M A L L E T T IN B O N D
STREET
Mallettwas founded in Bath in 1865 and has been established in Bond Street in London since 1910. Here there are five floors o f showrooms and galleries 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 N E W B O N D STREET T: +44 (0) 20 7499 7411
L O N D O N W1S 2BS
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M A L L E T T AT B O U R D O N
HOUSE
In 1962 Mallctt acquired Bourdon Hou.se in Mayfair, which houses the second major part ot .Mallett's business. W i t h i n its 18th century interiors is shown a fascinating and more eclectic range of high qualit)' continental furniture, together with precious and decorative objects. There is even a small courtyard for garden furniture and statuary.
2 DAVIES .S LREET
L O N D O N W I K .^DJ
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'r? im M A L L E T T IN M A N H A T TAN In the spring o f 2003 .Mallett opened new premi.ses at 929 Madi.son Avenue, New York, where there are extensive showrooms offering a regularly changing selection o f fine pieces drawn from the nvo London shops. Lhis business operates as a close link with London and acts as a portal to the treasure houses o f our international business.
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Website: www.mallettantiqucs.coni
NY 10021
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MALLETT L O N D O N • N E W YORK
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Contents ENGLAND T H E EAST EUROPE
Detail f r o m a m a g n i f i c e n t I n d i a n ivory h o w d a h (.sec p a g e 7 6 - 7 9 )
Frontispiece: M a l l e t t ' s s t a n d at llic 2 0 0 4 I n t e r n a t i o n a l F i n e A n & A n t i q u e Fair, P a l m B e a c h
O p p o s i t e page: A n i m p o r t a n t ( i e o r g e 1 gilt g e s s o b u r e a u c a b i n e t . H e i g h t 9 4 7 , in / 2 4 0 . S c m
ACQUIRING THE BEST New York has given us a wonderful welcome:
example, is about equal to that o f a minor
our new gallery on Madison Avenue at 7 4 t h
impressionist drawing - that must make it a
Street has had sensational support from old and
good buy!
new clients alike. T h i s has been most heartening and it is a great joy to welcome all our friends
But above all we believe in offering things o f the
there and to show them a wide cross-section o f
ultimate quality in both design and
treasures drawn from the two businesses in
craftsmanship, whatever the period, that will be
London. T h e stock is changed regularly and
a delight to own and be enriching to live with.
should be viewed in conjunction with much
W e very much hope you may be enticed to
more which is to be seen at B o n d Street and at
consider some o f the remarkable pieces we have
Bourdon House, and also on our website and at
selected for this catalogue. W e are proud o f
Fair exhibitions.
them and our aim is to share with you an equal enthusiasm for the truly wonderful works o f art
W e have just now especially magnificent English fiirniture,
which we have at present.
perhaps to an extent we have not
achieved before, alongside good continental furniture and paintings. I still maintain that the B E S T is great V A L U E , a good investment, and if it must be pointed out, reasonable in price.
auv.
T h e cost o f our great gilt gesso bureau bookcase
Lanto Synge
made for the Portuguese Royal family, for
C h i e f Executive
u'r'
T H E L E I C E S T E R H O U S E PIER M I R R O R S
A very important pair of late 17th century carved giltwood and lacquer pier mirrors, the arched, bevelled and divided plates within a black japanned cushion pattern frame with hatched and gilded border, surmounted by a finely carved and pierced cresting with scrolling foliage and hatched strapwork centred by a cartouche containing a pheon below an Earl's coronet, flanked by cherubs and turned vase finials. English, circa 1695 Height: 57V4 in/147 cm Width: 22 in / 56 cm PROVENANCE: Commissioned for the Sidney family. Earls of Leicester, either for Leicester House, London or for Penshurst Place, Kent Throughout the 16th and 17th centuries the Sidney family stood resolutely at the centre of political and court life spanning six tumultuous reigns. Rewarded with the Earldom of Leicester in 1618, they were already established at their seat, Penshurst Place in Kent, that had been presented to them by Edward VI in 1552. However, in order to consolidate their influence at Court, a splendid new house was planned in London and in turn created one of today's most famous squares in London. Between 1631 and 1635, after acquiring a plot of land and on the proviso that the square was enclosed and planted with trees for the public good, Robert, 2nd Earl (1595-1677) began building Leicester House. It was a huge palace that dominated the entire northernmost end of the square and was described as 'a large building having three wings and a comparatively narrow main portion projecting at the centre of these wings the whole occupying the four sides of a square and enclosing a quadrangle'. During the 17th century each successive eari changed or embellished the structure. On
succeeding to the earldom, Robert, 4th Earl of Leicester (1649-1702) embarked on an extensive programme of refurbishing the London house. Over ÂŁ2,000 was spent on repairs and almost ÂŁ1,500, was on 'chairs, tapestries, glasses, tables and furnishing materials'. It would seem most likely that it was during this lavish programme of works that these important and splendid pier glasses were ordered, along with a great verre eglomise mumr with identical cresting that today hangs in the Drawing Room at Penshurst. The fineness of the carving and originality of the design would indicate that they are the work of a metropolitan workshop, perhaps even that of Jean Pelletier or of John Gumley, who were the principal suppliers of such grand mirrors. According to the Sidney inventories, the best furniture and pictures were displayed in London rather than at the rather sparsely furnished Penshurst Place. As a powerful nobleman, it seems very likely that Lord Leicester imitated the formal layout of King William Ill's new apartments at Hampton Court in his remodelling of the house. These mirrors may therefore have been intended for the series of important parade rooms that are known to have existed. These were approached through a series of interconnecting chambers, diminishing in size but increasing in importance, and it is perhaps for one of these smaller but significant rooms that this pair was made. Lord Leicester's familiarity with the Court style is revealed further by the influence of the King's Master of Works, Daniel Marot (1663-1752), in the design of the foliate strapwork cresting. Marot was engaged in the rebuilding of the State Apartments at Hampton Court between 1694 and 1698 and Lord Leicester, as a regular visitor to Court, would almost certainly have known of him and his designs. The richness and density of the carved cresting is contrasted with the simplicity of the dark, ebonised, cushion moulded frame that would
have sat well with the other looking glasses with ebony frames that are listed in the 17th century inventories and which were fashionable at the time. This original black surface was created using lamp black mixed with shellac, as advocated by John Stalker & George Parker's publication of A Treatise of Japanning and Varnishing o( 1688 and analysis has shown that the border was built up in two layers: the first composed of numerous layers of shellac tinted with lamp black and then sealed with a coat of clear varnish over the top. Remarkably the cresting still retains almost all of the original gilded surface, which has been confirmed by micro-analysed samples. Glimpses of how lavish the interiors of Leicester House were can still be gleaned from the inventories of 1644 and 1677, with their references to successive parade rooms hung with rich green silk damask hangings, tapestries, old master pictures, looking glasses, sets of gilt leather chairs and armorial hall furniture, among other pieces. These mirrors would have looked particularly splendid against the dark damask in candle light, with the glittering, ornately gilded cresting and dark sheen of the black japanned frames creating an exotic and rich statement underlining the family's rank and wealth to guests and visitors. Shortly after the beginning of the 18th century the male line of the Sidneys died out and Leicester House, although remaining in the family, was let out to various tenants of note including Frederick, Prince of Wales, before being demolished in 1788.
A WILLIAM A N D MARY LACQUER CABINET O N STAND
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A magnificent late 17th century chinoiserie lacquer cabinet with its original baroque stand and cresting; the cabinet decorated throughout in polychrome 'bantam work' with gilded highlights, simulating Chinese Coromandel lacquer, depicting, on the doors, figures in idealised garden scenes and huntsmen among wild animals and, on the sides, vases of peonies and blossom and mythical beasts; the cabinet mounted with elaborate brass lock escutcheon and engraved brass corner pieces and hinges; the interior fitted with an arrangement of ten drawers, each with an individual landscape or garden scene with figures, animals and birds, the interior of the doors with exotic pheasants and smaller birds, blossom and flowers. The pierced giltwood cresting is carved with putti amidst swags, scrolling foliage and flower-heads, with urn finials at the corners. The base has a deep, pierced frieze similarly carved with putti, leaves and flowers, the legs with scroll knees, large scale stylised acanthus and ending in scroll feet.
the Coromandel coast of India. The technique consisted in overlaying a base of wood with a series of increasingly fine white clays and fibrous grasses. Over this surface, lacquer was applied and polished before the design was incised and the hollowed out portions filled with colour and gilding. This cabinet retains its original giltwood cresting and stand. In the 17th century it was fashionable to mount oriental and chinoiserie cabinets in such a manner. The pierced giltwood cresting is richly carved with putti amidst intertwined swags, scrolling foliage and flowerheads, with urn finials at the corners. The base has a deep, pierced frieze, similarly carved with putti, leaves, flowers and strapwork, all of which make up the vocabulary of the high baroque. All has been executed with an intensity and exuberance which not only reflects the fantasy of late 17th century
court life but also the high quality of cabinet making which existed in England at this time. This cabinet was formerly in the collection of Sir Henry Price. Price was born in Leeds in 1877 and began life in the North of England as a Tifty Shilling Tailor', in the days when a suit cost as little as ÂŁ2.10 shillings. In the years immediately after the Second World War he increased his already sizeable fortune, predominately from the sale of de-mob suits for men coming out of the forces. He had decided to move south and in 1936 bought Wakehurst Place in Sussex, which is now owned by the National Trust and administered by the Royal Botanic Gardens at Kew. Price was fortunate in collecting during a period when the dispersal of prominent collections was commonplace. The result was an excellent collection that included this lacquer cabinet on stand.
English, area 1690 Overall height: 76 in / 193 cm Overall width: 45 in / 114 cm Width with doors open: 78 in / 198 cm Depth: 23 in / 58 cm PROVENANCE: Sir Henry Price, Wakehurst Place, Sussex Lacquer-ware was first imported to Europe by the Portuguese from Japan at the end of the 16th century and was highly prized; an unknown medium and greatly admired for 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. In the West, this imitation is called japann, and is made from the deposit left by an insect, coccus laca, on tree branches. The first European imitations of oriental lacquers originated in Venice during the late 16th century and the fashion for chinoiserie quickly spread. By the end of the 17th century japanning was well established throughout Europe and the craze for chinoiserie continued throughout the 18th century. 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 order for the private enjoyment of family and selected guests.
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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
11
A BURR WALNUT C H E S T OF DRAWERS
A Q U E E N A N N E SPINET
A small George I burr walnut chest of drawers of rare form, the quarter veneered top with cross-banded and feather-banded border and with indented corners, above an oak lined brushing slide and four graduated drawers with rounded ends, cross-banded and feather-banded borders and retaining their original pierced brass handles and key escutcheons, raised on unusual bracket feet with rounded and indented corners.
A rare Queen Anne period spinet attributed to Francis Coston, the shaped case with lifting top, veneered and cross banded with walnut, with brass strap mounts, on its original turned stand with stretcher, the keyboard in ebony and ivory. English, circa 1710 Height closed: 32 72 in / 82.5 cm Length: 7172 in / 182 cm Depth: 24 in / 61 cm
English, circa 1715 Height: 30 in / 76 cm Width: 31 in / 79 cm Depth: 19 in / 48 cm
12
Francis Coston is recorded at Brownlow Street, Drury Lane, London between 1700 and 1738. The word spinet is derived from the Italian spinetta, which itself comes from spina, a thorn, for 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 in the early 18th century as they were smaller and easier to maintain than the larger harpsichords and yet produced a powerful tone. They had one set of strings plucked by crow quills. The fine brass-work hinges are another early feature. For further historical background, see Early Keyboard Instruments, by Philip James, 1930.
13
A G E O R G E II RED WALNUT C E N T R E TABLE
An early 18th ccntury red walnut centre or 'silver' table, the dished top with raised and moulded edge and indented corners, above a plain frieze, raised on elegantly tapering cabriole legs terminating in pad feet. English, circa 1730 Height: 27'/j in / 70 cm Width: 32 74 in / 82 cm Depth: 2074 in / 52.5 cm
14
A PAIR OF Q U E E N ANNE WALNUT STOOLS WITH NEEDLEWORK SEATS A rare pair of early 18th century walnut stools raised on cabriole legs, the knees carved with shell decoration flanked by scrolls and terminating in pad feet, the rectangular padded seat covered in period floral petit point needlework depicting stylised flowers including carnations and tulips amongst scrolling foliage on a pale gold ground. English,
circa
1710
Height: 18 in / 46 cm Width: 22 74 in / 56.5 cm Depth: I6V4 i n / 4 2 . 5 cm PROVENANCE: The Hochschild Collection until 1978 Mallett & Son (Antiques) Ltd Private collection,UK
15
A PAIR OF GILT GESSO SIDE TABLES A pair of Queen Anne gilt gesso side tables of excellent proportions and retaining much of their original gilding, the tops carved with strapwork and scrolling foliage, the frieze with acanthus leaves and central, bowed apron, on cabriole legs headed by acanthus and ending in carved pad feet. Height: 33 in / 84 cm Width: 45 in / 114 cm Depth: IdUi i 52 cm
mil
A BOOKCASE FROM BURTON CONSTABLE
A very rare George II bookcase of small and shallow proportions, in burr elm of superb colour and patination, with dentil cornice above two glazed doors, retaining their original glass and enclosing adjustable shelves, the lower cupboard doors with fielded panels, opening to reveal a fitted interior with an arrangement of small drawers veneered with burr elm and with their original gilded handles. English, circa 1750 Height: W h in / 219.5 cm Width: 77'/2 in / 197 cm Depth: B ' A in / 34 cm PROVENANCE: Burton Constable Hall, Yorkshire Burton Constable Hall, along with Burton Agnes in the East Riding of Yorkshire, has long been considered among the finest examples of Elizabethan architecture in England. The house has remained in the Ccrflstable family since it was first built in the 12th century and still houses one of the great collections of English furniture, including Thomas Chippendale's greatest complete commissions of the 1770's.
