary Table gfthe Equation of

(hroughout with gold chinniseries of the

painted coat of arms beneath a coronet. T h e

tbmral

Days and insoBiciiDns "To

Keep a

cfal has a silvered chapter ring engraaied wiih

^feich in

decorated with i [stgtujiT-in a rocky landscape

Raman numerals, surrounded by brass filigree

aiKl French and signed Daniel

with huntsmen in the foreground, i t e arched

spasdrels,

Watchmaker, Londarr. T t e nvcEirain

dial flanked by brass mounted columns and

and entBEtl-fey a steel plaque inscribed Dan

movement is otf ^ h t day duration and

the stepped hood with fretssork fiicze

Quare Lmuhn and with the number 154,

strifes the hours.

finest quality on a deep red ground, the xtoor

and seconds subsidiaw diafe

Order', all in both EngKdi Quare,

' t

4 X'

Fnglish, circa 1710 Height: 110 in / 279.5 cm Width: 22 in / 56 cm Depth at base: 12 in / 30.5 cm Depth at cresting: 15 in / 38 cm PROVENANCE From the Spanish collection of the Gortazar Manso de Velasco family, thence by descent. The coat of arms is that of the Manso de Velasco family, Counts of Superunda, impaled by those ofKyflfin. Daniel Quare (1648-1724), watch and clockmaker to George I and inventor of the repeating watch, was admitted to the Clockmaker's Company in 1671, the same year as Thomas Tompion, and became Master in 1708. A celebrated maker, he worked from two London addresses, St Martins-le-Grand and the Kings Arms, Exchange Alley. Quare travelled extensively to Europe where he promoted his talent and took commissions.

frequently of widows who took an immediate interest in their husband's property. The Centaur, when represented carrying a bow and arrow, is called a Sagittarius, and though not an uncommon symbol, is found more frequently in Continental than in English blazonry and probably refers to Velasco. Equally, the coronet is probably that of the Condes de Superunda. The red lacquer on this clock case is of the highest quality and it may be attributable to the Clerkenwell workshops of Giles Grendey. The ornament is very similar to that on the red japanned pieces by Grendey from the Duke of Infantado suite, another famous Spanish collection, many pieces of which Mallett has been fortunate to handle in the past. The suite comprised more than seventy-seven items and was one of the most important suites of English 18th century furniture ever commissioned. The gilt enriched chinoiserie figures and animals on this clock are raised in bas-relief in the style discussed in the influential 17th century manual issued by George Parker and John Stalker and entitled, A Treatise of japanning and Varnishing, being a complete discovery of those Arts, 1688.

This magnificent lacquer longcase clock was made in England but the elaborately carved contemporary crest indicates that it was brought to Spain in the early 18th century. The coat of arms is that of the Manso de Velasco family, Counts of Superunda, impaled by those of Kyfifin. The arms on the top of the clock {Per pale dexter, argent, on a chevron gules between three pheons sable, five mullets or; impaling (sinister) chequy eight or and seven vair azure and argerii and the crea {on a wreath or and gules, a Si^uiuiui) are those of Velasco,i«f Castifc and .Murcia, irr^led by what are probably those of Kyfin. The Manso de Velasco family were the Counts of Superunda, the first of whom, Don IteE Antonio Manso de Velasco y Sanchez Samaniego, served as Viceroy of Peru from 1745 until 1761. He is reputed to basse drcorated his palace in Spain with a large suite of red lacquer furniture, from which this clock may descend.

The table on the inside of the door reads: A Table of the Eqiuttien of Natural Days shewing how much a well a^usted pendulum clock or watch goes faster or slmver than apparent time. To keep a watch in good order, wind it up always at the same hour. Open it only when there is occasion to make it ^ faster or slower, which is to be done by puuingthe small end of the key upon a square of steel which is in the miiidle of a round piece ^silver with figures upon it which is directed to by a point of the grmid work, the pint and point are something like^his figure (diagram). To^aaie it-go faster, turn the piece so that the not higher figure moves towards the pmrt, but to go slower, the itsa lower figure must be-moved towards the pohtt-a little at a. time as experience will direct.

According to Papworths Ordinary of British .•^morials, only arms of the Kyffin family Ar^ait, on a chevron gules, between three pheons sable, a mullet of the first. Though the arms on the clock are almost identical to this tfescrip^n, tfaey incluefc five mulletrvr{^o\A), ratier than one a^cnt (silver or whitcl though thi". slight dHCBqjancy may just be the result of artistic liccnse Impalement is one of the four nieifeods of marshallmg or CDnjnininj; rwo or more coats of arms upon one shield; impaled coaw being to all mtrats and purposes the -•rmoiBl bearings of imrricsl wwnwo, or najre

The hands may be put back or^rward by ptdling the great-end of the key upon the sqtt^ of steel on whitdi the mmute-hand is fixed -but ueaet uttempt to mow the hour hand by itselffitr it alua^ mtrves with the minate hxtnd. Tts better to ^ a watch by a^od pendulum clock well kept thtm by a sun^ dml beamse of die t/ariatioB of the tun at may be ohserved in thc-^Uawing table which will serve as a rule to those leho will set their watches by the stm.Jet t f ) e clorks or watches fastenjyr slower than the sun acanding to each ta& fiir each day they are set and i f they trtt* they wiUel^ysi afterwards as Ptueh as flfur table shews. Danid~Quam Wctehmaier, Louden

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A GEDRGE I INLAID BURR WALNUT ARCHITECTS TABLE

A very fine early 18th century burr walnut

English, circa 1725

architects table, the hinged, quarter-veneered

Height: 29'/2 in / 75 cm

top with cross-banding, feather-banding and

Width: 3 6 i n / 9 1 . 5 cm

ra-entrant corners, lifting on a ratchet support

Depth: 24 in / 61 cm

and with spring loaded book-rest, the front opening to reveal a leather lined writing surface

LITERATURE

with book-rest, sliding to reveal a fitted interior,

Illitstrated L Synge, Great English

the right side with an inkwell drawer and both

1991, p38, fig 24

sides with s-wivelling candlestands, the insides o f all four legs with engaged quaner columns.

; I

Ftirniture,

A GEORGE II WRITING CHAIR

A mid 18th century mahogany writing chair with a solid escutcheon shaped back, the curved and dished arms with rounded hand supports, the drop-in seat covered in period needlework worked in silk and wool in gros point and petit point, the central cartouche depicting figures in a pastoral scene, surrounded by flowers and leaves on a chocolate ground, standing on cabriole legs terminating in pad feet. The chair English, circa 1740 The needlework English, circa 1720 Height: 34'/2 in / 87.5 cm Width: 2372 in / 59.5 cm Depth: 2172 in / 54.5 cm

A FINE GEORGE III MAHOGANY PIE-CRUST TABLE

A mahogany circular tripod table, the tilt-top o f excellent colour, with finely sculpted pie-crust border and raised on birdcage support, on turned baluster stem, the upper part fluted and the base carved with acanthus and egg-and-dart, raised on an arched tripod base, the supports carved at the knees with a stylised shell and pendant harebells, with ' C scrolls on the inner edges, ending in attenuated claw and ball feet. English, circa 1760 Height: 27 in / 68.5 cm Diameter: 2674 in / 66.5 cm

AN IRISH ARMCHAIR

A fine and unusual mid 18th century mahogany open armchair, the shaped top rail with boldly carved scroll ends, with pierced splat back and curved arm supports ending in scroll hand rests, the apron carved with acanthus and scroll motifs on three sides and centred by a shell cartouche at the front, raised on cabriole legs with further acanthus carving, claw and ball feet to the front and pad feet to the back, the seat upholstered in pistachio silk. Irish, circa 1755 Height: 3772 in / 95 cm Width: 2372 in / 59.5 cm Depth: 25 in / 63.5 cm

A MAHOGANY LOWBOY

A late 18th century George III mahogany lowboy, the well figured top with re-entrant corners, above three drawers in the frieze retaining their original pierced brass handles, raised on cabriole legs with cross-hatching and stylised acanthus decoration at the knees and terminating in claw and ball feet. Probably Irish, circa 1770 Height: 28V4 in /73 cm Width: 29'/; in /75 cm Depth: I9V4 in /49 cm

TWO NEEDLEWORK PICTURES OF FLOWERS

A mid 18th century needlework panel depicting a bouquet of carnations in shades of red and purple with foliage in blue and green, tied with a bow of blue ribbon and issuing from golden acanthus leaves, all on a buff ground. English, circa 1750 Framed: 3 7 72 x 29'A in / 95 x 74.5 cm

An early 1 8tli century needlework panel worked with a c o n t i n u o u s garland of flowers and foliage surrounding a Hower-filled blue urn of gadrooned form and on a pedestal, all on a cream ground.

English, drai

1740

Framed: 37 x 3 6 in / 94 x 91.5 cm

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A CHIPPENDALE PERIOD GILTWOOD MIRROR

A magnificent mid 18th century carved giltwood

the cresting. At the base, stv'lised leaves drip Hke

pier glass in the rococo manner, retaining

icicles from the central cartouche and Hanking

New Desigmaf 1761. His name is often a.ssociated with mirrors of this period that

original gilding and original plates, the pierced

scrolls,

incorporate elements with a rustic theme, including figures, animals and birds, perhaps

scroll cresting surmounted by a swag of flowers

inspired by Aesop's Fables.

over an arch, flanked on either side by large.

The inspiration for a mirror such as this is

naturalistically carved ho-ho birds, the plates

clearly to be found in Fhomas Chippendale's

framed by elongated foliate scrolls entwined with

Gentleman and Cabinet-Maker's Director

flowers and hung with icicles, the base with a

pis CXLI, CXLll, CXLIll and CXLVII, the

1754,

scroll cartouche and further icicles.

latter two depicting exotic birds perched upon

English, circa 1760

carver, gilder and designer Thomas Johnson, also

Height: 83in / 211 cm

produced closely related patterns in his Collection

Width: 45 in / 114 cm

of Designs of 1758 and One Hundred and Fifty

the frames. Chippendale's contemporary, the

This great pier glass embodies the rococo spirit of the mid 18th century with its multiplicity of .

ornamental detail entwined into the pierced

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framework of broken curves and foliate scrolls. Notwithstanding its considerable scale, it has a

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feeling of lightness and fantasy. Fabulous birds, with wings outstretched as if to take flight, stare wide-eyed upwards to a bouquet of naturalistically carved flowers that tumble over

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A GEORGE III MAHOGANY STOOL

A G E O R G E III D U M B WAITER

An extremely fine George III carved mahogany

A George 111 mahogany circular three-tier d u m b

stool of serpentine outline, standing on cabriole

waiter, each tier with a finely turned spindle

legs carved at the knees with scrolling acanthus

gallery, with turned and diagonally fluted central

and ending in scroll toes raised on small

stem and raised on an arched tripod base ending

chamfered plinths, the seat upholstered in

in pad feet.

gold silk damask.

