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Introduction

T h e Bourdon House catalogue this year is more than a selection of our recent acquisitions. Within the pages we have the finest collection we have ever exhibited.

From France we have examples of exceptional stamped furniture, in particular, pairs of bergeres by Jacob and marquises by Sene. There is a fine small-scale secretaire by Bon Durand which is an expression of the early neo-classical style. From Italy we have a marvellous example of arte povera work, a bureau bookcase, our first for twenty years.

From the Baltic region we have a pair of glass and gilt bronze chandeliers which are very rarely found in pairs. Finally, from Sweden we have a magnificent blue glass bordered pier mirror and a signed centre table from that neo-classical jewel, the palace of Skottorp.

Whilst the finest continental decorative arts are the main focus of Mallett at Bourdon House, it remains part of our intention to maintain our reputation for whimsical and unusual pieces. With this in mind we are including amongst other things, a very rare pair of steel fauteuils attributed to Gaudillot and two library wheelbarrows; the mahogany example has a provenance from Noseley Hall. We also illustrate a charming bedside commode from the Hache family workshops in Grenoble, which is veneered with remarkable parquetry of twigs creating a fantasy version of oyster veneer.

Bourdon House has always been known for objects and in this catalogue we continue that tradition with the large scale Ravrio ewers and a fine pair of bacchante heads by Marin.

We are also delighted to have acquired a pair of landscapes by Claudot which came from a private collection in France and have never been on the market before.

To conclude, we hope that the eclectic nature of the Bourdon House style is fully expressed in this catalogue and we would be delighted to answer to answer any questions on this collection. We look forward to seeing you in London, but a selection of these items will be in New York and the staff there will be delighted to help you.

T h o m a s Woodham-Smith

I., 1,/

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An arte povera bureau bookcase An important early 18th century Venetian arte povera bureau bookcase, profusely decorated with elaborate decoupage vignettes on every surface on a cream ground. Each panel is enclosed by running floral and foliate designs. The slope front has fantasy carriages drawn by various mythical beasts, lions, camels and winged classical Gods and Old Father Time. It opens to reveal a fitted interior with pigeon holes, small drawers and a fully decorated writing surface with a central ornamental fountain and elements depicting the training of a war horse, all enclosed by a deep border of golden heraldic motifs. The three lower drawers are decorated with period carriage scenes and romanticised pastoral landscapes.

This lower section is framed by dense swags of beribboned fruit supported on bracket feet with vases of fruit and flowers; the upper section has two arched mirrored doors, each surmounted by decorated finials, enclosed by gilt mouldings and dense arabesque decoration which open to reveal an elaborate interior of drawers and shelving also richly decorated with contemporary pastoral activities and fantasy scenes of graduated decoration. The upper section, repeating the pastoral scenes of its interior with farm animals, harvest celebrations and hunting scenes, stands above a central panel of fantasy carriage scenes and elaborate classical figures, while the lower section, on each side, is decorated with figures in rich contemporary costumes, dancing and playing musical instruments. The whole surface is in extraordinary original condition. The decoupage retains good colour and engraved detail. The antique mirror plates are later replacements.

Italy, circa 1735

H E I G H T :

8 2 V 2 I N

W I D T H :

4 O I N

D E P T H :

2I'/2IN

( 2 I O C M )

( I 0 2 C M ) ( 5 5 C M )

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Since as far back as the late 16th century, lacquered objects from

cosmographer of the Serenissima, who made globes that he

the Far East had been shipped to Europe, in relatively small numbers

protected with layers of varnish. Coronelli stated that its main

at first, though subsequently in constantly increasing quantities to

ingredient was sandarac, known for its durability and hardness,

meet the burgeoning demand. The relative scarcity of lacquered

and this remained one of the chief ingredients of Venetian lacquer

objects combined with the immense demand meant they

Initially, like elsewhere in Europe, Venetian artisans would imitate

commanded high prices, a fact that drove European craftsmen

Oriental styles and models in an attempt to give their work the exotic

to discover the process for themselves or at least a method of

appearance that was favoured at the time. However, as the 18th

imitating it convincingly.

century progressed, Venetian lacquered objects would become less

Lacquer centres appeared throughout Europe with Venice becoming one of the most significant of all. As early as the mid 17th

dependent stylistically on imported Far Eastern models and follow more closely the general trend of contemporary European fashion.

century there existed an extremely active trade in Venetian lacquer,

Arte povera (also lacca povera or lacca contrafatta), particularly

which suggests that it had been going on for some time previously.

in Venice, developed along side traditional lacquer as what is initially

As with all lacquer centres during the period, Venice had its own

regarded to have been a cheaper alternative. Surviving examples

recipes for the necessary varnish but it seems the favoured type was

today, however, are considered equally as rare and as important as

that invented by Father Coronelli (1659-1702), the official

conventionally lacquered pieces. The technique was not uncommon

K 49 is

B O U R D O N

elsewhere in Italy and Europe but found particular favour in Venice. The process involves the use of motifs and scenes cut from prints especially prepared for this purpose by firms of printers such as Remondini in nearby Bassano. Once applied to the piece they would be painted and subsequently varnished.

The relative ease of the process attracted a number of dilettantes as well as professionals, lacquered objects remaining in vogue throughout the period. It became a fashionable pastime for young ladies throughout Europe, particularly in France (here called decoupage. from decouperto cut) where it probably became fashionable around 1720. In 1121. Sieur Crepy. fils, advertised engravings done after a screen painted by Watteau with compositions suitable "aux decoupures dont les dames font aujourd'hui de si jolies meubles." However, despite the universal amateur appeal of Arte Povera, Venice remained the centre of professional production.

As mentioned above, the 18th century saw the emancipation of Venetian lacquer-workers from the inherited chinoiserie style. This affected both the nature of the imagery as well as the style of the furniture itself. A strong English influence, for example, can be seen in the making of furniture, a fact to which this piece is testament; the flat-fronted lower section and the double-domed canopy with finials imitating English Queen Anne models. Equally, while some of the interior scenes on this piece could undeniably be described as chinoiserie, the decoration is on the whole, far more European, depicting Watteauesque peasants in landscapes and Berainesque motifs within scrolling and foliate borders.

Arte Povera work is most commonly found on a red ground while examples with a white ground are extremely rare.

Amongst the latter the present cabinet, together with another Venetian cabinet of serpentine form represent the best surviving recorded examples of furniture in this technique on a white ground.

C.f. Illustration fig. 152. 'Lacche veneziane settecentesche', Saul Levy. Gorlich Editore, Milan, 1967.

n O L- S E

A pair of Sene marquises An exceptional pair of Louis XVI giltwood marquises having square backs finely carved with beading and a laurel leaf m o t i f T h e arms sweep down to a scroll terminal carved in low relief with acanthus leaf T h e side and front seat rails are carved with further leaf moulding on the top edge and a ribbon on a recessed panel at the centre. T h e marquises stand on turned tapering fluted and reeded legs and are s u r m o u n t e d by capitals enriched with a foliate patera.

Each stamped C - S E N E .

France, circa 1780

B A C K H E I G H T : 38 IN

(96.5CM)

SEAT H E I G H T :

20IN

(5ICM)

WIDTH:

361N

(91.5CM)

DEPTH:

231N

(58.5CM)

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Claude I Sene (b. 1724 - d. 1792) Claude Sene was the son of Jean Sene who was the first of a long

carved. It is believed that the celebrated chair-maker Nicolas Hertaut

line of renowned Parisian cabinet-makers. His stamp, SENE LE

(1721 -1771) often did some carving work for him.

PERE, appeared from the time when statutes made the stamping of

Claude I's examples of seat furniture executed in the neo-

furniture obligatory in 1743. Claude I married Marie-Jeanne Saint

classical Louis XVI style are rare as he retired in 1780 when the style

Georges and went into partnership with her brother, Jean Etienne

was just entering its zenith. His chairs are characterised by their

Saint Georges. Sene became a maitre in 1743 and in 1747, with

generous but balanced proportions, elegant form and fine, delicately

Jean Etienne, he took on the workshop of his father, in the rue de

carved decorative elements such as husks, beading, entrelacs,

Clery. Although they worked out of the same atelier the two

paterae and foliate motifs. The chairs illustrated here are stamped

cabinetmakers signed their own work. Claude I s signature was very

with the characters associated to him; therefore we can be certain

distinguishable, the C being more like a G and the capital N in his

these marquises were by him and not by his son Claude II. Examples

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A Chinese export occasional table A rare Chinese export black lacquer tip-top circular occasional table in fine original condition. T h e profusely decorated top with fantasy Oriental scenes of lake palaces, sampans and rocky islands all with exotic birds and trees. T h e whole is enclosed by a deep border of entwined chrysanthemum and peony flowers amongst trailing foliage. T h e top rests on a birdcage support and turned stem with further exotic foliate gilded decoration, which extends o n t o the triangular base which in turn terminates in elaborately carved and gilded lion's paw feet.

China, circa 1810

H E I G H T W I T H TOP UP: 4 8 1 N HEIGHT WITH TOP DOWN: DIAMETER:

361N

(IZ2CM)

281N

(7ICM)

(9I.5CM)

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A pair of Swedish stools

A Louis X V console table

A pair o f Swedish neo-classical late 18th century

A fine Louis X V gilrwood console table having a frieze carved

giltwood stools having straight sides a n d serpentine

as a continuous interlocking series o f boldly drawn shell-like

fronts and backs. T h e seat rails are decorated with a

scrolls each carved with elaborate fluting a n d subsidiary

carved palmette m o t i f a n d each leg is s u r m o u n t e d by a

background ornament. T h e scrolls are further carved with a

square panel with a recessed centre enriched with a

running chain o f flowers carved to give the impression o f

foliate patera. Each leg is turned, tapering a n d fluted and

passing through the scrolls and intertwining the legs and

s u r m o u n t e d by further carved leaf m o t i f

stretcher. T h e table stands on elaborately scrolling cabriole legs carved in a similar manner to the frieze and terminating in a scroll foot. T h e stretcher repeats both the shell-like

Sweden, circa 1 7 9 5

scrollwork o f the frieze and the bold interlocking scrolls on HEIGHT: I6IN WIDTH:

the legs. T h e table retains its original marble top.