This beautifully figured bookcase was originally made to house part of the enormous library at Burton Constable that extended through various rooms including the impressive Long Gallery, occupying the whole of the upper floor of the west front. Although ostensibly of Jacobean style, this part of the house is actually largely Georgian, having been remodelled in 1736 by Cuthbert Constable. The earliest of this splendid series of bookcases was probably designed by 1747.
and of similarly shallow proportions. As the original thirteen bookcases of the Long Gallery remain in situ it would seem that this particular bookcase was made for one of the other interiors before being removed as the use of the room changed. Bookcases in the Long Gallery, ( C o u n t r y Life Picture G a l l e r y )
Later, William Constable commissioned Thomas Chippendale to supply furniture for his new interiors, transformed from the original Elizabethan rooms. In the 18th century York and its surrounding towns had a thriving cabinet-making industry and William liked to engage local craftsmen. Apart from Chippendale himself, from Otley, other Yorkshire contributors to Burton Constable were Reynoldson and Farrar, both of York, Wrightson of Beverly and Walker of Hull. It was, however, Thomas Higham, the estate joiner at Burton Constable who was entrusted with making the library bookcases, all constructed in a combination of elm and mahogany, as is the present example.
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A MUSICAL BRACKET CLOCK BY ROGER DUNSTER
A rare and important George II brass mounted
T h e substantial movement has verge escapement
ebony bracket clock of large scale and with
and plays the selected music with twenty-five
repeating musical movement; the arched dial
hammers on thirteen bells. It plays on the hour
inscribed Roger Dunster, with calendar aperture
followed by the hour strike, and at the half hour
and with four subsidiary dials for strike/silent,
followed by the next hour strike on a smaller
chime/silent, days of the week and rise/fall
bell. The tunes are as follows:
regulation, each enclosing a painted personification of Dawn, Day, Dusk and Night respectively; the
King George March
arch with gilt Pegasus spandrels within the tune
Dam nos Champs
selection dial and with a rotating moon phase
D'dans mon petit
sphere within an astral background and with a
Geminiani's
dial indicating the moon's age; inscribed on the
Minuett in Jupiter & Europia
engraved backplate Roger Dimster, the case with
March in Scipio
brass female caryatid corner mounts, pineapple
Bergamasco
finials, pierced sides and brass carrying handles,
Whitehall
having a rotating base raised on brass ogee
Cottillion
bracket feet.
Bacchus
Minuett
Bellsize Mimiett English, circa 1740
Prince Eugene's March
Standing on modern, brass mounted tapered pedestal
Roger Dunster was born in London in 1695.
Height of clock: 30 in / 76 cm
He went into partnership with Christopher
Height with pedestal: 70 in / 178 cm
Clarke in Amsterdam in 1722. From 1730
Width of clock: 18 i n / 4 6 cm
he worked on his own until his death in
Depth: 1172 in / 29 cm
1747.
20
mm.
A MAGNIFICENT PAIR OF NEEDLEWORK ARMCHAIRS
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A pair of extremely fine George III mahogany library armchairs of large scale, the armrests carved with flowerheads and trailing foliage, the padded backs, seats and arms all upholstered in 18th century needlework of brilliant colouring, raised on cabriole legs carved both at the front and at the back with scrolls and stylised foliage and with cartouche ornament on the knees and toes. English, circa 1760 Height: 40 in / 102 cm Width: 28 in / 71 cm Depth: 25 in / 64 cm
23
A LARGE GEORGE II MAHOGANY PIECRUST T R I P O D TABLE A very fine mid 18th century mahogany tripod cable of grand scale, the circular tilt top with moulded piecrust edge on birdcage support, raised on a fluted and acanthus carved baluster stem above a band of egg and dart moulding, on boldly curved tripod supports with strapped acanthus leaf carving on the knees, ending in claw and ball feet inset with brass cup castors. English, circa
1755
Height: 29 in / 74 cm Diameter: 33 in / 84 cm
A G E O R G E III MAHOGANY CELLARETTE A late 18th century mahogany cellarette of rare form, having canted corners, carved blind fret frieze and deeply fluted sides, the flat cover with moulded edge and top of solid, flame figured mahogany of superb, faded colour; with original lead lining. English, circa
1780
With later brass feet Height: 18'A in / 47 cm Width: 24 in / 61 cm Depth: 21 in / 53 cm
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A G E O R G E III M A H O G A N Y W R I T I N G DESK A very fine late 18th century George III mahogany library writing desk with brass swan's neck handles, the leather lined top with a lifting book-rest, above a long, single drawer in the frieze which opens to reveal a writing shelf with pigeon holes and small drawers; the kneehole flanked by drawers at the front and by cupboard doors on the reverse, supported at the corners by stop-fluted carved columns adorned with acanthus carving and laurel leaf capitals; the desk with conforming moulded panels on all sides, the corners being carved with roundels and harebells.
English, circa 1790 Height: 35'/2 in / 90 cm Width: 5372 in / 136 cm Depth: 33 72 in / 85 cm Height of writing shelf: 27 72 in / 70 cm
26
27
H E N E W H A I L E S LIBRARY C H A I R S
mm
An important pair ot mid 18th century carved mahogany hbrary armchairs, the rectangular backs and seats and the armrests all upholstered in their original Aubusson tapestry depicting on one a cockerel and a k)x and on the other a pheasant and a hare, within wreaths of flowers and arabesques; the arms with outcurving hand rests and moulded, sloping supports with flower-head terminals and beading, raised on square, pierced legs at front and back, with fret brackets embellished with entwined flowers and leaves, ending in guttae feet and joined by four pierced fret stretchers. The cockerel chair back is inscribed
M.R.DAUBUSSON.MAGE
English, circa 1755 Two stretchers replaced on each Height: 39V, in / 101 cm Width: 2972 in / 75 cm Depth: 30 in / 76 cm Depth of seat: 24 in / 61 cm
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I HE N E W H A I L E S
LIBRARY CHAIRS
comhwed
PROVENANCE:
large sash w i n d o w s that filled it wtth light. It
The D a l r y m p l e family at Ncwhailes H o u s e ,
was in this great r o o m that the 1st Lord Hailes,
M i d l o t h i a n , Scotland u n t i l 1928
grandson o f Sir D a v i d , later placed his tour
Partridge 1928
tapestry covered chairs. Further a d d i t i o n s a n d
Pcrq' R I')'nc, N e w York
e m b e l l i s h m e n t s were m a d e at Newhailes in the
Mrs Robert C, Elbert, N e w York
18th century, i n c l u d i n g a .second w i n g to
Partridge, N e w York
balance the library extension a n d some very
Walter P Chrysler |r, sold Parke-Bernet Galleries,
fine rococo plasterwork. Fhe hall was re-
New York, M a y 1960
decorated in 1742 by the stuccoist, James
T h e Gerstenfeld C o l l e c t i o n , W a s h i n g t o n
architectural overmantel for the chimney-piece
C l a y t o n , w h o also provided an elaborate, DC
in the library. A l t h o u g h .some 19th century alterations took place, m u c h at Newhailes today
1 I TERATURE: 1. Weaver, NewlMiles, Midlothian^
C o i n i t r y Life,
8 September 1917 P D u n c a n , Newhailes,
remains as it has been since the early 18th
wm
century a n d the house retains a remarkable East Lothian,
Country
atmosphere ot its era.
Life, 2 9 January and 5 February 1987 J (A)rnforth, Newhailes,
East Lothian,
Country
A celebrated collection o f b o o k s a n d
Life, 21 a n d 28 N o v e m b e r 1996
manu.scripts was f o r m e d over the years,
I C o w , Scottish Houses and Gardens, L o n d o n 1997
reaching its h e i g h t u n d e r L o r d Hailes, w h e n
I C o r n f o r t h , Newhailes,
Midlothian,
Country
the library at N e w h a i l e s was de.scribed by D r
The [.ibrary at N c w h a i l c s . (C'oiintn- Life Picturc Library)
Life, 2 2 August 2 0 0 2
J o h n s o n as 'the m o s t learned r o o m in Europe'.
These chairs, originally part o f a set o f four,
A l t h o u g h certain items were sold in 1937, it is
W h i l e d e m a n d for English tapestry had declined
remained in the D a l r y m p l e family f r o m the
nonetheless considered to be the most
by the m i d 18th century, the fashion for the
m i d 18th century until 1928. ( T h e second pair
i m p o r t a n t c o n t e m p o r a r y collection t o survive
French alternative had grown. W o v e n scenes
was sold in N e w York in 1998.) Such an
f r o m the period o f the Scottish E n l i g h t e n m e n t .
d r a w n from the fables o f La Fontaine appealed
established provenance is rare w h e n so m a n y
There are a p p r o x i m a t e l y 7 , 0 0 0 v o l u m e s o t
to the picturesque, fantasy m o o d ot the rococo
examples o f great English furniture remain
British a n d foreign works f r o m the 16th to the
era a n d were widely ujied o n F^nglish seat
u n d o c u m e n ted.
They were acquired by either General the H o n
18th century, plus n u m e r o u s p a m p h l e t s a n d
furniture. T h e tapestry o n these chairs was m a d e
prints, m a p s a n d music. Particularly strongly
by Pierre M a g e o f the Aubus.son factory, where
represented are history a n d b i o g r a p h y , politics,
he worked for n o le.ss than tifrv vears, u n t i l
James St Clair, w h o died in 1762, or his w i d o w ,
e c o n o m i c s a n d theology, as well as m u c h
Janet (nee D a l r y m p l e ) , for her h o m e at 6 0 Greek
classical a n d c o n t e m p o r a r y literature. A m o n g
Street, L o n d o n . After her death in 1766 they
D a l r y m p l e papers are the m a n u s c r i p t ot l.ord
General St Clair was a distinguished soldier a n d
were purchased at the auction o f the Cireek
Hailes' Annals
politician. In 1748 he was returning trom his
Street house by her nephew, D a v i d D a l r y m p l e
J o h n s o n , a n d letters ot his c o n t e m p o r a r i e s ,
(1726-1792), Lst l.ord Hailes, for Newhailes
i n c l u d i n g H u m e , R o b e r t s o n , Beatty a n d Burke.
possible that he purcha.sed the tapestries in Paris
H o u s e in Scotland. There they remained u n t i l
U p o n the death o f Sir M a r k D a l r y m p l e in
on that trip (Cotitts Bank records show they
1928 w h e n tliey were sold by Sir D a v i d
1971, the c o n t e n t s o f the library were allocated
arranged credit for h i m in Lyons a n d Paris at
Dalrymple.
to the N a t i o n a l Library o f S c o t l a n d , h a v i n g
that time) and had the tapestries p u t on the
been accepted by the G o v e r n m e n t in lieu o f
chairs u p o n a c q u i r i n g t h e m at a later date. T h e
estate duty. N o w a property o f the N a t i o n a l
likelihood is that the chairs were actually
Trust for S c o t l a n d , N e w h a i l e s has been
upholstered by o n e o f the Bradshaw family o f
Newhailes Hou.se stands .some four miles cast o f E d i n b u r g h a n d takes its n a m e from the ruined Hailes Castle in East L o t h i a n , another D a l r y m p l e family property. O r i g i n a l l y n a m e d W h i t e h i l l , it was built by the architect James
of Scotland,
a n n o t a t e d by S a m u e l
post as M i l i t a r y F^nvoy in V i e n n a a n d it is
u n d e r g o i n g restoration a n d it is i n t e n d e d that
L o n d o n furniture makers a n d tapestry makers.
this great literary collection be returned to its
S o h o was the centre o f L o n d o n tapestry m a k i n g
rightful place.
in the 18th century a n d CJreek Street was at its
S m i t h , as his o w n h o m e , a r o u n d 1686. In 1709
heart.
it was purchased by Sir D a v i d D a l r y m p l e , the
6 0 (ireek Street was o n c e part ot the curtilage o f
r h e grand scale ofthe.se chairs, their overall
youngest son o f the l-^arl o f Stair, w h o renamed it
design a n d the detail thereot are all strongly
Newhailes.
indicative ot their time. I hey repre.sent
described and illustrated in his Gentleman
iieo-Palladian villa, with i n t i m a t e interiors and
Gabinet-Maker's
Director,
a l t h o u g h primarily an upholsterer, was al.so a and
b r i n g i n g together, in a
small w i n d o w s c o m m e n s u r a t e to its overall
chair form he calls 'French', b o t h C h i n e s e a n d
proportions, l^y 1720, W i l l i a m A d a m had
R o m a n o r n a m e n t in o n e m o d e l . 'Fhe pierced
completed a new w i n g for Sir D a v i d , m a k i n g
fretwork may also be seen in his ' G o t h i c k ' chairs
space tor a magnilicent library o f far grander
and the foliate e n t w i n e d supports on his design
scale ihan any other r o o m in the house, with
tor a 'C!hinese' c h i n a cabinet.
the Bradshaws' premi.ses at 2 7 S o h o Square, so they were clo.se neighbours. W i l l i a m Bradshaw,
C.hippendale in the ' M o d e r n ' m a n n e r , as James S m i t h designed the original house as a
It h a p p e n e d that the St C^lair's h o m e at
p r o m i n e n t furniture maker in the 1730's a n d 174()'s. However, given their later date, their sophistication o f design a n d their quality, the chairs themselves were most probably m a d e by o n e o f the leading makers o f the nearby St Martin's Lane coterie, w h i c h included C h i p p e n d a l e himself.
i
32
A GEORGE II MAHOGANY GATE-LEG TABLE A mid 18th century mahogany rectangular gate-leg table, the top of most unusual, gently curving serpentine outline and of very fine colour and patina, raised on cabriole legs carved with acanthus at the knees and ending in large claw and ball feet.
English, circa 1750 Height: 2 9 7 , in / 74 cm Width: 5 0 ' / 4 i n / 127.5 cm Length: GVI2 in / 156 cm
TWO Q U E E N ANNE COVERLETS
A Q u e e n Anne embroidered coverlet, the cream cotton covered with diaper stitch and surrounded by a deep border of flowering tendrils, separated from the centre by a secondary running frame of yellow embroidered flowers and leaves. Further flowers and foliage decorate each corner and the centre of the coverlet and small sprigs of flowers and exotic birds are placed evenly over the rest of the ground.