English, circa 1760 English, circa 1765

Height: 44 in / 112 cm

Height: 1772 in / 4 4 . 5 cm

Diameter: 21 In / 53 cm

Width: 2572 in / 65 cm

Width across feet: 23 in / 58.5 cm

Depth: 1 8 7 M n / 4 6 . 5 c m

A GEORGE III MAHOGANY CHEST OF DRAWERS A small aani 18th century mahogany George III chest of drawers with moulded e d ^ throughout, the finely grained top above four graduated drawers with original brass handles, locks, and escutcheons, raised on ogee bracket feet. English, circa 1760 Height: 31 in / 79 cm Width: 34 in / 86.5 cm Depth: 197: i n / 4 9 . 5 cm

A GEORGE III CARVED MAHOGANY WINE C O O L E R

A larc George III carved mahogany wine cooler . li' small proportions and square form, with ,;adrooned top edge, canted and fluted corners and retaining its original lead lining, each side panelled with bead and reel moulding and with Horal paterae at the quadrant corners, the base having a shaped apron with scroll outline and central floral paterae on a hatched ground, raised on cabriole legs with acanthus carved knees and ending in crisply delineated scroll feet with original castors. English, circa 1770 With modern silver plated liner Height: 247: in / 62 cm Width: 13 X 13 i n / 3 3 x 3 3 cm The form and style of this wine cooler relates to designs published by William Ince and John Mayhew in The Universal System of Household Furniture of 1762, pi XIV, and by Thomas Chippendale in his 1763 edition of Gentleman and Cabinet-Maker's Director, pi LV. In both instances they are depicted with other items under the heading of 'Tea Kettle Stands'.

A R E M A R K A B L E PAIR O F G O T H I C W I N D S O R C H A I R S

A pair of late 18th century Windsor armchairs of

league of their own, rising to a level of

lustrous finish. The intricately sculpted and

exceptional quality, the arched laburnum backs

sophistication way above the norm. They are

pierced brackets add a light touch to the chair

with gothic arcading, the elegantly outswept and

constructed in a combination of laburnum, for

base and the 'X' stretchers with carved paterae

moulded arms ending in scrolls, the dished seats

the back and legs, and ash for the seats. Scottish

are a far departure from the regular bowed

made in ash, supported on cabriole legs with

laburnum is a much larger species than its

carved and pierced scroll brackets and joined by

English namesake and in the 18th century it was

'X' stretchers with central rosette.

highly regarded north of the border for cabinet-

18th century Windsor chairs could be found in

making and chair-making. It was often preferred

some of the most esteemed interiors, as well as

Scottish, circa 1770

to mahogany due to its colour and density and it

in lesser dwellings. For example, 'Seaven japan'd

Height: 41'/2 in / 105.5 cm

is also still used for making bagpipes. Perth was

Windsor chairs' were inventoried in the Duke of

Width: 2974 in / 74.5 cm

one of the important centres of furniture

Chandos' library at Cannons in the 1720s and

Depth: 2672 in / 67 cm

manufacture in the east of Scotland at that time

Henry James supplied the Prince of Wales with

and one of the best collections of laburnum

several mahogany Windsor armchairs for St

PROVENANCE

furniture is in the collection of the Duke of

James's Palace in 1729. Keir House was the

Formerly at Keir House, Dunblane, Perthshire

Atholl at Blair Castle in Perthshire.

ancestral seat of the ancient Stirling family from the 15th century until the late 20th century.

The traditional Windsor chair is generally made

The design of the chairs is complex. The gothic

It still stands high above the Carse of Lecropt,

in a combination of yew, for the back and legs,

tracery of the back, with its diminishing

north-west of Bridge of Allan. The house

and elm for the seat. In the mid 18th century

perspective, is perfectly proportioned and

was built in the second quarter of the 18th

these were also fashioned in the 'Gothick'

encloses delicately carved arcading below. The

century and boasts some splendid rococo

manner, to accord with the current antiquarian

outer arch of the back, the uprights and the

plasterwork. These chairs were removed

taste. These particular chairs, however, are in a

arms are all finely moulded and the timber has a

from Keir in 1983.

A PAIR O F G E O R G E III M A H O G A N Y C A R D T A B L E S

A fine and rare pair of George III mahogany concertina action card tables, the finely figured rectangular tops with carv ed egg and dart moulding, opening to reveal a green baize playing surface, supported on carved cabriole legs with st)'lised acanthus and ' C , scroll knees with trailing acanthus leaves, terminating in scrolled toes. English, circa

1765

Height: 28V, in / 73 cm Width: 38 in / 96 cm Depth: 19 in / 48 cm

A PAIR OF C O M M O D E S A T T R I B U T E D T O PIERRE LANGLOIS

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English, circa 1770

A highly important pair of ormolu mounted

the brass-mounted doors inlaid with

serpentine marquetry commodes in the French

neo-classical covered vases within foliate scrolls,

Height: 36 in / 91.5 cm

manner, attributed to Pierre Langlois, the

the sides inlaid with further foliate scrolls within

Width: 4 4 ' A i n / 112.5 cm

mounts attributed to Dominic jean; the

chevron-banded borders of strongly figured

Depth: 20V, in / 52.5 cm

commodes veneered and cross-banded in

rosewood, the front corners with full-length

chevron pattern, the serpentine tops inlaid at

rococo gilt brass mounts ending in scroll sabots

This superb pair of commodes belongs to a

the centre with a ribbon-tied bouquet of flowers

on the tapered bracket feet; the interior of each

group attributed to Pierre Langlois in a series of

in various coloured and shaded woods on a

commode fitted with three drawers veneered

articles published by Thornton and Reider,

padouk ground, the borders with entwined

with palisander and retaining their original gilt

Pierre Langlois, Ebeniste, Connoisseur, Vols 178,

ribbons within banded edges with stringing;

brass handles.

179 and 180. T h e commodes in this group have

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a n u m b e r o f features in c o m m o n , such as the

were established in Paris in the late 17th century.

distinctive rosewood chevron veneering, the

H e settled in E n g l a n d in the early 175()'s, at

ribbon borders, the closely related classical vases

some time before the outbreak o f the Seven Years

and the finely chased o r m o l u m o u n t s w h i c h

War. By 1759 he is recorded at 3 9 T o t t e n h a m

appear o n most o f the pieces attributed to

C o u r t Road where he c o n t i n u e d to trade until

Langlois. T h e m o u n t s themselves are most likely to be by his associate a n d son-in-law, D o m i n i c Jean, a French bronze caster and gilder w h o is

1781. D u r i n g this period he established himself

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as o n e o f London's leading cabinet-makers and it was in the late 1760's a n d early 1770's that he

first recorded as w o r k i n g in L o n d o n in 1764.

produced his finest work, i n c l u d i n g this pair o f

Langlois himself was almost certainly French and

c o m m o d e s . H e attracted the patronage o f some

probably from a fiimily o f cabinet-makers w h o

o f England's foremost collectors, i n c l u d i n g the

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4th Earl o f Bedford for W o b u r n Abbey, the 6th

marquetry, the gilt metal work and the elegant

Earl o f Coventry for C r o o m e C o u r t , the 6th

b o m b e shape are all influences from Langlois'

Baron Craven for B e n h a m Park a n d Horace

French origin. Nonetheless, his pieces have inlaid

Walpole for H o u g h t o n H a l l .

w o o d e n tops, rather than marble, in keeping with the English tradition. Langlois specialized

I.anglois developed a distinctive style that was

in floral marquetry which was a style not seen in

markedly French in character a n d he enjoyed

F^nglish cabinet-making since the reign ot

particular success at a time w h e n war with

W i l l i a m and M a r y and had only recently been

Francc placed an obvious l i m i t o n the

revived in France. A related pair o f c o m m o d e s o f

importation o f French furniture and other

a similar scale with elaborate floral marquetry are

luxury goods i n t o E n g l a n d . T h e use o f

in the Royal C'ollection at W i n d s o r Castle.

AN I M P O R I A N T PAIR O F G E O R G E III G I L T W O O D A R M C H A I R S

An important pair of George 111 carved giltwood

English, circa 1765

Mallett & Son Ltd, 1964

armchairs after a design by Matthias Lock, the

Height: 4272 in / 108 cm

Notley Abbey, Long Crendon, Buckinghamshire,

serpentine top rails with leaFcrcsting above

Width: 3072 in / 77.5 cm

and by descent

cartouche shaped, padded backs with leaf and

Depth: 2872 in / 72.5 cm

' C scroll carved mouldings, the padded arms

These chairs are among the grandest known

with accentuated, outward scrolling hand rests,

PROVENANCE:

examples of mid 18th century English seat

the serpentine seat rails with leaf and stylized

Probably from the suite supplied to Edward,

furniture in the French taste, being of

shell decoration and raised on foliate carved

11 th Earl of Derby (1689-1776), for Knowsley

particularly generous proportions and having

cabriole legs terminating in scroll toes.

Hall, Lancashire

broad, cartouche shaped backs. They are robust and yet their lines are sinuous throughout, the downward and outward scroll of the arms being particularly accentuated. Their form emanates from French 'fauteuils a la reine' of the Louis XV period, the 'picturesque' style interpreted so eloquently by Thomas Chippendale in his Gentleman and Cabinet-Maker's

Director.