(40CM)

171N

(42CM)

DEPTH: I6IN

(40CM)

France, circa 1 7 5 5

H E I G H T : 331N

(84CM)

WIDTH: 44IN

(II2CM)

DEPTH: 191N

(48.5CM)

O n the table are a pair o f Louis X V I terracotta busts.

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The Chateau de Sully An unusually large scale pair of late 18th century gouaches depicting the Chateau de Sully and its gardens. Each view shows the estate bathed in twilight with figures working the waterways and p r o m e n a d i n g along the many paths. A carriage is arriving at the Chateau and the town can be seen in the distance.

France, circa 1800

FRAMED: 281N X 4 6 1 N (71.5CM X 117CM)

With the assassination of Henry III in 1589, Henry IV became King,

had plunged France and tempered the ruinous court expenditure

during a period of significant civil unrest in France. The Wars of

that consumed other contemporary European monarchies. However

Religion (1562-98) were at their height, pitting the Catholic French

Sully's political role ceased in May 1610, when a fanatic Catholic

establishment against the Protestant Huguenots. The Holy League,

assassin named Ravaillac brought Henry IV's life to an abrupt end.

an association of Roman Catholics led by the 3rd due de Guise,

Having played an essential part in the transformation of France, he

opposed concessions granted to the Huguenots by Henry III, and

retired from Court the year after Henry's death, having amassed a

so vehemently opposed the coronation of another Protestant King.

considerable personal fortune.

Henry's position remained vulnerable until in 1 593 when he

The extent of Sully's achievements while at the court of Henry

converted to Catholicism and in 1598, he signed the Edict of

IV was considerable to say the least. In 1594, the king had

Nantes, securing liberty of conscience to Protestants and

appointed a finance commission of nine members, to which he

sanctioning their public worship throughout the Kingdom, with the

added Sully (then Rosny) in 1596, who at once began transforming

exception of Paris Cthe Catholic clergy Richelieu in particular,

the country's economic situation. So successful were his reforms

opposed the Edict, which would later be entirely revoked by Louis

that by 1601, he had been appointed sole superintendent of

XIV). Henry, therefore, extinguished or at least dampened any

finances. Besides this, in 1599 he was appointed grand

significant religious pretext for resistance to his rule, ending a civil

commissioner of highways and public works, superintendent of

war that had raged throughout France for forty years. In this same

fortifications and grand master of artillery; in 1602 governor of

year, the treaty of Vervins saw an end to aggression with Spain.

Mantes and of Jargeau, captain-general of the queen's gens

With peace at home and on his borders, Henry was now free to

d'armes and governor of the Bastille; in 1604 governor of Poitou:

focus on the domestic situation in France.

and in 1606 duke and peer of Sully ranking next to princes of the blood. He declined the office of constable because he would not

Aided by his loyal ministers, in particular the Huguenot baron de

become a Roman Catholic.

Rosny (later the due de Sully), Henry set about rebuilding the war-

Sully was truly instrumental in Henry IV's construction of a

ravaged French economic infrastructure; building roads and canals,

stable and prosperous France, and was rewarded accordingly.

encouraging agriculture and public works and establishing new sources of wealth and prosperity. The mainstay of these

Perhaps the most impressive monument to his own success is the

improvements, however, lay in the financial restructuring undertaken

chateau of Sully-sur-Loire, a late 14th century fortress on the banks

by Sully, who in the course of his office turned an impressive

of the Loire, that he acquired in 1602. Sully made significant

national deficit into surplus through a network of far-reaching

improvements, creating the castle park, enlarging and restoring

reforms. Sully was by no means popular, hated by most Roman

the original fortress and reinforcing the dykes to protect the town

Catholics because he was a Protestant and by most Protestants

against the river's tendency to flood. The chaeau remained in the

because he was faithful to the king, he enjoyed the friendship and

family until 1962. when the Departement du Loiret acquired it.

implicit trust of Henry IV, In a relatively short period he proved

It remains today a magnificent testament to his success.

instrumental in dispelling the chaos into which the Wars of Religion

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UOl'SE

A pair of bronze busts

A pair of cache-pots

A pair o f L o u i s P h i l i p p e m i n i a t u r e brass b u s t s o f H e n r i

A pair o f L o u i s - P h i l i p p e Paris porcelain two part cache-

I V a n d his M i n i s t e r o f F i n a n c e a n d A g r i c u l t u r e , the d u e

p o t s . T h e sides o f each are d e c o r a t e d with a frieze o f

d e Sully. T h e b u s t s are s u p p o r t e d by gilt b r o n z e a n d gris

l a n d s c a p e vignettes p o s s i b l y d e p i c t i n g views o f an estate;

St A n n e circular pedestals. E a c h o n e bears a p l a q u e with

these are set a g a i n s t a b l a c k g r o u n d d e c o r a t e d with

the s u b j e c t ' s n a m e .

raised gilt scrolls a n d vines. T h e c a c h e - p o t s have gilt lion's h e a d faux h a n d l e s a n d have at b o t h the rim a n d

France, circa 1 8 5 0

the f o o t a parcel gilt reeded m o t i f

HEIGHT: IOIN

France, circa 1 8 4 0

(25CM)

H E I G H T : 7V2IN

(19CM)

DIAMETER: 71N

(I8CM)

m

BOURDON HOUSE

A Swedish pier mirror A very rare large scale early 18th century Swedish pier mirror mounted profusely in gilt lead. The domed cresting is flanked by low relief cast vases overflowing with fruit at the apex of the arch. The mirror is surmounted by a crowned cartouche inset with a cobalt blue glass panel. This element is supported by trumpet bearing maidens in roman garb. The dome and sides are bordered with engraved and gilt bevelled, blue glass panels with low relief cast gilt lead strapwork.

Attributed to Burchardt Precht

Sweden, circa 1735

HEIGHT: 771/21N WIDTH: 461N

(197CM)

(117CM)

S w e d e n enjoyed great diplomatic p o w e r and prosperity

This f o r m of rectangular plate contained within engraved

following the Unification under G u s t a v Vasa ( 1 5 2 0 - 1 5 6 0 ) .

glass borders, s u r m o u n t e d by the focal point of an arched

This continued in the 1 7th century with the y o u n g Q u e e n

cresting, w a s a popular mirror design that became a feature of

Christina ( 1 6 3 2 - 1 6 5 4 ) w h o w a s highly educated and a

S w e d i s h baroque mirrors. Gradually the crests became more

passionate collector. She increased the country's expenditure

integral t o the mirrors and often integrated a small mirror plate

on European w o r k s of art by selling c r o w n lands t o the

framed in a decorated gilt metal frame. The use of such an

a r i s t o c r a c y L a t e r the Regency of Charles XI ( 1 6 5 5 - 1 6 9 7 )

additional mirror plate w o u l d signify the wealth of the owner,

w a s a period of enrichment for this small s e c t o r of society w h o

mirrored glass being a great luxury. The cartouche s u r m o u n t e d

avidly patronised art and architecture, following the example of

by a c r o w n bears strong similarities t o that of the mirror

the G e r m a n nobility.

Burchardt Precht ( 1 6 5 1 - 1 7 3 8 ) w a s a sculptor and cabinet-

mentioned below, also by Burchardt Precht. C r o w n s o f t e n feature within crests of mirrors and other furniture and can

maker f r o m B r e m e n and w a s educated in Hamburg by his

indicate royal associations or monarchical allegiances. Precht's

brother Christian Precht. He w e n t t o S t o c k h o l m in 1674 t o w o r k

signature motif of a pair of baskets of flowers appears here on

at Drottningholm Palace w h e r e he created a Royal bedchamber.

the cresting below the female figures at the base of the arch;

In 1681, he w a s r e c o m m e n d e d for the position of royal cabinet-

o t h e r favoured motifs w e r e a pair of seated putti and a pair of

maker and sculptor by the Royal architect N.Tessin the Y o u n g e r

lions. This mirror has t w o seated female figures facing o p p o s i t e

He w a s very influential and played a major part in disseminating

directions, which is another signature motif.

the Swedish baroque style, also k n o w n as the Precht style, which had a b s o r b e d French and Italian influences.

The joins in the glass at the borders and b e t w e e n the crest and the main plate are bevelled or 'diamonded'. This technique

Illustrated: C.f. A comparable rare gilt-lead m o u n t e d mirror attributed to Burchardt Precht, S o t h e b y ' s sale of Important French &

produced particulariy magical effects with the reflections of

Continental Furniture and Tapestries. London, Lot 22, 11 J u n e

candlelight. Border glasses w e r e often of coloured glass and in

2003.

this case the blue border glasses themselves are secured by a lead frame, which is in turn gilded and decorated using fine beading, e g g and dart and foliate mounts. This mirror s h o w s the typically Swedish style of gilt-lead m o u n t s surrounding engraved glass. The influence has c o m e directly f r o m mirrors at the courts of Louis XIV at Versailles and of William III at Hampton Court, w h e r e there hangs a mirror similarly bordered in blue glass and has an engraved c r o w n and cipher of the King on the pediment.

