2000 Mallett at Bourdon House Catalogue by Mallett

MALLETT The Nineteenth Century

Bourdon House 2 Davies Street London W 1 and at 141 New Bond Slreet London W1

Inti'oduclioii

The m a r k e t f o r n i n e t e e n t h c e n t u r y w o r k s of a r t a n d f u r n i t u r e is one t h a t has c h a n g e d d r a m a t i c a l l y over the l a s t f e w y e a r s . A s r e c e n t l y as the 1 9 7 0 s a n y t h i n g m a d e a f t e r the R e g e n c y p e r i o d w a s d e e m e d not to be ^antique'. W h e r e a s d u r i n g the last t w e n t y y e a r s the V i c t o r i a n e r a has b e c o m e a m u c h s o u g h t a f t e r c o l l e c t o r ' s m a r k e t , s e p a r a t e f r o m t h a t of p r e v i o u s c e n t u r i e s , but n o n e t h e l e s s h i g h l y r e g a r d e d a n d c o m m a n d i n g s t r o n g p r i c e s . N o w - t h e m a r k e t has r e a c h e d a m a t u r i t y w h e r e the p r o d u c t i o n of the n i n e t e e n t h c e n t u r y is f u l l y i n t e g r a t e d into t h a t of e a r l i e r p e r i o d s . T o d a y we see t h a t the f i n e s t p r o d u c t i o n of any age c a n be set a l o n g s i d e the f i n e s t of a n o t h e r . T h i s c h a n g e is r e f l e c t e d a m o n g s t d e a l e r s a n d a u c t i o n houses a l i k e , e s p e c i a l l y as the m a r k e t b e c o m e s m o r e a n d m o r e e c l e c t i c . A s we begin the t w e n t y - f i r s t c e n t u r y the end of the n i n e t e e n t h is n o w a h u n d r e d y e a r s a w a y a n d t h a t a l l o w s us a d i s t a n c e f r o m w h i c h to see t h a t c e n t u r y , not in i s o l a t i o n , but as a r e s u l t of the c e n t u r i e s b e f o r e .

W e p r e s e n t to you here o u r t h i r d c a t a l o g u e d e v o t e d to the N i n e t e e n t h C e n t u r y . In it t h e r e a r e m a n y p i e c e s w h i c h we hope w i l l d e m o n s t r a t e the w i d e r c o n t e x t of t h a t c e n t u r y . F o r e x a m p l e the w r i t i n g t a b l e by G i l l o w s w h i c h w a s a f i r m f o u n d e d in the f i r s t h a l f of the e i g h t e e n t h c e n t u r y but the t a b l e is in the A e s t h e t i c t a s t e i n f l u e n c e d by the w o r k of G o d w i n a n d t h u s r o o t e d in the i d e a l s of the late n i n e t e e n t h . The w o n d e r f u l horse, a d e t a i l of w h i c h is o u r f r o n t cover, l o o k s even f u r t h e r b a c k in t i m e to the a r t i s t r y of a n t i q u i t y a n d yet it is c o m p l e t e l y n i n e t e e n t h c e n t u r y as w e l l .

We hope you enjoy t h i s c a t a l o g u e a n d we l o o k f o r w a r d to d i s c u s s i n g p i e c e s f u r t h e r w i t h you if you have a c h a n c e to c a l l or v i s i t us at B o u r d o n H o u s e or at 1 4 1 Bond Street.

Thomas Woodham-Smith

Henry

Neville

New

A n Aesllietic M o v e n i e n l w r i t i n g table A n u n u s u a l l a t e 1 9 t h c e n t u r y r o s e w o o d w r i t i n g t a b l e . T h e r e a r e t w o p a r t i a l l y c o n c e a l e d d r a w e r s in t h e f r i e z e w h i c h is c o n s t r u c t e d a s a c l u s t e r o f r e e d s a t t h e c e n t r e w i t h f u r t h e r s m a l l e r s c a l e g r o u p s a b o v e a n d b e l o w . T h e l e g s a r e a l s o r e e d e d a n d a r e a n g l e d o u t w a r d s a n d t e r m i n a t e in p a d f e e t . T h e y a r e j o i n e d by a d o u b l e s t r e t c h e r w h i c h is in t u r n l i n k e d t o t h e d r a w e r f r i e z e a t t h e e n d s by f i v e r e e d e d b a r s . A t t r i b u t e d to G i l l o w s . England, circa 1 8 7 0

Height: 28in

(71cm)

Width: 42in

(107cm)

Depth: 2 2 i n

(56cm)

The a t t r i b u t i o n to G i l l o w s is based on t w o f a c t o r s .

hark b a c k to the n e o - c l a s s i c i s m of the late

One, t h a t t w o other e x a m p l e s of t h i s type of

G e o r g i a n age a n d in p a r t i c u l a r to the w o r k

w r i t i n g t a b l e have been on the m a r k e t in the last

R o b e r t A d a m seem c l e a n a n d m o d e r n even t o d a y .

1 5 y e a r s a n d e a c h one d i s p l a y s the d i s t i n c t i v e

The w a y the legs s p l a y out is i n t e n t i o n a l l y a

G i l l o w s d r a w e r c o n s t r u c t i o n w h e r e the b o t t o m of

r e f e r e n c e to the E g y p t i a n a r c h however the r e e d i n g

the d r a w e r is held in p l a c e by s c r e w s p o s i t i o n e d in

is R o m a n a n d G r e e k in s o u r c e a n d even has a

slots. F u r t h e r m o r e , there is a pencil i n s c r i p t i o n

r e s o n a n c e of L o u i s X V I f u r n i t u r e . One q u i c k l y sees

u n d e r n e a t h one d r a w e r a n d G i l l o w s c a b i n e t m a k e r s

t h a t t h o u g h the A e s t h e t i c M o v e m e n t was a

are f r e q u e n t l y noted as h a v i n g signed t h e i r w o r k in

r e a c t i o n a g a i n s t the p e r c e i v e d o r n a m e n t a l

t h i s way. A t a b l e of r e l a t e d f o r m , d e s i g n e d by T.W.

p h i l o s o p h y of its age, it is e q u a l l y steeped in the

C o l l c u t t is r e c o r d e d in the G i l l o w s

a l l e n c o m p a s s i n g e c l e c t i c i s m t h a t we now, f r o m

Estimate

Sketchbooks, numbered 1 0 7 5 3 . The e l e g a n c e a n d finesse of t h i s w r i t i n g t a b l e is t y p i c a l of the A e s t h e t i c M o v e m e n t . D e s i g n e r s such as E . W . G o d w i n a n d Dr. C h r i s t o p h e r D r e s s e r l o o k e d to E g y p t a n d J a p a n as a r e a c t i o n a g a i n s t the o v e r b l o w n o r n a m e n t p r e v a l e n t at the t i m e . These designs w h i c h both w i t t i n g l y a n d u n w i t t i n g l y

our age, see as the d e f i n i n g c h a r a c t e r i s t i c of the late V i c t o r i a n era.

A n aiiiboviia centre table A v e r y u n u s u a l m i d 1 9 t h c e n t u r y c i r c u l a r a m b o y n a c e n t r e t a b l e , t h e t o p i n l a i d in e b o n y w i t h t w o lines f l a n k i n g a s t y l i s e d b e a d e d i n l a y . T h e f r i e z e is i n l a i d w i t h e b o n y s t r i n g i n g a n d a c a r v e d

moulding

o n t h e b o t t o m e d g e . T h e s t e m is o f b a l u s t e r f o r m , b o l d l y c a r v e d w i t h g a d r o o n i n g a n d s u p p o r t e d on a n e b o n y p l i n t h of s t y l i s e d e g g a n d d a r t c a r v i n g , w h i c h in t u r n r e s t s on a s i m i l a r p l i n t h , a g a i n c a r v e d o u t of s o l i d a m b o y n a . T h e c i r c u l a r p l a t f o r m b a s e h a s a n e b o n y m o u l d i n g a n d is in t u r n s u p p o r t e d by heavily c a r v e d g a d r o o n e d bun feet. The p e d e s t a l , s t a m p e d T a p r e l l H o l l a n d & Son, U p h o l s t e r e r s & Co, 19 Marylebone Street, St James's,

London.

