2002 - Mallett Lighting Catalogue by Mallett

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MALLET T Lighting

2002 141 New Bond Street, London w i Bourdon House, 2 Da\ ies Street, London w i

Contents

Foreword

page 5

Introduction

i8th century

Candles

igth century

T h e progression of light

Lighting for Country Houses

19th century Revivalism

F'ront ccn er and froiuispiecc: Details of (Jcorgian wall light ilkistratccl on page 23.

Fore w o r e

Tlic correct clioicc of" lighting, whether for a grand palace or a small cottage, is the most important way to create a welcoming ambience. It may be for illumination of a prized object, suitable lighting for bedtime reading or flattering lighting for a dinner party, but it must be carefully chosen. Only the kitchen and the b a t h r o o m recjuire l)right, even lighting. Mallett is justly renowned for its table lamps based on the \ ase form, gi\'ing w a r m t h to li\-ing rooms throughout the world, but these arc only part of the range of lighting fittings offered by the c o m p a n y . T h i s catalogue illustrates the wide range of chandeliers, wall lights and candlesticks currently held in the company's stock.

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Introduction

P e r h a p s tlie greatest revolution in interior d e c o r a t i o n was b r o u g h t al)out by the i n t r o d u c t i o n of electric light at the e n d of the n i n e t e e n t h century. T h e d e v e l o p m e n t of electricity, gradually p e r f e c t e d , m a r k s the e n d of the t h e m e we have chosen for this \ o l u m e b u t equally it e n h a n c e s o u r p e r c e p t i o n a n d evaluation of the decorative lighting fixtures of the previous generations. W e \'iew now, with fascination, the e x t r a o r d i n a r y inventi\'eness a n d decorati\-e c h a r m of the m a n y de\'ices a n d m e t h o d s of lighting that played a significant p a r t in the decorative arts b e f o r e the invention of electricity. T h e a t m o s p h e r e was c h a n g e d for e\'cr, t h a n k goodness, b u t the older lighting fixtures, f r o m chandeliers to candlesticks, could n o w be considered in themseK es for w o n d r o u s l y varied qualities, even as m i n o r works of art. T h e y w e r e often m a d e to \ ery fine designs a n d of s u p e r b c r a f t s m a n s h i p . M o r e o v e r , in a d a p t e d circumstances, their effecti\'eness r e m a i n s entirely relex a n t a n d suited to m o d e r n life. Light h a d h i t h e r t o b e e n d e p e n d e n t always on some sort of flame b u t the receptacles a n d m e c h a n i c s for p r o v i d i n g a n d m a x i m i s i n g it, lead to ingenuity a n d decorative i m a g i n a t i o n that together f o r m an intriguing subject. In the c o m f o r t of today's world the devices still p r o v i d e special enchantment. J o h n S m i t h ' a n d all of us at Mallett have e n j o y e d p r e p a r i n g this first c o m p r e h e n s i v e collection of b e a u t i f u l pieces relating to the illumination of fine r o o m s . W e h o p e you too will enjoy this a n t h o l o g y de\'Oted to a vital aspect of interior d e c o r a t i o n a n d collecting. L a n t o Synge Chief Executive

Louis Haghe (d. 1885) ' T h e Artist's Studio' signed and dated 1860 watercolour over pencil heightened with bodycolour A similar brass chandelier can be seen on page 10.

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A large brass chandelier

A six branch chandelier

G i l t w o o d w a s occasionally used in

A two tier brass tweh'c light chandelier,

A mid 18th century brass six b r a n c h

the m a k i n g of chandeliers, and

s u r m o u n t e d by a double h e a d e d eagle.

chandelier, each a r m o f ' S ' scroll f o r m ,

w r o u g h t iron w a s sometimes used,

E a c h b r a n c h is o f ' S " scroll f o r m with

supported by a column witli incised

giving a medieval a p p e a r a n c e , but

further subsidiary scroll ornaments.

lines a n d shaped collars.

brass w a s the usual material for

T h e stem is of niulti]5le baluster f o r m

both ecclesiastical and secular

terminating in a globe finial.

chandeliers during the first half of the eighteenth century.

L o w Clountries, circa 1720 Height: 32 in f8i cm) Width: 28 in (71 cm) T h i s chandelier is ty])ical of those shown in church interiors in D u t c h "Old Nhister" paintings.

English, circa 1750 Height: 21 in (53 cm) \\'idth: 27 in (69 cm)

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A brass jive arm chandelier A small mid i8th century fi\'e b r a n c h

A late Louis XV ormolu lantern

brass chandelier with turned a n d

A n exceptional large scale h e x a g o n a l

reeded stem a n d scrolling a r m s with

early neo-classical late Louis X \ '

turned nozzles and dri|) pans

o r m o l u lantern. There is a smoke cowl

I'^nglish, circa 1760

T h e design is a neo-classical adaption of the lantern recorded at the C h a t e a u de M o n t g e o f f r e y , M a i n e et Loire, between 1771 a n d 1772. f'rench, circa 1770

at the a])ex of the lantern which has

Height: 41 in (104 cm)

below it a fi\ e - b r a n c h scroll cano|)v.

D i a m e t e r : 25 in (64 cm)

Height: 19 in (48 cm;

E a c h face of the lantern is of serjjentine

Width: 23 in (58 cm)

outline a n d is f r a m e d with scrolling applied elements. T h e upper ones

( i l a z e d lanterns were wicleh' used,

s u r m o i m t e d by acorn finials, each panel

particularly in hallways, the glazing

is s u r m o u n t e d by a scroll with a foliate

[)rotecting the llame f r o m draughts

element at its summit. T h e lantern

caused by open doors a n d windows.

has a two part, fi\ e - b r a n c h c h a n d e l i e r element.

I8th

century

A bronze gothic hall lantern A v e r y r a r e , l a r g e scale i8th c e n t u r y

e n a b l e the w h o l e fitting to b e u n h o o k e d

gothic bronze hexagonal lantern, each

a n d r e m o v e d f o r c l e a n i n g a n d refilling

side s u r m o u n t e d b y a q u a t r e f o i l finial

w i t h oil.

a n d e a c h c o r n e r b y a spire finial a b o v e

W h e r e the electric c a n d l e is n o w

cluster c o l u m n s u p p o r t s , w i t h foliate

w o u l d h a v e b e e n a c h i m n e y , to gi\'e a

ball finials at the b a s e , r e t a i n i n g its

g o o d d r a u g h t f o r the flame, a n d also

o r i g i n a l d o u b l e oil l a m p

the wick. T h e c h i m n e y w o u l d n e e d

fixture,

s u r m o u n t e d b y a glass s m o k e c o w l a n d

c l e a n i n g a n d the t u b u l a r w i c k w o u l d

foliate cresting. T h e castings a r e o f

n e e d t r i m m i n g . B e n e a t h the w i c k sleeve

exceptional quality and precision

is a flattened c u p w h i c h u n s c r e w s , the

t h r o u g h o u t a n d the l a n t e r n retains its

c u p is p e r f o r a t e d to a l l o w air to rise u p

original patina. E n g l i s h , circa 1 7 9 0 H e i g h t : 3 4 in (86.5 cm) W i d t h : 17V4 in (45 c m )

t h r o u g h the w i c k a n d the c u p also c a t c h e s the r e s i d u e of oil that falls ofl" the b o t t o m o f the w i c k , this w o u l d also need cleaning. T h e cylindrical reservoir tmscrews

T h i s colsa l a m p , w h i c h has n o w b e e n

a n d is inx e r t e d to e n a b l e it to be filled

electrified, d e m o n s t r a t e s c l e a r l y the

w i t h oil; the r e s e r \ o i r is then closed o f f

c a r e that w e n t into its design. T h e glass

u s i n g the small k n o b , w h i c h c a n j u s t be

c o w l at the top o f the lantern w o u l d

s e e n , u n d e r the r e s e r v o i r to the left in

sto]) s m o k e f r o m the t w o f l a m e s f r o m

the p h o t o g r a p h . The r e s e r v o i r is then

b l a c k e n i n g the ceiling. T h e left h a n d

s c r e w e d b a c k a n d r e o j i e n e d so that the

p a n e is h i n g e d , with the c a t c h c l e a r l y

oil c a n trickle d o w n o n t o the t w o w i c k s

visible, to e n a b l e the ser\'ant to light the

f r o m the horizontal a r m s . I he fitting

l a m p t h r o u g h the o|3en d o o r a n d also to

c a n then b e p l a c e d b a c k on the h o o k .