Literature: ' W o r l d of Mirrors 1650-1900', Graham Child, publ. Sotheby's Publications, London, 1990 'Speglar, Spegelmakare & Fabrikorer I Sverige 1650-1850', Torsten Sylven and Elsebeth Welander-Berggren, publ. Prisma, Stockholm, 2000. ' M i r r o r s ' , S e r g e Roche, Germain Courage, Pierre Devinoy, publ.

Rizzoli, N e w York, 1985

1 A collection of Namur coffee pots A rare collection of late 18th century Namur brown pottery, consisting of six coffee pots, a teapot, two milk jugs and a sugar bowl. Many of the pieces have silver mounted covers and spouts in boldly modelled foliate designs cast in low relief Belgium, circa 1775

HEIGHT: MAXIMUM

I4VIIN

(29CM)

'A

BOURDON

HOUSE

A Charles X red tole chandelier A charming Charles X red tole chandelier, with baluster form stem, decorated with gilt neo-classical ornament which support the four arms, decorated on the front face with a basket of pomegranates supported by an elaborate anthemion.

France, circa 1840

HEIGHT: 22IN WIDTH:

I8IN

(56CM) (46CM)

Also available is a three branch chandelier from the same workshop

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A pair of parcel-gilt girandoles A pair of North Italian parcel gilt girandoles. The mirrors are framed with boldly modelled ' C and 'S' scrolls. The apex of the mirror is surmounted by a finely carved shell whilst the base is enriched with a two branch gilt tole sconce.

Probably Genoa, circa 1780

HEIGHT: 2 6 1 N WIDTH: 141N

..mm

(66CM) (35.5CM)

m

•• .^••ST'. • •

A Regence giltwood side table An o u t s t a n d i n g Regence period giltwood side table having a central bearded mask in the frieze, w h i c h is repeated at t h e capital of the legs. T h e frieze itself is decorated in low relief with strapwork a n d a lattice w i t h foliate patera at the centre all set against a cross h a t c h e d g r o u n d . T h e lattice-work c o n t i n u e s d o w n the cabriole legs i n t o the scroll toes. T h e table is joined by an 'X' f r a m e stretcher of square cross-section scrolls w h i c h are enriched by a c a n t h u s leaf carving a n d recessed panels of strap-work a n d cross-hatching. At the centre of the stretcher is an elongated hexagonal element carved w i t h f u r t h e r lattice-work and o r n a m e n t . T h e table has a replacement period m a r b l e top.

Probably S o u t h G e r m a n y , circa 1 7 3 0

HEIGHT:

321N

(81CM)

WIDTH:

541N

(137CM)

DEPTH:

271N

(68.5CM)

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A pair of watercolours by Filippo Giuntotardi A pair of watercolours of waterfalls in rocky landscapes, one with three figures in the foreground and inscribed: viie generates des casitellos de Tivoloi en i pleins, Filipo Giuntotardi, Viante in Roma, 1794, the other with a knarled tree in the foreground inscribed: vue de la Cascade de Tivoli en d'.. .plan, Filippo Giuntotardi, Viande in Roma, 1794,

Italy, 1794

FRAMED: 341N X 251N (86.5CM X 63.5CM)

28

M AL L ET T

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B O II R O O N

Filippo Giuntotardi was born in Rome in 1768. He was initially a

HOUSE

Giuntotardi was influenced by the clarity and luminosity of German

sculptor and then studied at the Academia di San Luca where he

neo-classical artists working in Rome such as Joseph Anton Koch.

devoted himself to landscape painting and won the prize for landscape

A m o n g some of his known works are 'Vue du Forum', 1805, painted

paintings in 1783, His subject matter was principally drawn from

for Prince Georges of Mecklembourg; 'Vue de Tivoli': and illustrations

classical Rome and Tivoli.

for a work by Dodwell entitled 'Antiquites grecques et pelasgiques'.

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A miniature secretaire by Duranc A very rare secretaire abattant of small scale in the finest grained mahogany. The central door has moulded brass trim and fielded central panel with ormolu foliate roundels at each corner and opens to reveal a fitted interior with small drawers and pigeon holes. The two lower doors have similar fielded panels with ormolu fitments and complex ornamental locking mechanism inside. The sides are more simply designed with a single long fielded panel and ormolu moulded frame. The front corners with deeply fluted and reeded pilasters are enriched by further ormolu foliate mounts. The whole stands on elegant tapering legs with ormolu foliate feet.

Stamped B-DURAND

France, circa 1770

HEIGHT: 521N (132CM) W I D T H : 27I/21N ( 7 0 C M ) DEPTH: 13V21N (34CM) D E P T H I N C L U D I N G FALL F R O N T : 3 3 I N ( 8 4 C M )

Bon Durand became a maitre on the 18th February 1761 and up until the point of the Revolution he worked in the rue de Charenton, largely for the

marchands-ebenistes

(merchants) such as Pierre Migeon and Denys Genty. He also produced many mahogany pieces for the tapestry weavers such as Bonnemain and the Presle brothers. His stamp (B DURAND) can be found in a number of fine collections throughout France on both Louis XV and Louis XVI furniture. In a number of cases, he appears to have worked with the ebeniste P Gamier A commode with similar fielded panels and strong reeded pilaster corners, having ormolu enrichments, stamped by both Gamier and Durand is in the Gripsholm Palace, Sweden. His use of the finest veneers can also be seen in a commode at the Chateau of Montgeoffroy

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A mahogany hall bench

An Italian trumeau

A fine quality William IV mahogany hall bench, having

A Ligurian late 18th century parcel-gilt pier mirror, the

a panelled seat and scroll ends mounted with a roundel

upper section framing a grisaille painting of a reclining

patera. The bench stands on unusual tapering legs carved

baccante. The top and base of the mirror are enriched

on the front face with a rolled moulding marking out an

with finely carved high relief gilt alternate paterae and

internal panel. The foot and the capital are concave sided.

sheaf m o t i f . The sides are decorated with a recessed panel carved with delicately wrought arabesques of neo classical ornament. The panel between the grisaille and

England circa 1830

the mirror plate is carved with a frieze of enclosed HEIGHT: I8IN

(46CM)

WIDTH: 481N

(I22CM)

DEPTH: 14V2IN

anthemia. The mirror plate is original.

Northern Italy, circa 1790

(37CM)

HEIGHT: 851N WIDTH: 421N

34

(215CM) (107CM)

35

I H^v

36

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H O U S E

A lacquer table cabinet An unusual early 18th century Antwerp lacquer table cabinet having a concave-sided pediment decorated with gilt swags against a background and containing a single drawer in the front frieze. The doors and sides are bordered with brass edges and are decorated with Chinese groups depicting parades with elephants. The doors open to reveal a red lacquer interior with a multiplicity of drawers, each decorated with gilt animals.

Low Countries, circa 1730

HEIGHT: 20IN WIDTH: 221N DEPTH: 131N

(5ICM) (56CM) (33CM)

Table cabinets, so called as they stood on tables rather than stands, came into fashion in the 16th century. Early examples are decorated with panels of marquetry and the production of them was dominated by Huguenot craftsmen trained in Amsterdam and The Hague. As the 17th century progressed, marquetry decoration became increasingly elaborate both in style and in the materials used, oyster veneering and seaweed marquetry giving way to Boulle work on a tortoiseshell ground.

By the late 17th century however, lacquer had become the preferred medium, European craftsmen having developed their own process of Japanning in response to the cost and demand of Oriental imports.

One of the principal centres in the production of lacquer table cabinets during this period was Antwerp, whose craftsmen produced some of the finest surviving examples. One of the defining features of Antwerp table cabinets is their shape, in particular the shape of their tops. While predominantly such cabinets would have been of a simple square box form, examples from Antwerp invariably had a domed top such as this one, within which a draw would be concealed. Comparable examples also produced in Antwerp during this period can be found in the Rijksmuseum in Amsterdam and the Schloss Charlottenburg in Berlin.

37

BOURDON HOUSE

A harbour view An outstanding Louis XVI period harbour view depicting figures in the foreground gathered around a fountain with a ship at harbour with elaborate rigging beside a rusticated lighthouse.

Oil on canvas.

Signed lower right, Jean-Baptiste Claudot France, circa 1785

U N F R A M E D : 4 8 I N X 55'/2IN ( 1 2 2 C M x

142CM)

For a description of J B Claudot see page 87.

38

A pair of Regence appliques A pair of gilt bronze two branch wall appliques applied with acanthus leaf and gadrooned ornament, each with a pierced serpentine and acanthus-leaf-shaped backplate with two foliate, scrolled and spiralling asymmetrical candle arms, the upper sconce having a neo-classical drip pan with foliate ornament the lower with more rococo ornament and a sunflower drip pan.

France, circa 1730 H E I G H T : 191N ( 4 8 . 5 C M ) W I D T H : II'/2IN ( 2 9 C M ) D E P T H : 8 IN ( 2 0 C M )

A n identical pair of bronze ornnolu wall lights are in the collections du Mobilier national in Paris, CC/f. illust.

'Encyclopedie du luminaire'. Tome V. XVIIIeme si^cle, Paris. 1934. pi, 182, fig. 4).

A Roman side table A highly unusual Roman giltwood and marble side table. The frieze has marble inset plaques at the centre and is bordered with finely carved acanthus leaves. The table stands on square tapering legs similarly decorated with foliate carving and inset marble. The legs are mounted on each face at the capital with carved dog's heads. The table has a replacement rouge marble top.

Italy, circa 1785

HEIGHT: 391N (99CM) LENGTH: 7 0 1 N

(178CM)

DEPTH: 331N (84CM)

iRl

Comparisons for this extraordinary table are hard to find, however, a marble inlaid centre table is illustrated in the catalogue of the exhibition 'Fasto Romano' which was held in Rome in 1991. The table is described as being illustrated or possibly designed by the architect Charles Percier whilst he was in Rome for the palazzo Borghese. Though not identical it does combine the panels of marble with

it I • i

finely carved borders and some figurative carving.