England, circa 1 8 4 0

Height: 28in

(71cm)

D i a m e t e r of t o p : 5 0 i n

(127cm)

A s i m i l a r t a b l e c a n be f o u n d in t h e e n t r a n c e h a l l a t H o p e t o u n

House,Scotland.

Taprell Holland & Son H o l l a n d a n d S o n rose f r o m t h e i r o r i g i n s in the e a r l y 1 9 t h c e n t u r y to

a n d Navy, O x f o r d a n d C a m b r i d g e and C a r l t o n C l u b s . They a l s o

b e c o m e by the 1 8 5 0 s a r i v a l to G i l l o w s a n d one of E n g l a n d ' s g r e a t e s t

w o r k e d on m a n y l e a d i n g n a t i o n a l i n s t i t u t i o n s i n c l u d i n g the B r i t i s h

f u r n i t u r e p r o d u c e r s . R e c o r d e d as e a r l y as 1 8 1 5 as T a p r e l l a n d

M u s e u m , the G r e a t W e s t e r n R a i l w a y a n d the R o y a l A c a d e m y .

H o l l a n d , by 1 8 4 3 they were under the a u s p i c e s of W i l l i a m H o l l a n d , a

A l o n g w i t h G i l l o w s they s h a r e d the c o m m i s s i o n f o r f u r n i s h i n g the

r e l a t i v e of the revered R e g e n c y a r c h i t e c t H e n r y H o l l a n d . By 1 8 5 1

new Houses of P a r l i a m e n t , the P a l a c e of W e s t m i n s t e r and other

the c o m p a n y e m p l o y e d over 3 5 0 p e o p l e . The i n c r e d i b l e r e p u t a t i o n

g o v e r n m e n t b u i l d i n g s . N a t u r a l l y , H o l l a n d and S o n s a l s o p a r t i c i p a t e d

a n d success of H o l l a n d & S o n s d e r i v e d not only f r o m its sphere of

in m a n y of the l e a d i n g i n t e r n a t i o n a l e x h i b i t i o n s i n c l u d i n g L o n d o n in

c l i e n t s but a l s o f r o m the w i d e range of s e r v i c e s it o f f e r e d .

1 8 6 2 , V i e n n a in 1 8 7 3 a n d P a r i s in 1 8 6 7 and 1 8 7 2 .

They f o r m e d an a l l i a n c e w i t h T h o m a s D o w b i g g i n of 2 3 M o u n t S t r e e t w h o m a d e the s t a t e t h r o n e f o r V i c t o r i a ' s C o r o n a t i o n , a l s o

The H o l l a n d ' s l a b e l l e d Day b o o k s a r e now housed in the N a t i o n a l A r c h i v e of A r t a n d Design w h e r e they p r e s e n t a v i r t u a l

w o r k i n g s u c c e s s f u l l y as u n d e r t a k e r s , being r e s p o n s i b l e f o r the Duke

' w h o ' s w h o ' of 1 9 t h C e n t u r y society. H o l l a n d a n d S o n s c o n t i n u e d to

of W e l l i n g t o n ' s f u n e r a l .

t r a d e f r o m t h e i r M o u n t S t r e e t p r e m i s e s until O c t o b e r 1 9 6 8 .

U n d e r H o l l a n d , they b e c a m e c a b i n e t m a k e r s and u p h o l s t e r e r s to Queen V i c t o r i a : t h e i r f i r s t c o m m i s s i o n being f o r Osborne H o u s e in 1 8 4 5 f o r w h i c h they s u p p l i e d f u r n i t u r e in the Queen's f a v o u r e d L o u i s X V I style. They c o n t i n u e d to s u p p l y f u r n i t u r e f o r Osborne u n t i l 1 8 6 9 and a l s o g a i n e d f u r t h e r royal c o m m i s s i o n s f o r W i n d s o r C a s t l e , S a n d r i n g h a m , B u c k i n g h a m P a l a c e a n d M a r l b o r o u g h H o u s e . Other p r i v a t e c o m m i s s i o n s i n c l u d e d items s u p p l i e d to A r u n d e l C a s t l e , H a r e w o o d H o u s e a n d I c k w o r t h . H o l l a n d a n d S o n s were r e s p o n s i b l e f o r the i n t e r i o r s of L o n d o n ' s p r i n c i p a l g e n t l e m a n ' s c l u b s i n c l u d i n g the A t h e n a e u m (the e a r l i e s t r e c o r d e d ; 1 8 2 4 - 1 8 3 8 ) , R e f o r m , A r m y

A pair of marble pedestals A p a i r of mid 1 9 t l i c e n t u r y specimen m a r b l e pedestals

A collection of Neapolitan Schoo gouaches

of square t a p e r i n g f o r m , the f r o n t inset w i t h two panels of verde a n t i c o f r a m i n g a roundel. The pedestals are c o n s t r u c t e d f r o m a m u l t i p l i c i t y of d i f f e r e n t m a r b l e s . Italy, c i r c a 1 8 6 0

F o u r of a set of five early 1 9 t h c e n t u r y M e a p o l i t a n S c h o o l g o u a c h e s of n o c t u r n a l views of v o l c a n i c e r u p t i o n s at Vesuvius and elsewhere. E a c h r e c o r d i n g d i f f e r e n t e r u p t i o n s and dated between 1 7 9 4 and 1 8 2 0 .

Height: 5 0 i n { 1 2 7 c m )

E a c h signed G i o r g i o G l a s s in N a p o l i .

Tops: 13 X 1 2 i n ( 3 3 x 3 0 c m ) Italy, circa 1 8 4 0 F r a m e d : Height 1 9 i n ( 4 8 c m ) W i d t h 2 4 i n ( 6 1 c m ) P r o v e n a n c e : A private Irish c o l l e c t i o n

A 'John Company' chess set A m a g n i f i c e n t c a r v e d ivory chess set. The kings and queens tal<ing the f o r m of elephants bearing howdahs. The c a s t l e s a r e finely w r o u g h t t o w e r s , e a c h made in two pieces a l l o w i n g them to revolve. The knights of the black set a r e c a m e l s w i t h w a r r i o r s w h i l s t the w h i t e set show sabre bearing c a v a l r y o f f i c e r s . The bishops a r e quite unlike t r a d i t i o n a l sets in t h a t they a r e both w i l d a n i m a l s , a rhinoceros and a w a t e r b u f f a l o , n a t u r a l i s t l c a l l y c a r v e d . F i n a l l y the pawns a r e natives on one side and B r i t i s h soldiers on the other. T h r o u g h o u t the c a r v i n g is of e x c e p t i o n a l quality. India, circa 1 8 3 0 Height (the k i n g ) : S i n ( 1 2 . 5 c m ) , (the p a w n ) : 3in ( 7 . 5 c m )

The modern game of chess evolved during the 16th

It is from this historical nickname that these sets

century from the very ancient Hindu game of

of finely carved Indian ivory chess pieces have

C h a t u r a n g a . T h i s development of the Indian game

become known as 'John Company Sets'. E a c h set

coincides with the establishment of the E a s t Indian

represents native soldiers against British forces; the

Company by Elizabeth I in 1 6 0 0 . Despite various

pawns on one side are carved as English soldiers, with

vicissitudes during the early 17th century, the

the knights being mounted English officers. Whereas

company had established profitable trading

on the other side, turbaned w a r r i o r s carrying spears

settlements at Surat, Madras and Bombay by the late

are carved as pawns and the knights are local

1 6 6 0 ' s . However, it was not until after the middle of

w a r r i o r s mounted on camels.

the 18th century, with the victories of Robert Clive

This particular set, carved in natural ivory, is very

against both French and Dutch settlements, that

close in many details to the set owned by Robert Clive

British domain in India became undisputed.

himself, at present in the Victorian and Albert

With the view of countering any future aggression, both from the local population and foreign

Museum. They also stand on bases carved to represent stylised lotus petals and on one side the bases are

trading powers, the E a s t India Company established

differently coloured to identify each side. The detail in

its own Militia. This became known as the *John

this set is particularly fine, with the tasselled canopies

Company', because the sunburnt faces of the troops

on the howdahs and even the reins on the horses and

reminded people of the image of the archetypal

camels remain in particularly good condition.