English, circa 1700 Framed: 66 x 62 in / 167.5 x 157.5 cm An early 18th century coverlet worked with a running border of scrolling, shaded foliage. At the centre is a hillock from which branches grow, blooming with a wide variety of flowers of exotic form, worked in a multitude of patterns and shades of pink. Oriental simurghs fly amongst the branches.
English, circa 1715 Battened: 65'A x 68 in / 166 x 172.5 cm
33
A CHIPPENDALE CABINET
A very fine mid 18th century Chippendale period mahogany breakfront bookcase cabinet; the upper section surmounted by an architectural broken pediment with central pedestal and dentil cornices, flanked by pierced fretwork galleries ending in foliate scrolls, above four tall panelled doors with corner quadrants and turned roundels, each door enclosing adjustable shelves and a shallow drawer at the base; the lower section having a finely gadrooned top edge above three long and six short drawers, all retaining their original swan's neck brass handles, raised on a moulded plinth base; the mahogany of superb colour, figuring and patina throughout. English,
circa
1760
Height: 9 7 in / 246.5 cm Width: 6 7 in / 170 cm Depth: 2172 in / 54.5 cm
34
35
...
A are
pair of G e o ^ UI m a h o g ^ y ha!l chair
anribiited to Thomas Qiippendale with circular, pierced backs beaitng at the centiv the painted
bblc excqKian of the Âť t of eight It chairs suppKed to Nostelt and the set l i ^ g a i n with arms, supplied to Hatewood
crest and maCD of the Blunt family Inter lacrymas mkat ('SunshrTtc airritht teanr),
the armless variety are the most extrava^nt and
stipported on a ^aoiaed splat wifli fluted base,
ambitiously designed o f the j^mmi
Htmi^, the pieseiM c h a i s - in partimJar among
the dishoi, serpatine seat widi fluted (iieze,
raised on sqnare, fluted le^ headed paterae s the front and on splayed le^ at the back. English, circa 1775 Height: 40 inches / 101.5 cm Width: 19 inches/48.25 cm Depth: 18 inches / 45-75 cm PROVENANCE: General Blunt, Adderbury House, Oxfordshire The Countess of Cromartie, Castle Leod, Ross and Cromarty LITERATURE: cf: Christopher Gilbert, The Life and Work of Thomas Chippendale, p96, figs 154 and 156, p97, figs 157 and 159 Stylistically, these chairs are very closely related in design and execution to a small group of documented neo-classical hall chairs known to have been supplied by Thomas Chippendale. The most obvious similarity is represented by the round backs of the chairs with the painted medallions depicting the coats of arms of the commissioning family The pierced back of the present chairs is a more extravagant progression from the carved backs of the set of chairs supplied to Sir Gilbert Heathcote for Normanton Park and the square, neo-classical fluted legs are an embellished variation on the chairs supplied to the Lascelles family at Harewood House in 1773. There are again strong similarities here with the waisted splat that supports the round chair back. The present chairs have neo-classical paterae at the tops of the legs which are also very similar to those supplied to Normanton Park and to the Winn family at Nostell Priory.
36
Castle Leod. the seat tf the clan Mackenzie is thoi^ht Eo JMVC faces buih on aiie sac of an a n o e n t Jfeisfa fort in the 1 2 l h C H i t u r y and CDn^i;red t i e oidest intact e ^ l e iit=the British Isles. It w remodelled in 1606 by Sir Roderick Mackenzie: George Mackenzie, statesman and politician, was created the 1st Earl of Cromartie in 1703. He served under Charles II. James II, William III and Queen Anne. He was a supporter of the union between England and Scotland, though certain of his descendants served the Jacobite cause: The 3rd Earl and his son. Lord Macleod, suffered imprisonment and Macleod had to give up any claim to the estates. He later redeemed them after a distinguished military career, which included the founding of what is now the Highland Light Infantry.
There followed two childless generations and the estates then passed to Macleod's sister, Isabel, wife of the 6th Lord Elibank. In 1861, Isabel's descendant, Anne, wife of the 3rd Duke of Sutherland, was created Countess of Cromartie with remainder to her second son Francis, who became Earl of Cromartie in 1888. In 1895, two years after the death of Francis, his daughter, Sibell Lilian Mackenzie, was granted by letters patent the tide of Countess of Cromartie, despite the tide having fallen into abeyance. In 1899 she married Lt Col Edward Walter Blunt, who adopted the name Mackenzie. This was presumably the time that these chairs, bearing the Blunt crest and motto, entered the Mackenzie family. The title then passed to their son Roderick Grant Francis Blunt-Mackenzie MC TD, who became 4th Earl of Cromartie, and as High Sheriff of Ross and Cromarty lived at Castle Leod, Easter Ross, which remains the family seat.
One of a set of eight hall chairs supplied by Chippendale to Harewood House
•.illi
I-T,.
A FANTASY PAINTING A : p R J B U T E D TO HENRY ANDREWS
A ^ V
mm
m l
An early 19th century landscape depicting an exotic twilight vignette of natives dancing around a fire with European and tribes people watching. In the background is a walled city and a chinoiserie tempietto and in the foreground is a figure on horseback protected from the sun by a parasol, holding an exotic bird on her arm. T h e scene possibly represents visitors to the Americas. Attributed to Henry Andrews. English, circa 1835 Now in a fine quality carved gilrwood Regence frame Oil on canvas: 25 x 40 in / 63.5 x 101.5 cm Framed: 35 x 51 in / 89 x 129.5 cm Henry Andrews (1794-1864) was a London painter of genre and historical subjects. His works are always wistful, often in the manner of Watteau and, as in this case, evoke the flamboyance of the mid baroque; the costume ' ^
depicted is of the early 17th century. Andrews
I f f i V exhibited at the Royal Academy between 1830 and 1858, the British Institution and the Suffolk Street Galleries of the Royal British Society of
•5.V
Artists.
V
. • •< -
A PAIR OH C O M M O D E S A T T R I B U T E D T O W I L L I A M M O O R E OF D U B L I N
An extremely fine pair of late 18th century
door with large central fan reflecting the
PROVENANCE:
harewood and marquetry demi-lune
design of the top, surmounted by a classical
Mallett &; Son (Antiques) Ltd 1961
commodes attributed to William Moore of
urn hung with swags; the sides with further
UK Private Collection
Dublin; the top with segmented veneers inlaid
conforming swags and with vertical, cross-
with a fan with pendant bellflowers and with
banded and anthemion inlaid panels leading
This highly important pair of Irish Georgian
ribbon tied swags of husks, the border cross-
to square, tapered feet.
harewood and marquetry demi-lune commodes
banded and inlaid with scrolling bay leaves
are decorated throughout with elegant and
and berries and a central bow; the satinwood
Irish, circa 1785
frieze with similar bcribboned swags
Height: 32 in / 81 cm
Dcmi-lunÂŁi^commodes such as these, together
interspersed with anthemia; each commode
Width: 37 72 in / 95 cm
with similarly decorated half-round pier tables,
with a central drawer above a single cupboard
Depth: 18 i n / 4 6 cm
became increasingly popular in the interior
t
superbly drawn neo-classical ornament.
ll^
:t t
schemes of the second half of the 18th century.
partnership o f W i l l i a m Ince and John Mayhew
There are striking similarities between all of
Hepplewhitc described their design as having
and decided to settle in D u b l i n some time
these commodes. Each uses the ubiquitous anthemion or honeysuckle motif, the classical
'become an article o f much fashion' and admit,
before 1782. His first important commission
with great propriety o f much elegance and
there came from the newly appointed Viceroy
urn, husks suspended from Hower-head paterae
ornament'.
o f Ireland, W i l l i a m Henry Cavendish, 3rd
and garlands o f flowers and leaves. These
D u k e o f Portland, to supply a harewood and
features were used extensively by the leading
I'hese commodes were conceived as 'commode
satinwood half-round commode, inlaid in the
neo-classical architect o f the day, Robert Adam,
pier tables', and are characteristic o f the work
fashionable neo-classical style. A similar but
after his return from Italy in 1758 until his death in 1792 and became the most fashionable
produced by the skilled D u b l i n cabinet-maker,
more elaborately decorated c o m m o d e is in the
William Moore. Moore trained in the
collection of the Victoria and Albert Museimi
language o f ornament in England, fhis
workshops o f the celebrated London
in London.
ornament appears as the principle decoration on
II I I"
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A PAIR OH C O M M O D E S A T T R I B U T E D T O WILLIAM M O O R E OF D U B L I N
â&#x20AC;˘uitiiSM,
commued
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42
jjatllilittl^'ilfM
pI
the present c o m m o d e s . Tied garlands of husks
remained until his death in 1815. His signature
an age where painted furniture was cheaper to
on the top are treated with an almost painterly
appears on a semi-elliptical pianoforte case, that
manufacture. However, Moore's small b u t
quality and the frieze is united by the same
displays his trademark paterae frieze. T h e fact
remarkable group of inlaid furniture can be seen
decoration of husks tied with ribbons,
that he switched to supplying pianoforte cases at
as the conclusion of the greatest age of English
punctuated by anthemia.
the end of his career highlights the demise in
marquetry furniture production.
d e m a n d for the extravagantly inlaid c o m m o d e s By way of advertising his D u b l i n arrival in 1782,
a n d pier tables that had become his speciality.
Moore placed the following in the D u b l i n
T h e i r fine proportion in execution and exquisite
Evening Post:
w o r k m a n s h i p proved too expensive to sustain, in
William Moore c o m m o d e in the collection of the Victoria and Albert M u s e u m
William Moore most respectfully acknowledges the encouragement he has received, begs leave to inform those who want inlaid work, that by his close attention to business and instructions to his men, he has brought the manufacture to such perfection, to be able to sell for almost one half his original prices; as the greatest demand is for Pier tables, he has just finished in the newest taste a great variety of patterns, sizes and prices, from three guineas to twenty; card tables on a new construction (both ornamental and plain) which appear like small Pier tables, with every article in the Inlaid way, executed on shortest notice, and hopes from his long experience at Messrs. Mayhew and Ince, London, his remarkable fine coloured words, and elegant finished work, to meet the approbation of all who shall please to honour him with their commands.
Having settled in Abbey Street at ' T h e Inlaid Cabinet Wareroom', M o o r e moved to the fashionable area of Capel Street, where he
43
A PAIR O F A R M C H A I R S ATI R I B U T E D
l O THOMAS
CHIPPENDALE
An exrrfmcly fine and elegant pair of carved
and Huted legs headed b\' foliate paterae and
cabinet-maker, Thomas C'hippendale. The
giltwood oval back armchairs, attributed to
carved with acanthus, husks anci beadintr.
design is close in comparison to a set o f eight
Thomas Chippendale, the curved back and
giltwood armchairs ordered from Chippendale
sloping arm supports carved throughout with
English, circa 1775
by Sir Rowland W i n n in 1778 for the salon at
bands of husks, the cresting in the form of a
Height: 407. in / 102 cm
Nostell Priory, Yorkshire. A cletail from a
delicately carved anthemion Hanked by rose
W i d t h : 27 in / 68.5 cm
manuscript design for an armchair tor Burton
buds, the arm rests outlined with guilloche and
Depth of seat: 22 in / 56 cm
Constable, inscribed 'Chipindale' in William
ending in fohate hand rests; the broad,
Constable's hand, shows the same husk
serpentine seat rails having running bands of
This magnificent pair of armchairs is
decoration used as the principal motif to
pearl beading and guilloche, raised on tapering
characteristic of the work of the celebrated
decorate th(^ frame and arms. Also of interest is
m Vt^ fi
I'
yet the back legs are splayed in a typically
e comparison between a set of six painted and
eight giltwood armchairs at Osterley Park,
It armchairs at H a r e w o o d House, Yorkshire,
Middlesex, designed b\' Robert A d a m and
English manner. A r o u n d e d seat was more
ter a design dated 1775 by J o h n Linneil.
possibly supplied by C h i p p e n d a l e . T h e divisions
c o m m o n in France rather than the t\'pical
between the horizontal bands o f r u n n i n g
English treatment o f the serpentine front rail, as
o cabinet-maker other than C h i p p e n d a l e
o r n a m e n t and the carved husks incorporated
seen to great effect o n this pair o f chairs. T h e
ndertook major commissions at H a r e w o o d and
w i t h i n the fluting o n the turned legs are treated
o r n a m e n t is classical and used with a lightness
in a similar fashion in each case.
and sensitivity that is representative o f work ot
rawing, on the instruction o f E d w i n Lascelles.
T h e overall design o f this pair o f chairs is based
o r n a m e n t is particularly delicate, for example the
nother intriguing comparison is with a set o f
on the seat furniture o f the court o f Louis X V I ,
b a n d o f guilloche a r o u n d each foot, the carved
is likely that these were supplied by
the highest calibre. I he carving o f neo-classical
hippendale as adapted from the Linnell
i lis
If'
A MINIATURE C H I P P E N D A L E C L O T H E S PRESS AS A H U M I D O R
A charming and rare mid 19th centur)'
Thomas Chippendale's design dated 1753 for a
miniature mahogany clothes press after a design
'Commode Clothes Press", from The Gentleman
by Thomas Chippendale, the moulded cornice
& Cabinet-Maker's Director q( \ 7'iA, plate 104.
above two panelled doors decorated with carved scrolls and foliage, the canted corners carved with trailing flowers and acanthus, above a bombe shaped base with two short drawers and one long drawer, all with original rococo silver handles, the boldly curved corners carved with beading and terminating in foliate scroll toes. The interior is now fitted with cedar lined
m^-:
d
drawers, as a humidor. English, circa 1860 Height: 1274 in / 31 cm Width: 10 in / 25.5 cm Depth: 8 in / 20.3 cm
;.