Percier is known to have designed other tables along similar lines also for the Palazzo Borghese.

The research indicates that this table formed part of a suite of four tables, which were commissioned directly for the palazzo. They represent a unique expression of the Borghese taste for rich materials

It I ^ 111 lil'-i p. ?

used in furnishing and employing a style which, whilst being neo-classical, includes strong residual baroque qualities.

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A black japanned side cabinet A n o u t s t a n d i n g N o r t h G e r m a n b l a c k j a p a n n e d s i d e c a b i n e t . E a c h face is p r o f u s e l y d e c o r a t e d with elaborate chinoiserie vignettes. T h e t o p d e p i c t s an imperial lion h u n t a n d a fishing e x p e d i t i o n , all set w i t h i n an idealised l a n d s c a p e . T h e lefth a n d side a n d d o o r illustrate figures a r o u n d h o u s e s a n d t e m p l e s a n d the r i g h t - h a n d s i d e a n d d o o r illustrate b o a t i n g parties. A recurrent m o t i f is the flying d r a g o n s h o w n twice with a rider a n d o n c e o n its o w n . Several o f the figures bear fictional

C h i n e s e characters. T h e d o o r s o p e n to reveal shelves.

G e r m a n y , circa 1 8 4 0

HEIGHT:

371N

(94CM)

WIDTH: 491N

(124.5CM)

DEPTH:

<53.5CM)

21 IN

The origins of the technique known as 'japanning' stem from

Thomas Howard, Earl of Arundel wrote to his wife regarding

the luxury import of Chinese and Japanese lacquer from the

the purchase of a quilt which "will serve ye bedde of Jappan

16th century onwards. The English enthusiasm for oriental art

exceedinge well'; such coining of terms and the vague

and culture was lit with the founding and success of the East

geographical comprehension of the time resulted in the

India Company in 1600. Lacquer represented the ultimate in

term 'japanning' being adopted for the industry as a whole.

sophisticated interior decoration. As a consequence of the

However it was not until after the 1650's that these imports

prestige attached to imported lacquer the costs of cabinets

really arrived in considerable quantities in Europe.

were prohibitive. Such was the impact of lacquer that there sprang a school of craftsmen who attempted to imitate these Japanese and Chinese imported wares.

The essential ingredient of true lacquer is the resin of the

After a slight waning of popularity in the early 18th century there was a revival to coincide with the emerging romantic spirit of the age, stimulated by books on travel to the Orient that appeared. The designs became quite

rhus vernicifera tree, however. European craftsmen had to be

extravagant and wild and by 1 765 the mania for it was on

resourceful and so developed imitations. These techniques

the wane again but did not disappear and re-surged towards

often involved coating a ground in at least two applications

the end of the century, being made fashionable again by

of varnish composed of gum-lac, seed-lac or shell-lac.

the dining room of the Prince of Wales at Carlton House,

These substances derived from various preparations of a

described and illustrated in Sheraton's Drawing Book (1793).

resin deposited by the insect 'coccus lacca' on twigs of trees.

By the nineteenth century, large lacquer screens were

The resin would be dissolved in an alcoholic spirit. Numerous

being used as grand furnishing items to divide rooms in great

coats of this imitation lacquer would be applied to the surface

English houses. These screens directly inspire the decoration

and various colours were used mainly black, dark green and

on this side cabinet. Chinoiserie became an increasingly

red (being an English favourite). Decorations would be

popular motif in English decorative arts. Famously Thomas

outlined in gold size and built up with a composition made of

Chippendale used Chinese motifs as a decorative device in

gum arabic and sawdust; then coloured, polished and gilded

all aspects of his seat and cabinet furniture. This side cabinet

with metal dust. The whole surface would then be burnished.

demonstrates the enduring appeal of chinoiserie as a form of

The quality of the finished surface is difficult to tell from true

decoration. Cabinetmakers were still captivated by the

lacquer although the chinoiserie decorations are different.

exoticness of imported lacquer throughout the nineteenth

Japanned wares were greatly sought after by European

century and even today the taste for the oriental remains.

clients and there was a strong trade with Spain and Portugal.

43

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A pair of steel fauteuils

A pair of Directoire miniature globes

A pair o f L o u i s - P h i l i p p e steel fauteuils with gilded d o l p h i n m o u n t s to the b a c k s u p p o r t s a n d foliate

A highly u n u s u a l pair o f D i r e c t o i r e gilt b r o n z e a n d grey

paterae to the a r m terminals. T h e b a c k is c o n s t r u c t e d as

St A n n e m a r b l e stylised m i n i a t u r e g l o b e s . T h e g l o b e s are

a c o l o n n a d e j o i n e d by ball finials. T h e seat is c a n e d a n d

s u p p o r t e d o n a c o l u m n o f m a r b l e with a gilt b r o n z e

the legs at the b a c k are o f sabre f o r m whilst the f r o n t

b e a d e d rim a n d b a s e together with swags o f c h a i n .

legs are straight. All are j o i n e d by s u p p o r t i n g rails.

A t t r i b u t e d to G a u d i l l o t Freres et Roy, B e s a n c o n .

France, circa 1 7 9 5

N o w having suede swab cushions.

HEIGHT:

France, circa 1 8 4 5

II IN

(iSCM)

B A S E : 3V31N S Q U A R E < 8 . 5 C M ) B A C K H E I G H T : 34I/2IN SEAT H E I G H T : WIDTH:

22!/2IN

DEPTH: I9'/2IN

44

l8'/2IN

(88CM) <47CM)

(57CM) (50CM)

With the exception of rocking-chairs, seat furniture for interior use

said of such a chair which Gaudillot Freres showed at the Industrial

was seldom made from iron. However, a small number of firms such

Exhibition of 1845. "it combines great lightness with unusual

as Gaudillot Freres & Roy. founded in Besangon in 1829. rolled

durability and is just as at home in the drawing-room in winter as in

tubes in iron for railings and balustrades and later applied the

the garden in summer, when you may exchange the upholstered

technique to furniture construction. Such furniture was ideally suited

seat with one from woven rushes."

to the interior for its lightness - the tubes required two-thirds less material than solid iron. Indeed, the 'Tischler und Drechslerzeitung'

A closely related chair was illustrated in the 'Beds and Garden Furniture' catalogue from Gaudillot Freres & Roy. Besancon. c.1845

A white marble garden seat A very finely carved white statuary marble garden seat. The delicately veined top has a bevelled edge with foliate chevrons supported on two pedestals, each having elaborately scrolled foliate carving.

England, circa 1820 h e i g h t : 201N (51CM) L E N G T H : 7I!/2IN DEPTH: I 8 I N

(182CM)

(46CM)

i

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The Skottorp centre table An outstanding large-scale early 19th century Swedish parcel-gilt centre table. The top frieze being carved as a concave moulding mounted with foliate paterae carved in high relief. T h e frieze is supported by a central column carved with spiral fluting and supported on a circular plinth carved with acanthus leaf. The four corners of the table are mounted with plinths in faux grey marble enriched with gilt laurel wreaths and having couched open winged sphinxes in gilrwood which support the table by stylised basket-work column elements,. The table stands on a concave sided faux marble plinth.

Signed G Bylander

Provenance: Skottorp, Sweden

Sweden, circa 1820

HEIGHT: 3 4 1 N ( 86.5CM) W I D T H : 58 IN ( 1 4 7 . 5 C M ) D E P T H : 2 8 IN ( 7 1 C M )

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B O I' R D O N

Pehr Gustaf Bylander (d. 1852) was a mirror-maker in Gothenburg active between 1810 to 1852. He supplied Empire mirrors and pier tables of superb quality to many houses in southern and western Sweden, including Skottorp and almost certainly Sperlingsholm.

Skottorp Skottorp in Sweden is a 1 7th century mansion bought in 1813 by the Commercial Councillor Peter Moller from the original family. He had made his fortune through astute deals exploiting the Napoleonic blockades. He commissioned Carl Fredrick Sundvall to remodel the house and he transformed it into what is now considered the home of some of Sweden's most interesting and well-preserved Empire interiors. Carl Frederik Sundvall CI 754-1831) was one of Sweden's most prominent Neo-classical architects. He travelled extensively, visiting and studying in France, England and Italy in the 1 780's and became Court Intendant in 1792. Probably his most famous work was at Haga for the crown but the Skottorp rooms are considered the purest expression of his Etruscan style. The Bylander table, though finished on all sides, appears to have always been used as a side table and was supplied for the Anteroom. This room was designed and executed by Sundvall in the Etruscan taste. Fortunately the room survives and was photographed with the table in situ by Fritz von der Schulenburg. It is not documented but it is very likely that Sundvall played an important part in the design as well as the positioning of the table, as the sphinx motif appears in the room design as well as on the table.

'Neo-classicism in the North', Haken Groth and Fritz von der Schulenburg, publ. Thames & Hudson, London, 1990

49

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A pair of silkwork pictures A most unusual mid 19th century large-scale pair of Chinese Export landscapes. Each depicts figures set within a bucolic setting with pavilions. The whole is achieved in painted silk at different levels of relief In one there are two groups, the nearest shows a figure reading a document with others looking on, in the background two females are bowing before a potentate and his entourage. Behind them are ducks playing in the water and a stormy sky above. In the other work a more domestic atmosphere is evident with the foreground showing figures talking across a rusticated wall and in the background girls passing the time looking out of the window. In this scene we also have a stormy sky.