Englishman John Bull.

•m

A pair of Schinkel garden chairs A pair of early 19th century cast iron garden a r m c h a i r s , the bacl< splats cast in the form of facing putti f r a m i n g an ornamental lyre, the arms s c r o l l and terminate in rams' heads. Beneath the arms are elaborate open anthemia. The c h a i r s stand on an

frame support with recessed panels of low

relief neo-classical ornament and terminate in hoof feet. The design by Karl F r i e d r i c h Schinkel.

Prussia, c i r c a 1 8 3 0

Height to seat: 16in ( 4 1 c m ) Height to back: 3 1 i n ( 7 9 c m ) Width: 24in (61cm) Depth: 2 0 i n ( 5 1 c m )

Cast-iron furniture was produced throughout Europe. In Germany following the defeat of Napoleon's armies in 1815, many substantial

designed by Schinkel were produced in 1825. The model of this pair of garden chairs was first used circa 1830 in the Rbmische

building projects were commissioned. The

Bader in the park at Potsdam. The simple

German architect Karl Friedrich Schinkel

stretcher and the close set round rods of the

completed the construction of the IMeue Wache

seat, make these chairs much lighter than

in 1818 and in the same year also commenced

earlier examples, which were both bolder and

the Schauspielhaus, the galleries of which were

more substantial. Schinkel had been fortunate

supported by cast-iron props. The Royal family

enough to travel to Italy, France and England

commissioned several large projects, in

in the early 19th century and had been

particular the Neuer Pavilion at Schloss

inspired by the designers and craftsmen,

Charlottenberg between 1824-25, the grounds

particularly of the English cast iron foundries.

of Schloss Glienlicke in south-west Berlin from

The fluidity of these chairs is typical of

1824-27 and Schloss Charlottenhof in

Schinkel's work with Empire motifs employed

Potsdam between 1826 and 1828. A l l were

to accentuate and highlight the smooth

surrounded by substantial park land with

uninterrupted forms. This pair of chairs is

gardens laid out next to the buildings. It was

among the most decorative pieces that

for these that the first garden benches

Schinkel designed.

. V

J'.':!.:-

A Renaissance revival lantern

A needlew^ork of animals

A n unusual English Renaissance revival o c t a g o n a l brass

A most unusual late 19th century Indian bullion

lantern having elaborately wrought scroll arms

thread stumpwork picture of wild animals hunting,

supporting the top frieze decorated w/ith twisted obelisks

each element achieved in high relief and rendered

and scrolling pediments above an egg and dart motif

within a stylised landscape.

with pendant swags on the frieze below. E a c h glazed panel is flanked by fluted c o l u m n pilasters with an arch

India, c i r c a 1 8 8 0

above. The base frieze has interlocking ' C scrolls with foliate supports below, terminating in a pine cone finial.

Framed: 32 x 5 6 i n

(81xl42cm)

England, c i r c a 1 8 7 0

Height: 4 6 i n ( 1 1 7 c m ) W i d t h : 26in ( 6 6 c m )

A Bohemian ciishioii niirror A n unusual mid 19th century Bohemian rectangular cushion mirror.

E a c h side is decorated

with slips of faceted mirror glass, flanking maroon ground enamelled panels of polychrome foliate scrolls with an enclosed anthemion at the centre.

Bohemia, circa 1860

Height: 36in (91cm) Width: 30in (76cm)

This fine cushion mirror is in original condition throughout. Mirrors such as these were first made in Venice in the 17th century, but the timeless quality of the decoration meant that they never went out of fashion. This example would have been made in Bohemia in about 1860 when the highly skilled Bohemian craftsmen copied and often bettered their Venetian contemporaries. The Berainesque enamel decoration fired onto the maroon reverse painted sidepieces is typical of the work being carried out at this time in Bohemia, now the northern area of the Czech Republic.

A pair of jardinieres An unusual pair

of mid 19th century circular oak spindle^jardinieres, having elaborately lathe turned spindles

England, circa 1860 Height: l l i n (28cm) Diameter: 15in (38cm)

A Victorian folio stand A very unusual large scale V i c t o r i a n japanned patent folio stand, ebonised and black japanned with a polychrome vignette at the centre, depicting a landscape with W i n d s o r Castle in the background. The folio has finely made brass work and adjustable legs where they attach to the main frame. The plates bear the s t a m p ' B u n y a r d patent, L o n d o n ' .

England, c i r c a 1 8 8 0

Width: 36in (91.5cm) M a x height: 4 0 i n ( 1 0 2 c m )

Windsor is a town with indivisible Royal

Pavilion. His domestic affairs were a scandal

connections, dominated by the magnificence

to the nation. William IV was equally scorned

of Windsor Castle. The castle was built by

and was dubbed 'Silly Billy' for his

William the Conqueror and became

shortcomings of tact and judgement.

increasingly significant as a royal residence.

Queen Victoria was able to turn public

The castle's most famous landmark as

opinion, and managed to become the spirit of

depicted on the folio stand is the Rouad Tower,

the nation. Her relative ordinariness was one

the centre of the original stronghold. During

of her great assets. In a period when middle

the 19th century Windsor Castle was the main

class values were paramount, she embodied the

royal residence of Queen Victoria and Prince

qualities that the middle class most admired-

Albert. At the advent of Victoria's accession to

devotion to family and friends, frugality, and

the throne, the monarchy was considered by

most importantly respectability. She was to

many to be an unnecessary institution. The

become the people's Queen. Her popularity as

previous Kings, George IV and William IV had

Queen gave rise to a concentration of interest

caused the monarchy serious problems of

in Windsor Castle and thus promoted pictorial

respectability; George IV had spent countless

images such as this charming vignette painted

thousands of pounds satisfying his insatiable

on the fall front of the folio stand.

appetite for the stupendous building projects such as at Carlton House and the Royal

A pair of Sheffield plate wine coolers A pair of W i l l i a m IV Sheffield plate wine coolers in the rococo revival style, having a pierced quatrefoil scrolling collar. The base and the handles are similar being decorated with shells and scrolls. Each wine cooler is decorated front and back with an ornamental cartouche. The front cartouche bears a crest and a coat of arms. England, c i r c a 1 8 3 0 Height: l l i n {28cm) Width: 12in (30cm)

A Caron I' Aine occasional table A C h a r l e s X rosewood c i r c u l a r o c c a s i o n a l table inlaid t h r o u g h o u t with a fine stringing of gothic ornament, the tilt top supported by a hexagonal step standing on three scroll feet, which terminate in s m a l l scale brass c a s t o r s . The design taken from C a r o n I'ATne. France, c i r c a 1 8 3 0 Height: 2 9 i n ( 7 4 c m ) Diameter of top: 2 1 i n ( 5 3 c m )

This gothic tilt top occasional table is a fine example of the Charles X style. The design of the table refers strongly to gothic elements, such as rose windows and gothic tracery, which have inspired the faceted column, the delicate tripod legs and the inlaid boxwood roundel of the top. The rosewood veneer, which has maintained its strong grain over the years, provides a good contrasting background for the gothic roundel of the tabletop and the architectural patterns inlaid in fine boxwood stringing. This type of decoration was famously designed and made by the Caron I'ATne workshops and the designs for the decorative gothic motifs are recorded in *Le Manuel de I'Ebeniste' published by Caron I'ATne in 1 8 3 6 .