Chippendale used the image of one of his 'French chairs' on his own trade label, thus

USiO^IM

emphasising such design as the epitome of

Liverpool. Originally a medieval hunting

Roxburgh, in the Ballroom at Floors Castle,

sophistication and the current taste. In fact, the

Lodge, Knowsley was extensively remodelled

Roxburghshire.

closcst known design for this particular model of

by the 1 1th Earl in the 18th century. To this

chair was by the master carver and designer

day Knowsley houses a notable collection ot

'I'his pair was with Mallett's in 1964 when they

Matthias Lock, who drew it for the artist

paintings set amongst furniture of the highest

were purchased, under the guidance of John

Richard Cosway for what became known as his

order. It is not known how long the chairs

Fowler of Colefax and Fowler, for the new

'Sitter's Chair'. The original drawing of circa

were at Knowsley but the suite was at some

owners of Notley Abbey in Buckinghamshire,

1755 is preserved in the Victoria and Albert

time dispersed and others from the set are to

previously the home of the actor Laurence

Museum as part of the l,ock Collection of

be found in the collection of the Duke of

Olivier and his wife, Vivien Leigh.

drawings. The collection also includes some drawings by Chippendale, with whom it is believed Lock had a working relationship in providing piece-work carving and collaborating with him on the Director. rtig..! I

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y^'.'.yi^y-'"'The chairs are believed to have belonged to the suite that was commissioned by the 11th Earl of Derby for Knowsley Hall, near

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I P O l A ^ W PAIR OF G E O R G E III GILTWOOD ARMCHAIRS Continued

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A PAIR OF CHESTS OF DRAWERS F R O M H A C K W O O D PARK

A rare pair o f m i d 18th century m a h o g a n y

architect, J o h n Vardy. S o m e notable pieces o f

serpentine chests o f drawers, the tops o f

new furniture were c o m m i s s i o n e d for H a c k w o o d

exceptional p l u m - p u d d i n g m a h o g a n y a n d with

at that time, the most celebrated being the suite

m o u l d e d edge, above four graduated drawers

o f giltwood tables a n d mirrors designed by

with finely chased gilt metal handles, raised o n

Vardy, the original drawings for w h i c h are n o w

shaped bracket feet a n d b o t h with inventory

in the British Architectural Library. H a c k w o o d

reference n u m b e r s a n d stamps for H a c k w o o d

was enlarged again in the early 19th century by

Park. There is a slight variation in the shape o f

the 1st Lord B o l t o n , w h o had inherited it

the bracket feet.

t h r o u g h his marriage to M a r y Powlett, daughter o f the 6 t h D u k e .

English, circa 1760 Height: 33'A in / 84.5 c m

H a c k w o o d left the Bolton family w h e n it was

W i d t h : 4074 in / 102 c m

sold in 1935 to the newspaper magnate, W i l l i a m

D e p t h : 25 in / 63.5 c m

Berry, 1st Baron C a m r o s e and later 1st Viscount.

PROVENANCE

collector with eclectic taste. U p o n his purchase

Supplied to the 5th D u k e o f Bolton for

o f H a c k w o o d he also acquired a large p r o p o r t i o n

H a c k w o o d Park, near Basingstoke, H a m p s h i r e

o f the Bolton paintings a n d furniture, i n c l u d i n g

By descent at H a c k w o o d until sold with the

this pair o f chests, to w h i c h he was able to add

house to W i l l i a m Berry, 1st Viscount C^amrose

his o w n e x p a n d i n g collection In its distinguished

in 1935, thcnce by descent

new h o m e .

Lord C a m r o s e was by then already a p r o m i n e n t

T h e n a m e H a c k w o o d is a corruption o f H a w k i n g W o o d , the house originally having been the h u n t i n g lodge o f the Powletts, the family n a m e o f the D u k e s o f l i o l t o n . in the late 17th century it was transformed and m u c h enlarged by the 1st D u k e . Later, in the m i d 18th century, the 5th D u k e m a d e further substantial changes, w o r k i n g with the designer a n d

A LANTERN IN T H E MANNER OF WILLIAM VILE

A very rare mid 18th century carved mahogany hexagonal hall lantern in the manner of William Vile, each arched panel carved with leaf scrolls at the top and shell and scrolls at the base, the moulded columns headed by and terminating in acanthus scrolls, above a gadrooncd bottom edge with small carved feet, the whole surmounted by double scroll, arched brass ribs and retaining its original glass.

English, circa 1760 Height: 32'/4 in / 82 cm Diameter: 21 in / 53 cm LITERATURE cf: P Macquoid and R Edwards, The Dictionary of English Furniture, 1924-27, vol 2, p 2 8 1 , f i g 6 George III & Queen Charlotte, Patronage,

Collecting and Court Taste, Ed. Jane Roberts, The Queen's Gallery, Exhibition Catalogue, 2004-5, no 271. T Chippendale, The Gentleman & Cabinet Maker's Director, 1763, pis CLII, CLIII, CLlIla J Mayhew and W Ince, The Universal System of Household Furniture, 1762, pi VI Sotheby's, London 19th November 1993. lot 16

This lantern relates very closely to three larger carved mahogany hanging lanterns which are in the Royal Collection in Buckingham Palace and were almost certainly supplied by William Vile to George III in 1763 when he is recorded in documents at the Palace as having supplied '8 mohog. Hexagon Lanterns' of almost identical design but on carved pedestals. The Royal hanging lanterns are surmounted by gilt bronze crowns and have gilt bronze brackets at the base. In The Gentleman's Magazine in 1802, they are recorded in the interior of what was then Buckingham House, where they hung in the Hall, and were described as 'Three very large and superb lanterns, in the fashion of forty or fifty years since'. In The Dictionary of English Furniture of 1924 there is illustrated another lantern of the same form and with the same gilt mounts, this one at Kensington Palace. Another, even larger version of this model was sold at Sotheby's in November 1993, also confidendy attributed to William Vile. This reputedly came from Culverthorpe Hall, near Grantham in Lincolnshire. Culverthorpe was a Jacobean house that was purchased by Sir John Newton Bt in the mid 17th century and which underwent considerable remodelling in the mid 18th century. It so happened that the Newtons were closely related to one of Vile's greatest patrons, the 1st Earl of Leicester of Holkham Hall in Norfolk, thus adding greater weight to the attribution. The overall form and carved detail of the Royal trio, the Culverthorpe lantern and the present example are strikingly similar. There are, however, the variations in scale and certain other aspects. The present lantern is surmounted by ribs of brass rather than of carved mahogany, yet the double scroll pattern and the detail thereof is the same. The Culverthorpe lantern has an arrangement of foliate carved ribs at the base as well as at the top, while the Buckingham Palace lanterns have gilt bronze brackets at the base. Stylistically, this model is exemplary of the Rococo spirit and reflects the published designs of Vile's contemporaries, Thomas Chippendale in his Gentleman and Cabinet-Maker's Director, and John Mayhew and William Ince in their Universal System of Household Furniture. Today, however, surviving examples of carved lanterns from that period are extremely rare.

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A superb George III satinwood and marquetry serpentine side table in the French taste, almost certainly from the workshop of John Cobb, the top cross-banded with tulipwood and inlaid at the centre with a ribbon-tied bouquet of flowers within an oval panel with broad rosewood border inlaid with interlaced roundels and floral motifs, the shaped frieze with central urn flanked by paterae at the front and with sunflowers at the sides, all draped with swags of husks, raised on most elegant, tapering cabriole legs i

cross-banded with rosewood and ending in ormolu sabots. English, circa 1775 The rear sabots replaced Height: 33 in / 84 cm Width: 57 in / 145 cm Depth: 28 in / 71 cm PROVENANCE Formerly in the collection of the 5th Marquess

of Anglesey (1875-1905), Plas Newydd, Llanfairpwll, North Wales Messrs Moss Harris & Sons Messrs Gill & Reigate Antiques (advertised by them in Apollo, May 1936) LITERATURE J de Serre, Country Life, 5 February 1927, An Inlaid Satinwood Table Illustrated The Journal of the Furniture History Society, 1974, pi 30b and pp 52-53, photograph

r in the Symonds Collection at the Henry Francis du Pont Museum, Winterthur

workshop. They are all designed in the 'French'

at Corsham which describes it as an 'extra neat

taste and made primarily of satinwood, having

inlaid c o m m o d e ' and this has become the point

central panels of marquetry flowers or fruits in

o f reference for subsequent attributions. A near

This beautiful, transitional table displays the

the top. They share also the distinctive cross-

replica o f the C o r s h a m c o m m o d e , apart from

very best manners of English and French

banded outlines in contrasting timbers and

certain marquetry detail, has passed through

furniture design combined. It is a highly refined

similar neo-cla.ssical inlay.

three distinguished collections, those o f the 1st

A lavishly inlaid b o m b e c o m m o d e , with pair o f

late Lord Leverhulme. Another, strikingly

Lord Tweedmouth, Col H H Mulliner and the

example of the successful union of the anglicised Louis X V style and the contemporaneous neo-classical revival. It is one of a select group

torcheres en suite, is recorded as having been

similar and also formerly in the Tweedmouth

of pieces of marquetry furniture that can be

supplied by C o b b in 1772 to Paul Methuen at

collection, is now in the Victoria and Albert

confidently attributed to John C o b b and his

Corsham C o u r t in Wiltshire. A bill is preserved

Museum.

AN IMPORTANT M A R Q U E T R Y S I D E TABLE BY J O H N C O B B

Continued

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The present table is nearly identical to a pair

they became Royal Cabinet-Makers. The firm

in the collection, of the Earl of Mansfield at

was noted for their fine carved mahogany

Scone Palace, which had previously been at

fiirniture of the early years of George Ill's reign,

Kenwood House. A pair of card tables with

in particular the celebrated jewel cabinet made

marquetry of fruit and a small occasional table

for Queen Charlotte in 1761. William Vile died

on cabriole legs are also members of the group.

in 1767. Thereafter it would appear that Cobb,

The neo-classical decoration is common to all,

the surviving partner, began producing furniture

as is the curvaceous, serpentine frieze, flowing

in the French manner, successfully interpreting it

in a continuing line to slender cabriole legs,

to accord with current taste.

which, in most instances, are shod with Rococo gilt bronze toes. All these tables are

Cobb is recorded as a 'singularly haughty

illustrated in The Furniture History Society

character' and 'one of the proudest men in

Jourral of 1974.

