Mallett Antiques - Luxury and Leisure

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LUXURY & LEISURE

MALLETT IX)M)C)N-I\i:\l

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MALLETT IN BOND STREET Mallett was founded in Bath in 1865 and has been estabUshed in Bond

M A L L E T T

Street in London since 1910. There are five floors o f showrooms and galleries here displaying the finest English antique furniture, as well as Objets d'art, paintings and glass. Every item, large or small, is selected for its quality, rarity and individual charm.

141 New Bond Street, London W I S 2BS Tel: +44 (0) 20 7499 7411

Fax: +44 (0) 20 7495 3179

MALLETT AT BOURDON HOUSE In 1962 Mallett acquired Bourdon House in Mayfair, which houses the second major part of Mallett's business. Within its 18th century interiors is shown a fascinating and more eclectic range of high quality continental furniture, together with precious and decorative objects. Garden furniture and statuary are displayed in a small courtyard.

2 Davies Street, London W I K 3DJ Tel: +44 (0) 20 7629 2444

Fax: +44 (0) 20 7499 2670

MALLETT IN MANHATTAN In the spring of 2003 Mallett opened new premises at 929 Madison Avenue, New York, where there are extensive showrooms offering a regularly changing selection o f fine pieces drawn from the two London shops. This business operates as a close link with London and acts as a portal to the treasure houses of our international business.

929 Madison Avenue (at 74th Street), New York, N Y 10021 Tel: +1 212 249 8783

Fax: +1 212 249 8784

MALLETT ONLINE The Mallett website, which is now in its fifth year of operation, provides an up-to-date view of our current stock o f fine and decorative arts from all three shops. It is regularly updated with new treasures and has proved to be an extremely important portal for our international clientele, accounting for an increasing percentage of sales within the group.

Website: www.niallcttantiqucs.com K-Tnail: into6:^mallcttantiques.com

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INTRODUCTION In the 18th century luxury and leisure were identified less as a point of consumer culture, much written about today, but more as a cultural phenomenon, a mirror held up to the ruling classes as a measure of their success both to be judged and, more importantly, enjoyed within an economic and intellectual field. W i t h access to new material and commodities around the world such as exotic woods, textiles, lacquer, sugar and cocoa, luxury became a byword for changing taste and aesthetics.

Craftsmen battled to produce ever more beautiful works of art to draw the attention of their patrons who felt encouraged and obliged to support this industry by growing their collections.

Within the pages of this catalogue we have drawn from our stock items that reflect this important change and which convey the essence of luxury and leisure to its highest degree. W e hope that our clients will enjoy the varied works of art from the 17th to the 2 0 t h century to be found within the pages of our most recent publication.

Above: A G O U R D

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A rare late 17th century snuff bottle in the form of a gourd surmounted by a scalloped silver collar, the screw top attached by a chain, the silver engraved with the initials W o R and the date 1691.

English, dated 1691 Ilcight3i/4in/8cm

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Lacquer-ware wasfirst imported to Europe by the Portuguese from Japan at the end of the 16th century and was highly prized, an unknown medium and greatly admiredfor its beauty. Lacquer could not be made in Europe for the simple reason that the lacquer tree was not indigenous. It had, therefore, to be imitated and in the West this imitation is called 'japanning. The first European imitations of oriental lacquers originated in Venice during the late 16th century and the fashion for chinoiserie quickly spread. In England, the earliest recorded example is the 1616 ballot box of the Sadlers' Company. By the end of the llth century japanning was well established throughout Europe and the craze for chinoiserie continued throughout the 18th century.

The present cabinet simulates Coromandel lacquer, which, with its characteristic incised decoration, was made in central and northern China from the latter part of the Ming dynasty. Coromandel lacquer was exported to Europe before the end of the 17th century through the English East India Company's trading posts on the Coromandel coast of India. The technique consisted of overlaying a base of wood with a series of increasinglyfine white clays andfibrous grasses.

Over this surface, lacquer was applied and polished before the design was incised and the hollowed out portionsfilled with colour and gilding.

A WILLIAM A N D MARY LACQUER CABINET O N STAND A very fine late 17th century chinoiserie lacquer cabinet with its original giltwood stand and cresting; the cabinet richly decorated throughout in polychrome 'bantam work' with gilded highlights, simulating Chinese Coromandel lacquer, depicting figures in idealised garden scenes, huntsmen among wild animals, vases of peonies and blossom and mythical beasts; the interior fitted with an arrangement of ten drawers, each with an individual landscape or garden scene and exotic birds on the doors; the cabinet with elaborate brass mounts, the giltwood cresting carved with putti amidst swags, scrolling foliage and flowers, the base with deep, pierced frieze similarly carved with putti, leaves and flowers, the legs with large scroll knees and feet.

English, circa 1690 Overall height: 76in / 193cm Overall width: 45in / 115cm W i d t h with doors open: 78in / 198cm Depth: 23in / 58cm Provenance: Formerlv in the collection of Sir I lenry Price at Wakehurst Place, Sussex, now a property of the National Trust

Lacquered and japanned furniture held a very high status and pieces such as this would have been placed in the most important room of a palace or house of the highest orderfor the private enjoyment of family and selected guests. This cabinet retains its original baroque cresting and stand, it beingfashionable in the llth century to mount oriental and chinoiserie cabinets in such a manner. This cabinet, with its stand and cresting, has been executed with an intensity and exuberance which not only refiects thefantasy of late llth century court life but also the high quality of cabinet making which existed in England at the time.

LUXURY & LEISURE

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A PAIR OF 17TII C E N T U R Y SURREY ENAMEL A N D I R O N S A n extremely rare pair of 17th century Surrey enamel andirons, the baluster pillar surmounted by a globe and urn shaped finial and raised on a square pierced brass box above a scrolled frontal plaque, each element with decoration of stylised foliage and flowers on a background of blue and white enamel, on brass bun feet.

English, circa 1660 T h e picrced brass boxes of later date Height: 24 in / 61cni W i d t h : 10i'4 in / 26cm Depth of return: MVi in / 44cm Provenance: I'ormerlv in the collection of Tliomas Cieorge Burn (d.l985) at Rous Lcnch Court, Worcestershire.

Literature: cf Rupert Gentle & Rachael Field, English Domestic Brass, 1975, Y Hackenbroch, Bronzes, other Metalwork and Sculpture in the Irwin Untcrmeyer Collection, 1962, pi 180, fig 201 Ralph Edwards, T h e Dictionary of English Furniture, Revised edition 1954, p58, figs 12,13.

L A Shuffrey, T h e English Fireplace and its Accessories, 1912, pl54, fig 150

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Rous Lench Court, betuoeen Evesham and Worcester, is a 16th century house in the vernacular, half-timbered style. Having been allowed tofall into disrepair in the 18th century, it had money lavished on it by a new owner in the 19th century, the Rev Dr Chafy, who also created a renowned garden. In 1928, the parents of Thomas Burn purchased the property for their son and encouraged him toform a collection there, appropriate to the low-beamed and panelled interiors. He later inherited majority shares in thefamily manufacturing and retailingfirm plus a fortune ofÂŁ90,000 and come the end of the second World War he began what was to become an extraordinary and unique collection of 17th and early 18th century furniture and works of art, needlework, pottery and porcelain. He was advised on thefurniture by Mary Bellis and on the ceramics by Frank and Kathleen Tilley who were all goodfriends of his. The collection grew in size and its quality became renowned in academic circles. Tom Burn died in January 1985 and the collection was sold by Sotheby's in July 1986. These andirons were not in the sale, having already been given to a member of Burn's staff. He is believed to have given away a number of pieces prior to the sale.