Cliarles X marquetry armchairs Two of a set of four Charles X mahogany armchairs with coved scroll backs and unusual scroll and trumpet form arms. The arm supports take the form of a boldly modelled ' S ' scroll with interlocking subsidiary scrolls. The front legs are fashioned in a similar way. Throughout, the chairs are inlaid with finely wrought boxwood floral scrolling marquetry and neo-classical ornament in stringing. France, circa 1 8 2 5 Height of back: 39in ( 9 9 c m ) Height of seat: 17in ( 4 3 c m ) Width: 24in ( 6 2 c m ) Depth: 23in ( 6 0 c m )

assess

J L

m. 'W mxi

23 S-r-'itit--

A pair of cast iron models of dogs A fine quality large scale pair of Napoleon III cast iron models of sporting dogs, a spaniel and a labrador each on an integral rectangular plinth. Bearing the maker's stamp, J J D U C E L . France, circa 1 8 6 5 Height of labrador: 20in (51cm) Length of labrador: 28in (71cm) Height of spaniel: 19in (48cm) Length of spaniel: 27in (68cm)

J J Ducel was a foundry specialising in large scale animals of particularly fine quality, nearly always cast in iron. The production was very seldom signed by the sculptor and only the finer pieces carried any foundry mark. Their work was most prolific during the 1860s and the foundry appears to have ceased production during the mid 1870s.

A group of canterburys A late 1 9 t h c e n t u r y A e s t h e t i c

Movement

A n unusual early V i c t o r i a n r o s e w o o d c a n t e r b u r y

m a h o g a n y c a n t e r b u r y having a single d r a w e r in

w i t h three c o m p a r t m e n t s and a single d r a w e r in

the b o t t o m frieze, w h i c h bears the patent n u m b e r

the frieze, the sides pierced w i t h J a c o b e a n revival

L 4 6 7 8 . T h e w h o l e s t a n d i n g on brass c a s t o r s .

o r n a m e n t , the legs of round b a l u s t e r f o r m w i t h

A t t r i b u t e d to G i l l o w s .

boldly t u r n e d c o l l a r s t e r m i n a t i n g in brass c a s t o r s . In the m a n n e r of R i c h a r d B r i d g e n s .

England, c i r c a 1 8 9 0 England, c i r c a 1 8 5 0 Height: 2 0 i n ( 5 1 c m ) Width: 22in (56cm)

Height: 2 1 i n ( 5 3 c m )

Depth: I B i n ( 4 6 c m )

Width: 22in (56cm) Depth: 1 7 i n ( 4 3 c m )

A n unusual late 1 9 t h c e n t u r y m a h o g a n y c a n t e r b u r y in the style of L i b e r t y & Co.

A n unusual Regency m a h o g a n y c a n t e r b u r y having

The d e c o r a t i o n of n e o - E g y p t i a n origin.

eight c o m p a r t m e n t s f r a m e d by t u r n e d s u p p o r t s ; the sides having cross s t r e t c h e r s , a l s o having a

England, circa 1 8 9 0

single d r a w e r below.

Height: 2 1 i n ( 5 3 c m )

England, circa 1 8 0 0

Width: 17in (43cm) Depth: 1 2 i n ( 3 1 c m )

Height 2 1 i n ( 5 3 c m ) Width: 22in (56cm) Depth: 1 5 i n ( 3 8 c m )

A cast iron stool A mid 19th century painted cast iron cross frame stool, the arm rests held in place by boldly modelled paterae. At the centre of the stool there is an equally boldly cast shield cartouche with a central cabouchon framed by a cable moulding. The patent design by Wright & Co. of Sheffield and bearing the design registration diamond.

England, circa 1859 Height: 24in (61cm) Width: 23in (59cm)

Depth: 16in (41cm)

â&#x20AC;˘

This cast-iron example of the more traditional wooden X framed stool, is cast as individual elements and constructed with a twisted stretcher and pierced arms. Wright & Co. also made several other interpretations of the same design, which incorporate various guilloche motifs, and in some cases are designed with ornate chair backs derived from Renaissance models. The design for the present stool was registered with the Design Office in 1859.

A brass hat stand A very unusual early Victorian brass hat and stick stand in the form of a central column, surmounted by an acorn finial supporting three tiers of four 'S' scroll hooks, which terminate in ball finials.The base is divided into four compartments for umbrellas fashioned in a similar manner to the hooks. Below is a dished tray in brass for drips which stands on small scale stylised hoof feet. England, circa 1825 Maximum height: 84in (213cm) Maximum diameter: 21in (53cm)

Coalbrookdale stick stands A V i c t o r i a n gothic c a s t iron sticl< s t a n d w i t h 2 4 rings for

A V i c t o r i a n gothic c a s t iron s t i c k s t a n d w i t h 12 rings for

s t i c k s , tlie sides d e c o r a t e d w i t h an e l a b o r a t e gothic a r c h .

s t i c k s , the sides d e c o r a t e d w i t h an e l a b o r a t e gothic a r c h .

T h e handles a r e c a s t w i t h s p i r a l flutes w i t h gothic

The handles a r e c a s t w i t h s p i r a l f l u t e s w i t h gothic

f o l i a t e s c r o l l s u p p o r t s . The w h o l e standing on a stepped

f o l i a t e s c r o l l s u p p o r t s . T h e w h o l e standing on a stepped

c h a m f e r e d edge p l a t f o r m base.

Coalbrookdale.

England, c i r c a 1 8 7 0

Height: 2 3 i n ( 5 8 c m )

Width: 39in ( 9 9 c m )

Width: 23in ( 5 8 c m )

Depth: 1 3 i n ( 3 3 c m )

A very unusual double length C o a l b r o o k d a l e c a s t iron s t i c k stand w i t h s p a c e s for 3 2 u m b r e l l a s . The sides a r e d e c o r a t e d w i t h s t y l i s e d f o l i a t e o r n a m e n t below a gothic a r c h , and have a handle a t the top. B e l o w the rings for retaining the s t i c k s is a pierced f r i e z e of gothicised dentils.

England, c i r c a 1 8 7 0 Height: 2 3 i n ( 5 8 c m ) Depth: l O i n ( 2 5 c m ) JJI l ur

uml)rclla>, u i i h holi.>.

These three cast iron stick stands were cast at the Coalbrookdale foundry in Shropshire. See the illustration on the right for the pattern for the 24 ring model.The design of the stick stands was perfectly suited to the period, both stylistically and from the perspective of their manufacture. The tracery could be cast as a unified flowing piece, with pierced windows as required. The inspiration for these was derived from gothic architecture, which also saw a massive revival in the 19th century. The stick stands incorporate ogee arches, vaults, trefoils, pendants and naturalistic elements in the form of stylised acanthus leaves. Stick stands such as these were an essential element of any nineteenth century town residence,

Hi.;li. o11

where there were not any rooms for visitors to

o •. 1 -J J

prepare themselves on a r r i v a l . They would have often hanging coats and hats. Cast iron was particularly

37f .jil

2 v',

been used in conjunction with hall stands suitable for

I'r..

1T..J., U l.k ••> -1 1

c.lcll

14 . '1 1.;.

7,>

ttcil wiUi bar.- or iiiilc> in citlici- .•-i/.r.

suitable for this type of furniture, as wet or damp clothing did not cause the same problems of deterioration as with wooden hall stands. See further uses of cast iron by Coalbrookdale on pages 57 - 5 9 .

The design,

number

128264,

and is listed as number section

11, page

235.

221A

was registered

and patented

in their 1875

Castings

1860

Catalogue,

illustration by permission of Christie's Images Ltd.