England' who appeared in 'full dress of the most superb and costly kind, strutting through his

The name of John Cobb was well known some

workshops giving orders to his men'. George III,

years before the likely date of this table as the

who 'smiled at his pomposity', 'frequently

partner of William Vile, with whom he operated

employed him for cabinet work of the most

from 72 St Martin's Lane from 1750. Together

elaborate and expensive sort'.

A PAINTED FOUR POSTER BED

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An elegant late 18th century four-poster bed with painted decoration in red, green, blue and off-white and with gilded highlights, the serpentine tester carved with a running pattern of acanthus and fan motifs, surmounted by a scrolled guilloche border, the posts of cluster column form, with collars of stylised leaves and with painted and gilded capitals and bases. English, circa 1780 With new hangings of oyster silk trimmed with hand-made braid, fringes and tassels and with new box spring and mattress. Height: 108 in / 275 cm Length overall: 78 in / 198 cm Width overall: 66 in / 168 cm

I N W O O D ARMCHAIRS

A fine pair of late 18th century Sheraton painted satinwood armchairs, the arched top rail decorated with ribbon and beading, the uprights with acanthus decoration, cornucopia and flaming torches, the arms and legs with foliate swags and garlands and the seat rail with central urn flanked by simulated fluting and paterae. English, area 1795 Height: 3772 in / 95 cm Width: 22 in / 56 cm Depth: 20 in / 51 cm

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A S A T I N W O O D SECRETAIRE C A B I N E T

A Hepplewhite secretaire cabinet in satinwood of exceptional colour and figuring, with panels of partridgewood, cross-banded with tulipwood and outlined with boxwood and ebony stringing; the upper section with an inlaid dog's tooth parquetry cornice above two glazed doors with urn and swag astragals; the lower section

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comprising a fitted secretaire drawer retaining its original gilded handles, opening to reveal an arrangement of small drawers, arched pigeon

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holes and secret compartments hidden by pilasters flanking a central cupboard, the writing surface inset with gilt tooled leather, above cupboard doors enclosing two fitted tray slides, raised on out-swept bracket feet.

English, area 1790 Now lined in silk and with glass shelves Height: 9 0 7 : in / 230 cm Width: 43'/4 in / 111 cm Depth: 22 in / 56 cm LITERATURE Illustrated C Musgrave, Adam and Hepplewhite Furniture, 1966, pi 173 George Hepplewhite did not live to see the publication of his Cabinet Maker and Upholsterers Guide'm 1788, two years after his

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death, but his name became, nonetheless, a household word. There are no actual pieces of furniture that can be identified as Hepplewhite products but the Guide was used widely by both London and provincial furniture makers. It epitomised the neo-classical style of the 1780's and illustrated so well Robert Adam's principle of uniting elegance with utility.

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This secretaire cabinet, which Malletts owned in the i960s, is based on features illustrated in the Guide. The inlaid cornice, the graceful fenestration, the oval inlaid panels and the tapering feet joined by a shaped apron all typify the Hepplewhite manner. The cabinet-making is of the highest order and much detail is discreetly incorporated into the overall, highly elegant form. The fall-front of the secretaire section is cleverly disguised as a pair of panelled drawers and spring loaded secret compartments are hidden behind neat pilasters inlaid with simulated stop-flutes. The urn shaped astragals are particularly beautiful and their distinctive configuration relates to a design in the 3rd edition of the Guide in 1794. pi 40.

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ry fine late 18th century mahogany

The name of Thomas Sheraton is synonymous

kfront bookcase in the manner of Thomas

with English furniture design at the very end of

embellishment of pediments, cornices and borders. Sheraton emphasizes the grain of the

aton, the upper section with domed cornice

the 18th century, although it appears unlikely

wood in his drawings, thereby promoting the

rated with a carved urn and scrolling foliage

that he ever had a workshop or produced any

virtues of using the natural character of the

ced by fluting, the recessed side sections

furniture himself Instead, his fame was born out

timbers to maximum effect and encouraging the

led by a carved guilloche band, each corner

of his book of designs entitled The

maker to employ the finest veneers.

lounted by a finely turned urn, above glazed

Maker and Upholsterer's

s; the lower section headed by a cushion

published in 1791. This was directed towards

Ided and ebony inlaid band above four

the trade and he advertised that he 'Teaches

Cabinet

Drawing-Book,

first

s, all with finely figured oval panels, the left

Perspective, Architecture and Ornaments, makes

central doors enclosing drawers with their

Designs for Cabinet-Makers and sells all kinds of

nal brass drop ring handles, the right hand

Drawing Books &c'.

d with a small secretaire drawer above ity-four small drawers inlaid with ivory

The dome shaped top appears in several guises

ues inscribed with the letters of the alphabet;

in Sheraton's repertoire and can be seen in the

used on square block feet.

pediments of cabinets, wardrobes, dressing tables, secretaries, beds and bookcases. In the

ish, circa 1780

case of this bookcase, it surmounts an

;ht: 9272 in / 234 cm

entablature carved with a classical urn flanked by

th: 6372 in / 161 cm

garlands of husks draped from rosettes, similar

th: 1972 in / 49 cm

to a number of his designs for the

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JARDINIERE

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A very rare 18th century green lacquer oval jardiniere on its original stand, bound with brass bands with oval brass ring handles, decorated all round with gold chinoiseries on a green ground depicting groups of figures, pavilions, flowers and a river landscape with a boat, the stand decorated with delicate gold hatchwork interspersed with stylised fan and ribbon motifs, all on a matching green ground, supported on unusual square cabriole legs with pointed toes raised on moulded block bases with inset castors, English, circa

1780

With modern brass liner Height: 24 in / 61 cm Length overall: 28'/: in / 72 cm Width: 19'A in / 49 cm

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A PEMBROKE TABLE IN THE MANNER OF HENRY KETTLE

A very fine quality late 18th century rectangular

T h e Pembroke table has many variations, being

Further labelled Pembroke tables are known

Pembroke table in the manner of Henry Kettle,

oval, rectangular or serpentine in outline and

and others, although unmarked such as the

the top with central oval inlay and rectangular

made in a wide range of timbers. An early

present example, can be associated with his

inlay on each flap, each panel veneered in burr

example was supplied by Chippendale to Nostell

work. His tables are characterised by a neat,

yew with rosewood cross-banding and box

Priory in 1766 but it was during the 1770's

rectangular format, often o f a smaller scale

stringing, all within a harewood ground, the

through to the 1790's that the form achieved its

than the present table, the use of the finest

outer edge cross-banded in kingwood with

greatest popularity.

geometric stringing, having a single, burr yew

timbers, predominantly m a h o g a n y and satinwood, and very fine inlaid work. T h e

veneered drawer in the frieze, raised on square

Henry Kettle's practice o f labelling much of

primary timbers would contrast with panels

tapering legs inlaid with box stringing and

his output has identified him clearly as the

o f highly figured burr veneers delineated by

terminating in brass box castors.

maker of certain pieces, such as those acquired

cross-banding and delicate stringing, usually

for Saltram H o u s e in Devon by J o h n Parker.

with an oval on the central section and

English, circa 1790

At Saltram is a m a h o g a n y secretaire bookcase

complimentary rectangular panels on the flaps

Height: 28 72 in / 72.5 cm

and also a fine Pembroke table in satinwood,

at either side. In this instance, the surfaces

Width open: 39 in / 99 cm

both bearing his label which advertises him as

have developed a rich patina over more than

Depth: 2974 in / 7 5 . 5 cm

' C a b i n e t Maker, Upholder & Undertaker'.

two hundred years.

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A rare George III satinwood and mahogany

English, circa

bookcase in the manner of Mayhew and Ince,

Height; 1017; in / 258 cm

1775

the upper section with fluted cornice above a

Width; 7 6 7 . in / 194 cm

frieze of stylised anthem ia and glazed doors

Depth; 22 in / 56 cm

enclosing adjustable shelves; the lower section with Vitruvian scroll frieze above two doors inlaid with marquetry of ribbon-tied swags of husks with paterae and vine tendrils within a cross-banded border with anthemia at each corner.

A PAIR OF D E M I - L U N E M A R Q U E T R Y SIDE TABLES

An extremely fine pair of late 18th century marquetry demi-lune side tables; the harewood tops inlaid with an intricate trellis design enclosing flower motifs, cross-banded with tulipwood and with ebony and boxwood diagonal stringing to the edge, the satinwood frieze inlaid with anthemia and ribbon tied swags of harebells, on square tapering legs, each inlaid on three sides with a rosette and pendant harebells and with a collar towards the feet.

English, circa 1775 Height: 34 in / 86.5 cm Width: 4772in / 120.5 cm Depth: 2172 in / 54 cm

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A late 18th century mahogany rectangular side table of shallow proportions, the top with fine flame figured veneers surrounded by cross-banding and stringing, the frieze with blind fret carving and rosettes at the corners, raised on cluster column legs with stylized leaf capitals and feet. English, circa

1790

Height: 3 6 7 , in / 92 cm Length: 65 in / 165 cm Depth: 18 in / 4 6 cm This table displays close similarities to a most unusual pair of demi-lune card tables made for William Jones of Clytha Park, near Abergavenny. These card tables came through Mallett's hands in 2004. They share similar blind fret decoration to the frieze and identical, very distinctive cluster column legs with stylized foliate detail. The card tables have a number of features, including these same cluster columns, which are illustrated in a drawing for a private altar made by Gillow's of Lancaster in 1790. Clytha Park was a Georgian house originally built for the Berkeley family of Spetchley, Worcestershire, and later bought by William Jones (1732-1805), whose family had an estate in nearby Llanarth. On the death of his wife, Jones took consolation in the remodelling of his house and park, which he chose to do in the gothic manner of the time. He also built an elaborate gothic folly on a ridge high above the house, as a retreat. It was the spirit of these developments that no doubt lead Jones to commission the tables. Unfortunately there is no evidence to prove that the present table also came from Clytha Park but, given the highly individual features mentioned, it is highly likely that they came from the same maker, possibly Gillow's.