'Panelled R o o m ' by A . J . Warne Browne. This picture illustrates the use of both an argand lamp and a 'student's lamp"

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A large Adam period cut glass chandelier A magnificent and \ ery rare Adam period cut glass chandelier of the finest quality and proportions, the baluster stem with central urn with ormolu band, surmounted by a canopy hung with swags and pear drops, the base of the stem also banded with ormolu and supporting eight scrolling candle arms with star pans and van Dyck nozzles, interspersed with eight sinaller arms with spire finials, all hung with swags and pear drops, with a large pineapjile finial at the base. English, circa 1770 Height: 71 in (180 cm) Width: 38 in (96 cm) Large chandeliers became popular in assembly rooms, such as those in Bath and in the music rooms of great houses.

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Carton pierre

A pair of giltwood wall brackets

Carton pierre, a F r e n c h term, is a specific

A fine p a i r of late i8th century carton

process for m a k i n g a type of w h a t the

pierre composition a n d giltwood wall

I^nglish call papier mache. Indeed there

lights, the fluted and embellished

is no English l a n g u a g e term for items

central c o l u m n supporting a f l a m i n g

m a d e f r o m pulped or m o u l d e d p a p e r ,

urn decorated with swags and acanthus

hi G e r m a n the term is das Papiermache. Carton pierre is m a d e f r o m p u l p e d

mouldings ending in an a c o r n finial, with three e l a b o r a i e candle a r m s

paper m i x e d with whiting a n d glue,

e n h a n c e d with ' C scrolls, b e a d i n g

jjressed into moulds, then h a r d e n e d

a n d acanthus leax'es, the u p p e r part

and dried. Papier mache is a m u c h

embellished by detailed swags.

earlier product than is often supposed. R o b e r t B o y l e , ( 1 6 2 7 - 1 6 9 1 ) the

English, circa 1775

discoverer of ' B o y l e ' s L a w ' taught to

Height: 24'/2 in {62 cm)

all school children d u r i n g physics

Width: 20 in (51 cm)

lessons, mentioned the suitability of papier mache for the embossed w o r k on picture frames in an essay he wrote in 1672. In 1749 \Villiam DuflTour of S o h o claimed to be the original m a k e r of papier mdche although he ma)' h a v e been disingenuous in this as it a p p e a r s that the process w a s m u c h developed in France. T h i s material w a s a very versatile w a y of p r o d u c i n g hard, longlasting, apparently c a r v e d , decoration using a m o u l d i n g process and is indeed more c o m m o n than is realised, as when the m o u l d i n g is gilded or otherwise decorated it is, f r o m the front, undetectable f r o m the real thing. At Schloss Ludwigslust, near Schwerin in ( i e r m a n y , both the main hall and the chapel are extensively decorated in this m a n n e r , Ludivigsluster haton, w h e r e is is used to p r o d u c e i)oth faux marble and faux w o o d car\ ing, and the result is truly magnificent. These wall lights gi\e the impression of being ])rociuced by one of E n g l a n d ' s finest woocl-car\'ers, a n d then lovingly gilded. T h e y are indeed lovingly gilded, but the details are all in carton pierre supported on a w o o d e n a n d metal f r a m e a n d m a d e a r o u n d 1775.

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A set of Louis X V wall appliques A n exceptional set of four Louis X \ ' gill bronze two b r a n c h rococo foliate wall appliques. T h e y have delicately w r o u g h t , scrolling arms with alternate

scroll a n d foliate drip p a n s a n d similarly w r o u g h t socles. F r e n c h , circa 1750 Height: 23 in (58 cm)

Width: 12 in (31 cm) In the L o u \ re collections, Paris,

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there is a com]5arable p a i r of gilt bronze two b r a n c h wall lights b e a r i n g the 'C" ccuronnepoin^on (donated by the D u c h e s s ^ d e Richelieu, 1971). The current set of f o u r share the s a m e fluidity of form a n d composition. E x a m p l e s such as these wall lights were supplied by Phillipe C a f f i e r i throughout the r o c o c o period Sets of wall lights such as these are \ ery rare survivals, most

having been divided into pairs. T h e similarity with the wall lights exhibited in the L o u v r e does not imply that these w e r e p r o d u c e d by C a f f i e r i , but the quality of the craftsmanship does show that they w e r e p r o d u c e d l)y one of the finest Parisian workshops, at the height of the r o c o c o period.

A pair of ormolu wall appliques A pair of mid i8th century Italian gilt metal r o c o c o two branch wall aj^pliques, boldly modelled as intertwining 'Cr scrolls and foliate o r n a m e n t , each element finely chased. Italian, circa 1755 Height: 18 in (4() cm) Width: 15 in (38 cm)

A pair of ormolu wall lights

A pair of wall lights

A n e x t r e m e l y fine p a i r o f late i 8 i h

A p a i r ol late 18th c e n t u r y t w o b r a n c i i cut

c e n t u r y o r m o l u w a l l lights, the c e n t r a l

glass wall lights, w i t h t w o f u r t h e r n o t c h e d

c o l u m n s u p p o r t i n g a f l a m i n g urn

a r m s s u p p o r t i n g spires a n d a s n a k e a r m ,

a d o r n e d with foliate s w a g s , t w o c a n d l e

all h u n g w i t h d r o p s a n d fljstoons, the

a r m s g r o w i n g f r o m a c a n t h u s roots

l a r g e c e n t r a l spire s u r m o u n t e d b y a

j o i n i n g the m a i n s t e m , all a b o v e a small

c a n o p y a n d cut u r n , the cut receiv er b o w l

h a l f r o u n d l)e\ elled plinth a t t a c h e d to

w i t h a stem p i e c e a n d c a n o ] ) y b e l o w ,

a small finial.

e n d i n g w i t h a large ])endant dro]).

S c a n d i n a x i a n , circa 1770

E n g l i s h , circa 1785

H e i g h t : 18 in (46 c m )

H e i g h t : 29 in (74 cm)

W i d t h : l a ' A in (31 c m )

W i d t h : i() in (41 cm)

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A pair of wall lights A pair of late i8th century cut glass wall lights with three candle arms, with original gilt metal brackets supporting a central faceted spire surmounted b y a c a n o p y a n d pineapple finial, dressed with chains of faceted p e a r drops to the rear a r m s a n d candle sconces, terminating at the base in an ormolu berry finial. English, circa 1790 Height: 27'/a in (70 cm) Width: i4'/2 in (37 cm) Depth; 12 in (30.5 cm)

see overleaf

A magnificent pair of glass wall lights A n extremely rare ]5air of su]3erb

two with canopies a n d finials centred by

c|uality late i8th centiny ( k ' o r g e 1 1 1 cut

a large ])ineapple finial, all dressed with

glass wall lights ofexce|)tional size, each

chains of period p e a r shaped drops,

fitted for three lights with \ an D y c k

hav ing at the bottom a cut glass c a n o p y

|)ans a n d nozzles sui)|5()rted on notched

with eight terminal drops a n d large

a r m s to a central receiv ing bowl and

faceted cut glass acorn finial.

gilt metal bracket, ha\ ing notched cut a r m s at the back with canopies and

English, circa 1790

acorn finials. T h e central s])ire is to])])ecl

Height: 3 5 in (89 cm)

with a glass cano]3y under which are

Width: 20 in (51 cm)

sus]jended three further notched arms.

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A pair of Chinese candlesticks

A pair of carved candlesticks

T h e most c o m m o n form of lighting

A rare p a i r of C h i n e s e export blue

A n unusual p a i r of Louis X V F r e n c h

was the single candle-stick. T h e s e were

and white candlesticks in the early i8th

pro%-incial carx ed fruitwood candle-

made in every tyiJe of material known

century English sil\-er style.

sticks, the stems and feet profusely

Kan.gxi, circa 1720

decorated with swags a n d foliate o r n a m e n t . T h e top collar and the btm feet are in ivory.

to the decorativ e arts.