'Surrey' enamel is something of an enigma. Little is known of its origin, it was produced onlyfor a relatively short period and, it would seem, only in one area of the country. The term 'Surrey enamel' would appear to derivefrom the arrival in Englandfrom the continent in 1649 of Daniel Dametrius and his partner Jacob Monomia, to whom this type of brass and enamel ware is sometimes attributed.

Together they set up a brassfoundry at Esher in the county of Surrey. It cost what at that time was the vast sum of ÂŁ6,000. However, ' to their own ruin and to the prejudice of the Kingdom in losing so beneficial an art, having here the best copper and calamine of any part ofEurope', the Esher works closed in 1688. This may explain why examples of this highly individual technique were only madefor such a short period and are consequently extremely scarce.

The method of manufacture - cast brass with shallow cavitiesfilled with vitreous coloured enamels - was like a crudeform of Chinese cloisonne enamel. This rare pair of andirons typifies the nature of this obscure English version of the technique with their dense patterns of highly stylisedflowerheads and leaves in brass, highlighted in white enamel against the blue background. This pair is the same model as a pair in the Metropolitan Museum in New York, apart from very slight differences to the pillar andfinial. The scrolledfrontal plaques appear to be cast from the same pattern. Another comparison may be made to a grate at Weald Hall in Essex, illustrated in The English Fireplace by LA Shuffrey. The Dictionary of English Furniture illustrates another single andiron from Weald Hall as well as one of a pair of andirons incorporating the Stuart Coat of Arms, formerly at Horham Hall in Essex and now in the Victoria and Albert Museum.

LUXURY & LEISUKi;

A DUTCH TORTOISESHELL AND EBONY FRAME A magnificent early 18th century rectangular red tortoiseshell frame of large scale, the cushion moulded surround with ebonised moulding.

Dutch, circa 1710 The mirror plate of later date Height: 39 y2in /100.5cm Width: 33in /84cm Tortoiseshell has been usedfor the purpose of veneering since ancient times. The name applies to a variety of chelonians, particularly the sea turtle, Caretta Imbricata, which produced afinely marked, translucent natural substance -which, under heatfrom hot irons, could be moulded, enabling it to beformed into different shapes. The explorer and buccaneer, William Dampier, wrote in 1703 that "the hawksbill of Brazil is the most sought afterfor its shell which is the clearest and best clouded Tortoiseshell in the world".

AN I N D O - D U T C H EBONY ARMCHAIR A late 17th century Indo-Dutch ebony armchair of small scale with elaborately carved decoration throughout, the shaped cresting rail above spiral turned spindles and a scroll carved base rail, between rectangular uprights surmounted by carved cone finials, the shaped arms with spiral turned supports above a cane drop-in seat, the recessed panelled seat-rail with shaped aprons, on square and spiral turned legs joined by peripheral stretchers and ending in bun feet.

I n d o - D u t c h , circa 1690 1 Icight: 281/4 in / 72 cm W i d t h : 2 m in / 52.5 cm D e p t h : 2(W2 in / 52 cm

Carved ebony chairs were made throughout South East Asia during the second half of the 17th century, particularly along the Coromandel Coast of India, Indonesia and Ceylon. This low armchair is very likely to have been made on the Coromandel Coast. This type of furniture appearsfrequently in the inventories ofthe settlements of the Dutch East India Company where it is described as 'Coast'furniture.

Tortoiseshell was widely used as a veneer in Italy and the Low countries in the 17th century, in combination with ebony mouldingsfor mirror and picture frames.

Later, its use also became popular in England where the semi transparent quality of the shell was used to adorn cabinets and clock cases, tea caddies and other objects.

The veneer was often tintedfrom behind with shades of green, yellow or red, to enrich and emphasise the natural decorative patterns.

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AN EXCEPTIONAL EMBROIDERY A N D STUMTWORK PICTURE A n exquisitely worked late 17th century silk embroidered and stumpwork picture depicting two elegant ladies representing Ceres and Peace within a central oval of raised work and with a lion and a leopard below, surrounded by many flower and bird motifs, all the colours of remarkable strength and freshness.

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A RARE BEADWORKVASE A n extremely rare late 17th century small beadwork vase worked in a series of six bands decorated w i t h brightly coloured flowers, foliage, birds and insects on alternating blue and yellow grounds.

English, circa 1690 Height: 8%in / 22cm

The practice of using glass beads as decoration dates back asfar as the ancient Egyptians. In England, in the nth century, they luere employed to adorn caskets, mirror frames, cushions and other objects, and also to create whole pictures with subjects in sim ilar vein to contemporary embroideries.

This beautiful and precious object is in theform of a small flask lined with soft leather and would appear to emulate Chinese porcelain which was so highly prized.

The design, with its striped polychrome panels of brilliantly colouredflowers, incorporates exotic birds and bright-eyed insects. Its beads still sparkle with the freshness of some three hundred years ago. The vase appears to be <faform previously unrecorded. It is presented with a smallperspex case with a walnut and velvet lined base.

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A SET OF NEEDLEWORK PANELS A set of four early 17th century needlework panels w i t h a design of large flowers linked by leaf tendrils, suspended on ribbons against a dark green background.

English, circa 1630 Framed: 72% x 27in / 185 x 68.5cm

These rare hangings, now preserved in frames, were hung as wall panels, probably on wood panelling.

The designs are related to contemporary carpets, though the illusion of hanging swags is original and may be compared with carved wood swags of flowers andfruit as perfected later in the century by Grinling Gibbons and his contemporaries. The colours of the wool embroidery with silk highlights are well preserved.

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A PAIR OF GAINSBOROUGH CHAIRS WITH NEEDLEWORK COVERING An important pair of George III, Chippendale period mahogany Gainsborough armchairs upholstered with magnificent French needlework of the period depicting classical scenes and fables, worked in petit point within red strapwork cartouches and surrounded by stylised foliage on a dark brown ground, the arms with downcurving moulded supports raised on square moulded and chamfered legs, with small foliate brackets and joined by an 'H' stretcher.

The chairs: English, circa 1760 The needlework: French, circa 1760 Height: 39in / 99 cm Width: 27in / 68.5 cm Depth: 30in / 76 cm By the middle of the 18th century, pictorial needlework had become widespread and was popular for providing chair seats and backs, eitherfor an individual chair or forming a series of panelsfor a whole set. Canvases were usually worked with classical subjects and scenes from thefables of Aesop and La Fontaine and sometimes with floral groups in the manner of a still-life painting.

As seen on this pair of chairs, the two main elements of the upholstery were generally designed with a central reserve enclosing the primary subject, worked in petit point, which would be surrounded by a ground of stylisedfoliage andflowers, worked in grospoint. This pair of chairs is of classic, Chippendale periodform and the needlework is French and of the same period, such a combination being the height of mid 18th century fashion in England. The embroidery has been preserved in remarkably good condition with its bright colours retained in both the wools and the silk highlighting.

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Left:

A RARE W A L N U T

SPINET

A rare Queen Anne period spinet attributed to Francis Coston, the shaped case with Hfting top veneered and cross-banded with walnut, with shaped brass straps and hinges, on its original turned stand with stretcher, the keyboard in ebony and ivory.

English, circa 1710 Height with lid dosed: 32V2in / 82.5cm Length: 71% in / 182cm Depth: 24 in / 61cm The word spinet is derived from the Italian spinetta, which itself is derivedfrom spina meaning thorn.

The plucking quills of the mechanism are like thorns rather than the leather or metal plectra which had been used earlier. 'Bentside' spinets were popular in England as they were small, easier to maintain than harpsichords and yet produced a powerful tone. They had one set of strings plucked by crow quills.