E n ^ s h , cirea I 8 I 0 Heighn 3 5 7 - in / 9 0 c m W i d t h : 24'/- in / 6 2 c m D e p t h : 2 8 in / 71 cm

Towards the end o f the 18th century there was a

build the Marine Pavilion in Brighton. He was

during the Regency period when umbers employed

revived interest in Greek architecture. Henry

therefore in a position to commission fiarniture

were often dark in order to show o f f the finished

Holland was one o f the leading architects o f the

from the leading English and French cabinet-

brass and ormolu mounts to maximum effect.

period who designed interiors and furniture in

makers to fill his grand buildings. In a book o f

both the French and the Greco-Roman styles.

'office drawings' in the library o f the Royal

At Southill, Bedfordshire, there is a set o f gilt

After studying architecture he went to work for

Institute o f British Architects there are sketches for

armchairs in the manner o f Holland. Samuel

Capability Brown and was later employed by the

furniture, mirrors and pier tables designed

Whitbread inherited Southill in 1 7 9 6 and

Prince o f Wales, the fiiture Prince Regent. T h e

by Holland and the present pair o f large open

commissioned Holland to transform and

Prince took an avid interest in new architectural

armchairs are very much in his manner. Rosewood

redecorate the house and also to acquire

trends and in 1787 commissioned Holland to

was a popular wood with the cabinet-makers

furniture for it. T h e r e is a close stylistic

classical architecture to be used at Carlton House.

resemblance in design between the Southili

Woburn. It is veneered in rosewood with ormolu

chairs and the present pair. All are raised on

neo-classical mounts and a marble top. In the

sabre legs at the back and tapering legs at the

Marlborough Room at Althorp there are two

Most of Holland's furniture designs were never

front and they have identical scrolled backs and

long sideboards at each end. They were designed

published and those which have survived are few.

arms with similar rosettes. Holland also received

and supplied by Holland between 1785 and

It is unfortunate that he died at a time when the

important commissions to redecorate and make

1791. Perhaps his biggest task of all was to

revived classicism had established itself In the

furniture for Althorp, Carlton House, and

design Carlton House along with the furniture

year following his death in 1806 this style was

Woburn Abbey. T h e open bookcase which was

to go inside it. T h e architect Charles Heathcote

continued under Thomas Hope and his

made for the Duke of Bedford in 1790 is

Tatham was closely associated with Holland and

publication in 1807 of Household Furniture

situated in Queen Victoria's Dressing room at

was sent by him to make drawings in Rome of

and Interior Decoration.

A fine qualit)' eight light cut glass chandelier

candle arms leading to diamond-cut nozzles, th

with elaborate gilt metal mounts, possibly by

base densely hung with icicle drops and with

James Blades of London, the cresting hung with

central faceted ball finial.

festoons of icicle drops and with diamond and step-cut canopies with drops suspended from gilt

English, circa

chains, above strands of square faceted drops

Height: 48 in / 122 cm

descendins; to the receiver ring, with scroll

Diameter: 30 in / 7 6 cm

1815

A FINE PERRY C H A N D E L I E R

An unusual m i d 19th cciuury cut glass twelve-ligln chandclicr by Perry & C o , having two tiers of rope-twist branches supporting chrysanthemum no/.zlcs and pans, with large t

curved crooks above, suspending pear-shaped

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drops within rope-twist cartouches.

English, drcn

1860

Height: S6 in / 142 cm W i d t h : 36 in / 91.5 cm

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An early 19th century mahogany 'hunt' or wine table of traditional 'horse-shoe' form, with two coaster fitments on the original lacquered brass mounts and with a curtain rail, the surface of the table top of fine, faded colour and having small extension flaps at either side, with removable central leaf, raised on boldly turned and reeded legs ending in large brass cup castors. English, circa 1810 Coaster fitments replaced Height of table: 28 in / 71 cm Height of back rail: 43 in / 109 cm Width: 70 in / 178 cm Depth, flaps down: 36 in / 91.5 cm Depth, flaps up: 45'U

in / 1 16 cm

In the late 18th and early 19th centuries, at a time when 'intoxication was expected, as a matter of course, to conclude the evening's entertainment', it comes as no surprise that a great deal of thought went into providing furniture designed specifically for the purpose and to make such indulgence as comfortable and effortless as possible. Following designs by George Hepplewhite and by Gillow's of Lancaster, there evolved a form of 'horse-shoe' shaped or semi-circular table that was intended to stand in front of the fireplace. This would accommodate a group of gentlemen for after dinner drinking, where they could carouse in warmth and comfort, away from the company of the ladies. Such tables are traditionally known as 'hunt' tables. As is the case with many names used in the vocabulary of English furniture, this term is almost certainly of Victorian origin. By that time eating habits had changed considerably and meals become more orderly. Appropriate wines accompanying each course were served at the dining table rather than the earlier habit of being saved largely for post-prandial quaffing by the men alone. It is likely, however, that such tables were still used by the fire in the late afternoons in winter by huntsmen returning from the chase cold, tired and thirsty, where they could relax and discuss the day's sport.

A REGENCY DOUBLE-SIDED BOOKCASE

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A PAIR OF REGENCY CARD TABLES

An early 19th century double-sided dwarf

A pair of Regency brass mounted rosewood

veneers, satinwood banding and boxwood

bookcase in the manner of John McLean, in

demi-lune card tables in the manner of John

stringing, delicate brass inlay in some instances,

rosewood of fine figuring and colour

McLean, the frieze with recessed panels edged in

giltwood detail in others. T h e gilded mounts are

throughout, the top with rounded corners

brass with ribbed plaques at each corner, raised

finely chased and the fluted brass insets found,

surmounted by a pierced brass gallery, the sides

on tapering legs with brass collars and

for example, on his writing tables and bonheurs

with recessed panels with brass foliate borders

terminating in brass topie feet.

du jour are hallmarks of his work. T h e quality is consistent and the style is distinctive, standing

and centred with a large brass lion's head carrying handle, the shelves and column

English, circa 1820

out uniquely amidst the predominant, late

supports all with inset brass mouldings, raised

Height: 29'U in / 74.5 cm

neo-classical revival fashion of the English

on turned and tapering feet.

Width: 3 6 in / 91.5 cm

Regency era.

Depth: I7V4 in / 4 5 cm English, circa 1815 Height: 38 in / 96.5 cm

John McLean was one of the major names of

Width: 30'/2 in / 77.5 cm

London cabinet-making in the early 19th

Depth: 15 in / 38 cm

century. His work was influenced by furniture of the late Louis X V I and the Empire period and appealed to those who favoured the French taste. He advertised himself as specializing in 'Elegant Parisian Furniture'. McLean was also influenced by T h o m a s Sheraton and subscribed to his Cabinet Directory of 1803 which listed him among the master cabinet-makers. Citing a small work table by McLean, Sheraton writes: ' T h e design... taken from one executed by Mr M'Lean in Mary-le-bone street...who finishes these small articles in the neatest manner'. There exists a small group of labelled McLean pieces, including a secretaire in the Victoria and Albert Museum. There is also a considerable number of other pieces attributable to McLean's workshop. They all show a favour for rosewood

A S P E C I M E N W O O D C E N T R E TABLE

An exceptional William IV specimen wood centre table veneered in a radiating pattern with a large variety of exotic woods in tort)'-eight ogee tipped sections, within a border of burr walnut with ebony stringing and with a stylised Hower medallion at the centre, raised on a hexagonal mahogany pillar with scroll supports and standing on a mahogany concave-sided triangular platform base with large claw feet. The radiating pattern incorporates twelve different principal timbers, each repeated four times. The timbers include padouk, ash, birch, box, elm, olive, walnut, pear. East Indian â&#x20AC;˘satinwood and pine.

English, circa 18.M) Height: 307.- in / 77.3 cm Diameter: 60 in / 152 cm

T H R E E SMALL OCCASIONAL TABLES

A Regency period small circular occasional table

An early 18th century burr elm circular tripod

in burr yew, the top inset with a finely painted

table of exceptional colour and patination, the

porcelain plaque depicting a bouquet of spring and

circular t o p resting on a ring-turned stem, on

s u m m e r flowers within a foliate cast brass border,

carved tripod supports with carving on the knees

raised on a triangular stem with plinth also

and inner scrolls, ending in pointed pad feet.

m o u n t e d with foliate brass borders and standing on a concave triangular base with bun feet.

English, circa 1730 Height: 2872 in / 72.5 cm

English, circa 1820 Height: 29 in / 74 cm Diameter: IS'A in / 39 cm

Diameter: 17 in / 4 3 cm

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A REGENCY MARBLE FIRE SURROUND

A fine early 19th century Sienna, Portor and Carrara marble fire surround, the shelf and borders of white Carrara, the cornice and tapering panelled sides of Sienna, all on a ground of Portor marble.

English, circa 1825 Overall height: 48'A in / 124 cm Overall width: 61 in / 155 cm Height of aperture: 38^4 in / 98.5 cm Width of aperture: 36'/j in / 93 cm Maximum depth: 7'A in / 19.5 cm Above the fireplace hangs a portrait by Joseph Wright of Derby, oVf^ 1755

A MASSIVE CIRCULAR HALL LANTERN A late 19th century brass circular hall lantern of exceptionally large scale and in the Louis XVI manner, with palmette finials at the top surmounted by arched, leaf cast supports, the curved glass panels hung with ribbon-tie garlands of beads and tassels, the moulded frame with balustrade gallery and foliate pendant finials at the base, retaining its original four-light fixture.