Height: 7 in (18 cm)

F r e n c h , circa 1760 Height: 9 in (23 cm)

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A pair of paktong candlesticks

A pair of facet cut candlesticks

A delicate p a i r of G e o r g e 1 1 1 paktong

Clhina, of zinc, nickel and c o p p e r ,

A pair of large cut glass candlesticks,

candlesticks with g a d r o o n e d dri]5 pans.

which resembles silver. It is resistant

both feet and nozzles decorated with

I'he stems are of elaborate baluster

to tarnish.

shallow cutting a n d the stems cut all

form supported b y a traditional circular base with a spiral g a d r o o n e d border. F a k t o n g is an alloy, dex cloped in

iMiglish, circa 1760 Height: 7'/2 in (19 cm)

o\'er with d i a m o n d facetting. English, circa 1765 Height: 10V2 in (26.6 cm)

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A pair of paktong candlesticks

A pair of ormolu ship's candlesticks

A pair of late i8th century paktong

A remarkable and very large pair of gilt

candlesticks of neo-classical outline

copper ship's candlesticks, each drip pan

having doric capitals with fluted and

having a beaded rim, as does the socle,

reeded stems on square plinths,

capital and base. T h e tapering column is

enriched with beading and gadrooning.

surmounted by incised laurel leaf ornament,

English, circa 1775 Height: 11 in (28 cm)

fluted and supported on an over scale circular base, similarly decorated with laurel leaves in low relief on a punched ground. Baltic, circa 1780 Height: 15 in (38 cm)

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A pair of ormolu telescopic candelabra A n unusual p a i r of Louis X \ ' I o r m o l u three b r a n c h telescopic c a n d e l a b r a , each s u r m o u n t e d by a c o v e r e d urn and standing on a fluted c o l u m n supported by a collar of laurel leaf m o u l d i n g , terminating in three lozenge cut feet. F r e n c h , circa 1785 Height: 12 in (30 cm) Height raised: 15 in (38 cm)

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/I pair of single arm giraiidoles A n extremely rare pair

oigirandoles, the scalloped

triangular spires. T h e spire

base on a d o m e d foot in the f o r m of a

is s u r m o u n t e d by a small c a n o p y with

short candle stick. A metal holder in

l^ear shaped drops a n d two festoons

the nozzle contains a socket for an

abo\ e which is a crescent finial.

' S ' sha]5ed arm with integral nozzle

T h e whole is facet cut in t\pical lyfios

and dressed with a ])an with p e a r

style.

sha])ed dro]3s, also holding two w i n g shaped arms which are joined together by a silver su])])ort which holds

English,

cina lylio

Height: 21 in (53 cm)

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A pair of ormolu and cut glass lustres

drops. T h e r e is a central snake arm

A pair of girandoles or lustres on

circular drop pendants and a festoon

An extremely rare ]3air of glass and

ormolu bases and 'Bristol' blue

leading to the canopy. This canopy is

ormolu candelabra. With columnar

rectangular pedestals. Each pedestal

also decorated with pear drops and

bases of deeply cut lozenges, the central

is decorated with four blue and

surmounted by a central urn.

stem and nozzle supported by an

white Wedgwood placjues of muses and putti, above which is a brass

hung with a festoon, and at the rear are two curled snake arms with

English, circa 1785

recei\'er and a glass receiver bowl

Height: 26'/2 in ((37 cm)

holding a central notched spire and

Width: i4'/2 in (37 cm)

five arms. T w o of the arms have van Dyck

A pair of ormolu and glass candlesticks

unusual downward turning van Dyck cut pan hung with pear drojjs. English, circa 1780 Height: 11 'A in (29 cm) Width:

in (12 cm)

nozzles and pans hung with pear

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Bonnet Rouge T h e bonnet rouge w a s a red c a p that w a s w o r n b y the sans-culottes d u r i n g the F r e n c h R e v o l u t i o n . Sans-culottes in E n g h s h m e a n s 'without knee b r e e c h e s ' , a n d it w a s a term loosely a p p l i e d to the l o w e r classes in F r a n c e d u r i n g the F r e n c h R e v o l u t i o n . T h e n a m e w a s d e r i v e d f r o m the fact that these p e o p l e w o r e long trousers instead o f the knee b r e e c h e s w o r n b y the u p p e r classes. T h e term a p p l i e d to the s e c t i o n a r y " e l i t e s " in Paris c o n n e c t e d with the J a c o b i n s , a n d to the p o p u l a r masses a r o u s e d d u r i n g the rexoXuimwcXvyjournees,

or mass

protests. Sans-culottism r e f e r r e d to the collectivist ideolog)" that x a l u e d fraternity a b o v e liberty andj^^ d e m a n d e d e c o n o m i c controls. T h e enrages were a distinct g r o u p of Parisian radical sans-culottes extremists. ' F h e y w e r e led b y j a c q u e s R o u x in pillaging the city's f o o d stores in 1 7 9 3 , a n d they d e m a n d e d strict e c o n o m i c controls. M a n y o f the requests o f the sans-culottes w e r e g r a n t e d b y the g o v e r n m e n t in o r d e r to m a i n t a i n p o p u l a r support in the early m o n t h s of the reign of terror.

A pair of revolutionary ormolu appliques A pair oi'two candle wall lights, in the Ibrni of snakes springing from a cannon barrel surmounted by a re\ olutionary bonnet. French, circa 1790 Height: 10 in (25 cm) Width: 8 in (20 cm)

Candles

I he sun, moon and flames were, until the end of the nineteenth century, mankind's only source of useful light. Fireplaces gave out a certain amount of light in winter, rushlights (rushes soaked in tallow) gave a cheap source of short-term light, but until towards the end of the eighteenth century the one general source of light was the candle. Candles have been made from many diflerent materials. T a l l o w , rendered animal fat, was a readily available and a quite cheap material for candle-making; indeed many domestic households rendered their own fat and made their own candles. However, tallow candles give a poor light, have a very smoky flame and give off a disagreeable smell when burning. A m o n g the rich, beeswax was the material of choice, T h e

Tallow

C^handlers Guild in the city of London was founded in 1462, the W a x (Uiandlers in 1484. In 1710 an excise duty of 4 pence per pound on beeswax was introduced, the ecjuivalent to around / , i . 3 0 (Si.90) today and the tax was not abolished until 1830. Large scale whaling in the nineteenth century yielded large amounts of spermaceti oil that could be conx erted into w a x to produce candles. The resultant flame was so bright that the light gi\en off by a standard size spermaceti candle burning at a standard rate was used as the benchmark in the science of photometry. O n e unit of candlepower was defined as the light produced by a pure spermaceti candle weighing one sixth of a pound, burning at a rate of 120 grams per hour. In 1823 the publication, by the long-li\'ed chemist Michel-Eugene Cheveul (1786- 1889), of a paper on the chemistry of tallow lead to the end of commercial tallow candles and their replacement by stearine candles, a tallow derivative, which is less oily and burns without an unpleasant odour. The

eminent

English

scientist M i c h a e l

P'araday

(1791-1867),

Christmas-time 1860 devoted six hour-long lectures to ' T h e Chemical History of a C a n d l e ' . T h e lectures, delivered at the R o y a l Institution, Albermarle Street L o n d o n , were part of a series of Christmas lectures for young people, inaugurated by Michael F a r a d a y in 1826. In the course of these six lectures F a r a d a y was able to introduce his young audience to m a n y aspects of the physical world. He was able to discuss combustion and the properties of a flame, where a flame is at its brightest and hottest, the chemical comjDonents of a candle and its manufacturing process, the requirement of oxygen for burning, the products of combustion, being water from the hydrogen and carbon dioxide from the carbon, (paraflin w a x is a hydrocarbon), and hence the nature of the atmosphere and respiration. I'hese lectures were so remarkable that they were produced in book Ibrm and have been in print ever since and are still available today.

I'he game o f D o m i n o e s was introduced into Europe from CUiina earh in the i8th century, an ideal g a m e to play in the evening. I'he walnut chairs, the walnut games table and the gilt mirror are all 1-^nglish and date from this period.

I9TH

CENTURY

A pair of four branch candelabra A v e r y unusual p a i r of E m p i r e l)ronzc a n d gilt f o u r b r a n c h c a n d e l a b r a . T h e central b r a n c h in the f o r m of a b r o n z e vase with a r e m o v a b l e o r m o l u c o v e r s u r m o u n t e d by a f l a m b e a u . T h e three further a r m s a r e of scroll outline with D o l p h i n h e a d socles a n d are supported by three gilt owls standing u p o n a sphere a b o v e an obelisk. E a c h obelisk is m o u n t e d with an allegorical g r o u p , representing on one love divided a n d the other love united. T h e c a n d e l a b r a terminate in finely chased w i n g e d claw

Attributed to C l a u d e ( i a l l e

pre\ alent under the reign of Xa]3oleon.