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A PAIR OF T A L L Q U E E N A N N E PIER GLASSES A magnificent pair of tall Queen Anne carved giltwood and gesso pier glasses, retaining their original double bevelled plates and all the original bevelled mirror borders contained within narrow giltwood mouldings, the broken pediment with central cartouche cresting flanked by arched foliate scrolls, the punched ground with raised scrolling acanthus, above further scrolls, trailing leaves and rosette motifs at either side.

English, circa 1710 I Icight: 86in / 218cm Width: 29i/4in / 74cm

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KING GEORGE 11 A N D QIJEEN CAROl INE A rare early 18th century silk embroidered picture depicting King George II and Queen Caroline with Frederick, Prince of Wales, standing between them holding a falcon, initialled and dated above a swag E 1728 A. English, dated 1728 Framed: 17'4 x 21'a in / 44 x S4cm

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AN I M P O R T A N T FRENCH NEEDLEWORK CARPET A fine and rare mid 18th century French needlework carpet in remarkable condition, worked in vibrant colours on a blackback ground, with a central floral medallion surrounded by boldly scrolling leaves interspersed with flowers, the broad border with ribbon tied plumes and foliate arabesques, the inner and outer designs framed with gold borders entwined with oak leaves.

French, circa 1750 Length: 119in/302cm Width: 89in / 226cm This extremely well preserved carpet may have been made to hang over a table and is attributed to a French Carmelite workshop. At each corner is an heraldic heart emblem withflames, a symbol of Aphrodite and ardent love, while the arrows within it represent Eross darts. The variety of dyes is especially rich and the carpet has a silkfringe that appears to be original, matching exactly the wools of the needlework.

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A PAIR OF GEORGE 111 COMMODES ATTRIBUTED TO PIERRE LANGLOIS

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This superb pair of commodes belongs to a group attributed to Pierre Langlois in a series of articles published in the Connoisseur, vols 178-180, entitled Pierre Langlois, Ebeniste. The commodes in this group have a number of features in common, such as the distinctive rosewood chevron veneering, the ribbon borders, the closely related classical vases and the finely chased ormolu mounts which appear on most of the pieces attributed to Langlois. The mounts themselves are most likely to be by his associate and son-in-law, Dominic Jean, a French bronze caster and gilder who isfirst recorded as working in London in 1764.

Langlois himself was almost certainly French and probably from afamily of cabinet-makers who were established in Paris in the late 17th century. He settled in England in the early 1750's, at some time before the outbreak of the Seven Years War. By 1759 he is recorded at 39 Tottenham Court Road where he continued to trade until 1781. During this period he established himself as one of London's leading cabinet-makers and it was in the late 1760's and early 1770's that he produced hisfinest work, including this pair of commodes. He attracted the patronage ofsome ofEngland's foremost collectors, including the 4th Earl of Bedford for Woburn Abbey, the 6th Earl of Coventryfor Croome Court, the 6th Baron Craven for Benham Park and Horace Walpolefor Houghton Hall.

Previous spread and above:

A PAIR OF GEORGE III COMMODES ATTRIBUTED TO PIERRE LANGLOIS A highly important pair of English ormolu mounted serpentine commodes in the French manner, attributed to Pierre Langlois, the mounts attributed to Dominic Jean; the commodes veneered and cross-banded throughout in chevron pattern, the serpentine tops inlaid at the centre with a ribbon-tied bouquet of flowers on a padouk ground, the borders with entwined ribbons within strung and banded edges, the brass mounted doors inlaid with neoclassical covered vases within foliate scrolls, the sides inlaid with foliate scrolls, the edges chevron-banded with strongly figured rosewood, the front corners with full-length rococo gilt brass mounts ending in scroll gilt metal sabots on the tapered feet; the interiors of each commode fitted with three palisander-veneered drawers retaining their original gilt brass handles. ['"nglish, circa 1770 Height: 3 6 i n / 9 1 . 5 c m W i d t h : 44V:in/ ll.K-m Depth: 2()>iin / 52.5cm

Langlois developed a distinctive style that was markedly French in character and he enjoyed particular success at a time when war with France placed an obvious limit on the importation ofFrench furniture and other luxury goods into England. The use of marquetry, the gilt metal work and the elegant bombe shape are all influencesfrom Langlois' French origin. Nonetheless, his pieces have inlaid wooden tops, rather than marble, in keeping with the English tradition. Langlois specialized in floral marquetry which was a style not seen in English cabinet making since the reign of William and Mary and had only recently been revived in France. A related pair of commodes of a similar scale with elaboratefloral marquetry are in the Royal Collection at Windsor Castle.

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A mid 18th century needlework panel worked with a continuous garland of flowers and foliage surrounding a flower-filled blue urn of gadrooned form and on a pedestal, all on a cream ground. l-'.nglisii, circa 1740 Framed: ."v x 36in / 9 4

91.5cni

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The traditional Windsor chair is generally made in a combination of yew, for the back and legs, and elmfor the seat. In the mid 18th century these were also fashioned in the 'Gothik' manner, to accord with the current antiquarian taste. These particular chairs, however, are in a league of their own, rising to a level of sophistication way above the norm. They are constructed in a combination of laburnum, for the back and legs, and ash for the seats. Scottish laburnum is a much larger species than its English namesake and in the 18th century it was highly regarded north of the borderfor cabinetmaking and chair-making It was often preferred to mahogany due to its colour and density and it is also still usedfor making bagpipes. Perth was one of the important centres of furniture manufacture in the east of Scotland at that time and one of the best collections of laburnum furniture is in the collection of the Duke of Atholl at Blair Castle in Perthshire.

The design of the chairs is complex. The gothic tracery of the back, with its diminishing perspective, is perfectly proportioned and encloses delicately carved arcading below.

The outer arch of the back, the uprights and the arms are allfinely moulded and the timber has a lustrous finish.

The intricately sculpted and pierced brackets add a light touch to the chair base and the 'X' stretchers with carved paterae are afar departurefrom the regular bowed version.

AN EXCEPTIONAL PAIR OF WINDSOR ARMCHAIRS A n extremely rare pair of late 18th century Windsor armchairs of exceptional quality, the arched laburnum backs with gothic arcading, the elegantly out-swept and moulded arms ending in scrolls, the dished ash seats supported on cabriole legs with pierced scroll brackets and joined by cross stretchers with central rosette.

Scottish, circa 1770 Height: 41'/ain / 105.5cm W i d t h : 29VAm / 74.5cm Depth of scat: 19in / 48cm Depth overall: 28in / 71cm Provcnancc: Kcir Mains, Dunblane, Perthshire.

18th century Windsor chairs could befound in some of the most esteemed interiors, as well as in lesser dwellings.

For example, 'Seaven Japan d Windsor chairs' were inventoried in the Duke of Chandos library at Cannons in the 1720s and Henry James supplied the Prince of Wales with several mahogany Windsor armchairs for St James's Palace in 1729.

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

It still stands high above the Carse of Lecropt, north-west of Bridge of Allan. The house was built in the second quarter of the 18th century and boasts some splendid rococo plasterwork. These chairs were removedfrom Keir in 1983.

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A SET OF ITALIAN NEEDLEWORK STUDIES OF ANIMALS A set of ten early 18th century Regence style needlework studies of naturalistic and mythological animals worked in wool, with borders of grotesques and strapwork finely worked in coloured silk, in the manner of Jean Berain.