English, circa 1880 Overall height: 5672 in / 143 cm Diameter: 30 in / 76 cm Overall width: 33'/j in / 85 cm

A PAIR OF G E O R G E IV BRASS C A N N O N

A pair of early 19th century brass cannon on their original painted wooden carriages with original brass mounts throughout, each barrel engraved with the badge of the Order of the Garter and its the motto Honi soit qui mal y pense surrounding the monogram of George IV. One carriage is stamped 1 and inscribed above the cascabel 'Bomber', the other is stamped 2 and inscribed 'Bouncer'. English, circa 1830 Length: 45 in / 114 cm Width: 19'/2 in / 49.5 cm

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A C H I N E S E MIRROR P I C T U R E OF A PASTORAL S C E N E

Conthmed

A late 18th century mirror p a i n t i n g o f s u p e r b

for decoration by local painters in a technique that

T h e C h i n e s e themselves used prints o f earlier

quality, d e p i c t i n g two elegantly dressed C h i n e s e

b e c a m e known as 'back painting'. T h e process

a n d c o n t e m p o r a r y E u r o p e a n paintings as

ladies p o s i n g as shepherdesses and seated

involved the artist tracing the outlines o f his

m o d e l s , thereby i n t r o d u c i n g g r o u p s o f

beneath a tree within a lakeside landscape, with

design then removing the a m a l g a m o f tin and

often depicted in Arcadian settings and

their Hock a r o u n d t h e m and a farmer

mercury with a steel tool to leave areas clear for

reminiscent o f the English conversation piece,

a p p r o a c h i n g with his b u f f a l o , the lake b e y o n d

scenes to be depicted, usually in oil paint.

but always in their own special vein. T h e result

figures,

was a u n i q u e fusion o f C h i n e s e and Western

s u r r o u n d e d by trees a n d with m o u n t a i n s in the T h e principle o f painting on glass was p r o b a b l y

elements. In this particular picture two m o s t

introduced to C h i n a through Jesuit missionaries,

elegant C h i n e s e ladies are placed within a

C h i n e s e , circa 1 7 8 0

w h o had first arrived there in the late 16th

bucolic theme, a c c o m p a n i e d by a g r o u p o f sheep

In carved giltwood f r a m e o f later d a t e

century. In the 18th century, the Jesuit

a n d a farmer with his ox, all in an idealised

F r a m e d : 3 5 x i T L in / 8 9 x 8 2 c m

G i u s e p p e C a s t i g l i o n e (or L a n g Shih-ning)

lakeland setting. C h i n e s e mirror paintings o f this

further p r o m o t e d the practice. A n a c c o m p l i s h e d

k i n d provide pictures o f a m o s t individual

T h i s highly decorative facet o f Chinese export art,

artist h i m s e l f he learned to paint on glass a n d

decorative quality and a t m o s p h e r e , the

the painted mirror, answered the d e m a n d for

silk, mainly with subjects o f trees, fruits a n d

u n a d o r n e d reHective b a c k g r o u n d e n h a n c i n g the

pictures to suit the 18th century fashion in Europe

animals. H e g a i n e d the favour o f two e m p e r o r s ,

m i n u t e detail o f the subjects.

for interiors in the 'Chinese taste'. Plates o f

Y u n g - C h e n g and Ch'ien L u n g , f r o m w h o m he

mirrored glass were shipped to C h i n a specifically

received personal c o m m i s s i o n s .

far distance.

A PAIR ()!â&#x20AC;˘ J A l ' A N h S E ( ; i l . l W O O D

A pair of late 19th ccntiiry Japanese baluster

F I . O W h R S IN

VASES

The vases and flowers: Japanese, circa

form lacquered pottery vases decorated with gilt

Height: 4 3 in / 109 cm

geometric patterns on a black ground with inset

Width: .30 in / 7 6 cm

foliate vignettes with gilt exotic birds on the centre face both at the back and front. The vases now contain arrangements of large gilt wood lotus Howers carved in different stages of development.

92 UK.

1880

A RARE COLLECTION OF CHINESE WATERCOLOURS

A selection from a collection of

fifty-seven

late

Sir Joseph Banks was a British explorer and

delegation on a voyage around the world with Captain James C o o k , during which time they

18th-early 19th century watercolours depicting

naturalist who, as long-time President of the

birds, flowers, fruits and fish.

Royal Society, became known for his support of

landed in New Zealand, at Poverty Bay, in 1769.

Chinese, circa

the advancement of science. Banks studied at

While there. Banks described a great number of

1790-1810

Oxford from 1760 to 1763, during which time

plants found in the area and wrote detailed

PROVENANCE

he inherited a considerable fortune. After

descriptions of the Maori people who lived

Formerly in the collection of the Right

graduating, he travelled to Newfoundland and

there. His .scientific account of the voyage and its

Honourable Sir Joseph Banks Bt, K C B , FRS.

Labrador in 1766, collecting plants and other

discoveries sparked considerable interest in

(1743-1820), President of the Royal Society.

specimens. In 1768, he led the Royal Society

Europe, encouraging European settlement near

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A RARE C O L L E C T I O N O F C H I N E S E W A T E R C O L O U R S

Continued

the Pacific Islands. In 1781 he was made a

This collection was obtained through the

Framed size o f largest:

baronet and in 1795 a Knight Commander o f

connections that Sir Joseph Banks made in

207, X 19'A i n / 5 1 . 5 x 4 9 cm

the Bath. In 1793 his name was given to the

China in the 1790's. They were painted by

Banks Islands, near Vanuatu in the Pacific, by

skilled but unidentified Cantonese artists at that

Framed size of smallest:

Captain Biigh ( o f ' M u t i n y on the Bounty'

time, the depictions o f birds in trees being the

9 7 , X 14 i n / 25 x 35.5 cm

fame) who first explored them.

earliest in date and the fish slightly later.

K-

a laoei e n t i t i e a

by the Rt Hon Sir ml Societ\ (PARI

nks, Presid b t a i n c d rh C h i n a berv

Europeans arriving in C a n t o n and Macao in the

depicted in the watercolours of the .A.nglo-

their fragile nature. Whilst the thin paper

late 18th century created a demand for

Chinese School. Here was the resource from

enhanced the delicacy of the flowers, fruit and

illustrations of exotic natural things that they

which many plants and seeds were sent back to

foliage and the graceful lines with which they

wished to commission to send home. T h e East

Europe, with mixed success due to the frailties of

were drawn, many of the inks and pigments

India C o m p a n y staff, some being keen botanists

the plants once on board ship.

used also became unstable. T h e colours of this collection are still stronc and fresh.

and collectors, acquired a number of albums of watercolours. O n a period map of C a n t o n can

This collection of watercolours is in remarkable

be seen such features as the well known Fa-tee or

condition, having been carefully preserved in a

flower gardens. T h e gardens were ver}' popular

folio, rather than glued and bound in an album.

and by 181" access was only offered to

.\rtists of the .\nglo-Chinese School would draw

foreigners on one day a week. In effect, these

on paper so thin that it is translucent and a large

gardens were a group ot private nurseries

number of the watercolours from the late 18th

displavine the flowers and plants typically

and earlv 19th centurv have not survived due to

\\V i r e ^ratcml to .Mr ChriMopher .Mills. N a r u r i i Histor> â&#x20AC;˘Museum. London, tor his assisrancc with this research.

A PAIR OF JAPANESE LACQUER ETAGERES

A rare pair of mid 19th century Japanese black

cabinet in the base having recessed panels

and gold lacquer etagere cabinets, the back

Japanese, circa

framed by serpentine borders all decorated with

panels decorated with raised lacquer gilt

Height: 67 in / 170 cm

floral ornament. The etageres are mounted

branches and exotic birds, the doors to the

Width: 41 in / 104 cm

throughout with silver plate hinges and locks.

Depth: 14 72 in / 37 cm

1840

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AN I N D I A N DYED A N D PAINTED C O T T O N PANEL

A panel of early 18th century dyed and painted cotton, depicting a vase of flowers beneath branches of exotic flowers and foliage, all in shades of red and blue. Indian, circa 1710 Framed: 5274 x 37 in / 133 x 94 cm

100

I Hora robe a n d szreen sash.

Chinese, circa 1830 Heisrht: \T 2 in / 32 cm

AN IVORY FACE SCREEN

An early 19th century Anglo-Indian ivory face screen, the turned stand with finely carved foliate, beaded and gadrooned detail and with a turned ivory screw for height adjustment, the octagonal screen inset with a delicately worked silk embroidery panel depicting a bouquet o f [lowers.

Anglo-Indian, circa

1830

Height as shown: 2 0 in / 51 cm '"'TiuiaiiiiiitiillhT'

i i i i i ' i s

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TOIIiUii-w alii;

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A LANDSCAPE OF HAARLEM

•

A LANDSCAPE OF HAARLEM

â&#x20AC;˘

Continued

A Landscape o f H a a r l e m .

paintings k n o w n by h i m , and is his only securely

so that it is barely discernible. T h e discovery o f

Drovers w i t h their animals w a l k i n g o n a path

attributable topographical view.

the present p a i n t i n g suggests that the L o n d o n d r a w i n g is probably a little later than the years

along the Spaarne, the C i t y o f Haarlem in the T h e view is along the Spaarne river f r o m the east

distance.

1635-42 to w h i c h Keyes assigns it.

b a n k l o o k i n g n o r t h towards the cathedral o f St By Cornelis Hendricksz. V r o o m ( H a r l e m , circa

Bavo. T h e track r u n n i n g along the river is the

V r o o m is recorded to have painted a lantschap

1591-1661)

Schalckwyckerwech. V r o o m may have based this

for the C i t y o f Haarlem which one m i g h t

Signed a n d dated 1646 lower right

p a i n t i n g o n a d r a w i n g that he m a d e o f the same

reasonably assume to have been a topographical

O i l o n canvas: 43'A x 58 in / 109.5 x 147 cm

view in the British M u s e u m (inv. 1836.8.1 1.563;

view, but this is recorded in a d o c u m e n t o f

Framed: 52'U

see G S Keyes, Corneilis

x 67'/- in / 132.5 x 171.5 c m

Vroom: Marine

and

Landscape Artist, A l p h e n 1975, vol 1, page 91, PROVENANCE

vol 2, p p 223-224, n o D 2 1 , reproduced fig 55,

T h e Reverand Aston Legh W h i t l o c k , by circa 1900

although it is more likely that the

Thence by inheritance.

drawing and the present p a i n t i n g were b o t h

finished

m a d e in the studio from lost sketches. In This is an i m p o r t a n t a d d i t i o n to Cornelis Vroom's painted oeuvre o f less than fifty surviving pictures. It is one o f o n l y six dated

106

Vroom's d r a w i n g the A m s t e r d a m port is clearly to be seen o n the far b a n k o f the Spaarne, but in the present p a i n t i n g he reduccd its p r o m i n e n c e

1639, and thus c a n n o t be the present work (sec Keyes, op. cit. p 2 0 3 , n o IP 3)

'J'^r

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A LOUIS XIV EBONY MIRROR

108

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A PAIR OF GILT B R O N Z E CANDELABRA

A pair of gilt bronze early neo-classical four

French, circa 1770

branch candelabra on a central stem with

Height: 22 in / 56 cm

applied foliate decoration surrounded by three

Width: 1.3 i n / 3 3 cm

fluted scroll arms mounted with acanthus leaf, each socle and drip pan cast with further

LITERATURE

acanthus leaf decoration. T h e candle arms are

cf: Vergoldete Hronzen, Vol I, pi 4.11.10 for a

supported by a classical vase hung with swags

comparable pair of chenets.

and standing on hoof feet, the whole resting on a fluted circular plinth with a bound reed motif around the base. T h e design is attributed to Jean-Charles Delafosse.