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:
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47
A PAIR OF D E M I - L U N E TABLES W I T H S C A G L I O L A T O P S
A pair of late 18th century demi-lune console tables, the scagliola tops decorated with musical and martial trophies and flowers and foliage between three graduating bands, the carved giltwood bases each with acanthus frieze and bead and reel borders, raised on four fluted tapering legs headed by paterae and terminating in stylised laurel feet. The tables English, circa 1780 The tops Italian, circa 1770 Height: 3272 in / 82.5 cm Width: 4272 in / 108 cm Depth: 1872 in / 47 cm
-l^T^iijiivi M iiftl. H .ittillt'ft (V>m>Âť>ÂŤi <'' >'
It n-
48
y
m
A PAIR OF D E M I - L U N E TABLES WITH SCAGLIOLA TOPS continued
seat of the Duke of Northumberland, Syon
Scagliola is a material that has been used since
These fine console tables typify the shift in taste
Roman times to imitate marble and, later,
that occurred towards the end of the 18th
House, which Adam extensively re-modelled. He
pietra
century. The earlier excesses of the rococo
started work in 1762 and it is in the Ante Room
(moonstone) or scagliola in its finest version,
movement had by then been brushed aside to
where his extravagant use of scagliola can be
is hydrated calcium sulphate, found in great
make way for a new classical order. Robert Adam
seen. Besides the floor there are also twelve Ionic
quantit)' in the calcareous rocks around Modena.
was the chief proponent of this new movement.
columns veneered with verde-antico scagliola.
Because of its ductility, it is highly suitable for
Before the middle of the 18th century there had
They were obtained by James Adam in Rome in
modelling. T h e following description by
been little serious archaeological excavation, but
1765 and brought to Syon by boat.
dura. Gypsum, also called pietra
di
luna
Guiseppe Pelli Bencivenni (1729-1808) provides
the gentlemen dilettanti who enjoyed the Grand
a good overview of the material and its uses:
Tour exposed themselves to Roman ruins and
The floor in the ante-room is a remarkable
soon realised the sophistication and complexity
example of highly polished scagliola, beautifully
of decoration in Roman buildings.
executed with vivid colours. T h e centre of the
Scagliola
is made of a type of transparent
stone which scientists follow with the gessi, calling popularly
known
or dog's mirror. powder
it selenite.
as specchio
calcareous
Vallerio in It is,
d'asino
however,
(ass's
The gesso is ground
to the
colour
to imitate.
cleaned
and polished,
appears
which shines as i f covered
much of their inspiration in these exciting new
in
mixed
When the final result is
It is not my business to u'hich scagliola
1796) and Robert Adam (1728-1792) found
smoothed:
suits the kind of work it is
intended
a solid, gleaming here to describe
that it can be used to imitate
the many
composed
pictures
of animals,
all d i f f e r e n t marbles flowers,
which
50
it is held.
architect and decorator of his time. These tables with their fine scagliola tops demonstrate this new taste for the Antique. They are entirely Roman in concept. T h e tops are
scenes
from
and buildings,
you will have some idea of the great esteem
approach, while Adam worked out a new
uses
consider
and all the rarest stones, and from it can be history, and views of landscape
Chambers was generally more sober in his
and refinement that made him the most popular
crystal.....
can be put, but i f you
archaeological discoveries in Italy. William
vocabulary of classical decoration of great beauty
picture
ivith
18th century, Sir William Chambers (1723-
finest
can be carved
it and then filled ivith the same material luith whatever
T h e two dominant British architects of the late
mirror),
and then made into a paste and
when it is dry and hard, designs
floor is of similar design to the fans on the tables.
classifying
then in
beautifully decorated with trophies and musical instruments in a deliberately imperial style. T h e palette of the scagliola is strikingly similar to a floor executed bv Robert Adam for the Lx)ndon
T h e scagliola Hoor at S y o n H o u s e
A PAIR OF G E O R G E III G I L T W O O D ARMCHAIRS
An pair o f late 18th century gilrwood armchairs,
C h a r l e s D e l a f o s s e . T h i s elegant a n d m o r e severe
eight armchairs with further side chairs a n d
each carved crest rail centred by an elaborate
style harked back to the g r a n d e u r a n d dignity o f
w i n d o w seats. T w o pairs o f armchairs were
shell with scrolling acanthus and trailing
the A n t i q u e , m a k i n g the f o r m s m o r e
formerly in the collection o f M r s J o h n E
harebells within a channelled f r a m e , the b o w e d
architectural and impressive. Delafosse's
Rovensky, whilst Mallett had a further set o f
seat rail with fluting a n d centred by an oval
p u b l i s h e d engravings b e c a m e very influential
four armchairs and three side chairs in 1 9 6 7 ,
patera, the p a d d e d a r m s with scroll h a n d rest
with the classical vocabulary o f swags, husks,
including the present pair o f armchairs. A
leading to further trailing harebells, raised o n
volutes and scrolls b e i n g easily a d a p t e d to
h a n d s o m e pair o f w i n d o w seats f r o m the s a m e
square tapering legs h e a d e d by scrolls with swag
furniture, silver and other decorative arts. T h i s
suite, b e l o n g i n g to H R H T h e Prince o f W d e s , is
drapery, terminating in carved block toes and
f o r m o f b o l d classicism predates the m o r e
n o w in the m o r n i n g r o o m at his L o n d o n
brass castors.
decorative and fanciful classical o r n a m e n t led in
residence, C l a r e n c e H o u s e .
E n g l a n d by R o b e r t A d a m . English, circa 1 7 6 5
Interestingly the design for these chairs was
Height: 3 8 74 in / 9 7 c m
T h e influence o f Delafosse's engravings spread
a d a p t e d for the D u k e s o f N o r t h u m b e r l a n d .
Width: 28 i n / 7 1 c m
quickly to L o n d o n and they were taken u p by
A set o f eight carved m a h o g a n y hall chairs o f
D e p t h o f seat: 21 'A in / 54 cm
cabinet-makers including J o h n Linnell, to w h o m
a l m o s t identical design and bearing the family
these chairs m a y be ascribed. Linnell, with his
crest, m a y be seen in the f a m o u s hall ot their
T h e s e very grand b u t small scale carved giltwood
premises in Berkeley Square, in the heart o f
m a g n i f i c e n t L o n d o n villa, S y o n H o u s e ,
armchairs are early and sophisticated e x a m p l e s
fashionable L o n d o n , s u p p l i e d s o m e o f the
M i d d l e s e x . T h e chairs were m a d e either for Syon
o f English furniture in the neo-classical style,
grandest houses as they were developing rapidly
or possibly for the now lost N o r t h u m b e r l a n d H o u s e in L o n d o n .
influenced by Parisian fashion. T h e c o n f i d e n t ,
in the new streets and squares o f Mayfair. A
classical f o r m is a direct reaction to the lighter
g r o u p o f LinnelFs surviving drawings,
and sinuous styles o f the rococo period.
particularly o f chairs, show a direct knowledge o f Delafosse's designs.
By the late 1760's the gout grec, a pure and m o r e linear classical style, was b e i n g e m b r a c e d in
T h e s e chairs previously f o r m e d part o f a suite o f
Paris, c h a m p i o n e d by such designers as J e a n -
seat furniture, which c o m p r i s e d a set o f at least
51
A
- = =
o
A handsome George III pedestal desk in a combination of figured mahogany and plum Vt e
a
'J
pudding mahogany, with old brown leather surface with gilt tooled border, having three drawers with brass swan's neck handles on both sides, interspersed with carved paterae above pendant swags of husks; each pedestal on either side having cupboard doors with fielded panels framed within diagonal cross-banding and ebonised mouldings, each enclosing four drawers with original lacquered brass handles, each end of the desk panelled and carved in conforming design. English, circa 1790 Height: 30 in / 76 cm Length: 68 in / 173 cm Depth: 39V4 in / 101 cm On the desk is a very fine Sheraton period musical bracket clock by John Grant, London, circa 1790
ÂŤ t ' I.
BY BETTALLY OF LONDON
MOIHX
•m.'x •r \
54
blowers. Towards the end of the 18th century, England was a prosperous place, presenting opportunities for craftsmen and traders, and around 1770 these Italians began to arrive in London. Prior to this time, cistern tube or stick' barometers had been p r e d o m i n a n t in England and it would appear that the new arrivals brought with t h e m the new style of the wheel or 'banjo' barometer, which was already fashionable and popular in France.
C Bettally was a m o n g the first of such Italians to set up a business in L o n d o n , where he had two premises, 1 Charlotte Street in Pimlico and 2 9 2 Oxford Street, as well as maintaining his shop in Paris. His trade card announces him as 'Constructor of all sorts of Barometers, Thermometers, Hygrometers and all sorts of Phisical Instruments of Glass'.
Bettally instruments vary from most other late 18th century b a n j o barometers. T h e most usual shape of case had a r o u n d e d top b u t Bettally seems to have favoured the elegant swan's neck pediments such as on this pair. A n o t h e r single Bettally b a n j o barometer of similar date is recorded, m a d e in mahogany with satinwood cross-banding a n d with swan's neck pediment. All three lack the usual p e n d a n t base of other banjo barometers.
See overleaf
A BAROMETER AND HYGROMETER BY BETTALLY OF L O N D O N conthwed T h i s b a r o m e t e r and its c o m p a n i o n t h e r m o m e t e r / h y g r o m e t e r arc o u t s t a n d i n g , both for the quality o f the cases, veneered as they are with the best figured s a t i n w o o d a n d with intricate m a r q u e t r y o r n a m e n t , a n d for the standard of the instruments themselves, which have highly sophisticated m e c h a n i s m s and are considereiT to be particularly fine. T h i s pair was originally intended to h a n g on the wall. T h e stands are o f later d a t e but m a d e in the neoclassical style prevailing in the latter part o f the 18th century.
T h e dials are 12 inches in diameter, which is unusually wide. T h e y are engraved with the traditional barometer scale and weather indications: O n the barometer: Mf^-'.i-
MUCh
RAIN,
SETdFAIR, JUST
CHANGEABLE,
FAIR.
VERY DRY. O n the hygrometer:
FREEZ,
BLOOD
RAIN,
STORMY,
TEMPERA
Ht. FEVER
TE SUMMER
HEAT
t h e r m o m e t e r : VERY IMMP, DRY, VERY
Ht,
O n the DAMP,
MOIST
DRY.
T h e pair were m a d e by Bettally for the E,arl ot B u t e in 1 7 8 7 . J o h n Stuart, 3rd Earl o f B u t e ( 1 7 1 3 - 1 7 9 2 ) w a s a Scottish s t a t e s m a n . H e succeeded his father in 1 7 2 3 a n d a r o u n d 1 7 3 7 was m a d e o n e o f the L o r d s o f the B e d c h a m b e r by Frederick, Prince o f W a l e s . In 1751 he b e c a m e G r o o m o f the Stole to Cieorge 111. H e was a s t r o n g influence on the K i n g and b e c a m e the main i n s t r u m e n t hir breaking the power of the W h i g s and establishing the personal rule ot the m o n a r c h through parliament. H e was m a d e Prime Minister in 1 7 6 2 but resigned the following year, at the end o f the Seven Years War. T h e family seat o f the M a r q u e s s o f B u t e
&
remains M o u n t Stuart, Rothesay, on the Isle o f Bute.
i g
m
Bcttullv's trade card of 1787
AN A S T R O N O M I C A L T E L E S C O P E BY J O H N C A I L
A 19tli c c i m i i y Four-inch rcHccting astronomical tclcscopc in brass by Joiin C'ail, together with original m a h o g a n y ease and original accessories i n c l u d i n g lens cap, alternative eye pieces a n d reHectors, sighting telescope and brass tripod table stand. T h e telescope is raised o n a m i d 18th century carved m a h o g a n y telescope stand with Ionic capital, Huted and reeded stem and tripod base with rocaille and cabochon carving and e n d i n g in most unusual feet carved with foliate scrolls. T h e tele.scope is inscribed JOHN
CAIL
-
NEWCASTLE-UPON
lYNE
T h e stand: [English, circa 1750 The telescope: English, circa 1840 Overall height as shown: 58 in / 147 c m Length of telescope: 28 in / 71 cm Height o f stand: 357.. in / 90 c m W i d t h acro.ss ba.se: 24'h
in / 62 c m
J o h n (".ail is recorded as w o r k i n g From 1825 until 1865 in Newcastle-upon- Tyne, where he traded from four difTerent addre.s.ses d u r i n g that period. H e was a maker of various optical and other inslruments which are of high quality, but scarce. N o n e are f o u n d in the Royal Microscopical Society, nor in the [killings Microscope Collection in W a s h i n g t o n
DC.
According to C'liFton's Directory of British Scientific Instrument
Makers 1550-l^'SI,
he is
k n o w n to have .sold barometer, circtmiferentor, clinometer, hydrometer, level, m i n e r s dial, octant, pantograph, sextant, spectacles'. His trade label From 1855 reads:
JOHN Mathematical
CAU. &
Philosophical
INSikUMENi
MAKER
Optician
&c
CREYSTREET NEWCASTLE MARINE
UPON
TYNE
CHRONOMEIERS
CHRONOMETERS
RATED
liY
TRANSIT
OliSERVAnONS Surveying & Drawing SEA
histruments
CHARTS
Ivory Scales, Sextants, (luaelrants, Eelescopes, Compasses, Harometer, Ihermometers,
Spectacles, cH'. drc.
"f
hK
A SE I O F T E N L Y R E B A C K A R M C H A I R S
A very rare set ot ten Adam period, brass
PROVENANCE: iS''
mounted mahogany armchairs, the top-rail with leafy cresting and finials above a leafand Hower carved, lyre shaped back splat with slender brass
HCiP
J. Pierpont Morgan Collection, sold Christie's 22 March 1944, lot 86 Brian Jenks Collection, Shropshire
rods as strings", the scrolled arms with swag,s of husks and acanthus and supported with
LlTERArURE:
matching brass rotis, the seats with link and leaf
(â&#x20AC;˘/Helena Haj'ward &: Pat Kirkham,
pattern brass borders, raised on tapering, cluster
and John LimielL
column front legs with foliate capitals and feet
Ralph Edwardj.^ The Dictionary
and headed bv brass roundels.
Fttrtiiture,
English, circa 1770
f
Willutm
London ! 980, pp36-40 of English
revised edition 1954, vol 1, fig 212
The lyre dates as tar back as the first half of the
Height: 34 74 in / 87 cm
3rd milleniuni B C ancl examples have been
Width: 2274 in / 58 cm
recovered from the royal tombs at Ur. In ancient
Oepth: 21 in / 53 cm
Greece it was the instrument of Apollo and of
Depth of seat: 18 in / 46 cm
the poet Orpheus. There, the purity of the lyre's
m ^ z m m .
p..