Italian, circa 1730 Framed sizes: 13 x 16i/4in-14i/2 x 16y4in / 33 x 41.5cm-37 x 41.5cm

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A GEORGE 111 GREEN LACQUER l A R D I N l E R E A George III green lacquer oval jardiniere on its original stand, bound with brass bands with oval brass ring handles; the jardiniere 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: 24in / 61 cm Length: ZSVz'm / 72 cm Depth: lW4\n / 49 cm

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A G A R D E N SUNDIAL A very fine mid 18th century engraved bronze garden sundial, inscribed: Lattitude 53.20.

E D W A R D H U N T E R FECIT. P E R P E T U A L L A L M A N A C K for the Y E A R 1738 and for EVER, mounted on a bevelled wooden plinth.

Irish, circa 1738 D i a m e t e r : 18in / 4 6 c m

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Latitude 53째 20째 is that of the city of Dublin. Significantfeatures of this sundial are its perpetual calendar for calculating the Easter Feast days, runningfrom 1738, and its inclusion of the dates of the Law Courts. It is therefore believed to have been made to stand close to the Dublin Law Courts.

Although there is no known record of Edward Hunters address, it can be confidently presumed that he worked in Dublin, or possibly Belfast. There are only, to date, three known instruments by Hunter. These are all sundials but the quality of the engraving would indicate that they were the work of a top grade clockmaker.

Furthermore, clockmakers of the period very possibly made and retailed sundials, as there was no other way of checking the going of a clock.

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A GEORGE 111 M A H O G A N Y CHILD'S C H A I R A charming late 18th century mahogany child's high chair, the shield shaped back carved with wheat husks and trailing harebells, the dished and curved arms joined by a bar with button finials, above a drop-in seat covered in 18th century petit point needlework depicting leaves and flowers on a rust coloured ground, with a brass mounted adjustable footrest, on square chamfered legs joined by an 'H' stretcher with bolt to secure the chair to its original mahogany base.

English, circa 1780 Height overall: ShVzin / 92.5cm Height of chair: 24%in / 61.5cm Width of base: 14i/2in / 37cm Depth of base: 14'/4in / 36cm This enchanting child's high chair is made to a most sophisticated design, following closely the shield-back chairs made so popular by George Hepplewhite in his Cabinet-Maker and Upholsterers Guide of1787, in which he promoted the virtue of uniting elegance with utility. A number of variations on the theme were published in the Guide and the elegantly curved and pierced back splats with wheatear motif at the top and stylisedfoliage at the base appeared regularly on Hepplewhite inspired chairs. A grown-up's chair in miniature, as much care and craftsmanship has gone into this scaled down model, with itsfine carving and moulding, as into many afull sized example.

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A GEORGE III CARVED M A H O G A N Y W I N E COOLER A rare George III carved mahogany wine cooler of small proportions and square form, with gadrooned top edge, canted and fluted corners, each side panelled with bead and reel moulding and with floral 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.

Knglish, circa 1770 W i t h modern silver plated liner 1 leight: lAVim / 62cm W i d t h : 13 X 13in / .13 x 33cm Theform and style of this wine cooler relate to designs published both by William Ince and John Mayhew in their Universal System of Household Furniture of1762, pi XIV, and by Thomas Chippendale in his 1763 edition of The Gentleman and Cabinet Maker's Director, pi LV. In both instances they are depicted with other items under the heading of'Tea Kettle Stands'.

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SHARI'IIAM

ShlELLWOKK

A unique mid 18th century shellwork tempietto, decorated throughout with a great variety of naturally coloured West Indian shells. Encircling the columns are garlands of waxed paper leaves and shellwork flowers including passionflowers, roses, pansies, morning glory, jasmine and carnations.

T h e floor is covered with crushed shells and mica in tessellated black and white squares with a central compass and six-pointed star. T h e shellwork is supported on its original carved mahogany rococo stand, attributed to Mayhew and Ince, and retains its original rectangular glass case.

T h e tcmpictto: Height: 19V2in/49.5cm W i d t h : 20in / 51cm Depth: 1 3 ' A i n / 3 5 c m T h e stand: I Icight: 36in / 91cm Overall height with glass case: 59in / 150cm Provenance: Jane Pownall (1745-78), daughter of Lewis Arnokl Majendie ot Kxetcr and wife of Captain Philemon Pownall R N (1735-80) of Sharpham, Devon.

Jane Bastard (1764-1822) of Sharpham, Devon, only child and heir of the above, who married in 1783 l u l m u n d Bastard, (1758-1816), M P for D a r t m o u t h , of Kitley, Devon, and Buckland Court, Ashburton, son of Col W i l l i a m and A n n e Bastard.

Thence bv descent.

I " i ' i ! l l l l l ' l l 'J V C l i c i l l

.iS

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The Victoria and Albert Museum possesses a renowned shellwork vase of flowers, the Bonnell Vase, but there is no known surviving example of an architectural subject in shells that compares to this tempietto. Furthermore, it has remained together with its original stand and glass case, with which itforms a unique ensemble which has passed through many generations of the descendants of the original owners.

The highly sculptural rococo mahogany stand can be confidently attributed to the leading London cabinetmakers, Mayhew and Ince, not only on the criteria of quality and style but also on historical grounds.

Evidence exists ofMayhew and Ince's relationship with the Pownallfamily prior to the building of Sharpham and of their association with Sir Robert Taylor, with whom they collaborated over property developments in London. The stand compares with a number of Mayhew and Ince's published designs, in particular 'Tea Kettle Stands' illustrated in their Universal System of Household Furniture of1762.

This extraordinary piece ofpersonal workmanship is one of thefinest examples of 18th century shellwork known in public or private collections and is almost certainly unique in its scale andform. It represents not only the pinnacle of amateur craftsmanship but also the growingfascination with discoveries of the natural world which fuelled the Age ofEnlightenment. The grand mounting of the piece, on its veryfine rococo tripod stand, is an indication of the value and esteem in which it was held.

The shellwork is attributed to Jane Pownall, wife of Philemon Pownall of Sharpham House, a Palladian villa overlooking the River Dart in Devon which was designed by Sir Robert Taylor (1714-88), who was both President of the RIB A and architect of the Bank ofEngland. The house was begun in 1770 but only completed in 1824 by the Pownall's grandson, John Bastard. The tempietto reflects the architecture of the portico and the hall of Sharpham House.

This remarkable object is a tour deforce of its kind, made at a time when shellwork was a highlyfashionable and popular pastime. It was a craft practised almost exclusively by amateurs and rangedfrom decorating small objects such as caskets or making pictures, to a much larger scale in the creation of fanciful grottoes. West Indian shells were brought back in large quantities by sailors returningfrom duty and could also be purchasedfrom specialist shops. Suppliesfor craftsmen and artists were therefore plentiful, although rare examples were very expensive. The practise lasted well into the 19th century.

Captain Pownall was one of the most successful privateers of his time. His prowess in the capture and plunder of Spanish galleons and their cargoes of gold in the West Indies did not go unnoticed by the British government. After hisfirst successful venture he was awarded ÂŁ65,000, an enormous sum in those days, representing a substantial percentage of the booty he brought back. This first fortune enabled him to commission the building of Sharpham House. The nature of his career meant he would have been away from his home andfamily for months or even years at a time, so his wife presumably had plenty of time to create this labour of love. As it was, she died in 1778 while he was still at sea off America and he lost his own life two years later in action against the French near Ostend.

Full historical details are available on request. We are grateful to Alice Munro-Faure and Richard Gamier for their research on this piece.

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A PAIR O F TABLE GLOBES

BY C

SMLEl i ANi:)

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A very fine pair of late 18th century table globes in exceptional condition, the terrestrial and celestial globes each raised on matching mahogany tripod stands with spiral knop on the carved stem, above down-curving supports joined by brass stretchers with their original compasses; the printed globes both signed and dated 'C. Smith &, Son, 172 Strand, London 1841' having been re-papered and brought up to this date as was customary.