^I'-

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TWO SPANIELS WITH A PARROT

A charming group depicting two King Ciiarles

soon renowned for his still life subjects depicting

spaniels, one asleep upon a ricii cushion the

fruit and flowers, birds and animals. Q u e e n

other iooi<ing towards a red parrot seen perched

Mary was a great admirer and several of his

above a split melon.

works can be found at Hampton Court. He died in Finchley, North London in 1724.

Circle of Jakob Bogdani (1660-1724) English, circa

1720

Oil on canvas: 30'A x 3 4 7 ; in / 78 x 87.5 cm Framed: 3874 x 4 3 7 : in / 98.5 x 1 10.5 cm Jakob Bogdani was born in 1660 in Eperjes, Hungary. He lived and worked in London at the turn of the 18th century under the reigns of William and Mary and of Q u e e n Anne and was

PAIR O F C n i T W O O D T R A N S I T I O N A L

BERGERES

A good pair of finely carved transitional giltvvood bergeres ha\ ing horseshoe shaped hack carved with low relief gadrooning and a floral cartouche at the crest of the back. The scroll arms sweep down to a frieze of fluting which continues throughout the seat rail. The bergeres stand on fluted cabriole legs with further foliate carving at the knee. French, circa 1765 Height: 34 in / 86 cm Width: 28 in / 71 cm Depth: 24 in / 61 cm

SIX PAIRS O F A N G L O - D U T C H GILT L E A T H E R PANELS

I wo pairs trom a set o f Six pairs of m i d 18th century gilt and polychromc leather panels. Three pairs depict a squirrel seated below a dolphin fountain with an ornamental vase above enriched with an array o f flowers along with subsidiary scrolls and Howers. Three further pair depict a white parrot and an exotic bird and in between these a grotesque spouts water into a shell, surrounded bv further scrolls and floral

Anglo-Dutch, circa 1740 Framed: 50 in x 25 in / 127 cm x 63.5 cm

A LOUIS XVI BEDSIDE C O M M O D E

A late Louis X V I finely figured mahogany bedside commode, the top rising to form a reading easel and framed on three sides by a pierced gallery, having four drawers below and standing on four tapering column legs with lacquered brass capitals and feet, the legs supporting a lower platform.

French, -

circa

1780

Height: 31 in / 79 cm Width: 24 in / 61 cm Depth: 18 in / 46 cm

ii "•l-f^: •

• A-:.-.

116

AN ARCADIAN SCENE ATTRIBUTED TO CLAUDOT

An arcadian scene with figures in the foreground

Malgrande and also on the Salle de la Comedie

set before a ruined temple with an aquatic view

in Nancy. He went to Paris in 1766 to finish

beyond.

his studies and joined the studio of Joseph Vernet with whom he became friends and stayed

Attributed to Jean-Baptiste Claudot

until 1769 when he left tor Nancy. These three

French, circa

years in Paris were incredibly important for

1790

Oil on canvas: 27 x 3 7 7 : in / 68.3 x 95.5 cm Framed: 31'/.. x 42 in / 80 cm x 107 cm

Claudot who was influenced by Vernet's Italianate landscapes and marine paintings with their wonderful rendering of early evening

Jean-Baptiste Claudot (1733-1805) studied

light. Although he painted religious subjects

under Jean Ciirardet and Charles Joly whilst

and still-lifes it was his landscape painting that

working under their direction on the Chateau dc

earned him renown in his lifetime and after.

A rare pair of Louis XVI Sevres biscuit female figures representing La Melancholic and La Meditation, each depicted leaning on a classical column, La Meditation is reading and La Melancholic is reflecting upon a dove. Each has a gilt bronze wreath around the base of the column and stands on a delicately drawn gilt bronze plinth. La Meditation bears the inscribed letters LR for Le Riche, the head of the Sevres sculptors' workshop around 1780.

French, circa 1780 Each with minor restorations Height: 14 in / 36 cm La Meditation was modelled by Simon-Louis Boizot (1743-1809) in 1775 and La Melancholic bv Eticnne-Maurice Falconet (1716-1791).

I 19

A LOUIS XVI C O N S O L E D E S S E R T E

A fine quaiit)' Louis XXT brass mounted

console retains its original Bleu Turquin marble

mahogany console desserte with a single drawer

tops which have unusual pierced brass galleries

in the frieze o f matched flame veneer bordered

with a frieze of hearts.

with a brass moulding and flanked by machined brass rectangular panels, the sides being concave

French, circa 1770

and similarly fashioned to the front, standing on

Height: 37 in / 94 cm

brass fluted column legs raised on turned

Width: 55 in / 140 cm

tapering feet with brass enrichments. T h e

Depth: 1 7 7 , in / 4 5 cm

/s..s .-.s / sv.sv.v/v/.v/.v.is

i 2

fc.

120

Uii'-

121

A PAIR O F E M P I R E O F F I C E R ' S T A B L E S

A very rare pair of Empire parcel gilt Officer's tables constructed as ' X ' frames with each end having a gilt bowing swan capital and gilt attenuated bat wing enrichments to the scroll feet. T h e legs are otherwise decorated in faux bronze and joined by a similarly decorated stretcher. T h e tables retain their original simulated verde antico wooden tops.

French circa

1810

Height: 2 8 7 , in / 7 2 cm W i d t h : 3 6 7 2 in / 9 3 cm Depth: 2 2 72 in / 57 cm

iSc!.

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•

123

^ / , i // /

A RUSSIAN DISPLAY C A B I N h l

A n u n u s u a l m i d 19th c c n t u r y Russian brass i n l a i d m a h o g a n y display c a b i n c t , the t o p stepped a n d bordered w i t h a brass m o u l d i n g , the sides decorated w i t h an i n l a i d , brass m o u l d i n g w i t h inxerted corners a n d paterae. T h e front is Hanked bv brass i n l a i d Hutes a n d the doors are glazed in the u p p e r section w i t h brass astragals, above an o r n a m e n t a l m a h o g a n y p a n e l , decorated w i t h brass s t r i n g i n g j o i n i n g an elaborate central patera. T h e w h o l e stands o n square, t a p e r i n g b l o c k k-et w i t h brass sabots.

Russian, circa

1850

T h e base n o w fitted w i t h m a h o g a n ) ' drawers l i n e d w i t h bai/x* for cutlery. H e i g h t : :'2 i n / 18.3 c m W i d t h : 52 in / 132 c m D e p t h : 14 in / 3 6 c m

AN EMPIRE OBELISK

CLOCK

A fine q u a l i t y E m p i r e m a r b l e obelisk clock in B i l b a o C o n c h l F e r o u s m a r b l e s u r m o u n t e d by a w h i t e m a r b l e ball finial, the f r o n t face m o u n t e d w i t h a gilt b r o n z e m a r t i a l m o u n t a n d gilt b r o n z e

t\ h A'

/.Lj A'

w r e a t h a r o i m d the dial. T h e c l o c k stands o n claw feet above a rectangular p l i n t h in black a n d white marble m o u n t e d with machined bands o f gilt o r n a m e n t .

I-rench, circit 1 8 1 0 H e i g h t : 2 4 7 . in / 6 2 c m W i d t h : 1 0 7 , in / 2 6 c m [")epth: 6 ' A i n / 17 in

'm&^miwm.

A LARGE SCALE PAIR OF CAPRICCIO B U C O L I C S C E N E S

A large scale pair of late Louis XVI capriccio

Hubert Robert (Paris 1733-1808) can be seen to

wealthy bourgeoisie, at a time when interior

bucolic scenes. In one picture figures are shown

have followed the landscape tradition of Claude

decoration in a less formal and more intimate manner was becoming very fashionable.

seated around the exterior of a palace gathering

Gelee (Lorrain). Among his contemporaries was

washing and toying with a dog. In the distance,

Jean-Honore Fragonard Grasse (1732-1806).

a lake and mountains can be seen between the

They shared an interest in sketching en plein air

trees and the rusticated palace exterior. In the

compositions with architectural structures in a

other picture a group of children and a dog are

natural landscape setting. Towards the end of the

depicted upon a make shift see-saw with a

1770's Robert was reputed as one of the most

further figure in the distance, beside a lake

talented painters of landscapes and architecture

amid lines of trees.

in France. In 1778 he received the title Dessinateur des Jardins du Roi and some years

Attributed to Hubert Robert

later his Paris studio was particularly in vogue,

French, area 1780

receiving royal commissions (Queen Marie-

Oil on canvas: 95 x 40 in / 241 x 101.5 cm

Antoinette counted him among her favourite

Framed: 101 x 45 in / 256.5 x 114.5 cm

artists) as well as those from the aristocracy and

126

127

A PAIR OF NEAPOLITAN CONSOLE TABLES

128

-J

129

A PAIR O F NEAPOLITAN C O N S O L E TABLES

Continued

A rare and imposing pair of early 19th century mahogany console tables, each having a single drawer in the frieze which is of unusual flared outline. The tables are supported by column pilasters at the back and finely and naturalistically carved seated hounds at the front, each with an integral collar. The whole stands on a concave fronted plinth which terminates at the back with block feet and at the front with boldly carved ball feet with acanthus leaf enrichments.

PROVENANCE Possibly made for the Palazzo Reale in Naples. LITERATURE c f . II Mobile Impero in Italia, Arredi e Decorazioni D'Intemi dal 1800 al 1843, Enrico Cole, pp 72-73, for tables of identical design with the same marble tops.

130

A CHARLES X ETAGERE

A very fine quality Charles X four tiered etagere,

French, circa 1830

the top enriched with a pierced gallery on three

Height: 38 in / 96.5 cm

sides and a frieze with a single drawer lined in

Width: 45 in / 114 cm

mahogany, the exterior veneered with boxwood

Depth: 16 in / 40.5 cm

stringing and elaborate foliate paterae, the lower tiers supported by columns at the front and square pilasters at the back which flank a carved and pierced foliate panel. Each element is veneered in elaborately figured rosewood and enriched with fine boxwood stringing.