A Florentine eentre talkie A m a g n i f i c e n t mid 1 9 t h c e n t u r y F l o r e n t i n e centre table, the top i n l a i d w i t h ' p i e t r e d u r e ' r e p r e s e n t i n g g a r l a n d s of j a s m i n e and vines w i t h q u a r t z grapes, butterflies, shells and c o r a l s in s e m i - p r e c i o u s stones w i t h i n a m a l a c h i t e and p o r p h y r y border. The gilt bronze f r a m e in the m a n n e r of P e l a g i o P a l a g i , the b o r d e r r i c h l y d e c o r a t e d w i t h lotus moulding, the pierced frieze w i t h a t r a i l i n g o r n a m e n t of a n t h e m i o n and e m b e l l i s h e d w i t h p a n t h e r ' s heads. The upper s t r e t c h e r w i t h m o u l d e d n e o - P o m p e i a n o r n a m e n t , w i t h e l a b o r a t e l y t u r n e d legs united by a m o u l d e d X f o r m s t r e t c h e r s u p p o r t i n g a vase of f l o w e r s .

Italy, c i r c a 1 8 5 0 Height: 3 5 i n ( 9 0 c m ) Width: 41in {105cm) Depth: 2 5 i n { 6 3 c m )

The ornamental detail of this table, inspired by ancient Roman prototypes, bears a marked similarity to that on an ormolu table designed by Pelagio Palagi { 1 7 7 5 - 1 8 6 1 ) for the Royal Palace in Turin. Palagi was among the most influential neo-classical artists working in Northern Italy in the 19th century.

Ref: Museo Civico Bologna 1 9 7 6 Pelagio Palagi A r t i s t a e collezionista, p.179

iy,

A rearing stone tiorse A m o s t u n u s u a l half life size m i d 1 9 t h c e n t u r y c o m p o s i t i o n stone m o d e l of a r e a r i n g h o r s e . T h e f r o n t h o o v e s s u p p o r t e d by a t r e e t r u n k , t h e h e a d t u r n e d s l i g h t l y t o t h e l e f t a n d t h e f l o w i n g m a n e a n d t a i l c a r v e d in f i n e d e t a i l .

England, circa 1 8 5 0

Height: 59in

(150cm)

Length: 50in

{127cm)

Width: 14in (36cm)

T h i s r e a r i n g h o r s e r e l a t e s to the f a m o u s p a i r of

R e a r i n g H o r s e s . These m a s t e r p i e c e s c l e a r l y

h o r s e s at the C h a t e a u of M a r l y , w h i c h is s i t u a t e d

d e m o n s t r a t e the f l e x i b i l i t y of a t a l e n t t h a t w a s

j u s t to the west of P a r i s in the Y v e l i n e s

able to a d a p t the c l a s s i c i s i n g a r t of V e r s a i l l e s to

d e p a r t m e n t . It w a s b u i l t in 1 6 7 9 - 1 6 8 3 f o r L o u i s

the m o r e d e l i c a t e and elegant a t m o s p h e r e of

X I V as an annexe to V e r s a i l l e s by J u l e s

M a r l y ; t h e i r lively s p i r i t b e l o n g s to the a r t of the

Hardouin

M a n s a r t , C h a r l e s Le B r u n a n d A n d r e Le N o t r e .

R o c o c o t h o u g h they r e t a i n the dignity of the

The b u i l d i n g s were sold d u r i n g the F r e n c h

Grand Siecle.

R e v o l u t i o n ( 1 7 8 9 - 1 7 9 5 ) and d e m o l i s h e d in the

The p r e s e n t s c u l p t u r e e p i t o m i s e s the b l e n d i n g

1 9 t h century, but the site s t i l l shows the m a i n

of these s t y l e s : the n a t u r a l i s t i c p l i n t h in the f o r m

o u t l i n e s of the g a r d e n s . The g a r d e n s c u l p t u r e at

of a f o l i a t e d tree t r u n k on w h i c h the r e a r i n g h o r s e

M a r l y w a s of a m o r e b u c o l i c a n d l i g h t - h e a r t e d

b a l a n c e s itself is t y p i c a l of the c l a s s i c a l p e r i o d

c h a r a c t e r t h a n t h a t at V e r s a i l l e s . The m o s t f a m o u s

w h e r e a s the f l o w i n g m a n e a n d t a i l is a d e p a r t u r e

s t a t u e s at M a r l y were A n t o i n e C o y z e v o x ' s

f r o m c l a s s i c a l c o n f o r m i t y a n d gives the s c u l p t u r e

e q u e s t r i a n g r o u p s of M e r c u r y a n d F a m e w h i c h

an a i r of R o c o c o v i b r a n c y a n d d y n a m i s m .

w e r e r e p l a c e d in 1 7 4 5 w i t h G u i l l a u m e C o u s t o u ' s

Lamp Group (from left to right)

A pair of mid 19th century Paris porcelain aubergine

A pair of late 19th century yellow ground Chinese vases

coloured large scale baluster f o r m vases, decorated in

with polychrome f l o r a l ornament and vignettes of

polychrome with figures representing the A r t s and

landscapes. N o w mounted as lamps.

Sciences. Now mounted as lamps. The vases, China, circa 1880 The vases, France, c i r c a 1 8 6 0 Height with shade: 28in (71cm) Height with shade: 3 3 i n ( 8 4 c m )

A n unusually large scale baluster f o r m d e c a l c o m a n i a vase A pair of large scale mid V i c t o r i a n white ground

decorated with polychrome chinoiserie on a lapis blue

d e c a l c o m a n i a vases decorated with polychrome chinoiserie

ground. N o w mounted as a lamp.

in chinoiserie decoupage. Now mounted as lamps. The vase, England, circa 1870 The vases, England, circa 1840 Height with shade: 34in (86cm) Height with shade: 19in (48cm)

A. brass fire surround , A very unusual Regency brass fire surround with a D shaped mantel and boldly ribbed and fluted sides and slips, the stylised columns are surmounted by a brass circular patera and stand on block feet. England, circa 1810 Height: 47in (119cm) Mantel width: 59in (150cm) Opening: 39 x 37in (99 x 94cm)

A tole water cistern A mid 19th century Dutch tole water cistern, decorated to simulate J a p a n e s e lacquer. The top enriched with a decoration of abalone shell birds set within vignettes. The sides of the vase are decorated with a ribbon bordered vignette on both faces. On one side showing a captain and his wife set amidst a landscape, looking out towards his ship. The ribbon border is inscribed 'Door L B . B R E U G E L I V l A N S ' . T h e other face shows a lighthouse with a paddle steamer and bears the inscription 'Antwerpen 1 8 5 5 ' . The cistern is mounted with a large gilt bronze pine cone finial and elaborately cast snake handles. Both the stem and the finial are mounted with gilt bronze c o l l a r s and set with faceted glass studs. Low Countries, circa 1855 Height: 34in ( 8 6 c m ) Maximum diameter: 20in ( 5 1 c m )

Front

Back

A pair of Barbedienne candelabra A pair of late 19th century gilt metal and steel four branch candelabra in the Renaissance revival style, the scroll arms terminating in dolphins' heads supporting the drip pans and socles. The square stem has foliate ornament in low relief and stands on a square stepped scrolling base. Signed G. S E V I N . Inv. D. A T T A R G E . Fct and F. B A R B E D I E N N E A P A R I S . France, circa 1870 Height: 18in (46cm)