China, circa 1850

FRAMED: 391N X 491N (99CM X 124CM)

50

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52

B O U R D O N

H O U S E

A console desserte by Petit A good quality Louis XVI mahogany console desserte, having a single drawer in the frieze which is brass-mounted and veneered in acajou mouchete. Inset brass rectangular panels at the top of the legs flank the drawer and that pattern is repeated at the sides. T h e console stands on brass fluted turned legs with brass capitals and feet. T h e lower tier is inset with marble and the frame is strung with multiple lines of ebony. T h e r e is a mirrored back. T h e whole stands on tapering topie feet with brass collars and sabots.

Stamped N ' P E T I T

France, circa 1790

H E I G H T : 341N ( 8 6 . 5 C M ) W I D T H : 51 IN ( 1 2 9 . 5 C M ) D E P T H : 17I/2IN ( 4 4 . 5 C M )

Nicolas Petit (b. 1 7 3 2 - d . 1791) Nicolas Petit ran a worl<shop in the faubourg Saint-Antoine.

cabriole legs, corner cupboards and bureau plats in this style.

He was a prolific cabinetmaker and exploited the changing

He w a s experimental and often used marquetry with the

tastes to produce furniture of different styles from rococo, to

popular r o c o c o motifs and various veneers. He produced

transitional and through to neo-classical. He w a s forward-

some refined pieces in the transitional style often deploying

thinking and took it upon himself to research widely the

parquetry. Equally as the transitional style evolved into the

contemporary trends, as such, it is hard to define his

stricter and more restrained neo-classical style he adapted

personal style. His career really took off in S e p t e m b e r 1 763

and, soon after 1765, was producing cabinet furniture with

when he became a maitre.

At this time the rococo style was still much in favour and Petit produced borne c o m m o d e s and secretaires with

straight lines and classical details, frequently using mahogany veneer that was often embellished with carefully rendered borders of Greek key pattern and other neo-classical motifs.

53

A pair of terracotta vases An unusual large-scale pair of early 19th century terracotta vases. The rims decorated with an egg and dart motif with wide fluting below. The bodies are spirally fluted and hung with large-scale floral swags. The handles are reeded and have male and female heads as supports. The bases are also fluted with an unusual cabled lower border. The whole is supported on a square integral plinth.

France, circa 1830

HEIGHT: 4OIN

(I02CM)

D I A M E T E R : 28 I N ( T O C M )

fjJ

m

A tole chandelier A very unusual Charles X six branch tole chandelier having a corona with six stylised laurel leaves. T h e sides are cream painted with a turquoise double anthemion in three panels. T h e main body of the chandelier has the same motif in reverse and has an upper pierced scroll border. Each arm and shade is painted with a song-bird perched on a branch against a cream background.

France, circa 1835

H E I G H T : 3 0 IN ( 7 6 C M ) D I A M E T E R : 2 8 IN ( 7 1 C M )

B O U R D O N

HOUSE

A pair of Russian candlesticks A rare pair o f early 19th century o r m o l u candlesticks with finely turned a n d crisply cast o r n a m e n t , the tapering stem headed by three boldly modelled ram's head masks a n d e n d i n g in claw feet, s u p p o r t e d on a circular base with a n t h e m i o n a n d rosette border cast in low relief Russia, circa 1 8 1 0

HEIGHT:

I4IN

(35CM)

56

M A L L E T T

B O I' R t) ÂŤ> N

H O I' S E

overleaf

A pair of bergeres stamped G. Jacob A magnificent pair o f Louis X V I gilrwood bergeres of unusually generous proportions. T h e back rail and seat rails are carved with a guilloche in high relief T h e arms have scroll terminals and are supported by fluted further scrolls terminating in acanthus leafs. T h e bergeres stand on turned tapering reeded and fluted legs surmounted at the front by carved paterae set into a recessed panel.

Each chair stamped G J A C O B

France circa 1775

H E I G H T OF BACK: 3 9 1 N ( 9 9 C M ) H E I G H T OF SEAT: 2 0 I N (5ICM) DEPTH: 251N (63.5CM) WIDTH: 281N (71CM)

Georges Jacob Cb. Cheny (Yonne) 1739. d. Paris 1814)

who worked under the name of 'Jacob Freres'. However, when

Jacob was one of the most renowned and prolific 18th century

Georges II died in 1803 his father returned to the business going

French chair makers. He founded a dynasty of cabinet-makers

into a nine year partnership with his surviving son under the name of

spanning three generations between 1765 and 1847. His work

'Jacob-Desmalter et Cie'. The business expanded and the furniture

spans the Louis XV period through to the Consulat. The orphaned

fed an illustrious clientele. Unfortunately under Frangois, the

son of a Burgundian farm worker, he went to Paris at the age of

business went bankrupt in 1813 and this affected his father

sixteen and became apprenticed to Jean-Baptiste Lerouge in 1756.

financially, leaving him to die an infamous and impecunious death.

Jacob continued his six years apprenticeship with Lerouge's widow and it was in this apprenticeship that he formed

At the time of the production of this pair of chairs Jacob's

compagnonnages

prolific workshop was solely making seat furniture and some

with Boucault. Forget and above all. Louis Delanois. with whom he

console tables. A few years later the quality of his work and his

remained particularly close, becoming godfather to his second son.

reputation secured the patronage of the Crown with the furnishing

Jacob was appointed a maitre menuisier on 4th September 1765

of the apartments of the compte d'Artois at the Palais du Temple

and set up in business in the rue de Bourbon. In 1767 he married

and the Pavillion de Bagatelle. In 1784. the new Intendant

Jeanne-Germaine Loyer. with whom he had five children of which

des Meubles de la Couronne. Thierry de Ville d'Avray. and the new

general

two became joiners. In time he moved to the rue du Clery where he

Finance Minister, Calonne. decided on a new renovation policy for

stayed until 1775, one street away from Delanois's workshop in the

the royal residences, which made Georges Jacob one of the chair-

rue du Petit Carreau. He finally moved to the rue de Meslay in

makers by appointment to the Crown. Jacob would sometimes work

1 775, from where some of his finest work was issued and his

individually, sometimes in competition or in association with the

business prospered. From 1781 he held various offices in the

chair-makers Boulard and frequently. Sene. He provided seat

Corporation

furniture, designed by Hubert Robert, for the Garde-Meuble

des menuisiers-ebenistes,

becoming

syndic-adjoint

(1788) then syndic (1 789).

Menus-Plaisirs

and the

for the chateaux of Versailles, Petit-Trianon,

Fontainbleu, Saint-Cloud and Rambouillet. In addition he had several

Thanks to his friendship with the republican sympathiser and neo-classical painter Jacques-Louis David, he survived the

important private clients. Over his long career he was quick to

Revolutionary years, both financially and personally, with relative

embrace the latest tastes and his inspiration and sources were

impunity; his previous royal and aristocratic patronage making him a

diverse, for example the chairs he made from Jacques-Louis David's

prime suspect of the Comite de salut public. In 1 791, the Le

designs in the 'neo-antique' in 1784. Within specific styles his talent

Chapelier law, which removed the guild system, helped him diversify

enabled him to develop a personal style which revealed itself in

his workshop allowing him to include cabinet-making and mounting

generous, yet strictly balanced proportions, careful carving and

bronzes; within five years he had four flourishing workshops. He

exquisite decoration over the whole frame. These traits are clearly

sold his shop and stock and rented his workshops to his sons.

evident in the examples illustrated here.

Georges II (1768-1803) and Frangois Honore-Georges (1770-1841)

57

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A Swedish console table A fine quality Swedish early 19th century gilrwood side table having an inset white marble top supported by a giltwood frieze carved with laurel leaf and having recessed panels inset with eglomise vignettes. These are black and gold and depict repeating motifs of crossed flaming torches and crossed quivers. Above the legs are panels with smoking atheniennes and at the centre there are facing sphinxes. T h e legs are turned and tapering and carved with low relief laurel above a band of key pattern. T h e legs are carved with spiral flutes, which terminate in attenuated laurel leaf above a baluster foot. T h e whole stands on a stepped rectangular ebonised plinth.

Sweden, circa 1810

HEIGHT: 321N

(81.5CM)

WIDTH: 321N

(81.5CM)

DEPTH: 2 0 1 N

(51CM)

S w e d e n suffered politically and culturally from the Napoleonic

wonderful inspiration for furniture design such as console tables

wars. King G u s t a f IV w a s d e p o s e d and exiled. Napoleon and Tsar

and torcheres, w h e r e the lines are strict and stark and the motifs

Alexander I settled the peace and eventually after succession

are drawn directly from G r e e k and Roman antiquity, such as the

complications, in 1810, Jean-Baptiste Bernadotte. a marshal to

fabulously detailed giltwood frieze on the table illustrated. Such

Napoleon and Prince of Ponte C o n / o , w a s elected C r o w n Prince

tables as this one w o u l d often sit below a pier mirror such as the

Carl Johan. His enthusiastic character and widespread popularity

late Gustavian example on page 79.

re-kindled interest in French culture after his arrival in S w e d e n . A s a result the French Empire style infiltrated S w e d e n and f l o w e d

For a similar console see the illustration of the Hall at Elghammar S w e d e n ; 'Neo-classicism in the N o r t h ' , H. G r o t h , p.

naturally out of the late Gustavian style. Various designs and

172. General Curt von Stedlingk (1746-1837), S w e d i s h

materials w e r e used, the strongest influences being late Louis XVI

A m b a s s a d o r under Gustaf III, in St Petersburg, bought the

and Directoire furniture and t o a lesser extent, English Regency

Palladian inspired house at Elghammar in 1804. He b e c a m e a

furniture. The excavations at Pompeii and Herculaneum revealed

count in 1809 shortly after taking up residence.

