2004 Mallett Catalogue

Page 1


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

F: +44 (0) 20 7495 .3179

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

T: +44 (0) 20 7629 2444

F: +44 (0) 20 ^^499 2670

'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.

929 M A D I S O N A V E N U E , AT •^4TH S I R E E L N E W Y O R K L: +1212

249

F: +1 212 249

Website: www.mallettantiqucs.coni

NY 10021

8^84

E-mail: info(?'mallcttantiques.coni



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MALLETT L O N D O N • N E W YORK

141 N E W B O N D STREET, L O N D O N W1 B O U R D O N H O U S E , 2 DAVIES STREET, L O N D O N W1 929 M A D I S O N AVENUE, N E W YORK, NY 10021


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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


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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


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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


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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

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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"

III,11 !

t^TS^SI^-

I

' f t

1 â‚Ź

r-m

-I

I


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

•uitiiSM,

commued

; J "gtkgiMB^HU^'J.M

m mimm

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

;.

I

^

^

V-. •V

:

'I

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

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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.

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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

(•/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..

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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

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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

.

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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


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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

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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




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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'.

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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 (.•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

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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

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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

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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

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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

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120


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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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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


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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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