131

A WILLIAM IV BUHL W R I T I N G TABLE BY TOWN & E M A N U E L Overleaf

132

A very rare and unusual late William IV buhl writing table employing ebony and rosewood as a ground to the brass marquetry, the top decorated with musical vignettes and floral arabesques inspired by Jean Berain. The frieze conceals a drawer on each side and is decorated with foliate ornament against a brass ground. The writing table stands on rectangular, tapering columns supported by a plinth base and joined by a shaped stretcher. Bearing the trade label of Town & Emanuel. English, circa 1840 The contre partie pair to this table is now at Hinton Ampner, Hampshire, a property of the National Trust Height: 30 in / 7 6 cm Width: 4 6 in / 117 cm Depth: 2672 in / 68 cm Town & Emanuel set up their business as cabinet-makers in New Bond Street in 1830. In the 1830s and 1840s it was not uncommon for firms to stamp or label their furniture. However, Town & Emanuel's label was more elaborate than most and describes them as 'Manufacturers of Buhl Marqueterie, Riesner & Carved Furniture, Tripods, Screens &c. of the Finest & Most Superb Designs of the Times of Louis I4th. Splendid Cabinets & Tables inlaid with Fine Sevre & Dresden China &c.' The label also advertises their Royal Appointment to Queen Adelaide and the wide scope of their business. As manufacturers of revivalist furniture, Town & Emanuel chiefly cultivated the British aristocratic taste for the styles of the French ancien regime. One of their principal specialities was 'buhl'. They were particularly successful at buhl writing desks and typical of their work is an example at Burghley House which was made in the 1830's and is apparently unlabelled. It may be attributed to Town & Emanuel on account of its similarity to a labelled piece which has passed through the trade.

133

A W I L L I A M IV B U H L W R I T I N G T A B L E BY T O W N & E M A N U E L

A highly fashionable clientele was attracted to

Continued

the catalogue o f their sale and n u m e r o u s pieces

T o w n & E m a n u e l d u e to the firm's stock o f both

they had acquired can be identified and traced to

a n t i q u e a n d m o d e r n furniture, porcelain, lacquer

various well k n o w n collections, such as those

and other decorative items. T h e i r clients

sold from Wanstead ( 1 8 2 2 ) , Fonthill ( 1 8 2 3 ) or

included the Royal Family at O s b o r n e and the

Stowe ( 1 8 4 8 ) . Even t h o u g h there is still m u c h

D u k e o f Sutherland w h o b o u g h t buhl a n d

u n k n o w n a b o u t the firm, the evidence from

m a r q u e t r y tables for Stafford H o u s e in 1 8 3 6 ,

their sale catalogue and their o u t p u t identified so

a m o n g s t m a n y others. Francis CJibson o f S a f f r o n

far suggests that they were o n e o f the m o s t

Walden, an a n t i q u a r y a n d collector on a

p r o m i n e n t and versatile firms to address the new

relatively m o d e s t scale, knew the s h o p and

d e m a n d s o f the 1830's and 184()'s in L o n d o n .

m e n t i o n e d their 'magnificent furniture' in 1 8 3 5 and visited them again in 1 8 3 6 in a hunt for tapestries and furniture.

In 1 8 4 9 T o w n & E m a n u e l sold their business d u e to E m a n u e l ' s ill health. M o s t o f the i n f o r m a t i o n regarding them is gathered through

134

M A R B L E P O R I R A I T B U S T O F M A D A M E D U BARRY

A fine mid 19th century wiiite marble portrait bust of Madame du Barry on its original Breciie de Benou Jaune marble plinth.

French, circa 1850 Height: 28 in / 71 cm Width: 21 in / 53 cm Jeanne Becu (1743-1793) was born into obscurity, the illegitimate daughter oFa monk and a cook, who was reared by the Sisters of Sainte-Aure in Paris. After working as a shop girl in M a d a m e Labille's boutique in the rue Neuvedes-Petits-Champs, she was noticed by Jean du Barr\' who took her as his mistre.ss and, in 1768, introduced her to Louis XV. On the Kings order she was married to Jean du Barry's brother, C o m t e Guillaume du Barry. She was presented at court the following year and settled in Versailles. Jeanne du Barry was L.ouis XV"s official mistress until his death in 1774 and the last of the French royal favourites, succeeding Madame de Pompadour. For foiu' years she was feted as one of France's most beautiful women and patron of artists such as Fragonard and Vernet. O n Louis XV's death she became \ iilnerable to those who secretly longed tor her downfall. Marie Antoinette had her imprisoned and in 1793 she was executed by the Revolutionary Iribimal for her aristocratic associations.

M>i •m

& a.

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mM 1

A pair of northern European gilt bronze and tole atheniennes, the bronze patinated tole covers enriched with neo-classical gilt bronze mouldings and s u r m o u n t e d by over-scale flame finials, the bodies m o u n t e d with a pierced gilt bronze scroll border terminating in foliate motifs, the base of the bowl having a pineapple finial m o u n t e d u p o n rows of alternate bright burnished and matt reeding. T h e y stand on a tripod of finely wrought legs with boldly modelled ram's head capitals and terminating in double hoof feet, raised u p o n a concave tripod plinth terminating in bun feet.

Probably Swedish, drai

1810

Height: 27'/; in / 70 cm W i d t h of base: 6 in / I S cm Overall width: 11 in / 28 cm

137

Q U E E N V I C T O R I A ' S PETS

A m i d 19th century w o o l w o r k and plush e m b r o i d e r e d picture depicting Q u e e n Victoria's hivourite pets, after the oil p a i n t i n g in the Royal C o l l e c t i o n by Sir E d w i n Landseer, R A , R l ( 1 8 0 2 - 1 8 7 3 ) . Lory the macaw is perched with a pair o f lovebirds above the Skye terrier, Islay, in b e g g i n g pose, and the spaniel, D a s h , reclining o n a c u s h i o n . A glimpse o f O s b o r n e house can be seen in the fiir distance.

E n g l i s h , circa 1850 F r a m e d : 4 7 ' A x 4 0 7 . in / 120 x 102 c m

138

A P O R T R A I T O F M A D E M O I S E L L E D U M A S BY M A D E L E I N E L E M A I R E

A portrait ot Mademoiselle D u m a s shown three

portraits, figural studies, nudes, still lives,

regularly held a .salon where she exchanged ideas

quarter length wearing a grey silk dress, a blue

watercolours, pastels and illustrations.

and thoughts with artists, musicians and writers.

She was a pupil of M a d a m e Jeanne Mathilde

particularly admired.

silk choker and holding in her arms a terrier.

Her paintings and watercolours ot Howers were

Signed upper left

Herbelin and later ot Jules C h a p l i n . She started

1-rench, circa 1890

her career at the Paris Salon in 1864 with an

As a d r a u g h t s w o m a n and illustrator she

Oil on canvas: 31 x 21 in / 79 x 5 3 cm

acclaimed portrait and in 1900, at the

collaborated on the Gazette des Beaux-Arts

Framed: 41 x 31 in / 104 x 79 cm

Exhibition Universelle, she was awarded a silver

La Vie moderne. A m o n g her prolitic work as an

medal. From 1890 she was a m e m b e r of the

illustrator is thai for I. 'Art d'Htre Grand-pere bv

Madeleine Jeanne Lemaire (1845-1928) nee

Societe Nationale des Beaux-Arts and in 1906

Victor H u g o and her (reind Marcel Proust's

C^oll, was renowned as a painter ot genre scenes.

she was awarded the Legion d ' H o n n e u r .

Les PLtisirs et les Jours.

She

and

139

A LOUIS PHILIPPE STOOL

An unusual mid 19th century serpentine stool of large scale, each face lavishly decorated with gilt and polychrome enriched mother-of-pearl floral o r n a m e n t , having a stylised high relief carved scroll at the centre of the frieze at front and back, standing on cabriole legs terminating in scroll feet, the scat upholstered in deep b u t t o n e d silk.

French, circa 1845 Height: 19 in / 4 8 cm [.ength: 4 6 in / 117 cm D e p t h : 25 in / 6 3 cm

140

141

A T O L E CHERRY TREE

A most unusual life size and naturalistically rendered tole model o f a cherry tree shown in

blossom with white petals and pink stamens. The trunk is modelled with thick bark and simulated pruning scars.

French, circa 1 9 3 0 Height: 9 4 in / 2 . 4 m M a x i m u m width: 6 0 in / 152 cm

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M A L L E T T PLC

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Director

Ainslie Aitken N i c h o l a s Kilner

M A L L E T T AT B O U R D O N H O U S E 2 D a v i e s Street London W 1 K 3 D J

A PAIR OF B R O N Z E S D E P I C T I N G EROS AND PSYCHE

Telephone: + 4 4 (0) 2 0 7 6 2 9 2 4 4 4 A pair o f E m p i r e bronzes d e p i c t i n g male a n d

Fax: + 4 4 ( 0 ) 2 0 7 4 9 9 2 6 7 0

female c r o u c h i n g winged figures representing T h o m a s W o o d h a m - S m i t h Managing H e n r y Neville John Smith

Director

Eros a n d Psyche, each rendered in fine detail a n d retaining their original patination.

Director

Felicity Jarrett Associate

Director

French, circa 1 8 1 0

Fiona Barker

Height: 9 in / 2 3 c m

Timothy Langston

W i d t h : 9 in / 2 3 c m D e p t h : 5 in / 13 c m

M A L L E T T INC 9 2 9 M a d i s o n Avenue, At 7 4 t h Street

I he model after A n t o i n e - D e n i s C h a u d e t

N e w York,

(1763-1810).

N Y 10021 l e l e p h o n e : +1 2 1 2 2 4 9 8 7 8 3 Fax: +1 2 1 2 2 4 9 8 7 8 4 J a m e s Harvey

President

Charles Mackinnon R o b i n C^lements

ÂŠ Mallcrt i d O S D e s i g n e d by Theo H o d g e s D e s i g n C"i)nsul[.ints Printed by B A S , T-ngland.

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