60

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A pair of serpentine vases

A Regence revival vase and cover

A pair of Northern European serpentine early 19th

An outstanding large scale Regence revival gilt bronze

century neo-classical vases and covers. The backs of the

mounted onyx vase and cover. The vase is flanked by

vases are mounted with square handles and supported

exotic winged beast scroll handles that are surmounted by

on a turned foot and stand on a square plinth.

bearded male busts. The gallery is pierced and enriched with applied paterae and low relief engraved ornament.

The cover has an elaborately cast foliate and berry finial.

Baltic, circa 1810

The whole is supported by four boldly modelled claw feet HEIGHT: 131N

that stand on a concave sided plinth.

(33CM)

France, circa 1860

HEIGHT: 2 0 1 N WIDTH: 1 7 1 N

62

(51CM) (43.5CM)

.1 R D O N

n O i: S E

An Hache bedside commode A n unusual Louis X V I m a h o g a n y and parquetry French provincial bedside c o m m o d e having three drawers

flanked

by

fluted

p i l a s t e r s . T h e w h o l e s t a n d s o n t u r n e d t a p e r i n g legs t e r m i n a t i n g i n b r a s s s a b o t s . T h e t o p , t h e s i d e s a n d t h e d r a w e r s a r e e a c h i n l a i d w i t h p a n e l s o f p a r q u e t r y f a s h i o n e d f r o m v e n e e r s o f w a l n u t b r a n c h e s . T h e t o p p a n e l is b o r d e r e d b y a d i a m o n d p a t t e r n m o t i f Attributed to the H a c h e workshop, G r e n o b l e

F r a n c e , circa

1785

H E I G H T : 27I/21N ( 7 0 C M ) WIDTH: I8IN (46CM) D E P T H : I3'/2IN ( 3 4 . 5 C M )

La famille Hache Christophe Andre Hache (LaGrange), (b.

April 1748, d. June 1831) and JeanFrangois Cb. January 1 730, d. August 1 796) were sons of Pierre Hache (b. December 1703, d. June 1 776) and grandsons of Thomas (b. November 1664, d. May 1747) who both received the brevet de Garde et Ebeniste du due d'Orleans; Pierre was the first of the line to use the stamp HACHE A GRENOBLE. Christophe Andre completed his apprenticeship with his brother and then went into partnership, taking on his workshop in 1788. It is difficult to differentiate the work of the brothers from the other but it is likely that both used the stamp HACHE FILS A GRENOBLE. JeanFrangois produced much in the transitional style but generally his work tended to be lighter in feel to that of his father. A lot of Christophe's work was executed in the pure neo-classical Louis XVI style with a little executed by Jean-Frangois in the latter phase of his career Like many provincials cabinet-makers the Haches worked both as ebenistes and menuisiers. Being provincial also meant a predilection for indigenous woods such as walnut, sycamore, poplar, lime, maple, laburnum and fruitwoods, particularly liking to use burr woods such as ash, maple, mulberry and walnut. The look of the Hache workshops is evident in our commode where walnut is inlaid with a veneer of sinuous geometric shapes in wood of a different species.

64

A pair of Empire white marble vases A large-scale pair of Kmpire white marble vases of campagna form with a gadrooncd ornament around the hasc

France circa

1810

HEIGHT: 331N

(84CM)

DIAMETER: 281N

(71CM)

MALLETT AT BOURDON HOUSE

A Thomas Cole mantel clock A n e x c e p t i o n a l V i c t o r i a n gilt b r o n z e d e a d b e a t e s c a p e m e n t m a n t e l c l o c k b y T h o m a s C o l e . T h e h e x a g o n a l dial is m o u n t e d o n t o t h e f r o n t o f a t r i p o d d o m e d t e m p i e t t o c o n s t r u c t e d f r o m finely e n g r a v e d gilt b r o n z e s q u a r e c o l u m n s w h i c h j o i n t o s u p p o r t t h e d r i v e w e i g h t a n d a f u r t h e r p i e r c e d c u p o l a o f six e l e m e n t s w h i c h h o u s e s t h e p e n d u l u m t h a t s h o w s t h e c l o c k is u p r i g h t . T h e b a s e o f t h e c l o c k has a t h e r m o m e t e r a n d a b a r o m e t e r b o t h o f w h i c h are e n g r a v e d silver p l a t e in k e e p i n g w i t h t h e m a i n dial. T h e b a r o m e t e r b e a r s t h e n a m e C F H a n c o c k w h o w a s t h e o r i g i n a l retailer. T h r o u g h o u t t h e piece, t h e e n g r a v i n g is o f t h e finest q u a l i t y .

T h e m o v e m e n t bears the reference N o 1 7 5 3 / 5 7

E n g l a n d , circa 1 8 6 0

HEIGHT DEPTH

21 IN 1 0 IN

(53.5CM) (25.5CM)

( T h e r e is t h e o r i g i n a l glass d o m e a n d b a s e p l a t e n o t s h o w n . )

Thomas Cole was born in 1800 at Nether Stowey in Somerset. The son

British Museum, though few other collaborations such as this survive as

of a clockmaker, both he and his older brother James Ferguson Cole

in 1829 the brothers chose to go their separate ways. Little is known of

would go on to achieve renown in this same field, though for the most

Thomas after this time until 1838 when he appears as a watchmaker at

part independently of each other In 1823. Thomas joined his older

1 1 Upper King Street, Bloomsbury. In 1841 he was married to Charlotte

brother in partnership at 3 New Bond Street where they worked

Boulding, some 20 years his junior and by 1845 they had settled in

together as chronometer, watch and clockmakers. A carriage clock from

Clerkenwell, an area popular with watch and clockmakers, where he

this period, signed by both of them and dated 1825, can be found in the

now referred to himself as a "designer and maker of ornamental clocks". In 1861 he was elected to the Royal Society of Arts, as well as being admitted to the British Horological Institute.

He showed at the International Exhibition in London of 1862 where he was awarded a medal for "excellence of taste and design", the jury offering nothing but praise for his work: " M r Thomas Cole's exhibition (U.K.3236) was exclusively devoted to this department and nothing could exceed the beauty of design and good taste of the varied models and general excellence of workmanship. The foreign visitors seem all of them to have accorded him the palm and were anxious buyers of his beautiful works". Despite his unparalleled success, this would be the last of his large-scale international appearances, as on the 3rd January 1864 he died from typhoid fever It is estimated that Cole produced somewhere in the region of 1600 clocks during his lifetime, approximately 1400 of these being numbered.

The numbering sequence seems to have started at 500 in around 1846. and ended with his death in 1864 at a figure no higher than 1900. Each clock was numbered consecutively throughout the sequence, and certain styles were allotted a separate numbering system to run concurrently with the aforementioned series numbers. However in spite of their apparent popularity, only around 75 of Cole's numbered clocks are believed to have been Tripods, the remainder falling into the categories of Strut clocks and Carriage or Mantel clocks.

Literature: 'Thomas Cole & Victorian Clockmaking', J B Hawkins.

Sydney, 1975.

66

n

cfM

67

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An Empire trie trac table A fine quality flame veneered m a h o g a n y E m p i r e trie trac table having a removable writing tabletop with inset brass corners a n d baize card playing service on the reverse. T h e trie trac recess is fashioned in the traditional manner with stained ivory points against an ebonised g r o u n d . Each side has one false drawer a n d one drawer for playing pieces. T h e table stands on square tapering legs terminating in brass castors. T h e table retains its original removable candle stands a n d is e q u i p p e d with marker flags, dice, shakers and a b a c k g a m m o n set.

France, circa 1 8 1 0

HEIGHT: 281N

(71CM)

WIDTH: 44IN

(II2CM)

DEPTH: 221N

(56CM)

68

m 69

Three pairs of leather fire buckets Three pairs of early 19th century painted leather fire buckets, one pair painted blue, two pairs painted red, all bearing in polychrome the Royal arms.

England, circ.i 1830

H E I G H T : II IN

(ZSCM)

71

M A U L E T T

BOURDON

A pair of Swedish candlesticks

! I O i: S E

An Empire centre table An outstanding Empire centre table having a grey marble top bordered in finely chased gilt bronze.

A pair of Empire period Swedish white marble and

T h e top is supported on a triangular stem inlaid with

metal candlesticks. Each takes the form of an attenuated

brass flutes and ebony stringing. This is supported

gilt bronze vase, mounted upon a fluted marble column

on three scroll legs each with ebony stringing and

supported by gryphons. T h e y stand on a tripod plinth,

terminating in unusual castors that echo the line of

which in turn rests upon a circular plinth with a gilt

stringing with a chevron on the front face.

beaded border, which terminates in gilt bun feet also

By Bernard Molitor

with a band of beading.

France, circa Sweden, circa

HEIGHT: HEIGHT:

131N

1810

1790

(33CM)

D I A M E T E R OF B A S E : 6'/4LN

281N

DIAMETER: (l6cM)

72

(71CM)

371N

(94CM)

•

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BOURDON

HOUSE

overleaf

A pair of Baltic chandeliers A pair of eight-armed waterfall chandeliers with fine gilt bronze mounts decorated with three circles of flashed ruby glass. There are four tiers and each is mounted with pendant drops, the lowest tier and the second from the top has a red glass panel. The upper tier has gilt bronze arms that scroll outward and support further pendant elements.

The base tier has eight palmettes which are interspaced by out-scrolling arms mounted with drops. The palmettes support the column candle arms that have pierced star shaped drip pans and socles with machined ornament.