F.nglish, circa 1780 1 Icight of globe: 24in / 6 k i n Overall height with stand (not shown): 44in /112cin Diameter of globe: 12in / .^O. ^em The globes arc presented on nioclcrn inahoganv triaiiguhir stand witii coiu'a\'e panelled sides.

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A GEORGE 111 M A H O G A N Y TOBACCO BOX A n unusual late 18th century mahogany octagonal tobacco box, the cross-banded top with boxwood stringing inlaid with marquetry designs of a ewer, corked bottle, pipes and a glass, the top opening to reveal the original lead liner.

English, circa 1780 Height: Sin / 13cm W i d t h : 5i/2in / 14cm Depth: 5%in / 14.5cm

A GEORGE II SAT I N W O O D TEA C A D D Y A late 18 th century satinwood tea caddy of exceptional colour and figuring, with rosewood cross-banding and boxwood and ebony stringing throughout, the top with oval mahogany panel centred by a brass carrying handle opening to reveal a fitted interior with two containers and the original glass blending bowl, the front with lock and ivory escutcheon.

English, circa 1790 Height: 6V2in / 16.5cm W i d t h : l()i/2in / 27cm Depth: 5'/2in / 14cm

1ÂŤ I 11 CI N 1 u m '

A SHT OF SILVER I^LATLS M A D t I'OR GEORGi; 111 A magnificent set of twenty-four silver by an unidentified Hanover maker, the and shell motifs, bearing the cypher of hallmarked with the maker's mark E D 14 Lotig, and a further serial number.

(Jcrnian, circa 17(>5 Diameter: lOV^ln /2(i.5cin

plates made in the French manner shaped borders with fluted edge George III, the reverse of each and inscribed with the weight,

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THE C O R O N A T I O N OF GEORGE 111 This rare and beautiful applique hanging depicts a long procession of professional and court figures preceeding King George III under a canopy.

Thought to depict part of the King's coronation procession, this textile work shows lawyers, clerics, courtiers, some in the robes of the distinguished orders of chivalry, heralds, peers and peeresses in robes and with coronets, footmen in state livery and the King's train born by four pages in blue court dress. The processional assembly begins with the lawyers, while churchmen begin the second band of the three sections of this hanging. The remainder consists of court figures periodically divided by six pairs of heralds of the College of Arms. The lawyers wear the traditional (and still extant) ornamented black robes of state. The church clerics wear their cassocks and mortar-board caps and the heralds their formal heraldic tabards. The nobles, ladies and gentry wear a mixture of formal robes and stylish court dress.

The applique technique used in this hanging portrays the tightly grouped procession in extraordinary three-dimensional form and uses a great variety of textiles of the period and possibly, in some cases, cuttings of the material used for the actual costumes. It is all enriched and ornamented with embroidery for detail, as, for example, on the heralds' tabards and some of the brocade costumes of both the men and the women. The robes of the House of Lords are in red velvet with collars of ermine, while another group wears long robes of a uniform red silk, these perhaps representing the Order of the Bath. Some peers close to the King in the procession bear the Star of the Order of the Garter and probably represent royal princes. Many details are worked in twisted silk cord and knotting, another favoured technique of embroidered ornament at the time. This is used for the many wigs, crowns and coronets and for the extraordinary plumes worn by a royal couple presumably being the Prince and Princess of Wales. The King himself is richly robed. He wears the gold chain of the Order of the Garter, and processes beneath a canopy of cloth of gold.

There are many other fascinating details including a variety of hats, shoes, sceptres, croziers and staffs. A crowned monogram G/R over a formalised sun-star centres the lower band. The three bands are applied to a modern pale blue silk ground, which replaces the original, and the procession walks on a ground of silk bands, largely restored. The faces of the figures are of padded silk, partly coloured and with their features embroidered in black silk.

The coronation of George III was in 1761 and it is probable that this extraordinary work was made at that date or soon after.

I Icight: 57in / 145cm Length: 90in / 229cm Mallett exhibited another textile similar to this about 30years ago and it is believed that the two were once together though, the part described here is complete in itself and undivided. (See Lanto Synge, Art of Embroidery, 2001, page 168, there suggested as representing the Kings marriage.)

K I N G GEORGE III

ession of nder a canopy, this textile work tinguished Afith coronets, es in blue court hile churchmen T h e remainder leralds of still extant) ;ir cassocks and irds. T h e nobles, court dress. ghtly grouped s a great variety 1 of the material ted with Is and some of robes of the le another group ;nting the Order bear the Star of s. Many details red technique of ly wigs, crowns yal couple ing himself : Garter, and

r of hats, shoes,

er a formalised d to a modern

jrocession walks figures are of

lered in black silk.

; that this

zgo and it is >ed here is complete 2001, page 168,

19TH C E N T U R Y

THE PRINCE A N D PRINCESS OE WALES

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19TH CENTURY

45

A LADIES' PEDESTAL DESK BY W R I G H T & MANSFIELD A late 19th century satinwood ladies' pedestal writing desk of exceptional quality with gilt brass mounts throughout, the top having a raised superstructure with pierced gallery and brass grilles, the writing surface inset with old tooled brown leather, with pull-out slides at either side, a single central drawer in the frieze and four graduated drawers to either side, all with foliate cast handles and beaded brass borders, raised on turned feet with brass castors, the satinwood of finest figuring and rich colour throughout, stamped Wright & Mansfield, 104 New Bond Street, the locks by F. Best, 64A South Audley Street and 188 Sloane Street.

English, circa 1880 1 Icight overall: 36V2in / 9,>cni I Icight of writing surfacc: 28in / 71cm Length: 53V^in / 1,36cm Depth: 22in / 56cm

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A SATINWOOD CAMPAIGN CHAIR A particularly fine solid satinwood campaign chair with its original caning, the simple folding mechanism retaining all its original brass fitments and steel carrying handles. The turned satinwood legs unscrew from the frame and retain their original, large brass castors and there is a maker's plaque on the lower back frame which reads: J Alderman. Inventor. Patentee and Manufacturer. 16 Soho Square, London.

English, circa 1860 1 leight of back: 36y2in / 93cm Height of seat: 16in / 40cm W i d t h : 17in / 43cm Depth: 24in / 61cm

I'^ril CENTURY

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A BRASS DAY BED A n exceptional Empire brass campaign bed, the ends fashioned as four columns flanked by square cross-section pilasters with circular patera capitals and raised panels on the front face, the sides of the bed formed as a series o f ' X ' frame sections centred with further paterae, raised on square tapering legs with castors.

1-Vcncii, circa 1820 Length: 8 1 i n / 2 0 6 c n i Width: 36in/91.5cm I Icight of ends: 46V2in / 118cm 1 leight to top ot mattress: 2yin / 74cm

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A CELTIC HARP A rare 19th century painted harp of the Celtic type, decorated throughout with trails of shamrocks in gold on a bright green ground, inscribed J Geo Morley Harpmakers formerly of Erards 6 Sussex Place S Kensington.

English, circa 1840 Height: 34in / 86cni Depth: 21 in / 53cm

l')Tll CCNTUKY

A REGENCY BLACK AND GOLD LACQUER HARP BY SEBASTIAN ERARD A n early 19th century black and gold lacquer harp in the neo-classical manner by Sebastian Erard (1752-1831), the soundboard decorated with masks, muses and urns, with two classical maidens at the base, one with a tambourine, the other holding a triangle; the fluted pillar with stylised acanthus cresting surrounded by ram's heads and swags of foliage and fruit, all above a gilded and fluted base on claw feet, engraved on the brass tuning plate Sebastian Erard's Patent, London N o 467, N o 18 Great Marlborough Street.