A tole water cistern A m i d 1 9 t h c e n t u r y D u t c h t o l e w a t e r c i s t e r n , d e c o r a t e d t o s i m u l a t e J a p a n e s e lacquer. The t o p e n r i c h e d w i t h a d e c o r a t i o n of a b a l o n e s h e l l b i r d s set w i t h i n v i g n e t t e s . The sides of the vase a r e d e c o r a t e d w i t h a r i b b o n b o r d e r e d v i g n e t t e on b o t h f a c e s . On one side s h o w i n g a c a p t a i n a n d his w i f e set a m i d s t a l a n d s c a p e , l o o k i n g o u t t o w a r d s his s h i p . T h e r i b b o n b o r d e r is i n s c r i b e d ' D o o r I . B . B R E U G E L M A N S ' . The o t h e r f a c e s h o w s a l i g h t h o u s e w i t h a p a d d l e s t e a m e r a n d b e a r s the i n s c r i p t i o n ' A n t w e r p e n 1 8 5 5 ' . The c i s t e r n is m o u n t e d w i t h a l a r g e g i l t b r o n z e pine c o n e f i n i a l a n d e l a b o r a t e l y c a s t s n a k e h a n d l e s . B o t h the s t e m a n d t h e f i n i a l a r e m o u n t e d w i t h g i l t b r o n z e c o l l a r s a n d set w i t h f a c e t e d g l a s s s t u d s . L o w Countries, c i r c a 1 8 5 5

Height: 34in ( 8 6 c m ) M a x i m u m diameter: 20in (51cm)

Front

Back

A pair of Barbedienne candelabra A pair of late 19th century gilt metal and steel four branch candelabra in the Renaissance revival style, the scroll arms terminating in dolphins' heads supporting the drip pans and socles. The square stem has foliate ornament in low/ relief and stan^is on a square stepped scrolling base. Signed G. S E V I N . Inv. D. A T T A R G E . Fct and F. B A R B E D I E N N E A P A R I S . France, circa 1870 Height: 18in (46cm)

A pair of glass Osier etageres A p a i r of three t i e r etageres c o n s t r u c t e d w i t h p a r t i c u l a r l y finely cut glass w i t h m i r r o r e d shelves. The shelves have a teak c a r c a s s s u p p o r t e d by an e l e c t r o - p l a t e d silver m e t a l f r a m e c l a d w i t h strips of c u t a n d m i r r o r e d glass.

England, circa 1 8 8 5 Height: 3 5 i n s ( 8 9 c m ) Length: 3 2 i n s { 8 1 c m ) Depth: 1 9 l n ( 4 8 c m )

Osier of Birmingham were the world's largest

whatnot'. The bold highly cut c i r c u l a r corner pieces

manufacturer of glass furniture in the 19th century.

on this pair are a slightly later improvement to the

The design for these etageres f i r s t appears in the

original design. Another etagere is in the collection

Osier design book as number 2 8 1 7 , dated

of the Birmingham City Museum and A r t Gallery.

September 1 8 8 2 , where it is described as an 'oblong

â&#x20AC;&#x17E;

â&#x20AC;˘

\n Edwardian stool A most unusual early 20th century steel and brass folding stool with adjustable height mechanism and circular padded seat. England, circa 1910 Maximum height: 20in (51cm) Diameter of seat: 13in (33cm)

V^i

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A collection of glassware This collection of mid 19th century glass is decoratCL; using a variety of techniques.

A cased glass carafe, tumbler and stand

A blue and white latticino claret jug with

A ruby red carafe, tumbler and stand

a mushroom stopper.

enriched with bands of fired gilding.

in green over white, over amber glass.

Saint Louis, France, circa 1850

Bohemia, circa 1850

This colour way is believed to be unique

Height:

Height: Sin (20cm)

to the Saint Louis Factory.

12in OOcm)

France, circa 1850 Height: Sin (20cm)

A pair of jugs with gilt rims enamelled in

A pale blue carafe and tumbler decorated

colour depicting storks in a leafy setting.

with fired enamel and gilding.

France, circa 1860

France or Bohemia, circa 1850

Height: l l i n (28cm)

Height: Sin (20cm)

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'It

A pair of Russian ewers A most unusual pair of mid 1 9 t h century blue porcelain vases mounted in gilt bronze as ewers, having a foliate spout and handle and a boldly modelled gadrooned base. Russia, circa 1860 Height: 18in (46 cm) Width: 9in (23 cm)

A model cotton mill chimney A very unusual model chimney fashioned from red thread cotton reels, joined together to give the Impression of the brick vi^ork of a cotton mill chimney, mounted with glltv\/ood collars. Now as a standard lamp.

The column, England, circa 1900 Height with shade: 89ln (226cm)

This column being a model of a chimney from a cotton mill and being made of cotton implies that it must have been a rather unusual commission. It was possibly made for a factory owner or as a witty sales promotion.

An eglomise pane A very unusual Napoleon III square Verre eglomise panel, the gilt work very richly rendered in interlocking stylised foliate ornament, the sides and corners with simulated marble paterae, the central cartouche similarly rendered with stylised agate, malachite and lapis. N o w mounted as a low table.

The panel, France, circa 1860

Height: 14in (36cm) Width: 32in (81cm) Depth: 32in (81cm)

'Verre eglomise' or the reverse decoration of glass is

the atmosphere. In this example the craftsman has

a technique which has been known since Roman

first acid-etched decorative scroll work in the areas

times and was familiar to the Chinese in their

to be gilded which has resulted in enhanced

reverse paintings on mirror plates. The colours

brilliance to the gilding and he has then reverse

always maintain their original brilliance as the paint

painted the remainder to replicate semi-precious

surface seen is adhering to glass and not exposed to

stones including malachite and blood stone.

A I'osewood duel lahle A Charles X rosewood duet table, the top inlaid with boxwood stringing, the music stands open to reveal a birds eye maple interior, the top supported on a column stem with boxwood collars. The whole supported on a traditional cruciform plinth. The base bearing the maker's initials S . A . France, circa 1825 Height: 31in (79cm) Width of top: 36in (91cm) Diameter: 19in (48cm)

.'J

\ hall stand

A set of tole book boxes

A n unusual mid 1 9 t h c e n t u r y m a h o g a n y - t h r e e t i e r h a l l

A set of ten unusual p a i n t e d and gilded t o l e book boxes i n s c r i b e d

s t a n d having four f l u t e d turned legs w i t h an

' A d m i r a l t y Navy D o c u m e n t s ' and dated between J a n u a r y 1 8 7 0 and

e l a b o r a t e l y c a r v e d f l o r a l p a t e r a between each of the

September 1871.

t i e r s . The t o p tier, w h i c h was possibly made to s u p p o r t saddles, is in the f o r m of t u r n e d bars w h i c h are

E a c h box: 15 x 11 x 3 i n ( 3 8 x 2 8 x 8 c m )

s u p p o r t e d by a solid m a h o g a n y arch, joined at the apex by a s i m i l a r bar. The middle t i e r is a m a h o g a n y shelf w i t h a t u r n e d m o u l d i n g and s u p p o r t i n g a brass u m b r e l l a s t a n d at the outside. The b o t t o m t i e r is f l a n k e d by the feet, w h i c h t a k e the f o r m of an ogee c a r v e d in low relief w i t h an a c a n t h u s leaf.

France, c i r c a 1 8 6 0 Height: 5 3 i n ( 1 3 5 c m ) Width: 65in (165cm) Depth: 1 4 i n ( 3 6 c m )

A b a s k e l o n s l a i u l d o s i ^ i i e d by l^iitvens O

ÂŤ.'

A most unusual rectangular mahogany and carved basket, the top edge carved with a rope pattern moulding with turned a c o r n finials at each corner, the sides carved with a running scroll and leaf design, raised on a mahogany base, with H f o r m stretcher and brass castors.