Attributed to Dresdner Spiegelmanufaktur

Saxony, circa 1850

HEIGHT: 391N WIDTH: 331N

(99CM) (84CM)

Chandeliers of this type w e r e made in Saint Petersburg and also all around the Baltic, Russia, S w e d e n , D e n m a r k and Germany, stretching as far south as Berlin and Dresden, The Fioyal palaces of Saint Petersburg contain many examples of chandeliers with blue, green and red glass, s o m e t i m e s flat, as in these chandeliers, and s o m e t i m e s shaped in an urn form.

Chandeliers of this f o r m are not easy to attribute to a particular country, the metalwork is not usually signed and the glass c o m p o n e n t s w e r e made by outside manufacturers, often f r o m another country such as Bohemia. However, in this instance an illustration still exists ('Journal des LIuxus und der M o d e n ' , D e c e m b e r 1797, page 630, plate 36), of a chandelier by 'Dresdner Spiegelmanufaktur' , w h i c h still survives in the Liibeck Behnhaus Gartenenzimmer, M u s e u m fur Kunst und Kulturgeschichte der Hansestadt Lubeck, in Germany. This chandelier has so many similar features that it is unlikely that it w a s made by a different manufacturer

Literature: 'Kronleuchter', mit Behang aus Bergkristall und Glas sowie Glasarmkronleuchter bis 1810, Klappenbach. Publ.

A k a d e m i e Verlag, Berlin, 2001.

Top r i g h t Detail of single tier of a chandelier with blue glass, D r e s d n e r Spiegelmanufactur, 1797, illustrated page 102, K r o n l e u c h t e r Kathe Klappenbach, publ. A k a k e d m i e Verlag, Berlin, 2001 Left Chandelier Kurfurstlich-Sachsische Spiegelfabrik, Dresden. (Journal des Luxus und der M o d e n . D e z e m b e r 1 797). illustrated page p.74. Klappenbach Right Chandelier Dresdner.

Speigelmanufaktur 1 797. (Lubeck, Behnhaus, G a r t e n z i m m e r M u s e u m fur Kunst und Kutturgeschichte der Hansestaat Lubeck), illustrated page p.49, Klappenbach

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A Swedish pier mirror A rare late 18th century Gustavian parcel gilt pier mirror. The cresting of the mirror takes the form of an open winged eagle flanked by floral swags. This is supported by the bold neo-classical moulding at the top of the mirror which has a panel of eglomise illustrating, in gilt on a black ground, Achilles dragging the body of Hector, with his wife weeping at the side. Below this panel is a gilt framed double mirror plate. The whole terminates in gadrooned gilt bun feet.

Sweden, circa 1790

HEIGHT: 851N (2I6CM) WIDTH: 381N

(97CM)

Story of Achilles Achilles had killed the father and brothers of Hector's first

Achilles's character in Greek mythology is one of power, arrogance and cruelty. He was the son of the mortal King of

wife. Andromache. In turn. Hector roused Achilles fearsome

Phthia and the sea-nymph Thetis and was fated, either to die

wrath by killing his friend Patroclus as he defended the Greeks'

ingloriously in old age o r as was the case, to join the Greeks'

ships in the port of Troy. Achilles sought revenge and launched

expedition to Troy and die a young hero's death. Consequently he

an attack on the Trojans, confronting Hector and pursuing him

became the classical idol of Alexander the Great. Achilles was

around the city. He succeeded in killing his rival and defiling the

one of the main Greek heros in the Iliad, in which the dominant

body he dragged it around Patroclus's tomb. Only after the

themes are his anger with Agamemnon and his pugnacious

intervention of his mother Thetis, did he concede to hand over

encounter with Hector, son of the Trojan king Priam.

the body to Priam,

78

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MALLETT

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BOl'RDON

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A Nepalese bronze vase

A Regency lantern

A fine and rare late 17th century Nepalese bronze vase

A Regency brass hexagonal lantern having an unusual

decorated with lotus patterns and having a boar's head

canopy of finely chased 'S' scroll elements of foliate

with an elaborate mane and a head dress of sculls. T h e

character and with open anthemia at the centre of the

head itself is both flanked and s u r m o u n t e d by snakes.

scroll. Each face is framed by pilasters with capitals of

T h e snakes represent Kundilini, and the boar, an

lion's heads s u r m o u n t e d by anthemia and terminates in

incarnation of Shiva.

turned feet with machined decoration.

Nepal, circa 1680

England, circa 1810

HEIGHT: 1 9 1 N

HEIGHT: 251N

(48.5CM)

(63.5CM)

W I D T H : 1 5 1 N (38CM)

Shiva is one of the principal Hindu deities, worshiped as the destroyer and restorer of worlds and as the most essential goodness. Shiva's mam attributes are the snakes which show he is beyond the power of death and poison and also represent Kundilini energy.

Kundilini energy is the dormant spiritual energy that lies at the base of the spine until activated through the practise of yoga and channelled up through the chakras in the process of spiritual perfection.

80

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A Cousineau harp A rare Louis XVI painted and gilded harp. T h e sound board retains its original neo-classical idealised landscapes with architectural and river views. T h e blue ground of the main frame is enriched with finely carved giltwood details.

Stamped Cousineau.

France, circa 1780

HEIGHT:

651N

(165CM)

WIDTH:

18 IN

(46CM)

DEPTH:

33 IN

<84CM)

Pedal harps such as this became a fashionable addition to European court life in the latter part of the eighteenth century. These instruments were particularly popular in Paris, where luthiers (stringed-instrument makers) such as Cousineau were soon being commissioned to make them.

Surviving examples from this period are usually exquisite works of art and were sumptuously adorned with the ornaments of the age.

Georges Cousineau (1733-1 799) was one of the most important pedal harp makers in Paris. He was joined by his son Jacques Georges (1760-1824) in 1775 and together they perfected an improved mechanism using a system of bequilles (crutch-ended levers) on either side of each string for raising and lowering the pitch. This system of bequilles revolutionised harp construction, replacing the old 'crochet' mechanism which, while achieving the same transposition, moved the strings out of alignment, thus dulling the tone and sometimes producing a rough buzzing sound.

Cousineau's mechanisms solved this problem and they were so fine that he generally left them openly visible, behind a glass panel along the right side of the neck for all to see.

Marie Antoinette, who was perhaps the greatest devotee of the pedal harp and responsible for its place at the centre of court life, commissioned an instrument from Cousineau de Paris in 1 780 which is now in the Victoria and Albert Museum. She chose to make Cousineau 'Luthierde

la Reine' and this label is visible on the upper

end of the soundboard on this harp. Another notable Cousineau pedal harp was made for the Empress Josephine in 1807 and may be seen at the former royal residence of Malmaison, outside Paris.

85

HOUSE

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A pair of landscapes A pair o f romantic landscapes both depicting idealised twilight scenes. In one, figures dance in a circle beside a tree with musicians in the b a c k g r o u n d a n d children feeding a d o g ; behind them is a simple tent with buildings beyond. T h e other depicts temple ruins with figures m a k i n g supplication to a statue o f Apollo; in the distance figures can be seen around a fountain.

Signed lower left, Jean-Baptiste C l a u d o t

France, circa 1 7 8 5

FRAMED:

47'/2IN

X 5OIN

<I22CM

X

128CM)

86

MALLETT

Jean-Baptiste Claudot (b.1733 â&#x20AC;˘ d . l 8 0 5 ) studied under Jean

AT

B t) T R 0 O N

H O I' S E

These three years in Paris were incredibly important for

Girardet and Charles Joly whilst working under their direction

Claudot who was influenced by Vernet's Italianate landscapes

on the chateau de Malgrande; and also on the salle de la

and marine paintings with their wonderful rendering of early

Comedie in Nancy. He went to Paris in 1766 to finish his

evening light. Although he painted religious subjects and still-

studies and joined the studio of Joseph Vernet with whom he

lives it was for his landscape painting that he earned renown in

became friends and stayed until 1 769 when he left for Nancy.

his lifetime and after.

87

MALLETT

AT

BOURDON

HOt'SE

A pair of Louis XVI fauteuils A pair of Louis XVI parcel-gilt fauteuils. T h e backs are coved and of a tapering rectangular form, the top rail is of serpentine o u d i n e and the apex is carved with a boldly carved gadrooned border. T h e side rails and seat rails are carved with recessed panels with gilt edges. T h e arms sweep out f r o m the side rails, have upholstered arm pads and terminate in hexagonal capitals. T h e arm support is a tapering fluted column and is in turn supported by a horizontally fluted plinth. T h e fauteuils stand on turned tapering fluted legs terminating in ovoid topie feet.

Attributed to Claude Sene II

France circa 1785

H E I G H T OF B A C K : 3 6 I N H E I G H T OF SEAT: I 6 I N WIDTH:

23IN

D E P T H 2 1 IN

(92CM) (4ICM)

(559CM) (54CM)

C l a u d e II S e n e Cle J e u n e ' ) w a s t h e y o u n g e s t s o n o f C l a u d e I and b r o t h e r of t h e f a m o u s J e a n - B a p t i s t e . He b e c a m e a menuisier

maitre

in 1743, w o r k e d in t h e Faubourg Saint Denis,

declared himself insolvent in 1 7 8 3 and by 1 7 8 4 w a s ree s t a b l i s h e d in t h e rue de Clery. He w o r k e d f o r a n u m b e r of private clients and also t e m p o r a r i l y u n d e r t o o k c o m m i s s i o n s f o r t h e Garde-Meuble

but t h e s e c e a s e d w i t h t h e Revolution.

He left s o m e beautiful e x a m p l e s o f ' L o u i s XVI' chairs, typically well d e s i g n e d and exquisitely c a r v e d in t h e vein of t h e w o r k of Jean-Baptiste.