English, 1802 Height: 66V2in / l69cm Depth: 34V2in / 87.5cm Provenance: T h e Erard harp ledgers are housed in the Royal College of Music. In the ledgers. Harp 467 is recorded in vol 1, pi 17, as invoiced to Lady Clive, 21 April 1802.

Lady Clive would have either been the wife of Robert Clive, created 1st Lord Clive of Plassey ('Clive of India') or the wife of his son Edward, 2nd Lord Clive, created 1st Earl of Powis.

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L U X U R Y & LEISURE

A MALACHITE CLOCK An important French Empire malachite mantel clock with ormolu mounts of the highest quality, the stepped top surrounded by a gallery of palmettes, the pierced dial within a border of stylised vines and rosettes, surmounted by joined foliate 'S' scrolls and large anthemia, raised on an ormolu base with stylised acanthus cast border; the dial inscribed D E N I E R E Ft de Bzes a PARIS. The clock has an eight day movement.

Frcnch, circa 1810 I Icight: 16y2in / 42cm Width: 9y4in/24.5cm Depth; 6%in / 16cni Literature: cf Dcnise Ledoux-I.ebard, Lc Grand Trianon, 1975, pl06 Cedric Jagger, Royal Clocks: The British jVlonarchv and its Timekeepers 1300-1900 V B Semyonov, Malachite, 1987, pi69 Deniere was primarily a bronze maker who worked in conjunction with Thomire, and also reputedly with Galle and Ravrio, associations which he made a point ofbringing to the attention of the Due de Cadore, Intendant Generale de la Maison de I'Empereur, in a letter of 1813.

In the Royal Collection at Buckingham Palace there is a clock by Deniere of similar style to this clock but in mahogany with ormolu mounts. This clock is recorded as having been madefor Sultan Mahmoud II of Turkey.

It later passed through the Haversham collection and the Adrian-Hope collection, eventually to be purchased by Queen Mary. An almost identical malachite clock dated 1809 is in a private US collection.

Examples of clocks and candelabra by Deniere may be seen in a number of French palaces, notably Versailles and the Grand Trianon, for which a quantity of ormolu mounted malachite pieces were commissioned from Percier Fontaine, the malachite itself having been given to the Emperor Napoleon by the Russian Ambassador in 1808. In the Hermitage in St Petersburg there is a malachite and ormolu rotunda with mounts very similar to those on the present clock.

I9RII CI;NTURY

A 19TH CENTURY FRENCH TABLE M I R R O R A fine quality Empire dressing mirror in gilt bronze, the mirror bordered and supported by finely chased foliate motifs and raised on the head of a gilt putto standing on a malachite veneered plinth with a gilt bronze stepped capital and foot.

Frcnch, circa 1810 Height: 18in / 46cm

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A PALAIS ROYAL INKSTAND A fine quality Palais Royal mother-of-pearl and ormolu inkstand having elaborately scrolling handles with a floral patera at the centre, the base enriched with tiles of mother-of-pearl and supporting the decagonal ink pots, quill stand and pounce dish.

French, circa 1810 Height overall: 3V2in / 9cm Width overall: 9V4in / 24cm

Left and opposite:

A PALAIS ROYAL ETUI A rare early 19th century Palais Royal mother-of pearl and ormolu etui in the form of a miniature secretaire, the marble top opening to reveal a mirror above a tray with scissors, needle case and thimble, the fall front with leathered back and small well incorporating a funnel and perfume bottles above two false drawers and a single long drawer, with a mirrored back and supported on square feet.

Frcnch, circa 1820 I Icight: 8 in/ 20cin Width: 5'/,in / 14cm Depth: 4y4in/ 11cm

191 H CENTURY

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A GEORGE IV C H I L D ' S CARRIAGE An early 19th century child's carriage, painted in ochre yellow livery with black edging, bearing the initial'S' for W H Sheppard to the sides as well as the family crest of a wreath and a 'ram passant proper between two olive branches vert' to the front, the wheels reinforced with steel, the two seats and cushions with green silk and velvet buttoned upholstery.

English, circa 1825 Height: 31%in / 80.5cm Width: 36'/iin / 92 cm Length: 65in / 165 cm This charming, small scale carriage was commissioned by William Hulhert Sheppard, JP, of Keyford House and Frome Selwood, Somerset, and The Manor of St Katherine, Ruislip, Co. Middlesex.

Children s garden carriages were afashionable adornment of wealthy families from the early 18th century through until the end of the 19th century. However, remarkablyfew have survived. Children were depicted in carriages in portraiture, one example being Arthur Devis' portrait of the Du Cane children of 1747 currently in the collection of the Preston Museum and Art Gallery, Lancashire.

Another example is John Singleton Copley s portrait of the three youngest royal princesses that was commissioned by George III in 1785and is now in the Royal Collection at Buckingham Palace.

William Hulbert Sheppard (b.l791) and his wife, Hannah Pollett, had eight children, four boys: The eldest, William (b.1823), John Lewin, Thomas Pollett and Albert Mico andfour girls: Mary Anne, Lucy Hannah, Susan Katherine and Alice Leader. Thefamily were prominent in the West Country with several generations being Justices of the Peacefor the County of Somerset.

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LUXURY & LEISURE

A YORK SPINNING WHEEL A spinning wheel by John Hardy of York continuing the pattern by Doughty. The 'Antis' mechanism " of good colour with ivory finials, wheels and mounts. Labelled H A R D Y late Doughty YORK on circular ivory plaques.

English, circa 1824-32 Height: 43in / 109cm Width: 18in / 47cm Depth: 17in / 43cm

ol^

rj i

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r

n

York has been known since medieval times for its cloth production and trade and, although spinning wheels were presumably made there since their introduction in the 14th century, it was not until the late 18th century that models of fine quality were produced, due to the fashion for ladies to spin threadfor their own embroidery.

The Antis mechanism was the invention of John Antis in nearby Leeds. The York maker Joseph Doughty advertised this as 'The new-invented spinning wheel the most complete ever offered to the Public which winds the thread on the pearls in a cylindrical manner, and prevents the Ladies having the trouble of altering the thread on the Feather.

By the end of the 18th century, Doughty was among the foremost makers in York. However, in 1801 he died and although his widow carried on the business until 1824 she then sold it to anotherfine maker, John Hardy.

Hardy'sfirm continued until 1843 but he made no spinning wheels after 1832. Examples of wheels by Doughty and Hardy may be seen in York Castle Museum.

I9TI1 C E N T U R Y

A REGENCY M A H O G A N Y SHAPED CELLARETTE

BOAT

A most unusual Regency boat shaped cellarette in faded mahogany, the top and front outlined with narrow cross-banding and ebony and boxwood stringing, the concave top lifting in three parts, raised on a turned stem with four-splay supports inlaid with ebony and ending in brass lion's paw feet.

English, circa 1810 Height: 32Viin / 82.5cm Width: 40in / 101.5cm Depth: 17in / 43cm Literature The Dictionary of English Furniture, Ed. Ralph Edwards 1953, Vol 1, p223, Fig. 8

A PAIR O F V I D E C I G A R E S A very rare pair of Charles X brass mounted mahogany demi-lune Vide-cigares'. The brass surmounted column handle can be depressed to open the ash tray compartment and they are supported on turned bun feet.

France, circa 1825 Height: 29in / 74cm These 'vide cigares were made when smoking became particularly popular amongst the affluent classes.

During the early 1800's, cigars hadfor the first time begun to compete with snuff chewing tobacco and pipes.

The smokingjacket was born, and wealthy 19th century homes would include a well-ventilated smoking room, preferably with a westward aspect.