England, circa 1900

Height: 29in (74cm) Width: 31in (79cm) Depth: 23in (58cm)

Provenance: Mary Lutyens, Edwin Lutyens'

the Birmingham Guild, domestic furniture for

daughter, states that this piece of furniture was

Messrs Walter Skull and Sons of High

Wycombe, and George Muntzer of Mount

time before 1919, when the family lived at 13

Street, London. Among the major architectural

Mansfield Road, London. On Lutyens's death in

commissions he executed were Munstead Wood

1944, the basket passed to his wife Emily and

for Gertrude Jeckyll, Deanery Garden for

on her death in 1966 to Mary Lutyens. Lutyens designed a wide range of domestic

Edward Hudson, Marsh Court, Tygbourne Court, and Castle Drogo for Julius C. Drewe

furnishings, including garden furniture, pianos

and the Viceroy's House, New Delhi, for which

for John Broadwood and Sons, metalwork for

he also designed interior furnishings.

A |)air of cast iron tallies A p a i r of m i d 19tPi c e n t u r y B o h e m i a n p o l i s l i e d c a s t i r o n o c c a s i o n a l t a b l e s in t h e f o r m of f l u t e d c o l u m n s , s u r m o u n t e d by l i o n ' s h e a d s b e a r i n g r i n g s b e n e a t h f l a r e d , f l u t e d c a p i t a l s . T h e c i r c u l a r p l a t f o r m b a s e s a r e c a s t w i t h a r i n g o f f l u t i n g b o r d e r e d w i t h a l o w r e l i e f s c r o l l i n g ivy p a t t e r n w i t h a s t y l i s e d e g g a n d d a r t e d g e . T h e w h o l e s u p p o r t e d o n f o u r l i o n ' s p a w f e e t , s u r m o u n t e d by l i o n s ' h e a d s . T h e t a b l e s h a v e b l a c k f o s s i l marble, dished tops. Prague, c i r c a 1 8 6 0

Height: 29in

(74cm)

D i a m e t e r of t o p : 2 8 i n ( 7 1 c m )

T h i s p a i r of c a s t i r o n t a b l e s a r e n o r t h E u r o p e a n a n d were p r o b a b l y m a n u f a c t u r e d in P r a g u e . The t a b l e s w e r e d e s i g n e d as i n t e r i o r h o u s e h o l d f u r n i s h i n g s a n d i n c o r p o r a t e m o t i f s , w h i c h refer t o f u r n i t u r e d e s i g n e d by S c h i n k e l . There a r e m a n y s t r o n g a r c h i t e c t u r a l r e f e r e n c e s such as the a t t r a c t i v e lion m a s k s w i t h rings and the h a i r y p a w feet c o m b i n e d w i t h the use of the f l u t e d single c o l u m n s , w h i c h have s t y l i s e d bases a n d c a p i t a l s . I n t e r e s t i n g l y the c i r c u l a r bases a r e c a s t w i t h i n t e r t w i n e d vines a n d of ivy a n d f l o r a l elements, w h i c h are p e c u l i a r to these t a b l e s as they a r e c a s t in low relief.

Cast iron furniture Techniques of c a s t iron m a n u f a c t u r e have

g o o d s . One of the m o s t s i g n i f i c a n t inventions

e v o l v e d since the M i d d l e A g e s , f r o m the m o s t

of the 1 8 t h c e n t u r y w a s c o k e . D e v e l o p e d by

p r i m i t i v e of t o o l s to the b e a u t i f u l l y c a s t

A b r a h a m D a r b y in 1 7 0 9 , coke r e p l a c e d the

f u r n i t u r e of the 1 9 t h c e n t u r y a n d beyond. The

use of c h a r c o a l in the b l a s t f u r n a c e s as it

p r o c e s s of e x t r a c t i n g iron f r o m iron ore is

c o u l d r e a c h the m u c h higher t e m p e r a t u r e s

q u i t e c o m p l e x a n d d e m a n d s r e l a t i v e l y high

r e q u i r e d f o r l a r g e - s c a l e p r o d u c t i o n . The

levels of t e c h n o l o g i c a l r e s o u r c e s . The s m e l t i n g

i n t r o d u c t i o n of s t e a m engines i n s u r e d t h a t the

p r o c e s s r e q u i r e s l a r g e q u a n t i t i e s of fuel and a

f u r n a c e s c o u l d be c o n s t a n t l y s u p p l i e d w i t h

high level of t e c h n i c a l s k i l l . To m a k e c a s t i n g

b l a s t s of air. In 1 7 9 4 the W i l k i n s o n c o m p a n y

possible, the p r o p e r t e c h n i c a l e q u i p m e n t ,

p a t e n t e d the ' c u p o l a b l a s t f u r n a c e ' in w h i c h

p r i m a r i l y the ' b l a s t f u r n a c e ' and the c a s t i n g

the c h e m i c a l c o m p o s i t i o n of s m e l t e d iron c o u l d

m o u l d s had to be d e v e l o p e d . F r o m the 1 4 t h

be better c o n t r o l l e d a n d thus s u c c e e d in

c e n t u r y c a s t i r o n w a s used in the p r o d u c t i o n of

i m p r o v e d r e s u l t s in the c a s t i n g p r o c e s s .

gun b a r r e l s , c a n n o n b a l l s a n d u t e n s i l s . P r o d u c t i o n of c a s t - i r o n w a s t h u s only p o s s i b l e

The decisive f a c t o r f o r i m p r o v i n g the end r e s u l t was the m o u l d , f o r m e d in s a n d w i t h the

w i t h t e c h n i q u e s s i m i l a r to bronze or silver,

m o d e l being l a i d in closed, but s e p a r a b l e ' f o r m '

w h e r e the m o l t e n m e t a l w a s p o u r e d into a

boxes. The s a n d had to be a r r a n g e d in such a

m o u l d . B e f o r e the 1 8 t h century, however the

w a y t h a t the f o r m did not a l t e r w h e n the iron

r e q u i r e d t e m p e r a t u r e of ( 1 5 3 5 째 C ) needed to

w a s p o u r e d in, a n d it had to a l l o w the gases

e x t r a c t the m a t e r i a l f r o m m o l t e n iron ore

t h a t developed to escape. A l l these inventions

c o u l d only be a c h i e v e d in blast f u r n a c e s of a

c o n t r i b u t e d to p e r f e c t i n g the c a s t i n g process

relatively small scale.

t h a t lay behind the d e v e l o p m e n t of c a s t iron as

The 1 8 t h c e n t u r y t h e n b r o u g h t f u r t h e r d e v e l o p m e n t s , p a v i n g the w a y to ever f a s t e r m e t h o d s of p r o d u c i n g c a s t - i r o n

the m o s t i m p o r t a n t , t y p i c a l a n d d o m i n a n t m a t e r i a l of the 1 9 t h c e n t u r y .

A n eboiiised folio secretaire A large scale r e n a i s s a n c e revival ebony and ebonised w o o d m e c h a n i c a l s e c r e t a i r e on s c r o l l legs w i t h a c a n t h u s leaf and boldly m o d e l l e d paterae. The piece opens v i a a brass b u t t o n to reveal a p a r t n e r s w r i t i n g desk where the folio element can be lifted to hold the paper v e r t i c a l l y . England, c i r c a 1 8 7 0 Height: 3 9 i n ( 9 9 c m ) Width: 39in (99cm) Depth: 2 5 i n ( 6 3 c m )

A white marble bust of a woman A good q u a l i t y 1 9 t h c e n t u r y w h i t e m a r b l e p o r t r a i t bust. By a n d signed L . B i e n a i m e . Italy, c i r c a 1 8 7 0 Height: 2 4 i n ( 6 1 c m ) Width: 14in (36cm)

Luigi Bienaime (b.Carrara 1 7 9 5 d . l 8 7 8 ) was a student of Thorwaldsen in Rome becoming in time head of his atelier. His work is represented at the Metropolitan Museum of A r t in New York.

(n'cr/cdj

A Kegeiicy music stand A Regency s a t i n w o o d a n d brass m u s i c s t a n d of a d j u s t a b l e height w i t h two a r t i c u l a t e d c a n d l e arms, the m u s i c rest t a k i n g t h e f o r m of a l y r e f l a n k e d by g i l t l a u r e l

leaves.