MALLETT

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A large scale pair of Empire ewers

Zeus and Hera A pair of Louis XVI bronze models of Zeus and Hera.

Each is depicted with their traditional attributes and stands

A large-scale pair of Empire bronze and gilt ewers.

on a plinth of rouge griotte marble.

T h e bodies are enriched with a bacchic mask and a n t h e m i o n motif around the neck. T h e handles are

France, circa 1785

fashioned as an 'S' scroll with acanthus leaf in the HEIGHT:

I6IN

middle, an eagle's head at the top and a scroll at the

(40.5CM)

base, supported by a further bacchic head mask.

T h e whole rests u p o n a rouge griotte block plinth.

After a design by Andre-Antoine Ravrio (1759-1814)

France, circa 1810

HEIGHT:

2 1 IN

BASE: 4 I N

90

(53CM)

(LOCM)

SQUARE

91

A pair of Regency wall lights An unusual pair of Regency two branch parcel gilt eagle wall lights. T h e eagles are carved with open wings and face each other and are perched on giltwood scroll capitals supported by three giltwood spears. T h e arms are scrolling and enriched with high relief foliate ornament, they terminate in brass, machined socles.

England, circa 1810

H E I G H T : 41 IN WIDTH: 16IN

(104CM) <4ICM)

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BOURDON

MOUSE

The Borghese vase A fine q u a l i t y late 18th c e n t u r y bronze m o d e l o f the B o r g h e s e vase. It is r e n d e r e d in h i g h relief a n d retains a g o o d p a t i n a . T h e vase is m o d e l l e d after the a n t i q u e . It s t a n d s on its o r i g i n a l w h i t e m a r b l e p l i n t h .

Italy, circa 1 7 8 0

HEIGHT: 151N

(38CM)

This v a s e is m o d e l l e d a f t e r o n e of t h e m o s t f a m o u s classical A t h e n i a n v a s e s f r o m t h e s e c o n d half of the 1 st c e n t u r y A D : namely t h e B o r g h e s e V a s e . In 1807 N a p o l e o n B o n a p a r t e p u r c h a s e d it f r o m t h e family and by 1811 it w a s o n display in t h e M u s e e N a p o l e o n , n o w t h e Louvre. The o t h e r great v a s e f r o m antiquity is t h e so-called M e d i c i V a s e that is n o w in t h e Uffizi Gallery.

Either individually o r in pairs

WM-

WM

t h e s e t w o v a s e s inspired t h e artists catering f o r t h e g r a n d t o u r i s t s and in particular T h o m i r e is n o t e d for fabricating in gilt b r o n z e a fine pair of t h e B o r g h e s e v a s e s .

T h e v a s e s c a n be s e e n in a n u m b e r of scales and media and are o f t e n illustrated in paintings and w a t e r c o l o u r s f r o m t h e 18th and 19th c e n t u r i e s . N o t a b l y this v a s e is m o d e l l e d directly f r o m t h e original and p r e d a t e s t h e later m o r e n u m e r o u s paired e x a m p l e s .

Literature: 'Taste and t h e A n t i q u e ' , Francis Haskell & N i c h o l a s Penny, publ. Yale U n i v e r s i t y 1981

93

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A set of six Cardinal Fesch chairs A set of six Italian neo-classical giltwood side chairs with richly carved domed backs depicting a pair of carved griffins above stylised serpentine floral carving on a punched ground supported by fluted pilasters with a running husk motif beneath, standing on leonine paw legs to the front supporting a fluted seat rail.

The design attributed to D or L Santi

Italy, circa 1810

HEIGHT: 40I/2IN (I03CM) WIDTH: 2 2 I N (56CM) D E P T H OF SEAT: I 8 I N ( 4 6 C M )

This set of chairs form part of a long and connplex history that unites Italy. Britain and France. Two designs exist for these chairs, identical but for one small detail, which is that the cresting is either domed or triangular The design was published in Modeles des Meubles. 1812, pi XLI no 6 by Dioniso and/ or Lorenzo Santi. Examples of these chairs exist in collections in Europe and America. There is a settee in the Dulwich Picture Gallery, there is a part suite at Malmaison and there is an armchair in a private collection in New York. The genesis of these two sets is unclear. However, it is known that Cardinal Fesch. Napoleon's uncle, owned two long sets, one of each type of cresting. It is possible that he commissioned them from Santi.

The chairs were sold as Lots 444 and 445 in the Fesch Sale in Paris in 1816. A suite with arched backs can be seen around the walls in a gouache of the ballroom of the Villa Demidoff in 1842.

Literature: Lucy Wood. 'Furniture History Society Journal' 2002.

94

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overleaf

A pair of terracotta Bacchantes

A pair of Neapolitan mirrors

A rare pair o f late 18th c e n t u r y terracotta b u s t s o f

A n u n u s u a l pair o f m i d 18th c e n t u r y N e a p o l i t a n L a c c a

B a c c h a n t e s . E a c h is s h o w n with her h e a d t u r n e d a n d

M e c c a t a pier mirrors. T h e f r a m e s have finely c a r v e d

s m i l i n g . T h e i r hair is rendered in a free m a n n e r as

scrolling detail with high relief floral a n d rocaille shell

lull o f ringlets a n d b o u n d by a g a r l a n d o f

c a r v i n g to the cresting a n d lower a p r o n . E a c h mirror

flowers.

T h e y n o w s t a n d o n a pair o f p e r i o d fluted brocatelle

retains its original m i r r o r plate a n d its original lacquers.

m a r b l e c o l u m n pedestals.

By Joseph-Charles Marin ( 1 7 5 9 - 1 8 3 4 )

S o u t h e r n Italy,

circa

1750

T h e r i g h t - h a n d b u s t b e a r i n g the d a t e 1 7 8 6 .

HEIGHT:

France 1 7 8 6

HEIGHT:

151N

WIDTH:

(38CM)

A f i g u r e with identical r e n d e r i n g o f the h e a d is in Paris at the Petit Palais m u s e u m .

Joseph-Charles Marin was born in Paris in 1759. He enjoyed a highly successful career as a sculptor, working mostly for private clients and exhibiting at the Paris salon between 1791 and 1833. In 1801 Marin won the Prix de Rome and in 1805 he was made a professor at the Academie de France in Rome.

Marin is particularly remembered for his terracotta busts and statuettes and his work is often compared with that of his master Clodion CI 738-1814). However, Marin's sculpture is not simply an imitation of Clodion's work. While he shared Clodion's predilection for erotic Rococo female figures, his sculpture shows a marked interest in realism and variety of texture which can be seen in his rendering of the hair on these busts.

97

471N 25'/2IN

(119CM) (65CM)

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Two library wheelbarrows An unusual Victorian painted library wheelbarrow.

An outstanding, large-scale Victorian mahogany brass mounted library wheelbarrow. The sides and front are

Each element is decorated with fine red lines against a

enriched with incised scrolls and carved foliate panels.

dark blue ground, the sides bear a gilt ' C monogram.

Each element is of curvaceous outline and the wheel in particularly is enriched with ornamentally carved spokes.

England, circa 1870.

England, circa 1870

HEIGHT: I4IN (35.5CM) WIDTH 3 7 I N (94CM)

HEIGHT: 2 2 I N (56CM)

DEPTH I 4 I N (35.5CM)

WIDTH: 241N (61CM) LENGTH: 561N (143CM)

Provenance: Noseley Hall, Leicestershire

Noseley Hall occupies a commanding position overlooking the famous rolling Leicestershire grasslands, just north east of Market Harborough. Built by Sir Arthur Hazlerigg in 1 729, the house remains the private home of the Hazlerigg family who have lived on the site since 1419. The family can be traced as far back as the 13th century, when Simon de Hesilrige was Valectus to Edward I. The Noseley estate came into the family through the marriage of Thomas of Fawdon and Isabel Heron in the late 13th, early 14th century. Perhaps the most famous member of the family was Sir Arthur Hazlerigg, who was one of the five members of Parliament that led the Parliamentary rebellion against King Charles I in 1642. It is alleged that Cromwell prepared for the Battle of Naseby at Noseley, and the Chapel, which still stands in the grounds, was said to have made an excellent stable for his horses. At the Restoration Sir Arthur was committed to the Tower, where he eventually died.

Viewable in the wheelbarrows are fine leather bound volumes available from Mallett.

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HOUSE

A Directoire bureau plat

A Venetian chandelier

A D i r e c t o i r e brass m o u n t e d m a h o g a n y b u r e a u plat. T h e t o p

A large scale 1 9 5 0 ' s Venetian blue glass m u l t i p l e tiered

is leathered a n d is b o r d e r e d with a brass e d g e a n d t w o lines

chandelier. T h e t o p tier o f a r m s has f o u r b r a n c h e s

o f s t r i n g i n g . T h e frieze has three drawers each h a v i n g recessed

a n d the lower tier eight. E a c h o f the tiers o f a r m s is

p a n e l s e d g e d in brass, the drawers are s p a c e d with rectangular

i n t e r s p a c e d by a n d has a row o f scrolls a n d d r o p s a b o v e

s t r u n g p a n e l s a n d the w h o l e frieze is s u p p o r t e d by a brass

a n d below. T h e glass is b o t h fluted a n d spiralled to

m o u n t . T h e b u r e a u s t a n d s o n t u r n e d t a p e r i n g legs m o u n t e d

e n h a n c e the chandelier's theatricality.

with fine brass flutes a n d t e r m i n a t i n g in brass t o p i e feet.

Venice, circa 1 9 5 5 France, circa 1 8 0 0 H E I G H T : 561N (142CM) H E I G H T : 31 IN ( 7 9 C M )

DIAMETER: 421N

W I D T H : 641N (163CM) DEPTH: 291N (74CM)

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