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A 'lOHN COMPANY' CHESS SET A 19th century 'John Company' carved ivory chess set Indian, circa 1810 Height of King: Sin / 12.8cm The East India Company was incorporated by Elizabeth I in 1600, after which English soldiers, merchants and administrators began arriving in large numbers to the Indian subcontinent. By 1767 Robert Clive, 'Clive of India', had dispensed with the French and Dutch strugglefor power and the British Empire in India became established. The East India Companyformed its own military force which became known as the 'John Company, supposedly because the sunburntfaces of the troops suggested the British image of John Bull.

There was still resistance among the Indian Princes to British power. It therefore came about that chess sets, which had already been made and used in non-muslim areas ofIndia for a thousand years, were later carved in ivory by craftsmen to represent the opposing armies of the British together with their Indian conscripts, or sepoys, lined up against the nativeforces. These have long been known as John sets and spectacular examples of exceptional quality and complex detail were made. Kings and queens are represented by elephants bearing monarchs in domed howdahs and bishops may be in theform of camels, water buffalo or even rhinoceroses. One such set, made in Murshidabad, Bengal in the early 18th century is in the Victoria and Albert Museum.

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l^)Tli CENTURY

Opposite ÂŁsf top right:

AN ANGLO-INDIAN GAMES TABLE An early 19th century Anglo-Indian padouk games table, the rectangular top with rounded corners and a satinwood border, the removable central section between two flaps and with a chess board on the reverse, enclosing a removable backgammon board inlaid with lozenges of ivory and ebony, the frieze with a single drawer, all supported on rectangular end supports with panelled bases leading to downswept legs and terminating in brass castors, inlaid with ebony and ivory stringing throughout.

Anglo-Indian, circa 1820 Height: 27y4in / 70.5cm Width open: 45in / 114cm Depth: 2iy4in / 55.5cm A comparable games table is in the Noel Terry Collection at Fairfax House, York and illustrated in P.Brown's The Noel Terry Collection of Furniture and Clocks, York, 1987, p. 118.

Right:

A MOTHER-OF-PEARL A N D SILVER GAMES BOX A charming late 18th century mother-of-pearl games box, finely carved and engraved throughout with birds perched on branches, flowers and leaves, the interior with five engraved mother-of-pearl boxes with silver mounts containing mother-ofpearl game pieces, raised on silver ball feet; the interior with gold silk lining.

Chinese, circa 1800 I leight: 2Min / 7cm Width: 10y4in/26cm Depth: 5%in/ 14.15cm

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lOTHCINIURY

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T H E KEIIl L I B R A R Y TABLE A unique mid 19th century library folio desk made in cedar wood with vitrine top, designed by Alfred Jenoure of London for Keir Mains, Perthshire; the table top divided into three compartments with sliding bases and glass tops, the borders carved with a linked chain pattern and with inscriptions on all four sides in English, Spanish, French and Italian as follows: W h e n thou dost read a book do not turn the leaves only but gather the fruit Libros y amicos pocos y buenos Autant vaut celui qui chasse et rien prend comme celui qui lit et rien n'entend Non v'e peggior ladron d'un cattivo libro One end of the table is carved with the monogram W S for Sir William Stirling, the other end with a large trefoil device. There are three wide folio compartments on each side of the kneehole, the full depth of the table.

English, circa 1850 Now fitted with folios in gilt tooled red and green leather and with pale vellum green writing surface 1 leight: 311/4in / 79cm W i d t h : 6 0 i n / 152cm Depth: 36in / 92cm Provenance: This folio desk formed part of a group of library furniture made for Sir William Stirling, to the designs of Alfred Jenourc, for the newly installed library at Keir Mains, Dunblane, Perthshire. Alfred Jcnoure was the architect of the alterations that took place at Keir between 1849 and 1851 and the new library replaced the old hall. This group of furniture included a large circular tabic, two side tables, a folio cabinet, a pair of bookcases and a display cabinet. All were made in cedar, as was the panelling ot the room itselt, to guard against worm.

Sir William Stirling (1818-1878) inherited Keirfrom hisfather and, in 1865, a baronetcyfrom his maternal uncle, becoming Sir William Stirling-Maxwell.

He was a man of many interests. He became MPfor Perth in 1852, holding the seat, with only one break, until his death. He continued and improved the cattle herds established at Keir by his predecessors and also bred Clydesdale horses. As a young man, he made a great trip to Spain and then to the Levant, travels which inspired him to write copiously on Spanish art and history and on biblical subjects. He had a lifelong love of books. In addition, he had a passion for mottoes and proverbs. In the new library at Keir, the cornices, mouldings and doorways were all carved or inlaid with inscriptions and sayings, as were all the pieces ofspecially commissioned furniture, including this uniquefolio table.

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l')Tli CENTUFIY

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A REGENCY MAHOGANY READING CHAIR A very fine Regency mahogany reading or 'cockfighting' chair attributed to Morgan and Saunders of London, the horseshoe shaped back with top rail terminating in scroll hand rests, with pierced splat back flanked by gothic shaped brackets, the brass mounted, swivel book-rest with brass candle arms, the reading shelf with adjustable ratchet and two small fitted drawers with an ink well and pen tray, the seat upholstered in ox-blood red leather, raised on turned front legs and sabre back legs with brass castors.

English, circa 1810 Height of back: 32in / 81cm Height with book rest: 42%in / 108.5cm Depth ot seat: 21V^in / 54.5cm W i d t h : 2iy2in / 54.5cm The sketch design for this chair wasfirst in Rudolph Ackermanns

celebratedjournal,

The Repository of Arts, Literature, Manufactures,

published

Commerce,

Fashions and Politics, in 1810, p54,

pi 19. It describes the chair as being one of'the most convenient and comfortable library chairs perhaps

ever

completed' and that 'they are in great sale at the ware-

A BRONZE CANNON

rooms of the inventors, Messrs. Morgan and Saunders'.

An early 19th century bronze model of a cannon mounted on a carriage Morgan and Saunders were established at 16-17

with unusually large spoked wheels and supports with pierced decoration of

Catherine Street, Strand, London from 1801

Gothic quatrefoils.

1822. They specialised in patent and export andfurnished

until furniture

Admiral Horatio Nelson's cabin in HMS

Victory and his house at Merton, Surrey. After Nelson's death at the Battle of Trafalgar they named their premises 'Trafalgar House' in deference to Nelson and the work he had

commissioned.

Frcnch, circa 1830 I Icight: \OV2m i 27cm Length: 20in / 51cm Width over wheels: bin / 15cm

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A G E O R G E 111 R O S E W O O D CASKET An extremely fine early 19th century George III rosewood casket, the exterior banded throughout in silver and hallmarked on every silver element, the interior with cedar lining for use as a humidor.

English, 1819, with later cedar lining Height: 7y4in / 18.5cm Length: 13y2in / ,34.5cm Depth: 7y4in / 18.5cm

I9TII C E N T U R Y

WALKING CANES WITH HANDLES BY ZULOAGA An exceptional, late 19th century damascened walking cane handle by Placido Zuloaga, decorated on the top and on four sides with Renaissance style profiles, each wearing an elaborately worked helmet and with leopard's heads and foliate ornament in between, the design inspired by the Renaissance armourer Negroli and achieved in bronze and three colours of gold.

The handle Spanish, circa 1880 Now mounted on an ivory cane, richly carved to simulate bamboo.

Length: 37in / 94cm A very unusual late 19th ccntury walking cane handle by Placido Zuloaga decorated on a gunmetal ground in three colours of gold with geometric and foliate ornament.

The handle Spanish, circa 1880 Now mounted on a period ebony cane.