^rfi'ti.
ft
I
A
There are a number ot Linnell drawings, dated
tone represented the contrasts in human nature: the enlightenment and restraint of the
1765-1770, preserved in the Victoria and Albert
Apollonian ideal, as opposed to the orgy and
Museum, each depicting a variation on the lyre
passion of the Dionysiac.
theme in chair backs.
It is not surprising that this potent classical
A single armchair of the same lyre design to the
symbol found its way into the vocabulary of the
present set of ten, but with square, tapering legs,
classical revival in the third quarter of the 18th
is in the Victoria and Albert Museum and
century. The lyre appears in many
illustrated in The Dictionary of English
manifestations on furniture in the neo-classical
Another four chairs of identical design to this
manner, from the designs of Robert Adam and
single example were sold at Christie's in 1968.
John Linnell to the later Regency era. Linnell is
These came through Mallett's hands and remain
particularly associated with the use of the lyre
in a private collection.
motif in his chair designs, notably the two sets of armchairs made for Robert Child for the Lyre b a c k c h a i r in rhc cÂŤ!lt'ction o f t h e Victoria a n d
breakfast room and library at Osterley Park.
Albert M u s e u m
t
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wm
Furniture.
A VERY RARE 18TH CENTURY GREEN GLASS CHANDELIER
A sixteen-light chandelier in green glass with
once the capital of the kingdom o f Awadh
manufacture giving strength, particularly in the
ormolu mounts, the 'S' shaped arms arranged in
in India.
lower, 'S' shaped arms.
traditional, late 18th century form with canopies
T h e survival of this chandelier is remarkable.
John Blades is first mentioned in a London
two layers of eight. T h e chandelier is of above and below, cut stem pieces surrounding a
Originally it would have had green storm shades
Directory in 1783, when he opened his
central urn and with the receiver bowl, the urn
to make it 'punkah p r o o f , but these shades have
showrooms at 5 Ludgate Hill. H e remained there
and the top finial retaining their original ormolu
long gone and been replaced by nozzles as would
until his death in 1829. H e received many large
mounts.
have been used on chandeliers for the European
commissions including that of a pair of
market. Similarly all the original drops are now
chandeliers for the hall of the Drapers' C o m p a n y
English, circa 1790
adorning Indian temples and have had to be
where they still survive today. Blades was unusual
Height: 72 in / 183 cm
replaced. Otherwise the chandelier has only had
in using an outside designer, the well known
Width: 4 0 in / 101.5 cm
the normal repairs of age, a few pans replaced
architect J B Papworth. H e was also the first
when cracked and likewise a few sections of the
English glass company to open a branch in India,
T h e notch-cut arms date this chandelier towards
arms. T h e remaining arms, all stem pieces and
in Calcutta. After John Blades' death the business
the end of the 18th century. It is likely that it is
all metalwork are original, with the metalwork
was continued by Francis Jones and his sons.
by the London firm of John Blades which had
being re-gilded after nearly two hundred years in
extensive contacts in India, where this chandelier
the Indian climate.
was found many years ago. A very similar, slightly later green chandelier has, until recently,
T h e arms are all in two parts, joined by a cast
been hanging in the Durbar hall in Lucknow,
ormolu collar of leaf form, this method of
60
John Blades' Upper Showroom, pubHshed in Ackerman's Repository of the Arts
61
A PAIR O F C A R V E D GIL'I W O O I )
SWAGS
A rare and very finely carvcd pair o f George III giltwood swags, the pendant arrangement o f large roses, hiinches ot grapes and other fruits and seed pods, all entwined with delicately curling leaves and surmounted by a ribbon bow.
Knglish, circa
1765
Height: 6 5 in / 165 cm W i d t h : 6 7 . in / 1 6 . 5 cm
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A REGENCY ROSEWOOD SIDE CABINET A large Regency rosewood and parcel gilt breakfront side cabinet, the top with a border ot mahogany and boxwood and ebony stringing and edged with a brass moulding with pierced gallery of gothic arcading, the four doors all with diamond pattern brass grilles lined with yellow, knife-pleated silk and enclosing adjustable, sliding shelves, flanked by spiral fluted, tapering columns, raised on turned, tapering feet.
PPr
I lljp I w ^iwM Ii ' -m ill
English, circa 1810 Height overall: 3 7 in / 94 cm Length: 6172 in / 156 cm Depth: 2 0 ' / : in / 52 cm
.
t
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A PAIR O F R E G E N C Y SOFA T A B L E S
A n e x t r e m e l y fine a n d rare pair o f early 1 9 t h c e n t u r y m a h o g a n y s o f a tables, the t o p s with central r o s e w o o d inlay, brass s t r i n g i n g a n d crossb a n d i n g a n d w i t h m o u l d e d e d g e ; o n e table w i t h a r e m o v a b l e central section o p e n i n g to reveal a central well c o n t a i n i n g a b a c k g a m m o n b o a r d a n d with a c h e s s b o a r d o n the reverse, the frieze with one long d u m m y drawer and two short d r a w e r s o n b o t h sides; the s e c o n d t a b l e with a s i n g l e l o n g d r a w e r a n d t w o s h o r t d r a w e r s to b o t h sides; b o t h tables o u d i n e d t h r o u g h o u t w i t h b o x w o o d s t r i n g i n g a n d raised o n p i e r c e d e n d s u p p o r t s j o i n e d b y a t u r n e d stretcher, o n s p l a y e d feet e n d i n g in brass c a s t o r s .
K n g l i s h , circa 1 8 2 0 H e i g h t : 2 8 74 in / 7 3 c m L e n g t h : 5 7 7 2 in / 1 4 6 c m D e p t h : 2 4 in / 6 1 c m
u
66
67
ms W: ffilS pi
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AN O S L E R C H A N D E L I E R A N D M A T C H I N G WALL L I G H T S
A cut glass chandelier with twelve ropc-twist arms arranged in two tiers and with cut nozzles and drip pans, the upper receiver holding six shepherd's crook arms, each surmounted by a spire, the stem pieces and receiver bowls all decorated with vertical cutting, the whole festooned with button drops and pear drops. All the metal work is silver plated and the receiver plate is stamped F & C Osier.
Together with Four three-arm wall lights en suite, with silver plated brackets with cut covers. English, circa 1870 Height of chandelier: 48 in / 122 cm Diameter: 3 3 in / 84 cm Height of wall lights: 17 in / 4 3 cm Widths 20 in / 51 cm Depth: 17 in / 4 3 cm
Tยง
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A R E G E N C Y MAHOGANY E X T E N D I N G D I N I N G TABLE BY MORGAN AND SANDERS An early 19th century 'Imperial' patent extending dining table by Morgan and Sanders, the ' D ' end sections extending with telescopic action to accommodate three additional leaves, the top of finely figured mahogany with reeded edge, the frieze having, at each end, a large brass swan's neck handle, at one end engraved Patent / Morgan & Sanders / Inventors & Manufacturers / 16 & 17 / Catherine Street Strand / London. The table is supported on six ring-turned and reeded legs terminating in brass castors. The leaves, when not in use, are stored inside the table.
English, circa 1815 Height: 2874 in / 73 cm Length fully extended: 16674 in / 4.22 m Length closed: 77 72 in / 197 cm Width: 64 in / 162.5 cm PROVENANCE: M F Phillips, Milford Lodge, Stafford Sir E Thompson, Gatacre Park, Shropshire LITERATURE: ^ C h r i s t o p h e r Gilbert, Pictorial Dictionary of Marked London Furniture, 1700-1840,
London,
1996, p345 Christopher Stevens and Stewart Whittington, 18th Century English Furniture; The Norman
Adams
Collection, Antique Collectors' Club, 1983, pp278-279 Around the table is part of a set of fourteen Regency mahogany dining chairs comprising twelve side chairs and two armchairs, formely at Ewhurst Park, Hampshire.
71
I M P O R T A N T PAIR OF G L O B E S
T
A fine pair of early 19th century standing globes
The emergence of globe making in Britain
constellations but also to demonstrate the
by John Gary &C Sons, one celestial and the
closely mirrored the great cultural and economic
concepts of spherical trigonometry required for
other terrestrial, both inscribed and dated, with
changes in the 16th and 17th centuries. The
both navigation and astronomy.
geographical additions to 1815, supported on
exploration of previously unknown continents,
reeded mahogany legs joined by a stretcher with
the expansion of ocean-going trade and the
By the beginning of the 18th century the British
a central compass and terminating in brass castors.
growing popular interest in science all combined
globe making industry was concentrated in
to make desirable a graphic representation of
London, and the capital remained the principal
English, circa 1815
newly discovered knowledge. Terrestrial and
centre of manufacture until the 20th century. In
Height: 47 in / 119.5 cm
celestial globes provided an ideal medium for
London, John and William Gary, two brothers
Diameter of stand: 28 in / 71 cm
conveying and making use of this new
who worked in partnership, established
Diameter of globes: KVli in / 52.5 cm
knowledge. By the late 17th century they had
themselves as the leading manufacturers of all
become the principal instruments for teaching
varieties of globes.
I'ROVENENCH:
geography and astronomy. Globes were not only
Formerly at Sheffield Park, Sussex, possibly
used to teach physical location and the
supplied to the 1st Earl of Sheffield
relationship of various continents and
John Gary (1755-1835), from Gorsiey in Wiltshire, was apprenticed to the map engraver
William Palmer and made a Freeman of the City
Sandwich Islands. It is inscribed: Here
of London in 1778. He started his globe making
Cook was killed by the natives February I4th 1779 and Captain Clerke succeeded him in the command of the Resolution.
business in 1791 when he advertised 3,5,9,12 and 21 inch terrestrial and celestial globes 'from
Captain
actually completed the re-modelling, based upon Wyatt's plans. Latrobe, who had been born in England, later emigrated in 1796 to America, where he became established in Philadelphia as an architect in the Greek Revival manner. His
entire new Plates'. In 1812 he added a celestial planisphere and in 1816 a pair of 18 inch globes.
From the days of antiquity the constellations were
style and talent were noted by Thomas Jefferson
In making globes and planispheres Gary co-
shown on maps of the sky and celestial globes as
and he was summoned to Washington in 1803
operated with his brother William {circa 1759-
people, animals and objects. Their elaborate
to complete the Gapitol, a project which
1825), a London instrument maker, who had
execution often dominated the cartography. In the
occupied him for the rest of his life.
learned his trade as an apprentice to Jesse Ramsden.
18th century people started to see this type of cartography as unscientific and unhelpful. The
Lord Sheffield, a soldier and politician, was an
John and William Gary and the firms of Bardin
figures were gradually drawn more and more
intimate friend of the great historian and
and Newton, were soon in command of the
scientifically and faintly, then finally disappeared
author of The Decline
English market. Gary produced globes in a
completely. The boundaries between the areas
Empire,
variety of designs. Library globes were mounted
outlined by the constellations are marked with a
regularly with the Sheffield family and was even
on high mahogany stands with turned, reeded
line. Because such scientific cartography looked
buried nearby, at Fletching, upon his death in
legs, or with a tripod. Table globes were
less attractive on a globe, Gary supplied celestial
1794. Gibbon never completed his memoirs
usually supplied mounted on a low stand
globes in two different designs.
himself; it was Sheffield, Gibbon's literary
Roman
executor, who collated the various
with four legs. In their other projects the two brothers The present globes demonstrate the quality of
and Fall of the
Edward Gibbon. Gibbon stayed
autobiographical pieces, although he has often
maintained separate businesses. From 1792 the
been criticised for his somewhat over zealous
globe firm was located at 181 Strand. Around
editing. One of Lord Sheffield's two daughters,
constructed using the finest Guban mahogany
1 820, John moved to 86 St James's Street,
Maria Josepha, whom Gibbon describes as 'a
and the cradles which house the globes are
leaving the old premises to his sons, George and
most extraordinary young woman', reputedly
veneered with figured mahogany, now having
John junior, who, by that time, had also become
assisted her father in this task. It would appear
faded to a rich colour with fine patination. The
involved in the globe making business.
John Gary's work. T h e elegant stands are
design of the stands is deliberately restrained and simple to create a feeling of lightness.
the household at Sheffield Park was one of culture and learning. Associating this with his
Sheffield Park was the seat of John Baker Holroyd, 1st Earl of Sheffield (1735-1821), who
Of particular note, Gaptain Gook's voyages are
purchased the property in 1769. In 1775 he
marked on the terrestrial globe, showing the sea
commissioned James Wyatt to prepare new
routes and tracks that he took on his
designs for the house in the gothic style.
expeditions. The terrestrial globe also marks the
However, it was Benjamin Henry Latrobe,
spot where he finally met his fate in the
architect of the Gapitol in Washington DG, who
political responsibilities at a time of British power overseas and increasing geographic knowledge, it would not have been unlikely for Lord Sheffield to commission a pair of high quality and up-to-date globes from London's leading maker for his own and for his family's use and enjoyment.
73
A VICTORIAN M A R Q U E T R Y CARD TABLE A mid 19th century card table with elaborate brass mounts throughout, the revolving rectangular top inlaid with a panel of richly figured amboyna, and bordered with other precious timbers including sycamore and tulipwood with boxwood stringing and trefoil edge, the top opening to reveal a green baizelined playing surface bordered by gilt tooled leather and ebony, with a central mahogany lined well for holding cards and other game pieces; raised on ebony barley twist supports joined by a turned stretcher, and down-curving feet with etched brass mounts and brass castors. English, circa
1850
Height: 30 in / 76 cm Length: 39 in / 99 cm Depth: 20 in / 51 cm Open: W h x 39 in / 100 x 99 cm
74
A W H I T E MARBLE GROUP BY J O S E P H G O T T
A rare and fine quality white marble group by
Joseph Gott ( 1 7 8 6 - 1 8 6 0 ) was born at Calverley,
Gleaning
Joseph Gott depicting a spaniel resting upon a
near Leeds and worked in John Flaxman's studio
Amongst his many executed works arc: Head
basket of fruit with a cat looking on. Both
as an apprentice for two or three years. He knew
Bacchante, 1820, Dog and Puppies, 1825,
animals are rendered in fine naturalistic detail, as
great success whilst still at the Royal Academy
Ariadne
is the basket with its tumbling cornucopia of
Schools, winning various prestigious medals and
1824, for Sir Thomas Lawrence and Bust of
fruit. The whole is mounted on an integral oval
awards, including a second Gold Medal in 1819
Columbus,
plinth constructed in two pieces and supported
for his Jacob Wrestling with the Angel. Sir Thomas
Rome.
by a Campan
Rouge marble block.