England, circa 1 8 1 0 Height: 4 4 i n

A pair of Coall)ro()kclale wall cabinets A p a i r o f C o a l b r o o k d a l e c a s t i r o n h a n g i n g c u p b o a r d s in t h e n e o - c l a s s i c a l s t y l e . T h e u p p e r e l e m e n t is s u r m o u n t e d by a

(112cm)

s c r o l l e d pediment. The c e n t r a l section stands below a pierced g a l l e r y and has t w o d o o r s m o u n t e d w i t h bevelled glass w i t h r i b b e d g l a z i n g bars. The d o o r s open to reveal a s i n g l e s h e l f a n d a b a c k d e c o r a t e d w i t h s t r i p e s of n a r r o w f l u t e s . B e l o w t h e c e n t r a l s e c t i o n t h e c a b i n e t s t e r m i n a t e in a f u r t h e r p i e r c e d g a l l e r y j o i n e d by f l y i n g b u t t r e s s s u p p o r t s .

mi II l-^.r,:

England, circa 1 8 7 0

Height: 30in

(77cm)

Width: 19in (48cm) Depth: 7in ( 1 8 c m )

â&#x20AC;˘ -X

This p a i r of C o a l b r o o k d a l e c a s t iron h a n g i n g c u p b o a r d s e x e m p l i f i e s the very v a r i e d types of m e t a l f u r n i t u r e a v a i l a b l e d u r i n g the 1 9 t h c e n t u r y . A g a i n s t y l i s t i c a l l y the c u p b o a r d s r e f e r to a r c h i t e c t u r e a n d i n c o r p o r a t e n e o - c l a s s i c a l , r e n a i s s a n c e a n d g o t h i c m o t i f s in a t r u l y e c l e c t i c manner. The p a i r of hanging c u p b o a r d s were p r o b a b l y d e s i g n e d f o r the C o a l b r o o k d a l e c o m p a n y by the a r c h i t e c t a n d d e s i g n e r T h o m a s J e c k y l l . One of J e c k y l l ' s m o s t n o t a b l e c o m m i s s i o n s w a s the P e a c o c k R o o m f o r F r a n c i s L e y l a n d , w h i c h was c o m p l e t e d in 1 8 7 7 . J e c k y l l is p r o b a b l y best k n o w n , however, f o r his i r o n w o r k . He w a s a g r e a t e x p o n e n t a n d l e a d e r of the A e s t h e t i c

Movement

a n d w a s heavily i n f l u e n c e d by J a p a n e s e design. The refined i n c i s e d lines w h i c h o u t l i n e the c u b i c f o r m s of the c u p b o a r d s r e v e a l t h i s i n f l u e n c e . The lines are a t y p i c a l m o t i f of t h i s period, a n d are seen on a l l types of c o n t e m p o r a r y

international

f u r n i t u r e . In N e w Y o r k the H e r t e r B r o t h e r s used a p a r t i c u l a r l y g o o d e x a m p l e of t h i s type of d e c o r a t i o n on an e b o n i s e d f a l l f r o n t desk, c i r c a 1 8 8 0 . (Gere, C, N i n e t e e n t h C e n t u r y Design, W e i d e n f e l d a n d N i c o l s o n , L o n d o n . Page 1 7 9 ) W i t h i n E n g l a n d , the C o a l b r o o k d a l e C o m p a n y w a s the m o s t p r e s t i g i o u s and i m p o r t a n t m a n u f a c t u r e r of c a s t iron, e m p l o y i n g a w o r k f o r c e of over f o u r t h o u s a n d men. The c o m p a n y h a d an e x t e n s i v e range of p r o d u c t s such as o r n a m e n t a l vases, c h a i r s , stoves, tables, s t i c k s t a n d s , hat a n d c o a t stands, f o u n t a i n s , p a r k gates a n d even pin c u s h i o n s . In 1 8 5 1 the c o m p a n y e x h i b i t e d m a n y of its w a r e s at the G r e a t E x h i b i t i o n , w h i c h w a s o r g a n i s e d by P r i n c e A l b e r t a n d H e n r y C o l e a n d held in Hyde P a r k .

Km.

• - ••SV

A |)air of Osier torcheres

A Roy a

clothes liorse

A pair of glass and silver plated torcheres m a n u f a c t u r e d

A most unusual mid 19th century clothes horse in

and signed by F & C Osier, Birmingham, the heavy cast base

solid satinwood with parcel gilt detail, having two

on three small bun feet above w h i c h are a series of

gateleg rails, surmounted by ball finials, raised on

differently decorated glass segments, supported by silver

a platform base on curved end supports with

plated sleeves and surmounted by a mirrored plateau.

acanthus leaves, terminating in scroll toes. The underside is stamped w i t h an inventory mark

England, circa 1875

V R 1 8 6 6 W i n d s o r Castle, room 5 0 8 .

Height: 45in (114cm)

England, circa 1850

Height: 37in (94cm) W i d t h (closed): 33in (84cm) Width (open): 66in (168cm) Depth: 14in (36cm)

A red glass column lamp

A pair of oak arts and crafts hall cliairs

A n e x c e p t i o n a l mid 1 9 t l i c e n t u r y o p a l i n e and ruby glass

A p a i r of early V i c t o r i a n pale oak h a l l c h a i r s in the

cased c o l u m n lamp, the opaline panels d e c o r a t e d w i t h

m a n n e r of R i c h a r d B r i d g e n s . The back having a t o p rail

l a n d s c a p e s a n d f l o r a l trophies, the f a c e t e d ruby glass

of three b a l u s t e r s with, at the centre, a boldly c a r v e d

c o l u m n r i c h l y o r n a m e n t e d w i t h f o l i a t e gilded d e c o r a t i o n .

arch, w h i c h f o r m s a handle. The sides are pierced and c a r v e d w i t h i n t e r l o c k i n g ' C s c r o l l s . The f r o n t seat rail

France, circa 1 8 5 0

has below it, a f r i e z e c a r v e d w i t h g e o m e t r i c o r n a m e n t and having a c a b o c h o n at the centre. This c a b o c h o n

Height with shade: 3 6 i n {92cm)

o r n a m e n t a l m o t i f is repeated in d i f f e r e n t scales t h r o u g h o u t the c h a i r s .

England, c i r c a 1 8 5 0 B a c k height: 3 1 i n C79cm) Seat height: 1 7 i n { 4 3 c m ) Width: 19in (48cm) Depth: 1 6 i n { 4 1 c m )

MALLETT

PLC

DIRECTORS Rex

Cooper*

Lanto Synge

chairman chief Executive

The Hon Peter Dixon Paula Hunt Giles Hutchinson Smith Thomas Woodham-Smith Henry Neville The Hon M r s Simon W e i n s t o c k '

*Non executive

M a l l e t t & Son (Antiques) L t d

M a l l e t t at Bourdon House Ltd

141 New Bond Street

2 Davies Street

London W I Y

OBS

ILJ

Tel +44(0)20 7 6 2 9 2 4 4 4

Fax +44(0)20 7 4 9 5 3 1 7 9

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Lanto

Thomas Woodham-Smith

Synge

Managing Director

The Hon Peter Dixon Director

Henry Neville Director

Paula Hunt Director

Katie Pertwee

Giles Hutchinson Smith Director

Felicity Jarrett

John Smith

Nicholas Wells

Associate Director

James Harvey

Associate Director

Richard Cave Jeremy Garfield-Davies Tarquin Bilgen Charles M a c k i n n o n

M a l l e t t Website: www.mallett.co.uk Email: antiques@mallett.co.uk

I M a l l e t t & Son (Antiques) L t d 2 0 0 0 Designed by S i n c l a i r C o m m u n i c a t i o n s P r i n t e d in E n g l a n d by B a l d i n g + M a n s e l l

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Director