Length: 36in / 92cm Placido Zuloaga (1833-1910) ofEibar in Spain and hisfather, Eusebio (1808-1898), won an international reputation for making iron and steel objects ofall kinds, frequently decorated in Renaissance or HispanoMoresque styles.

Cf. The Art and Tradition of the Zuloagas, Spanish Damascenefrom the Khalili Collection, items 31-58.

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AN EMPIRE TRIC-TRAC TABLE A fine quality Empire mahogany tric-trac table of traditional form, the removable top having a low mahogany gallery with brass mounts at the corners and retaining its original gilt tooled green Moroccan leather top, the interior fashioned from green stained and white ivory set in an ebony surround, with a drawer at each end and standing on turned and tapering columnar legs with capitals of neoclassical design and feet in machined brass.

Frcnch, circa 1810 Height: 29in / 74cm Width: 4 5 i n / 114.5cm Depth: 2 3 i n / 5 8 c m

l')TH

A STAUNTON CHESS SET BY lAQUES A late 19th century set of Staunton ivory chessmen made byjaques of London, with their original, elaborately decorated and pierced papier mache box, bearing figures of the King and Queen, Bishops and Knights on the front and back and with their crowns, mitre and helmet on the lid. T h e underside of the box bears the original Staunton Chess Men label.

English, circa 1880 The box newly lined with silk Height of King: 278in / 7.8cm The Box: 8V4 x 6in / 21 x 15cm

CENTURY

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Above:

Opposite:

A CANTONESE PORCELAIN PUNCHBOWL

A PAIR OF SAMSON PORCELAIN PHEASANTS

A magnificent 19th century Cantonese export porcelain punchbowl of exceptional size, richly decorated both inside and out in famille rose colours highlighted with gold, depicting court scenes within key pattern borders surrounded by flowers, birds, butterflies and artefacts.

A magnificent and large pair of polychrome porcelain pheasants by Emile Samson, in the manner of the Chinese Kangxi period.

Daoguang, circa 1850 Diameter: 20Vnt\ / 52cm Height: 8i/2in / 21.5cm

French, circa 188U Height: 19V4in/49cm W i d t h : Sin / 2()cm

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20TII C E N T U R Y

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A C A R R I A G E C L O C K BY j U M P A very fine late 19th century calendar carriage clock

by Jump, London, the case and dial numbered '2019', the 3% inch engraved and engine turned silver dial with gold hands and inset with a moon dial, set on an engine turned gilt surround inset with a silver calendar dial, the arched case covered with shagreen within gilt brass borders. The clock retains its original gilt tooled green leather travelling case signed JUMP, 93 Mount Street, London. The eight-day timepiece has a platform escapement with ratchet tooth and compensation balance.

English, circa 1900 Height of clock: 6l4in / 15.5cm Width of clock: 4yÂťin / 11.7cm Depth of clock: 3in / 7.5cm Height of case: 7V2in / 19cm Width of case: 5y2in / 14cm Depth of case: Wiin / 11cm

ne arched case clocks made by Joseph Jump and his descendants were inspired by the similarly shaped clocks by A L Breguet and James Ferguson Cole. TheJirst recorded clockmaking member ofthe Jumpfamily was Richard Huyton Jump who workedfor Benjamin Louis Vulliamy from 1812. Two of Richard's sons, Joseph and Richard Thomas, joined the Vulliamy workshop and upon Vulliamy s death in 1854, Joseph and a third brother, Alfred, set up their own business as successors to Vulliamy.

Initially, thefirm ofJump was run from la Old Bond Street and later at 55 Pall Mall where they first made the arched case carriage clocks for which they became famous. Towards the end of the 19th century, they moved again to 93 Mount Street where they remained until the company ceased trading in 1934. In November 1910, Jump & Son were awarded the Royal Warrant.

A sim ilar arched back calendar timepiece clock by Jump was exh ibited byAsprey in 1975. It has silver hallmark for 1889 and is No. 1956. As such, it seems reasonable to suggest that this clock. No. 2019, was made circa 1895. Mr A. Hayton Jump, the great grandson ofR Jump, writes to Col H Quill regarding his purchase of a clock of its type made in 1901: 'Thefirst of the clocks was madefor Lord Ashburton of the Victorian period before I was in the business. It cost thefirm a load of money in time and trouble, for so many men had to make so many parts (the man that made the hands couldn't do anything else, etc.). Myfather presented the bill to Lord A with trembling hands and apologisedfor the high charge. Lord A took the bill and wrote out a cheque at once for double the amount charged and expressed his appreciation.'

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20TI1 C E N T U R Y

Opposite:

A PARISIAN ROULETTE

WHEEL

A French roulette wheel of large scale, in mahogany and bronze and bearing the maker's label reading G Caro Fabricant Paris.

French, circa 1900 Now with a modern stand in finely figured mahogany, inlaid with brass stringing.

Height: 33in / 84cm Diameter: 32in / 81cm

Top right:

A TRAVELLING

CLOCK

A travelling clock in the form o f an outsize pocket watch in a leather case.

English, circa 1910 6 % X 5y4in / 16 X 13cm

Bottom

right:

T O R T O I S E TABLE

BELLS

Two charming early 2 0 t h century table bells in the form o f tortoises, one of silver plated steel and the other o f gilded steel, each stamped G S S on the underside.

English, circa 1915 Height:

/ 6.5cm

Length: 6%in / 17cm

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A S H A G R E E N B O X BY J O H N PAUL C O O P E R A circular dome top shagreen box with silver mounts,the interior lined in walnut and bearing the maker's plaque of John Paul Cooper.

English, circa 1900 Height: 3%in / 9.5cm Diameter: 3y2in / 9cm

A SET O F SILVER L E T T E R SCALES A set of early 20th century silver letter scales with five weights, from Vi ounce to 4 ounces.

Hallmarks for G B & Sons, London 1903 Length: 7%in / 19cm

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A SUITE OF ORREFORS GLASS Items from a suite of Orrefors Art Deco cobalt blue table glass designed by Simon Gate, consisting of nineteen pieces altogether, the majority of which are signed and dated Orrefors 1930 S Gate.

The suite consists of eight candlesticks, seven stepped hexagonal dishes, one large dish and four pear shaped salts.

Swedish, 1930 Provenance: This suite was made for the Swedish family of James Keiller. The family, of Scottish descent from Dundee, were famous manufacturers of marmalade.

The Orrefors glassworks wasfounded in 1898 and became internationally known during the 1920's. Ever since it has maintained its position as one of the world's most creative glasshouses. Simon Gate (1883-1945), together with Edward Hald (1883-1980), was one of the mostfamous Swedish Modern Glass designers.

He helped to bring about Orrefors' international breakthrough at the 1925 Paris Exposition Universelle where he claimed the Grand Prix.

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A COACHING

HORN

An Edwardian copper and silver coaching horn with maker's mark for Kohler & Son and hallmarks for Birmingham 1903, inscribed: The Heavy Mail 1851-1862, Kohler & Son, Bromley, Kent (from Covent Garden) London, with its original leather case.

Enghsh, 1903 Length: 46'/4in / 117.5cm

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PAIR OF BERLIN VASES MOUNTED AS LAMPS A fine and rare pair of early 18th century Berlin pottery vases of large scale, decorated all round with chinoiseries on a red ground and with flowers in relief, now mounted as lamps with bowed silk shades.

The vases, German, circa 1720 Height without shade: 20in / 51cm Height with shade: 33in / 84cm

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MALLETT & SON (ANTIQUES) LTD 141 New Bond Street, London W I S 2BS Telephone: +44 (0) 20 7499 7411 Fax: +44 (0) 20 7495 3179

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