Signed J GOTT Ft.
ii the Paris Exhibition in 1855.
for Chatsworth House, Bust of
of
Hogarth,
now in the Capitilone Museum,
Lawrence was one of his most illustrious patrons. Another patron was Benjamin Gott (no relation) of Armley House, Leeds, who sent Joseph to
English, circa
1855
Rome in 1824 where he remained until his
Height: 13 in / 33 cm
death in 1860. He exhibited at the Royal
W i d t h : 26 in / 6 6 cm
Academy from 1820 to 1848, the British
Depth: 1 r/2 in / 29.5 cm
Institution in 1821 and 1822 and his Ruth
75
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A MAGNIFICENT IVORY H O W D A H
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A very rare early 19th century carved ivory
example is most unusual and would indicate an
in 1851. This throne chair was subsequently
howdah with double domed canopy.
owner of considerable prestige.
exhibited at the Great Exhibition in that year, and a very similar howdah is seen illustrated in
Indian, probably Murshidabad, circa 1830
The form of this particular Howdah is very
the India Court at that same exhibition. Both the
Height: 87 in / 221 cm
individual, being architectural in concept,
throne chair and this howdah demonstrate the
l.ength: 867: in / 220 cm
echoing the great 'onion' domes so prevalent in
great skill of the Indian craftsmen and the
Width: 45 in / 114 cm
Mughal architecture. The extravagant u.se of
sophistication of their work.
ivory indicates that this was a very important Elephants have, for centuries, been associated
commission. It would have been very expensive
The richness of the construction and detail
with Royalty in the Indian subcontinent and
to construct, requiring a great number of highly
would suggest that this howdah was used for only
used in ceremonial parades and religious festivals
skilled craftsmen to carve the superbly worked
the most important of ceremonial occasions. It
to carry important dignitaries. The elephants
ivory panels.
may have been used for a great State wedding or visit, or perhaps as an amba.ssadorial gift.
would be beautifully decorated and caparisoned, bearing persons of consequence in a specially
The quality of the car\'ing is exceptional and
constructed howdah.
relates to a throne chair and footstool in the
These howdahs took various forms, some
Queen Victoria by the Maharajah of Travancore
Royal collection at Windsor Castle, presented to
IVoni [)ickinson's ('oniprfhanrvc Pictures oflhe (imtt Exhibition of IS5I. Indi;i C ' o u r t . ( H u l t o n Archivt-)
relatively simple and others very grand. Howdahs were a symbol of social standing and the quality of the howdah depended upon the rank of the owner. Indian Princes ordered sumptuous examples in ivory, in silver or in fine hardwoods decorated with polychrome decoration to demonstrate their importance and to create an impressive spectacle at court. Beauty A-
of workmanship literally fiir outweighed practicality.
The mahout, who would be responsible for controlling the elephant, .sat on its neck and his passengers in the howdah, furnished with carpets and cushions. The howdah provided a highly elaborate carriage, the equivalent of a State (^oach. Most were open but others had a tentlike construction of cloth abcwe the seating area to protect the important occupants from the sun. The domed structure of the pre.sent
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A SET OF T W E L V E JAPANESE H A W K PICTURES
Two troni a set of twelve late 19tli centur\' Japanese scrolls representing hawks sent annually bv the regions of Japan in homage to the Emperor, each depicted on a perch with elaborate cloths and knotted ropes, the rope knots indicating, in a lost code, the region of Japan from which the hawks come.
Japanese, circa 1880 Framed: S5 x 28 in / 140 x 71 cm
A B R O N Z E HARE
A finely modelled bronze o f a hare in lifelike form, seated and with one paw raised. Signed on the underside. Japanese, circa 1900 Height: 7 in / 18 cm
T W O PAIRS OF B R O N Z E GEESE
A pair o f early 20th century standing geese with polished bills, eyes and feet and silvered highlights on the wings. Both signed on the underside. Japanese, circa 1900 Height o f gander: 15 in / 38.5 cm
A pair of early 20th century multi-patinated bronze geese, the gander standing and the goose lying down, naturalistically cast and with polished bills and feet. Both signed on the underside. Japanese, circa 1920 Height o f gander: 13 in / 33 cm
81
I
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A REMARKABLE ANGLO-SINHALESE CENTRE TABLE
continued
design derived from English pattern books but
of the Bath and it is possible that it was
Barnes (Governor 1824-1831), also KCB. The
commissioned by a British Governor of Ceylon.
contents of the Governor's residence in
the carved and inlaid work was of local origin.
The Order of the Bath was established by
Colombo, the King's House, were described in
The Ceylon Times in 1850, published an
George I in 1725, a single class Order
an inventory of 1833 and included 'One table
editorial section relating to the forthcoming
comprising the Monarch, a Prince of the Blood
with different woods of Ceylon, with ebony
Great Exhibition in London the next year: 'Like
Royal and thirty-five Knights of Companion. At
feet', the earliest known reference to specimen
India, Ceylon possesses many manufacturers
the end of the Napoleonic wars in 1815 it was
wood tables in Ceylon. After his death in 1838,
who would hold their own with the productions
reorganised into two divisions. Military and
Sir Edward Barnes' property was sold at auction
of more favoured countries. Her infinity of
Civil.
in London, including a quantity of Ceylonese
carved wood and manufacturers, the beauty of
furniture. There were a number of tables, one
various specimens of inlaid work in wood and
Ceylon became a British colony in 1796, when
described thus: 'A three feet circular centre table
ivory... are well known to many.'
the British East India Company took control of
of ebony, the top inlaid with various specimen of
the island from the Dutch. Its Governors were
fancy wood, the edge finished with ivory and
drawn from military backgrounds up until 1830,
ebony a la Greque border, on turned pillar, and
after which they tended to be civil servants. It is
finely carved claws, terminating with peacock's
recorded that a number of the British Governors
heads'.
in Ceylon and other officials and merchants commissioned local cabinetmakers to produce
Galle was an active commercial centre in the
furniture for their own houses as well as
19th century. The highly skilled artisans working
government buildings.
there produced outstanding pieces of furniture, J?
The insignia of the Order of the Bath could
ranging from small boxes to large and individual specific commissions, such as this table. One of
apply to two Governors of Ceylon, both of
the most striking features of 19th century
whom were military men: Sir Robert Brownrigg
Ceylonese furniture is the diversity and beauty of
(Governor 1811-1820), on whose grave is
the indigenous cabinet making woods, including
inscribed 'Knight Grand Cross of the Most
calamander, Ceylon teak, tamarind, iron wood,
Honourable Order of the Bath', and Sir Edward
pol-coconut and ebony. Much of this furniture
Mallett in Bond Street
85
86
o
I M W Hir
I HE
H A R E W O O n
H O U S E
WALLPAPER
r h c p a n o r a m i c polychrome C h i n e s e wallpaper
l.rrERATURE:
It is n o t possible to ascertain whether
from the ' C h i n t z Dressing R o o m ' at H a r e w o o d
Christopher Cjilbert, The Life and Work of
C h i p p e n d a l e h i m s e l f provided this wallpaper, as
House, painted in shades of blue, green, brown
Thomas Chippendale,
was the case at Nostell Priory, or, as was m o r e
a n d red o n a b u f f g r o u n d , depicting an idealistic
ppl9S-220
L o n d o n 1978, vol 1,
n o r m a l because of its rarity, whether l.ascelles
scene o l pleasure gardens with a c c o m p a n y i n g
acquired it personally. Series of such p a n o r a m i c
scenes o f rural pursuits a n d pastimes in the
Thomas Chippendale's c o m m i s s i o n o f 1767 to
paper became fashionable in the m i d d l e o f the
foothills of a m o u n t a i n range, i n c l u d i n g fishing,
1778 to furnish H a r e w o o d H o u s e for E d w i n
1 8th century a n d were exported f r o m C h i n a via
Lascellcs was not only the most valuable of his
C a n t o n , by ships o f the East I n d i a C o m p a n y . A
career b u t also the most s u m p t u o u s . I he
similar pattern o f ' I n d i a ' paper at B l i c k l i n g H a l l
rice cultivation and weaving.
Chinese, circa 1765
c o m m i s s i o n was a complete decoration of the
in N o r f o l k is recorded as h a v i n g been 'admired
Height: 9 ft 8 in / 3 . 0 2 m
house and included the h a n g i n g o f wallpaper
by l.acfy Proctor' in 1764. C h i p p e n d a l e
Total length: 41 ft 8 in / 12.8 m
a n d s u p p l y i n g o f damask a n d paper. T h e
c o m m e n t s in his Gentleman
and
Cabinet-
C h i p p e n d a l e bill for the early years o f the
Maker's Director\\)\\7b2 that his chairs in the
PROVENANCE:
c o m m i s s i o n is n o w missing b u t , in 1772,
C h i n e s e taste are Very proper for a Lady's
E.dwin Lascelles Esq, H a r e w o o d House,
ÂŁ 3 , 0 2 4 19s 3d was carried forward o n to the
Dre.ssing R o o m , especially i f it is h u n g w i t h
Yorkshire, thence by descent
existing bill.
I n d i a paper'.
I
cA
fr
THE HAREWOOD HOUSE WALLPAPE /• . a
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1 H h
H A R H W ' O O D
H O U S h
WALl.PAl'LR
It is the D a y Vl'ork Book kept by l.asccllc.s"
commued
c o m p r i s i n g a clothes press, dressing c o m m o d e ,
steward. Samuel Popelwell, n o t i n g h o w
pier glass, shaving table, night table a n d t w o
Clhippendale's w o r k m e n spent their t i m e From
bedside tables. This furniture was recorded a.s
1769 to 1775 wiiich enables us to i d e n t i h ' this
still in the.se rooms in an inventory of 1795.
wallpaper. It is k n o w n that a .\1r James arrived at
However, at some t i m e in the 19th century,
H a r e w o o d o n 18th O e t o b e r 1769 a n d 'stayed
probabl)- d u r i n g the remodelling oF the house b\'
until C h r i s t m a s fullv e m p l t n e d papering,
Barry in the 184()'s, the wallpaper was removed
u n p a e k i n g and Hxing Furniture'. Between 14th
a n d p u t i n t o storage. This wallpaper From the
and 16th D e c e m b e r that \ ear. he spent twent\ -
C!hint/ Dressing R o o m was di.scinered in 1988.
eight lioin's " H a n g i n g the India paper in the
rollecl tip in the carpenter's shop at H a r e w o o d .
( ! h i n t z pattern cotton b e d c h a m b e r a n d between
together w i t h the wallpaper From the C'hintz
21st a n d 23rd D e c e m b e r he spent twent\-six
B e d r o o m . It has since u n d e r g o n e a p r o g r a m m e
hours 'At the patterns in C'.hintz pattern cotton
oFcareFul conservation. The b e d r o o m paper
room'. This suite o F r o o m s with their oriental
remains at H a r e w o o d .
India' paper inspired the green japanned l u r n i t i u e m a d e lor t h e m b\' C'hippendale,
I IX- M.iIIl'K M.NUL .11 i!k- 1 unipL-.in I iiic AN l\iir. M.i.iMiiLlit
A SIIIHAYAMA
l.I.I'.IM I A N I
A f i i i c i|ii.ility 1 9 i h (.c-iiliM v S l i i h a y a m a (.â&#x20AC;˘li.|>liaMl of .small s t a l e ik-piticcl w i i h iis t r u n k raist-d a m i ornanicMic-d in i l i c i r a i l i l i o n a l m a n n e r w i i l i clalioraic- m o i l i c r - o l - i x a r l a n i l s e m i |)ri-cii)ns s l o n c f i i r i t l i n K - n i s , l)ra|Ktl over l l i e e l e p h a m ' s back is a b l a n k e t b o r d e r e d w i t h a k e y p a t t e r n a n d h a v i n g e l a b o r a t e tassels at t b e e n d s . Tiie b o d y of e a c h has a rieh p a n o p l y ol c a r v e d m o t h e r - o f - p e a r l f l o w e r h e a d s in d i f f e r e n t n a t u r a l c o l o u r s . Ar t h e c e n t r e of t h e b a c k is a f i n e l y c a r v e d l o t u s flower, w h i c h s u p p o r t s a rock c r y s t a l m e d i t a t i o n b a l l . I'he e l e p h a n t s t a i u l s o n its original carved wooden plinth.
Japane.sc,
circa
1870
O v e r a l l h e i g h t : 1 2 7 ; in / ?>2 c m W i d t h : 10 i n / 2 6 c m
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A SE T O F
I HRKK
I^AIN I HI) W A L l . I ' M ' H R
A set ot tlia-c- tall panels ot late 1 8tli ccntiiry Chinese painted silk depicting exotic birds and butterHies amidst flowering branches with blossom, peonies and hydrangeas, the polychrome colouring ot remarkable strength
Chinese, ami 1770 Height: 88 in / 223 cm W i d t h : 29 / ' i n / 75 cm
I'ANHI.S O N
SILK
A PAIR OF C H I N E S E GLASS PAINTINGS A pair of mid 19th century Chinese export glass paintings depicting genre scenes with figures in an interior which opens on to a garden. Many of the figures and motifs can be seen mirrored between the two paintings, with shght detail differences. Chinese, circa
1840
Framed: H'A x 18'Ain / 36.5 x 46.5 cm
A C H I N E S E EXPORT GLASS PORTRAIT A very rare late 18th century Chinese export glass portrait depicting the goddess Terpsichore, after Sir Thomas Lawrence, within a landscape with subsidiary figures playing musical instruments and attendant putti. Chinese, circa
1790
Framed: 25 x 19 in / 63.5 x 48 cm Mirror and glass pictures were made in China for export to Europe from the middle of the 17th century. It was universally recognised that the technique of back painting required great skill. Typically subjects featured fell into four groups: still-lifes of flowers, trees, utensils and birds, figural groups or single figures, often by a river or in domestic settings, Chinese scenes with Chinese figures and also European scenes or portraits. The majority of Chinese glass paintings are anonymous. None have been recorded with a signature and only one or two early 18th century examples have been found to bear their maker's labels on the back. Frames for Chinese glass paintings varied from simple oriental hardwood and lacquered softwood frames to more elaborate European-made carved giltwood examples.