F r a n c e , circa 1805

At his peak there w e r e o v e r 400

T h i s unusual pair of c a n d e l a b r a with the three owls relate to a pair described in the 1807 inventory of the C h a t e a u de F o n t a i n e b l e a u , listed as being in the second salon of the E m p r e s s J o s e p h i n e : ''unepaire (flambeaux) en cuivregaines rondes grijfes et hiboux dores or mat hauteur 2gc". T h e s e are illustrated in "J-P

Samoyault,

Pendules at bronzes d'ameublement entres sous le Premier Empire, Paris, ig8g,p

craftsmen in his workshop. H e sujjplied m a n y items for the Ckiarde-Meuble and m a n y great nobles. A docimient in his archi\ e dated August 1795 shows that he had ''une paire de flambeaux a hibou", in his inventory, indicating that G a l l e w a s using the owl motif during this period. Height: 29 in (74 cm) Width: 11 in (28 cm)

ijG,

fig'jfC l a u d e G a l l e w a s one of the greatest

A cut glass chandelier

feet, u p o n a trianglular c o n c a v e sided

b r o n z e casters of his age. H e w a s a

A six b r a n c h chandelier f r o m one of the

])linth terminating in b u n feet.

l e a d e r of the n e o - E g y p t i a n taste

Baltic States, the ring supporting six gilt metal candle arms. T h e drip jians ha\ e been stamped a n d chased in a leaf pattern a n d h u n g with sc|uare drops with prisms below. A b o v e the ring is a waterfall of sc|uare drops s u r m o u n t e d b y a coronet m a d e of g r a d u a t e d circular drops a n d horizontal rule

I1 >

drops, a b o v e which are eight p a l m fronds, also m a d e of horizontal rule drops. T h e coronet is hung with c o l u m n s of drops with prisms below. B e n e a t h the ring are f o u r concentric circles with prism drops with one square d r o p above. T h e finial is a large a n d hollow p e a r shaped d r o p , decorated with flute cutting. T h e w h o l e chandelier is constructed with good cjuality, slightly

grey soda glass, which is characteristic of all chandeliers of this period a n d g e o g r a p h i c a l location. Possibly S w e d i s h , circa 1 8 1 0 O , O

M i: 4 i^L i

Height: 48 in (122 cm) \Vidth: 31 in (78 cm) S w e d e n at this period had a thriving glass industry with eleven glass houses in ])roduction, most of which w e r e c a p a b l e of j^roducing chandeliers. R u s s i a , particularly a r o u n d St. Petersburg, had several good glass houses, a n d there w e r e also glass houses in or near the Hanseatic ports. A s the skilled glass workers w e r e itinerant, styles were rapidly transferred f r o m one country to a n o t h e r m a k i n g exact attributions nearly impossible.

. ir'kiJ,

Mr-

iMfci^'

iM •

it'

;

' i j 1-

igTH

CENTURY

John Blades' Upper Showroom, pul)lished in Ackermann's 'Repository' of the Arts'. John Blades is first mentioned in a London Directory in 1783 when he opened his showrooms at 5 Ludgate Hill. He remained there until his death in 1829. He recei\ ed many large commissions including that of a pair of chandeliers for the hall of the Draper's C o m p a n y , where they still sur\ ive today. Blades was unusual in using an outside designer, the well known architectj. B. Papworth. He was also the first English glass company to open a branch in India in Calcutta. After the death of John Blades, the business was continued by Francis Jones and his sons.

A pair of candelabra by John Blades A m a g n i f i c e n t p a i r o f large three a r m candelabra by J o h n Blades of L u d g a t e Hill, L o n d o n , w i t h o n i i o l u b a s e s a n d o r m o l u a r m s , tlic stems, p a n s a n d nozzles decorated with coliimns o f c r o s s c u t t i n g a n d ])illar c u t t i n g a n d h u n g with rtile dro])s b e l o w b a g u e l l e cut drojjs. Eiiglisli, circa 1810 H e i g h t : 25Va in (64 c m ) W'idtli: 16 in (40.5 c m )

l<)Tn C E N T U R Y

In 1812 T h o m a s Osier together with J o h n Barton pubhshed a leather bound catalogue listing the range of drops that they had for sale together with a ]3rice list. This extremely valuable document is our main reference for naming and pricing drops in the first hall'of the 19th century. It is normal practice for chandelier assemblers to buy their drops in from specialist suppliers. It is recorded that T h o m a s Osier supplied the Waterford Glass C o m p a n y with drops for their chandeliers and this practice continues today. T h e modern manufacturers of chandeliers in Bohemia regularly source their drops from Egypt and India where labour is cheaper.

ICICLE^. 679p<Tgro 580. . 681 . : 582. . 68«N. P. 583. . 584. . 591. . 598. . 593. . 594. : 595. . 627. . 688. . 634. : 689. . 630. . 631. . 638. . 633. . 651. . 661. 668. 663. 664.

SPANGLES.

608 per gro. e/ <609 , i'A 610 . / 611 . 'l "M/ 618 J / 613 . fc/ 614 Bllbtr of Ibe iboM m»j b« bid, xbM oa au liat, like Oi« PUKm rtewnii the PI«U, «l the T WIM Pricoa.

•

> /if

•4; ••"'J /// / .

/if / / .

//.'

-rt!

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• IKOVKT. - p,rCtR<.»ttM<»>l"Jr p.fCeia.«m«eiHlw-

A pair of Regency two armed candelabra A p a i r of t a b l e lustre.s w i t h t w o b r a n c h e s a n d a c e n t r a l finial, t h e o r m o l u crosspieces r e t a i n i n g t h e i r o r i g i n a l m a t t a n d b u r n i s h e d gilding.

'79/. BARLEY Vj

. . . ,

CHAIN DROPS. 700 per gro 701 - 708 - 703 - 704 - 705 - Eitktr, *c. u tbote. CORNS.

710 per gro. 711 • 718 • 713 • 714 • 715 • Silhtr, *«• M •ko"-

T h e icicle d r o p s a r e illustrated in O s i e r a n d B a r t o n ' s p r i c e list d a t e d 1812, as n u m b e r s (>51 a n d 652 at 1 8 0 / - a n d 2 2 0 / - p e r gross. Knglish, circa 18to H e i g h t : 19 in (48 cm) W i d t h : i3'/2 in (;-54cm)

igni

CENTl'RY

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CENTURY

A garniture of three Argand Lamps A garniture of three oil lamps, the original design of which was imented by Monsieur Aime Argand of Switzerland in 1784; made to burn colsa oil. T h e three cut glass reservoirs are surrounded by ormolu coronets from which hang button and icicle drops. T h e ormolu lamps have now been converted for electricity and stand on decorated glass bases. Each lamp bears the retailer's mark, Johnston Brookes & Co. Manufacturer. London. English, circa 1815 Height of largest: 25 in (65 cm) Height of smallest: 20 in (51 cm)

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CENTURY

A candelabrum by Apsley Pellat A two branch c a n d e l a b r u m with ormolu arms and central leather finial, the p a n s with c o m p l e x drops and the cut stem containing a sulphide of E u t e r p e , the muse of the llute. English, circa 1825 Height: 12'/a in (32 ctn) Width: 12 in (30 cm)

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CENTURY

A pair of two branch candelabra

A pair of Russian gilt bronze candelabra

A fine p a i r of cut glass tw o branch

A \'ery rare ])air of late i8th century

c a n d e l a b r a , the centre su|)port in the

Russian ormolu c a n d e l a b r a decorated

form of an elaborately cut leaf holding

witii siKerecl metal studs and the

two a r m s with cut nozzles and pans

faceted circular bases with rosettes, the

iiung with prism drops.

h e x a g o n a l stem su]5porling a single

English, circa 1840 Height:

in (39 cm)

Width: 11 '/2 in (27 cm)

nozzle w itii a remox able double candle arm. R u s s i a n , circa 1800 Height: 15 in (38 c m j Width: 8'/2 in (22 cm)

..Q.

iivjl

_ — : ^ri

i f

^MM

m X

The Progression of Light The Middle Ages to Modern Times T a l l o w is the rendered fat from cattle and sheep and was the first material that was cheap enough for Ex eryman. Farmers and housewives could render their own although, particularly in towns, production was in the hands of members of the 'I'allow Chandlers Guild. Peeled rushes could be dipped in molten tallow and the resultant rush-light burnt to give enough light for safe movement, but not for reading. Most tallow was made into candles; these were comparatively cheap, but they burnt with an acrid smell, were rather smoky and the light was relatively poor. Animal or vegetable oil could also be used in a small oil lamp like 'the widow's cruse'. Whence is thy learning? Hath thy toil O'er hooks consumed the midnight oil. John (iay 1685-1732

B e e s w a x used by members of the Wax Chandlers Guild, was an altogether superior ])roduct, it was sweet smelling and gave a good light, making it the preferred lighting in Cathedrals, Court and the houses of the rich and mighty. It was, and remains, extremely expensive. So much so that, by custom, housekeepers were allowed to keep the candle ends of the household as a perquisite. Colsa oil made from rapeseed, is a thick viscous oil, too thick to travel up a wick, but instead is gravity fed onto a tubular wick, of the type invented by M. Aime Argand in Switzerland in 1784. It gave the brightest light to date 'the light of ten candles'. This form of lighting rapidly became popular throughout Europe and North America. Many surviving lamps bearing retailers labels from most of the major cities in the United States testify to their popularity among the middle classes, the first available bright light at a reasonable price. Spermaceti oil gained popularity with the increase in whaling in the second half of the eighteenth century. A sperm whale can have over one ton of oil in its head, so together with the whale blubber for soap making, the whale meat and whalebone for corsets and other uses, whale hunting could be \ery profitable. Bayberry w a x |Droduccd in North America from bayberries harxested in the fall, was used Ibr candle making by the early American settlers, howex er the hard work and low yield discouraged widespread use. Stearine is a deri\ ati\ e of tallow which is harder and burns brighter and longer. Stearine was discovered i)y the eminent Frenchman Michel-Eugene Chevreul (1786 1B89), chemist, physicist and philosopher, professor and later Director of the Gobelins tapestry works in Paris. 'Fhis polymath's work on the constitution of fats led to the saponification of tallow, yielding stearine and glycerine. 'Fhis work, published in 1823, led to a great industry of stearine candle manufacture. Oil based products such as a liquid known as kerosene in America and paraffin in England, and paraiFin wax, were dex-eloped in the mid nineteenth 54

THE P R O G R K S S I O N

LIGHT

century and completely revolutionised domestic lighting in middle and working class homes. K e r o s e n e or p a r a f f i n oil is a mobile liquid which can be drawn up a wick by capillary action; it was also comparati\-ely cheap. Lamps, often with glass reservoirs, were to be found in every household, the flame protected from draught by a glass chimney which also aided the flow of a steady suppK' of air to the flame. T h e flame area was surrounded by a frosted globe, which defused the light. P a r a f f i n w a x gave a light comparable to beeswax, and although not C|uite so sweet smelling did not have the really disagreeable odour of burning tallow. Also in the mid nineteenth century the braided wick was de\eloped, this wick bent over at the top and completely burnt away when it reached the edge of the flame, putting an end to the constant round of snuffing and trimming wicks. C o a l g a s was de\ eloped in the United K i n g d o m by William Murdock, with the first London street being illuminated by gaslight in 1809. The idea was met with ridicule, the Reverend Sidney Smith, the famous wit, lamj^ooned the idea, and the following rhyme was popular in Glasgow: "We thankful are that sun and moon 11 'ere placed so very high That no tempestuous hand might reach To tear them from the sky. [ I 'ere it not so, we soon shouldfind That some reforming ass J Vould straight propose to snuff them out, And light the world with das' Sir Walter Scott became the first chairman of the Edinburgh G a s Light C o m p a n y and lit his home, Abbotsford, with gas from his own generator. Large houses like Abbotsford generated their own gas and public companies were formed in towns to enable gas to be piped to those who wished to subscribe; and many did. (ias was use in wall lights, hanging lanterns, chandeliers, and even for desk lights if the desk was plumbed in for gas. In 1819 the Apothecaries' C o m p a n y installed a small oil gas ])lant to make the gas to light their Hall and adjacent jiharmaceuticals factory. T h e comparati\ e hourly costs were assessed as follows: Oil g a s 'A pence per hour A r g a n d b u r n e r w i t h g a s oil 'A ]ience per hour A r g a n d l a m p b u r n i n g s p e r m a c e t i oil 3 pence per hour T a l l o w m o u l d e d c a n d l e s 3 pence ])er hoiu B e e s w a x c a n d l e s 14 pence per hour The 'fish tail' burner was the standard gas flame, so called because the flame spread out in such a manner. Towards the end of the nineteenth centiny the much brighter incandescent gas mantle was in\entecl, this ga\e a much brighter light, comj:)arable to electricity, but it was \'ery nois\'. .Also l i m e light', with its ghostly yellowish light, was used in the theatre, the light being formed by directing a gas flame onto cjuicklime, causing it to incandesce brightly.

THE PROGRESSION' OF I.IGHT

N o w a d a y s clectric ligliting is almost the o n l y f o r m of lighting, with c a n d l e s

Apslcy Pcllat S h o w r o o m , puhlislicd in

b e i n g u s e d to e v o k e a c e r t a i n m o o d in r e s t a u r a n t s a n d p r i v a t e d i n i n g r o o m s .

.Ackermann's 'Repository of the .\rt.s'.

T h e first light p r o d u c e d f r o m electricity w a s \ ia the ' a r c l a m p ' . E v e n b e f o r e Iklison a n d S w a n n s i m u l t a n e o u s l y d e v e l o p e d the electric light b u l b , c a r b o n

In 1802 .\psley Pellat took ()\er an existing glass works. The f a l e o n (iiassworks in Hhiekfriars, it is from tliis base tiiat he

a r c l a m p s w e r e in use. T h e v e r y bright light p r o d u c e d b e t w e e n the t w o c a r b o n

perfected the production o f ' s u l p h i d e s '

rods w a s too bright f o r d o m e s t i c use but ideal f o r street lighting, a l t h o u g h

which he described in a book that he

it w a s u n r e l i a b l e a n d rec|uired m u c h m a i n t e n a n c e . It w a s also used f o r

published in 1821. In 1849 bis publication

spots-lights, in the theatre, in a n t i - a i r c r a f t d e f e n c e s a n d in films, w h e r e it w a s responsible f o r m a n y a sore eye a m o n g s t the actors d u e to its high ultra\ iolet content. I'he electrical light b u l b w a s in full c o m m e r c i a l p r o d u c t i o n by 1 8 8 1 , f o l l o w e d shortly afiervvards by the f a b r i c l a m p s h a d e . In the past, b e c a u s e of the d a n g e r of fire, s h a d e s w e r e usually in m e t a l , as in bouillotte l a m p s , or in glass, often frosted, as in s i n u m b r a l a m p s . I his new f a s h i o n soon m e a n t that e\ en c a n d l e llames wi-re hidden f r o m the g a z e by fal^ric s h a d e s , regardless of the d a n g e r of fire. S o o n s o m e s h a d e s b e c a m e m o r e akin to the milliner's art a n d w e r e j^roLidly illustrated in the ladies m a g a z i n e s of the p e r i o d . Fluorescent tube lighting w a s i n t r o d u c e d a f t e r the S e c o n d W o r l d W a r , but its lack of a c o n t i n u o u s s]:)ectrum a n d the r a t h e r u n g a i n l y n a t u r e of l u b u l a r lighting has e n s u r e d that this type of lighting is m a i n l y used in industrial a n d c o m m e r c i a l buildings r a t h e r than in a d o m e s t i c situation. H a l o g e n lighting is b e c o m i n g i n c r e a s i n g l y |:)opular b e c a u s e of its bright, w h i t e light. A l s o the small size of the b u l b gi\ es the possibility of a tightly focused beam.

5<i

of (,'uriusities nj (Hass Making was the first major book in English on tiie science and ])roduction of glass. Like Faraday, .\psley IVIIat gave lectures at the R o y a l Institution in London where he nearly set fire to the building, and he continued to be an acli\'e glass maker showing at both the (ireat Lxhibition of 1851 and the London ICxhibitioii of'i8()2. He died in i8()3.