96
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A B R O N Z E E Q U E S T R I A N STATUE OF LOUIS XIV
elaborate ceiling decoration for the chateau at Vaux-le-Vicom"te and also at Fontainbleau, as well as the King's Apartment at the Tuileries.
m
After a second trip to Italy in 1667 he returned to supervise the decoration of the Kings ships and submitted several models for fountains and statuary at Versailles. However, it was from 1684 until the turn of the century that Girardon was most influential, acting as Superintendent of Sculpture for Louis XIV. It was during this period, when Girardon
-
was at the height of his powers, that he designed this equestrian sculpture. A number of bronze reductions are known to have been made. At least one was made under Girardon's personal supervision but most date from the 19th century. The two oldest reductions still known today are those at Windsor Casde and in the Hermitage in St Petersburg. Another, formerly in the London collection of Sir Philip Sassoon and latterly in the collection of the Marquess of Cholmondeley at Houghton Hall, Norfolk, came through Mallett's hands in 1995.
A renowned mid 19th century bronze equestrian
the Place Louis-le-Grand (now Place Vendome).
statue of Louis XIV after Francois Girardon
This work, cast in bronze in a single piece, was
(1628-1715), the King in heroic pose, seated on
commissioned in 1686 and finally unveiled in
a prancing horse and dressed after the Antique,
1699. It is represented in a number of
his right arm raised and left hand holding the
contemporary drawings and paintings. It was
reins, the horse's hind leg trampling underfoot a
destroyed in 1792, at the time of the French
sword and acanthus cast pelta centred by a
Revolution. Only one hoof of the horse remains
Medusa's head; on a rectangular chamfered
and that is now preserved in the Louvre.
plinth inscribed
Girardon. Francois Girardon (1628-1715) was born in
French, circa
1850
Troyes, son of a metal founder, and was
Mounted on a modern black lacquered pedestal
apprenticed to the cabinet maker and sculptor
with brass mounts.
Bandesson. He became the protege of Chancellor
Height of bronze: 4 3 7 : in / 10.5 cm
Seguier who sent him on his first trip to Rome in
Plinth: 26 x 14 in / 66 x 36 cm
1648. In 1651 he returned to Paris and soon
Height of pedestal: 36 in / 91.5 cm
became a 'Sculpteur du Roi'. He was elected to the
Length: 3072 in / 77.5 cm
Academy in 1657, becoming Professor of Sculpture
Depth: 18 74 in / 47.5 cm
in 1659 and Rector of the Academy in 1674.
The original, monumental statue of Louis XIV,
During these early years in Paris he worked
the 'Sun King', by Francois Girardon stood in
closely with the artist Ix- Brun, completing
Installation o f t h e orieinal .statue in IMace I . o u i s - l c - G r a n d
rrcntn, circa i / o u Height: 23'/: in / 59.5 cm Length: 42 in / 107 cm Depth: 167: in / 42 cm Height oFseat: 16 in / 41 cm
PROVENANCE: Madame Heidelbach, sold in Paris December 193 Alfred Wallach, collection sold in Paris, April 196
LITERATURE: lean d e H i l l e r i n , Les Styles Frau^ais, Dti
Moyeii
Age au Modern
Paris, 1964, n65, fia 3
Style:
Le
Mobilier,
1500-1900,
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A PAIR OF FAUTEUILS BY J E A N S E L M E FRERES
continued
The Jeanselme family were an important
most prestigious cabinet-making firms of the
cabinet-making firm whose business flourished
19th century.
for over a century. In 1824, under the name of Jeanselme Freres they started to manufacture all
T h e two founders, the brothers Joseph-Pierre-
types of seat furniture from their premises in
Fran^ois and Jean-Arnoux Jeanselme set up their
rue des Deux-Portes. This line prospered and
workshops initially in rue des Deux-Portes, then rue
allowed them to buy triumphantly the business
Neuve-Saint-Gilles followed by rue de Saint-Louis-
and stock-in-trade of the renowned firm
au-Marais in 1828. The business finally settled in
Jacob-Desmalter. This enabled them to add the
rue de Harlay in 1837. The company exhibited at
production of tables and cabinet furniture
the Expositions des Produits de I'lndustrie Frangaise
to their output. At this stage, in 1840, the
in 1834 and in 1849 received a silver medal. At
company's name changed to simply Jeanselme
the Exposition Universelle \n 1855 the following
and went from strength to strength, being one of
glowing review was published:
the major suppliers to the Garde-meuble under Louis-Philippe and Napoleon III. Around 1852,
L'execution de ces meubles est excellente; cela se
Joseph-Pierre-Fran^ois was joined in business
con(oit, M.Jeanselme a d'habiles ouvriers et sait les
by his son, Charles-Joseph-Marie, and the
conserver; il en occupeplus de
company operated under the name Jeanselme
est un de ces homes qui doivent tout au travail et a
300...M.Jeanselme
Pere et Fils. The grandson, Charles-Henri, took
la probite et qui s'est s'en souviennent glorieusement.
the business on and bought the firm of
Fondee en 1824, cette maison s'est successivement
Lemarchand in 1893, thus uniting two of the
elevee au point ou elle est arrive.
A B R O N Z E LION A N D LIONESS
Two fine 19th century bronzes of a prowling lioness and a roaring lion by Antoine Louis Barye, each incised on the base BARYE. French, circa 1855 Height: 8'A in / 21.5 cm Length: 1574 in / 39 cm Width: 4 in / 10 cm Antoine Louis Barye (1796-1875) was the first and acclaimed by most as the finest sculptor of the French Animaliers School. His work is almost exclusively studies of wild animals, but he also produced equestrian groups and mythological figures. Many of his animal sculptures are of a violent nature, particulary the big cats. He was an accomplished artist as well as sculptor. His models are technically competent and based on studies of actual wild animals at the Jardin de Plantes in Paris, where he spent much of his time.
106
107
A SET OF FOUR EMPIRE WALL A P P L I Q U E S
m\ m-^^ J If fe l&f
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A set of four Empire gilt bronze three branch wall appliques, the side arms of scrolling trumpet form and enriched with anthemia and
m
laurel leaf, the ccntral arm of simpler form, with a mask below its lamp form terminal. T h e back plate is of shield form and has a lion's mask at the centre to attach the arms and is enriched above and below with arabesques of neo-classical decoration. French, circa 1815 Height: 12 in / .30.5 cm Width: 11 in / 28 cm
V
n '
eighteen year old Paul O p p i t z in Bohemia in 1 845. T h e engraving shows views of two Rhineland castles, Stolzentels and Burg Rheinstein
Bohemian, circa 1845 Height: 2 0 7 , in / 60 cm
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A GLASS C O B L E I
BY AUCiUST
B O H M
All imposing Bohemian covcrcd goblet with a portrait ot F ricdrich von Schiller, engraved and signed by August Bohm.
Bohemian,
circa
1845
Height: 23V, in / 52.5 cm
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August B o h m was born in 1812 in the village
loan to the Broadfield H o u s e Glass M u s e u m .
C o p e l a n d vase which is n o w in the Victoria and
formerly called Mestersdorf and since W o r l d
T h e latter is signed and dated Gravirt
Albert M u s e u m . It is possible that O p p i t z
W a r II k n o w n as N o v y O l d f i c h o v , w h i c h is near
Biihm aus Meistersdorf in Bohmeti 1840. T h i s
introduced August B o h m to Apsley Pellatt, ihe
Ceska Lipa in northern B o h e m i a . This small
goblet belonged to the glass-maker Apsley
owner of o n e of M r Bohm's master-works.
village was also the h o m e o f the I'elikan fiiniily
Pellatt, w h o wrote in his Curiosities of
o f glass engravers, o f which F A Pelikan
Glassmakingof
(1786-1858) was the most famous member,
'A most beautifully
v. Aug.
1849:
Friedrich V o n Schiller was born o n lOth
engraved vase by a
Bohemian
N o v e m b e r 1759 in M a r b a c h , (lerniany, the son
and probably Bohm's teacher and mentor.
artist, is in the posession of the author; the
of an army officer. H e was forced to enter the
ivorkmanship
D u k e o f Wiirtemberg's military academy, the
B o h m travelled widely, almost certainly taking
the Portland
his engraving lathe a n d tools with h i m . As well
painting
as Stourbridge in England he is also recorded as
the Persians at the battle of Arbcla, by Alexatidre
having visited or lived in H a m b u r g , L o n d o n and
the Great. For depth of workmanship
in N e w York.
is even more elaborated than that of Vase; the subject is from
Le Brim's
of the conquest and the final overthrow of
and
execution, as a modern intaglio engraving, vases is
Karisschule, at the age of thirteen. H e studied law a n d , later, medicine. At the age of tweni\ o n e he was appointed to a Stuttgari regiment.
artistic
M o r e a literary m a n , than military, he composed
this
his first play. The Robbers, in 1782. Still with the
unrivalled.'
regiment, any further writing was to be supre.ssed, w h i c h resulted in his desertion and
His k n o w n signed and dated works include r h e present goblet was o n e of a series, each
move to M a n n h e i m . Here, J o h a n n W o l f g a n g
engraved in England in 1845 and n o w in the
engraved b\' B i i h m with a portrait o f a notable
von Cioethe befriended h i m , a n d , as part o f the
Kiuistgewergemuseimi, C o l o g n e , and
G e r m a n . The owner o f this goblet was Paul
Ricbnrd
Coer de Lion at the Battle
The Great overthrowing ofArhela.
ofAsailon,
Alexander
the Persians at the battle
after the p a i n t i n g by I.e B r u n , n o w o n
Sturm und
miwemetit, Schiller was to
O p p i t z , the celebrated b o h e m i a n engraver w h o
write m a n y more plays. H e died of tuberculosis
came to l . o n d o n in 1845, famed for the
o n 9th M a y 1805 at the age o f 46.
A CHAPUIS SIDE CABINET An unusual Empire mahogany side cabinet with
much is really known of his life and works.
two brass bordered glazed doors flanked by
However, in the last couple of years his fame
characterised by elegant forms, often making use
neo-Egyptian pilasters with sphinx capitals in
has been re-discovered. He lived in Brussels
of brass and ebony as an embellishment. The
lacquered brass and similar block feet standing
and there exercised a great deal of influence.
designs show tremendous playfulness and
on shaped pad feet. Stamped
In 1806, he is recorded as going to Chateau
innovation and were certainly influenced by the
Laeken where, with other Belgian experts, he
work of the Roentgen family. Mechanisms and
Belgian,
circa
CHAPUIS.
1820
more or less ceased to be active. His work is
checked over and valued furniture coming
cabinet-making surprises were very dear to
Height: 40 in / 102 cm
from Paris for the Chateau. Unsurprisingly,
Chapuis' heart and he manifested his pride by
Width: 537. in / 136 cm
his valuations were significantly lower than
stamping his name on every piece.
Depth: 16 in / 40 cm
the prices paid by the government in Paris. This afforded him the opportunity of
The cabinet contains a good collection of
supplying pieces himself.
unusual marbles, semi precious stones and
Born in 1765, he died just short of a hundred
Chapuis' most prolific period was the first three
agates, serpentine and others, reputedly collected
years later in 1864. At the time of writing, not
decades of the 19th century and by 1831 he had
in the 19th century.
Jean-Joseph ("hapuis was without doubt one of Belgian cabinet-making's most illustrious sons.
minerals including lapis lazuli, jasper, numerous
• • I P
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A CHAPUIS MECHANICAL CHEVAL MIRROR An Empire period mahogany mechanical cheval mirror, the plate Hanked by caryatids surmounted by gilt bronze heads and with articulated candle holders on each side. T h e cheval frame slides forwards and backwards on a brass track. Below, two further caryatid supports flank three tiers of drawers, the top tier containing a writing slide and a gla/xd compartment with a simulated tambour top, above four small half drawers. Stamped J J
CHAPUIS.
Belgian, circa 1825 Height: 7 3 in / 185 cm Width: 2 6 in / 6 6 cm Depth: 2 2 in / 56 cm
M
A PAIR O F E M P I R E
SETTEES
A highly uiiusiuil pair of mahogany canapes billards.
de
The sides are richly carved with an
elaborate scroll, which transforms into a wing and terminates in a hoof foot. The carving is in high relief and enriched with subsidiary scrolls and stylised foliate patera. 1 he canapes are supported by a stepped block plinth with a gestural hoof foot at the back. French, circa 1830 Height of back: 45 in / 11 5 cm Height of seat: 17 in / 43 cin Width: 58'/. in / 149 cm Depth: 24 in / 61 cm
a.
Cf-
117
A PAIR OF E M P I R E HALL C H A I R S
A rare pair of small scale Empire hall chairs, the coved backs fashioned as a recessed circular panel mounted with gilt bronze rosettes and supported by square cross-section uprights, the seat rails mounted with further neo-classical gilt bronze ornament, standing on double baluster turned legs enriched with gilt bronze collars at the front and sabre legs at the back. Stamped JACOB
DESMALTER
French, circa 1810 Height: 3 6 in / 91.5 cm Width: 16 i n / 4 1 cm Depth: 16 in / 41 cm
RUE
MESLEE
A BRONZE AND ORMOLU GUERIDON
A Charles X bronze and ormolu gueridon, the frieze mounted with vine leaf in gilt bronze, set against a bronze frame, supported on a bronze baluster column mounted with boldly modelled gilt acanthus leaf, terminating in a tripod of bronze animal legs with claw feet. T h e table retains its original grey marble dished top.