A Swedish ormolu and glass mounted candelabrum All exceptional, large scale late i8th century blue glass and o r m o l u six b r a n c h c a n d e l a b r u m , taking the f o r m of a \ ase m o u n t e d upon a circular c o l u m n supported by a tripod key pattern base, standing on a white m a r b l e plinth terminating in claw feet. The candle a r m is strung with glass bead swags a n d has o r n a m e n t of both aquatic and (loral motifs. S w e d i s h , circa 1800 Height: 38 in (97 cm) Width: ij'/2 in (39 cm)

â&#x20AC;˘A

T h e use of blue glass c o m b i n e d with the clear white crystal on this c a n d e l b r u m reflects the close liasons between R u s s i a n a n d Swedish glass m a n u facturers. The extensive use of o r m o l u w a s inspired by the F r e n c h neo-classical designs of this period. T h e s e particular elements, such as the scrolling foliage, on the metal mounts, can be seen on later designs m a n u f a c t u r e d by Lindroth of S t o c k h o l m a n d are d r a w n f r o m French publications In Percier a n d Fontaine

igTH CENTURY

A pair of Directoire ormolu candelabra A v e r y fine p a i r o f p a t i n a t e d a n d gilt b r o n z e c a n d e l a b r a f o r m e d o f classical f e m a l e figures b e a r i n g three s c r o l l i n g c a n d l e a r m s h u n g with garlands of flowers and m o u n t e d with ram's heads, leaves and wheatears, surmounted by birds with outstretched wings, on c i r c u l a r plinths w i t h m a s k s a n d garlands of flowers and winged s p h i n x e s at e i t h e r side. F r e n c h , circa 1800 H e i g h t : 24^2 in (62 grn) W i d t h 7V4 in (20 c m )

A bloodstone and ormolu candelabrum A n u n u s u a l e a r l y 19th c e n t u r y bloodstone and ormolu two b r a n c h c a n d e l a b r u m , the ' S ' scroll a r m s in the f o r m o f f l o w e r i n g rose b r a n c h e s , s u p p o r t e d b y a n ionic c a p i t a l a b o v e a t a p e r i n g fluted c o l u m n raised o n a t u r n e d b a s e , t e r m i n a t i n g in a n o r m o l u s q u a r e plinth with return corners. B a l t i c , circa 1810 H e i g h t : i6'/2 in (42 c m ) W i d t h : 1 0 % in (27 cm) B l o o d s t o n e is a s e m i - p r e c i o u s m i n e r a l w h i c h is a d e e p g r e e n \'ariety o f c h a l c e d o n y w i t h small spots o f r e d jas]Dcr in it.

igTH

6()

CENTURY

I G RN

CE.NTI'RY

A pair of Empire candlesticks

A pair of Charles X candlesticks

A highly unusual pair of E m p i r e gilt-bronze

A pair of C h a r l e s X cut glass candlesticks

candlesticks taking the f o r m of an upturned

profusely d i a m o n d cut on the nozzle, on a

helmet supported by three flags, in turn

h e x a g o n a l baluster stem. T h e stepped foot

standing on a b o u n d cluster of muskets, on

has star cutting beneath a n d an o r m o l u rim.

a circular base b o r d e r e d with laurel lea\ es. F r e n c h , circa 1 8 1 0

F r e n c h , circa 1825 Height: 10V2 in (27 cm)

Height: 11 in (28 cm)

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CENTURY

A brass bouillotte A good quality Empire gilt bronze three branch bouillotte lamp, retaining its original tole shade with polished brass interior. T h e arms are o f ' S ' scroll form and support drip pans with a beaded edge and socles enriched with machined neo-classical ornament. T h e arms are supported by a fluted column and the traditional dished platform base is decorated throughout with further neo-classical ornament. French, circa 1810 Height: 26 Vz in (67 cm) Width of shade: 11 'A in (28 cm) Bouillotte was a card game popular in France in the eighteenth and early nineteenth centuries.

A pair of gilt bronze bouillottes A good pair of Empire gilt bronze, three branch bouillottes with green tole shades. T h e finials are finely chased and take the form of a pine cone supported by a canopy of laurel leaves. T h e arms are of traditional ' C scroll form decorated with eagle's heads and have a sunflower motif as part of a subsidiary scroll. T h e socles have cross-hatched, machined ornament and a finely gadrooned base. T h e whole is supported by a fluted column standing on a dished circular plinth, decorated with a pierced stylised frieze ofbasketwork. French, circa 1810 Height: 27 in (68.5 cm) Depth of shade: 15 in (38 cm)

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CENTURY

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CENTURY

A Louis Phillipe bronze sinumbra lamp A fine quality s i n u m b r a l a m p retaining its original shade, the b r o n z e c o l u m n with a stylised foliate capital and spiral foliate applied o r n a m e n t abo\ e a ring of neo-classical figures, supported by a d o m e d plinth with a stylised egg a n d dart motif in relief F r e n c h , circa 1 8 3 0 Height: 31 in (79 cm)

igTII

CENTURY

A pair of Empire ormolu appliques A (ine pair o f c a r l y 191I1 century ormolu wall lights in the m a n n e r ofCUaiicle (ialle. the winged f e m a l e figures each suj)porting fi\'e candle arms. l''rench, circa 1 8 1 0 Height; 2'j in (52 cm) Width: i;^ in (32 cm) Deptli: 10 in (23 cm)

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CENTURY

I()TH

A pair of gilt metal appliques A most unusual p a i r of earl\- 19th

CKNTl'RV

A pair of bronze and ormolu wall appliques

century sfilt metal two b r a n c h

A ])air of 19th century gilt bronze fix e

applic|ues in the f o r m of caryatids, one

bi-anch wall appliques.

representing M a r s , the other A t h e n a . In their arms, they each hold a s])iral

I-'rench, circa 1820

b r a n c h su])])orting two candle holders,

Height: 7 in (18 cm)

the a r m o u r and robes of the ligures are

Width: 18 in (46 cm)

rendered in ])recisc detail. P r o b a b l y Knglish, circa 1H20 Height: 23 in (58 cm) Width: 12 in (30 cm)

<)7

Lighting for Country Houses

In 1992 H a r e v v o o d H o u s e in Y o r k s h i r e d e v o t e d a n entire e x h i b i t i o n to ' C o u n t r y H o u s e L i g h t i n g ' . T l i i s e x h i b i t i o n e m p h a s i s e d h o w Uttle h g h t o u r p r e d e c e s s o r s e x p e c t e d in t h e i r d o m e s t i c s u r r o u n d i n g s . T h e c a t a l o g u e to the e x h i b i t i o n q u o t e d the c a s e o f P h i l i p Y o r k e , t h e first E a r l o f H a r d w i c k , (died 1764) w h o li\ ecl in a v e r y l a r g e h o u s e built b y Bess o f H a r d w i c k in D e r b y s h i r e . A l t h o u g h this o n e w a s o n e o f the h o u s e s w i t h e x t r a \ ' a g a n t l y large g l a z e d w i n d o w s , h e n c e the c o n t e m p o r a r y doggerel, Hardwick Hall, more glass than wall a n d w o u l d h a \ e b e e n a i r y a n d light d u r i n g t h e d a y t i m e , at n i g h t t h i n g s were

different. T h e

Earl reportedly

sat w i t h

his w i f e d i s c u s s i n g

the

p a i n t i n g o f the r o o m t h e y u s u a l l y sit i n . . . . ' m y L o r d w a s f o r h a v i n g a n ash o r o l i \ e c o l o u r as l ) e i n g t h e c h e a p e r a n d m o r e d u r a b l e . B u t m y

Lady

o b j e c t e d that, t h o u g h

white

m o r e e x p e n s i v e , the f a s h i o n a b l e F r e n c h

w o u l d b e c h e a p e r in the e n d , since it e n a b l e s t h e r o o m to b e lit w i t h t w o candles rather than four.' M r s D e l a n y , t h e i n d e f a t i g a b l e Irish l a d y w h o w e n t e \ e r y w h e r e

and

r e p o r t e d e v e r y t h i n g , r e p o r t e d t h a t w h e n she x'isited H o l k h a m in N o r f o l k ' m y L a d y L e i c e s t e r w o r k e d at a tent-stitch f r a m e e\-ery n i g h t b y one candle t h a t she sets u p o n it, a n d no spectacles.'l/ditrWr^

D e l a n y r e f e r r e d to the visit

o f K i n g G e o r g e I I I to t h e D o w a g e r D u c h e s s o f P o r t l a n d at B u l s t r o d e , B u c k i n g h a m s h i r e , in 1779, w h e n she n o t e d ' H e r G r a c e h a d t h e h o u s e l i g h t e d u p in a m o s t m a g n i f i c e n t m a n n e r : the c h a n d e l i e r in the g r e a t hall w a s n o t l i g h t e d b e f o r e f o r twenty years.'' W e h a v e d e s c r i b e d e l s e w h e r e in this c a t a l o g u e h o w e x p e n s i v e b e e s w a x c a n d l e s w e r e , h e n c e the e c o n o m i e s m e n t i o n e d a b o v e . In l a r g e

rooms

l i g h t i n g f r o m c e n t r a l fixtures t e n d s to g e t lost, ne\ er m i n d t h e d a n g e r o f f a l l i n g w a x , a n d l i g h t i n g in s u c h r o o m s usually c a m e f r o m w a l l lights o r c a n d e l a b r a s t a n d i n g o n t o r c h e r e s . T h e c h a n d e l i e r w a s t h e r e as m u c h to gi\ e g r a n d e u r to t h e r o o m d u r i n g the d a y as to g i v e light at n i g h t . F o r ex e r y d a y use c a n d l e s w e r e o f t e n u s e d in c a n d e l a b r a o n the su])per t a b l e , as d i n n e r as w e k n o w it t o d a y o f t e n t o o k p l a c e in t h e a f t e r n o o n , during hours of daylight.