French, circa 1835 Height: I S ' A in / 72.5 cm Diameter: 37'/: in / 95 cm
St
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120
i
A CHARLES X OVAL TABLE
An unusual Charles X oval rosewood breakfast table, the top inlaid at the outside and at the centre with multiple borders of herringbone marquetry bands and boxwood stringing and between these with an elaborate interlocking geometric pattern of exceptional delicacy and complexity. The table has a tilt top and is supported on a concave triangular stem and scroll legs terminating in brass castors. The stem and legs are equally profusely inlaid with geometric pattern boxwood stringing and herringbone marquetry. French, circa 1825 Height: 2911 in / 75 cm Width: 40 in / 102 cm Depth: 36 in / 91 cm
121
V O N E C H E GLASS
A pair of silver mounted vases and covers on square bases and a glass covered compote on saucer shaped stand, decorated all over with cut diamonds and mounted with indistinctly marked silver bands. The lids are decorated in a conforming manner. Attributed to the Voneche factory. Belgian, circa 1830 Height of vases: 11 '/i in / 29 cm Height of compote and stand: 9 in / 23 cm
122
A PAIR O F E M P I R E C A S S O L E T T E S
A pair of Empire bronze and gilt cassolettes, taking the form of a column supporting an antique oil lamp with a swan handle and a flame issuing from the spout, the cover reversing to reveal a candleholder. The supporting column stands on a concave sided triangular plinth mounted on each face with a vase, subsidiary scrolls and ram's head capitals to the flanking pilasters. French, circa 1810 Height: 1372 in / 34.5 cm
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123
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A MARBLE C O N S O L E TABLE
A very rare late Louis X V I Campan Vert marble
Campan
comes from the Hautes Pyrenees in
console table, the top enriched with a finely
the south west o f France. T h e quarry was first
carved white marble frieze o f a guilioche pattern
exploited in Antiquity but was most actively
in high relief, Hanked above and below with an
mined in the 18th century, though uses can be
ogee moulding, the supports o f neo-classical
seen both earlier and later. Today it is closed,
scroll form and having recessed panels on the
though deposits still exist. O n e o f the most
sides enhanced by low relief subsidiary scrolls.
famous uses o f the marble is at Versailles where
1 he front face o f each is decorated with
it is seen in the fireplaces of the Salon de la Paix.
elaborate foliate paterae and stopped fiutes in further white marble. Throughout the carving is o f the finest quality.
French, circa
1790
Height: 34'A in / 8 7 c m Width: 6 4 72 in / 164 c m Depth: 1 5 ' / , i n / 4 0 cm
FANCIFUL. C O S T U M E
I
A late 14tli ccnturv white marble bust depicting a y o u n g girl in costume inspired by traciitional O t t o m a n dress, wearing an elaborate headdress with a coronet and a central jewel set w i t h i n a pltmie. The textile element Hows d o w n and drapes over her shoulders, and she is also wearing an eiaborateK' worked jacket and blouse, with an ornate brooch at the centre.
Possibly I'rench, i m w 187() Height: 33 in / 84 cm W i d t h : 19 i n / 4 8 cm IX-pth: 8 in / 20.5 c m
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A T R A N S I T I O N A L C O M M O D E BY S T U M P F F
A transitional breakfront c o m m o d e of small scale
He was married in 1760 in Paris at the Swedish
deployed geometric motifs such as small cubes
with two drawers, having gilt bronze corner
Embassy, as was typical of other protestant
and Greek key pattern cross-banding, quartering
mounts and feet, the front inlaid with kingwood
Swedish compatriots. He was a friend of the
and shapes arranged in patterns in opposing
panels against a rosewood background sans
cabinet-maker, Ferdinand Schwerdfeger and
directions, all of which often contributed to
travers. T h e legs are surmounted by kingwood
established himself in rue Saint-Nicolas where he
creating a trompe I'oeil effect and which is
marquetry flutes and are of cabriole form with a
remained all his life.
evident in this commode. Several cabinet-
single inlaid flute on the front edge and
makers, including Pierre Roussel, Charles
kingwood veneer on the inner face.
He produced pieces in the Louis X V style, the
Chevallier and Jean Lapie used similar devices
Stamped StumpfmA
transitional style and the Louis X V I neo-classical
but none perhaps to the extent of S t u m p f f T h e
style. His work was always constructed to a very
simulated fluting that appears on this c o m m o d e
French, circa 1760
high standard and he had a particularly
was a decorative effect used often by S t u m p f f on
Height: 3 3 7 ; in / 85 cm
successful and prolific output of transitional and
some of his finest transitional commodes. T h e
Width: 32 i n / 8 1 cm
neo-classical commodes and neo-classical
mounts on the shoulders, legs and apron are also
Depth: 1772 in / 44 cm
secretaires.
typical in design - often tapering vase shapes
Jean Chrysostome S t u m p f f (1731-1806) was
Typically his work was embellished with
and paterae, and, overall, boldly and roundly
originally from Schweigern, Souabe, Switzerland.
marquetry and parquetry veneers where he
modelled.
JME.
with swags of husks or fabric, stong gadrooning
126
A P A I R O F G I L T B R O N Z E VASES
A pair o f early 19th century Italian gilt bronze c a m p a g n a form vases decorated in the r o u n d with Bacchic scenes depicting putti cavorting a m o n g s t themselves and with a goat, the vases having finely w r o u g h t lotus petal handles and bronze paterae at the capitals. T h e y are supported on a baluster stem a n d circular foot cast with acanthus leaf and a guilloche pattern, o n a grey marble block p l i n t h .
Italian, circa 1810 Height: 10 in / 25.5 cm
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A PAIR O F SILK E M B R O I D E R Y PANELS A very rare pair of Greek island silk embroidery panels, each depicting a densely ornamented series of birds and vases above a scrolling border, the foliate elements enriched with rare pearl work stitching in relief The panels retain their original colouring and are in fine condition. Cretan, circa 1760 Framed: 21 x 33 in / 53 x 84 cm
A LOUIS PHILIPPE PAINTED GLASS P E N D A N T L I G H T An unusual Louis Philippe pendant frosted glass light decorated in white and gilt and with three grisaille vignettes, each depicting idealised village scenes, retaining its original smoke cowl and unusual star chain. French, circa 1850 Height: 37 in / 94 cm Diameter of bowl: 13 in / 33 cm
A L O U I S XV G I L T W O O D SIDE TABLE
A fine quality Louis XV giltwood serpentine side table in the rococo manner, incorporating early neo-classical elements, the frieze carved at the centre with a bouquet of flowers tied with a ribbon and Hanked by foliate ' C scrolls. This pierced central panel is supported by 'S' scrolls carved with leaves and rocaille ornament and scroll down to the cabriole legs that terminate in scroll feet. I'his same scrolling frieze is carved with a bound reed motif throughout. T h e table retains its original Breccia marble top.
French, circa 1760 Height: .34 in / 86 cm Width: 66 in / 168 cm Depth: 30 in / 76 cm
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A PAIR OF B I S C U I T VASES
A PAIR OF RED GLASS O V E R M A N T E L MIRRORS
A pair of Louis XV period, early neo-classical
A very unusual pair of early 19th century
biscuit porcelain vases of unusual ovoid form
Viennese mahogany and red glass overmantel
with pierced lids and collars each bearing a fleur
mirrors, the sides bordered with gilt metal
de lys, the main body of the vase decorated with
mounts of neo-classical design flanking slips of
a band of alternating paterae and stylised Roman
red glass. The corners are mounted with foliate
heads with acanthus leaves and a band of laurel
paterae and at the centre there is a cresting,
below. The vases stand on a waisted stem with '
which is inset with a demi-lune panel of glass.
further foliate moulding towards the base. Austrian, circa French, circa
1765
One lid a later replacement Height: T h in / 19 cm
132
1820
Height: 4 0 7 : in / 103 cm Width: 45'/; in / 116 cm
pr^
133
A VIEW OF ROME
A fine quality 19th century watercolour perspective view of Rome showing, in the foreground, locals picnicking in the Borghese gardens. A musician plays the lute whilst dogs gambol and a mother sits with her children, all in the shade of large, ivy clad trees. In the distance can be seen St Peter's, the Castel Sant Angelo and the Piazza del Popolo. T h e highlights are varnished for luminosity. Signed lower right F Horner.
Italian, circa 1840 Framed: 35 x ATh in / 89 x 120.5 cm Friedrich Horner (1800-1864) of Basel was Swiss born but spent long periods in Italy where he painted prolific landscapes and views of ruins that satisfied the strong market for Grand Tour 'souvenirs'.
134
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A MARQUETRY SIDE TABLE
A PAIR OF BEDSIDE COMMODES
A north Italian parquetry serpentine side table,
A pair of North Italian serpentine bedside
the sides and front frieze elegantly inlaid with
commodes with two drawers, veneered in walnut
geometric patterns creating multiple bands of
with purpleheart stringing, each c o m m o d e
ornament, standing on square, tapering legs
having two drawers with a central escutcheon
surmounted by elaborately fashioned tiered
flanked by panels of quartered veneers, the sides
capitals, all inlaid with a band of geometric
each having quartered panels in the same
marquetry. T h e same technique of inlay is
manner as the drawer fronts. T h e commodes
employed on the facing ' C scroll stretcher which
have an elaborate scalloped bottom rail and
has at its centre an inlaid parquetry vase finial.
stand on cabriole legs with pad feet. They retain their original marble tops.
Italian, probably Milan, circa
1790
Height: 3 3 7 . in / 85 cm
Italian, circa 1770
Width: 39 74 in / 101 cm
Height: 30 in / 7 6 cm
Depth: 2172 in / 54.5 cm
Width: 31 in / 79 cm Depth: 14 in / 35.5 cm
O n the table is a very grand gilt and silvered metal Renaissance revival magnifying glass of large scale, the handle mounted with bands of malachite, lapis lazuli and agate and with an ivory finial, and also a pair of Regency painted tole chinoiserie face screens.
137
A PAIR OF SPHINX C H E N E T S
A PAIR OF G I L T W O O D CANDELABRA
A pair of Empire bronze and gilt sphinx chenets,
A pair of early 19th century North German
having gilt headdresses, both matted and high
giltwood six branch candelabra, the central stem
burnished, and resting upon block plinths with a
carved to simulate a stylised fountain spout and
bronze roundel at the centre flanked by gilt
supporting three tiers of candle arms, each arm
anthemia.
enriched with subsidiary scrolls and foliate ornament and terminating in trumpet socles,
French, circa 1810
standing on a turned circular plinth carved with
Height: 13 in / 33 cm
an elongated bead motif
Width: 1 5 ' / 2 i n / 3 9 cm
Attributed to K F Schinkel (1781-1841)
Depth: 6 in / 15 cm Berlin, circa 1820 Height: 31'A in / 80.5 cm Width: 21 in / 53.5 cm Diameter of base: l^U in / 18.5 cm LITERATURE: cf Lichter Leuchten Im Abendland by Kurt Jarmuth, pi 387 for a floor standing candelabrum which is en suite with the above, in the Behnhaus Museum in Lubeck.
138
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A late l,oiiis X V I mahogany console desscrte together with a matching one of later date, each having a single drawer in the frieze which is enriched with a finely chased gilt bronze foliate giiilloche pattern, framed by a neo-classical border, the sides similarly decorated, the lower tier mounted with a pierced, lacquered brass gallery. They stand on turned tapering brass Huted legs with subsidiary collars, terminating in machined ball sabots. The dessertes are designed to be dismantled.
O n e French, circa 1790, the other circa 1860 Height: 36 in / 91.5 cm W i d t h : 52 in / 132 cm Depth: 167: in / 42 cm
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AN EARLY 18TH C E N T U R Y G E R M A N J A P A N N E D C A B I N E T
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A n exceptional early 18th century G e r m a n
H e i g h t o f cabinet: 25Vi in / 65.5 cm
in this example three - w h i c h was not c o m m
japanned cabinet, the exterior decorated in gold
H e i g h t with stand: 5774 in / 147 c m
at the time but was favoured by Schnell, and
o n a black g r o u n d depicting, on the front, an
W i d t h : 3 1 V . in / 80.5 cm
also by the design o f the m o u n t s which relate
oriental lakeside landscape with high relief rocks
D e p t h : 1 5 in / 3 8 c m
other k n o w n Schnell pieces. Above all, the sh a c c o m p l i s h m e n t o f the technique and the
a n d a g r o u p o f figures in the foreground, the sides depicting exotic cockerels fighting a
M a r t i n Schnell was a G e r m a n furniture and
artistry o f the designs p o i n t to one o f the gre
serpent. T h e interior is decorated in shades o f
porcelain painter. Born in Dresden, he worked
G e r m a n lacquer masters o f the early 18th
gold o n a deep red g r o u n d , depicting trees, birds
under Gerard Dagly in Berlin between 1703 and
a n d flowers, and is fitted with an arrangement
1709, after w h i c h he returned to Dresden.
o f ten drawers surroiniding a central cupboard.
There, in 1710, he was a p p o i n t e d lacquer-maker
T h e cupboard opens to reveal four further small
to Augustus the Strong and remained in Dresden
drawers and this inner c o m p a r t m e n t is japanned
for the rest o f his life. H e specialised in japanned
in gold o n a rare cream g r o u n d . T h e cabinet
trays - the best o f their period - decorated with
retains its original, elaborately engraved brass
charmingly whimsical chinoiserie scenes.
m o u n t s . Attributed to M a r t i n Schnell of
However, he also m a d e large pieces such as
Dresden.
bureaux and cabinets with elaborate japanned decorations. T h e attribution to Schnell in this
Cierman, circa 1720
instance stems particularly from the use o f
N o w on a m o d e r n giltwood stand
different coloured grounds for the j a p a n n i n g -
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Director
Annabel D'Arcy Fiona Barker
One bracket, French, circa
1730,
the matching bracket circa
1820
Height: 10 in / 25 cm
Nicholas Kilner
W i d t h : 17 in / 4 3 cm Depth: 7 in / 18 cm
MALLETT INC 9 2 9 Madison Avenue New York, NY 10021 Telephone: +1 212 249 8 7 8 3 Fax: +1 212 249 8784 Henry Neville
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144
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