It w a s onl\- d u r i n g the late G e o r g i a n

and

M c t o r i a n p e r i o d s that d i n n e r s , as o p p o s e d to i)alls, w e r e h e l d in t h e c \ c n i n g . T h e s i m p l e c a n d l e s t i c k , or chaml^er slick, w a s u s e d f o r l i g h t i n g w h a t w e w o u l d n o w call p e r s o n a l s p a c e , w h e t h e r f o r r e a d i n g , n e e d l e w o r k , Inlaying c a r d s o r m e r e l y m o \ i n g a r o u n d the h o u s e . A l t h o u g h s i m p l e in c o n c e p t the c a n d l e s t i c k c o u l d e m b o d y all the c h a r a c t e r i s t i c s o f f a s h i o n a b l e life. C^andlesticks w i t h p r i c k e t s , the earliest f o r m o f c a n d l e s t i c k , as c a n b e seen in s i x t e e n t h c e n t u r y alter c a n d l e s t i c k s , w e r e s u p e r c e d e d in the sex e n t e e n t h c c n t i n y b y c a n d l e s w i t h n o z z l e s , as t h e y r e m a i n to this d a y . G a n d l e s t i c k s w e r e m a d e f r o m all m a t e r i a l s k n o w n to t h e d e c o r a t i v e arts, this c a t a l o g u e illustrates c a n d l e s t i c k s m a d e f r o m glass, w o o d , p o r p h y r y ,

I.ICILLTIXC; L O R

C:ORNTRY

I I O I SES

jjorcclain, Ijrass, paktoiig, bronze, steel, and we could ha\'c included silver, (a Georgian fax ourite), ix ory and even such rare materials as amber and rock-crystal. Oil and gas transformed the economics of country house lighting. E\en the rudest cottage could soon afford oil-lighting, but for gas either the house had to be attached to the gas main and thence the town gasworks or the house had to have its own gas generating plant, as many of the grandest houses did. Although gas could be malodorous it gained popularity both because of its high light output and also because of its ease of maintenance, no reser\'oirs to fill or wicks to trim. CJas also gives out a fair amount of heat and in large rooms abo\ e the chandelier would be a perforated rose which would enable the hot gases to be \-entcd sideways above the ceiling to the outside. Oil and gas may have transformed the economics of country house lighting but electricity completely transformed the look. Up to now all lighting had been based on the Ilame. The electric filament light bulb reduced the risk of fire, (provided the wiring was safe and properly

H e r h c n l)a\ is Ricluer

(iÂť74 i!)")")) " I hf \ \ hile D r a w i n g R o o m , l^uckiiigliani Palaic" oil oil canvas

At niglit tliis room would have been lit. both by IIK' one large and lour smaller ehandeliers. U)gelher with all ihe candelabra a r o u n d ihe edge o f the room. D u r i n g the day the large central chandelier would ha\e gi\'en a focus to the room and would ha\e emphasised the symmetry o f the ceiling.

LIGHTING FOR COUNTRY lIOl St:S

J a m e s Noble (1846- 1913) ailing for Uie Answer" oil on caiu as A pair of'siniilar appliques can he seen on page 72.

installed), but, most importantly, light could now easily be directed downwards where it was most required. Also light bulbs could be hidden with fabric lampshades which gave a diffused light. Unfortunately, Victorian taste being what is was, these often degenerated into ornate confections more suitable for the decoration of a lady's head than part of the decor of a smart salon. Electric light also gave a more powerful light than before leading to complaints from ladies of a certain age that this new-fangled light was unkind to their complexions, this lead to the reintroduction of candles at smart Edwardian dinner parties.

A pair of go thic candlesticks A \ e i y UMUsiial p a i r o l ' W i l l i a m I \ ' ^othic b r o n z e candlesticks with castellated soeles a n d dri]) ])ans, sii|3|3orteci oil a he.\aa;onal s t e m , in turn s u p p o r t e d on a t r i a n g u l a r g o t h i c b a s e , the w h o l e s u p p o r t e d by a f u r t h e r t r i a n g u l a r gothic areh loot with a small c i r c u l a r t o w e r at e a c h c o r n e r . l^nglish, circa 1 8 3 0 H e i g h t : 13 in (33 c m )

I igth century Revivalism M ' i l r ' '

I'i

' - r j A

A pair of Louis X V revival appliques

A large lantern in the Regence style

A pair ol'earh' igih century Louis X \ ' style

A 19th century gilded metal h e x a g o n a l

fi\ e i)ranch wall appliques with elaborately

hall lantern of large scale in the R e g e n c e

scrollinsr a r m s of])icrceci foliate design

style, the metal work m o u l d e d with stvlised

su])p()rtcd on a sinuous I'oliate back plate.

caryatids, trailing \ ines and flowers.

F r e n c h , circa 1840

English, circa 1850

Height; 24 in (61 cm)

Height: 44 in (112 cm)

\\'idth: 22 in (56 cm)

Width: 23 in (56 cm)

7-'

'v •f r

Xl,

•

M •

i g T H CENTURY

REVIVALISM

I9TH CENTI RY REVIVALISM

A Renaissance revival lantern A n u n u s u a l Eiiglisli R e n a i s s a n c e re\'i\ al o c t a g o n a l brass l a n t e r n w i t h e l a b o r a t e l y w r o u g h t scroll arms supporting the top frieze, d e c o r a t e d w i t h twisted obelisks and scrolling pediment a b o v e an egg and dart motif with pendant s w a g s o n the frieze b e l o w . E a c l i g l a z e d p a n e l is f l a n k e d b y fluted c o l u m n pilasters w i t h a n a r c h abo\ e. T h e b a s e f r i e z e has i n t e r l o c k i n g ' C r scrolls w i t h foliate sup]3orts b e l o w , t e r m i n a t i n g in a ])ine c o n e finial. E n g l i s h , circa 1870 H e i g h t : 4 6 in (117 cm) \\'idth: 26 in (66 cm)

A cylindrical brass lantern A n e l e g a n t h e x a g o n a l brass lantern with rams head capitals joined by swags and pendant husks. E n g l i s h , circa 1880 H e i g h t : 29 in (75 cm) Diameter:

in (39 cm)

igTH

CENTURY

REVIVALISM

A pair of gilt metal and steel Barbedienne candleabra A pair of 19th centur\- gilt metal and steel four branch candelabra in the Renaissance re\ i\ al style, the scroll arms terminating in dolphin's heads supporting the drip pans and socles. T h e square stem has foliate ornament in low relief and stands on a scjuare stepped scrolling base. Signed G. SEVl\.

Inv. D. A

Fct and F. BARBEDIEXNE French, circa 1869 Height: 18 in (47 cm)

A pair of Berlin steel candlesticks A pair of Cjerman mid 19th centurv

and blue and black champleve Qni\me\ on

polished steel Corinthian column

a brass ground.

candlcsticks, ha\ ing ornamental floral work around the base and standing on octagonal stepped plinths, l l i e drip pans decorated with punched ornament

7(i

Probably Berlin, circa 1860 Height: 11 in (28 cm)

TTARGE. A

PARIS.

igi'll

CENTURY

REVIVALISM

A pair of wall lights by Osier A n unusual p a i r of O s i e r gilt metal

T h e s e wall lights w e r e originally m a d e

a n d cut glass wall lights, the glass

as gas lights, with the gas travelling

elements all cut in the finest detail,

f r o m the wall, a l o n g the liorizontal glass

h a v i n g distinctive faceted drops.

tube, to the b u r n e r inside the shade.

S t a m p e d F & C: O s i e r English, circa 1885 Depth: 17 in (43 cm)

A set of four wall lights by Osier A set o l ' f o u r wall lights, o r i g i n a l l y for k e r o s e n e , d e s i g n e d in the A r t s a n d C r a f t s style. 'I1ie o r m o l u i)rackets a r e d e c o r a t e d w ith hex elled m i r r o r s , the glass a r m s are s u p p o r t e d b y o r m o l u

F&C; Osier, B i r m i n g h a m E n g l i s h , circa 1880 H e i g h t : ig'/a in (50 cm)

a n d glass c r o s s - p i e c e s w i t h d e c o r a t i o n s h o u i n g

l)e])th: 2()'/2 in (52 c m )

a n E g y p t i a n i n f l u e n c e . I h e uprigiits at b o t h

riie shades m o d e r n , based on

e n d s ha\ e h a n d - b l o w n finials d e c o r a t e d with

c o n t e m p o r a r y designs.

s t r a w b e r r y jjrunts a n d the oil reservoirs stand in exerted coronets o f o r m o l u mounted drops.

igTH CENTURY

REVIVALISM

A set of four glass and ormolu wall lights A set of f o u r wall lights in the late i8tli century style, each wall light consisting of an ormolu bracket to which are attached three glass a r m s with pans decorated witli p e a r shaped drops a n d ormolu nozzles, holding lightly decorated storm siiades. T h e central spire is cut into two sections separated by an ormolu collar in the f o r m of acanthus lea\ es. T h e lop with three rows of pendant p e a r shaped drops s u r m o u n t e d by an o r m o l u m o u n t e d glass pineapple which reflects the finial below. English, circa 1900 Height: 32 in (81 cm) Width: 21 in (53 cm) A p a i r of period wall lights identical apart f r o m m i n o r differences in the dressing, are on show at the ^Vinterthur Museum, Delaware, U S A .

A cut glass standing lightfor gas A single b r a n c h gas light on a circular

normally only the central holder

stand hung with h e x a g o n a l drops with

s u r \ i \ e s g i \ i n g the a])pearance of a

long prisms b e n e a t h , the cur\ ed stem

conx entional candlestick. T h i s l a m p

leading to a btu'iier beneath which is a

retains a c o n t e m p o r a r y shade which

])an hung with drops that match those

has been mo\ ed for the illustration so

to the b o d y . T h i s lam]5 was designed to

that the fishtail burner can be seen.

stand on a mantel ]3iece or writing table which had a l r e a d y been p l u m b e d for gas. The cur\ ed stem is hollow and extends right d o w n the candlestick ending in a metal nozzle which would ha\ e fitted directly into the gas su])])ly. This is an extremelv rare sur\ i\ al as

Knglish, circa iHCio Height: i() in (40.5 c m j T h i s light is similar to the one illustrated in Osier's ('.rystalfor Rnyally and /^rt/rt/M l)\- John P S m i t h , ])]) 8().

i g T H CENTURY

REVIVALISM

igTH CENTURY

REVIVALISM

A cut glass chandelier by Perry & Co A ten liglit chandelier by Perry & C^o, with ten rope-twist arms with cut pans liiing with two bands of festoons and pear-shaped drops. T h e cm stem pieces ha\ e canopies above and below, hung with pear-shaped drops. Englisli. circa 1840 Height: 41 in (104 cm) Diameter: 28 in (71 cm)

's o -Tr-'T't-H

ifi \ y

Wm.^

igTII CENTURY

REVIVALISM

A pair of chandeliers attributed to Perry & Co A pair o f c h a n d c l i e r s attributed to Perry & C o . o f N e w B o n d Street, L o n d o n , with cut stem pieces surmounted by cut crooks hung with festoons o f crystal ch ops and surmounted by spires, the lower part of each chandelier has eight 'kick' arms and e i g h t ' S ' arms and is also festooned with drops. PLnglish,

circaj86o

Height: 60 in (152.5 cm) Width: 40 in (101.5 cm) Ferry & C o . , together with Osier, were the leading English chandelier makers in the 19th century. In 1803 William P e r r y j o i n e d the firm of William Parker w h o had been England's leading i8th century chandelier maker and w h o m a d e the famous chandeliers for the A s s e m b h R o o m s in Bath. William Perry appears to have married William Parker's daughter. In 1817 Perry mo\ ed to 72 N e w B o n d Street w h e n he was appointed glass manufacturer to the Prince Regent and he remained there until 1890. Perry & C o bought most of their blanks from the Whitefriars Glass House but carried out their own cutting, metal-work and assembly to their own designs. T h e i r chandeliers are to be found in m a n y of the stately homes o f England w h e r e they are often erroneously attributed to Waterford.

•Jf"!

vi.

igXH CENTURY

REVIVALISM

An eight light Osier chandelier A fine glass and o r m o l u chandelier with e i g h t ' S ' a r m s a n d the original e n g r a v e d storm-shades. S t a m p e d , F&

C Osier, B i r m i n g h a m

English, circa 1870 Height: 6 1 % in (157 cm) Width: 38'/2 in (98 cm) T h e use of vertical glass rods surrounding the stem piece is a unicjuely Osier device to give a newlook to chandeliers and wall-lights, mo\ ing a w a y f r o m the classical festooned look. This style w a s used for candles (in India), gas, and later on, electricitv.

An eight arm torchke by Osier A cut glass torchere, the stem resting on a polished brass rim with spherical finials a b o v e , the eigiit a r m s rising f r o m a brass equitorial ring a r o u n d a cut spherical steni-piece, the ring decorated with brass florets, the a r m s with cut pans hung with ' A l b e r t ' drops together with a m o n u m e n t a l d r o p h a n g i n g f r o m each crook. A b o v e the central sphere is a flared cut b o w l sitting on a radial star. S t a m p e d F & C Osier, B i r m i n g h a m English, circa 1870. Height e x c l u d i n g storm shades: 41 '/2 in (103 cm) D i a m e t e r : 27 in (69 cm)

igTH CENTURY

REVIVALISM

A Baccarat candelabmyn A twenty f o u r light c a n d e l a b r u m m a d e

In tiie B a c c a r a t museimi in L o r r a i n e is

thi.s torchere, a n d indeed it is still in

by B a c c a r a t , each a r m hung witli

an identical c a n d e l a b r u m m a d e by the

production today. H o w e v e r , B a c c a r a t

long serrated drops, standing on an

c o m p a n y for the International

soon sto])ped using cut c o m p o n e n t s ,

elaborately cut a n d faceted stem

Exhibition in Paris in 1878. In 1880

such as drip pans, in fa\ ()ur of m o r e

supported on a steel f r a m e a n d f o u r legs

B a c c a r a t o p e n e d a s h o w r o o m in

e c o n o m i c a l press-moulded items.

with d i a m o n d a n d floral cutting.

B o m b a y and this c a n d e l a b r u m (marked

T h e elaborate notched icicle dro])s ga\ e

n u m b e r 6) must h a \ e been one of the

w a y to more sim])le drops and the

main exiiibits. L a t e r on in India it w a s

elaborate cutting on the stem and legs

Height: 8 8 % in (2.22 m)

converted to electricity f r o m candles.

was rejjlaced with a sim])ler design.

Diameter: 34 in) (85 cm)

B a c c a r a t m a d e several versions of

F r e n c h , 1878

i g T H CENTURY

REVIVALISM

-JffWgUj.

smh -^m^if c J JM: '

= *

igTH

CENTI RV

RKVIVAI.ISM

An oil lamp by Osier A cut glass a n d o r m o l u oil l a m p by O s i e r , now converted for electricity with knife pleated silk l a m p s h a d e . S i g n e d F&

C Osier, B i r m i n g h a m

English, circa 1 8 8 0 Height of oil lamp: 3 0 in (76 cm) O v e r a l l height with shade: 41 '/2 in (105 cm)

A electrical hanging lamp A late 19th century brass A d a m revi\'al dish light with rich o r n a m e n t a t i o n of a n t h e m i a and floral motif, the glass dish being frosted a n d fluted. English, circa i 8 g o Height: 34 in (86 cm) D i a m e t e r of bowl: 12'/a in (32 cm)

i g T H CENTURY REVIVALISM

ICjTH CENTI RY REVIVALISM

A brass bird cage lantern

A mistletoe chandelier

A c l i a r m i n g late ujih century Frencli

A c h a r m i n g late 19th ccntury painted

brass bird cage oflraclitional f o r m .

bronze chandelier, in the f o r m of a

X o w niountecl as a lantern with late

large, naturalistic bunch of mistletoe.

19th century Indian |)ainted birds mounted on the chandelier element. F r e n c h , circa 1880

French, circa 1890 Height: 22 in (5(3 cmi Width: 22 in (56 cm)

Height: 43'"t in ( n o cm)

Mallett P L C Directors George M a g a n * Chairman Lanto Synge Chief Executive T h e Hon Peter Dixon Paula Hunt (iiles Hutchinson Smith Thomas Woodham-Smith Henry Nev ille Rex Cooper* The Hon Mrs Simon W'einstock* Simon de Zoete* * \on-executive

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