2001 - Mallett at Bourdon House by Mallett

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MALLET T The Nineteenth Centiiry

2 l)a\i('s Sli'('(M London W I 111 New Bond Slrccl 1)21) Madison ANcniic

London W I ^oi-k 10021

Introduction Despite a troubled year when travel has not been encouraged the a r t market has continued to find eager followers. W i t h the present being so turbulent there is something immensely reassuring about being surrounded by history and not only history but also the beauty that it can create.

M a l l e t t continues to be very active. Our New York shop at 9 2 9 M a d i s o n Avenue has opened now and is providing our clients with a rich selection f r o m our two L o n d o n shops. Through this window we hope to show how broad our church is. E x i s t i n g clients of M a l l e t t have known for years that the L o n d o n shops offer a wide range of stock f r o m the finest English w a l n u t furniture to t r i u m p h s of twentieth century design, though the novice needs to be inducted into this exotic c o m b i n a t i o n . The hope is that M a d i s o n Avenue w i l l act in this way.

This catalogue is our f o u r t h in a series begun in 1 9 9 6 . It represented then a brave departure f r o m t r a d i t i o n for both Bond Street and B o u r d o n House. Today the story is quite different. We celebrate the excitement and t h e a t r i c a l i t y of both the beginning of the nineteenth century and its end, with equal relish. M o r e o v e r we begin to see an appetite for both the a r t deco and post w a r design beginning to emerge.These markets have all been established as specialist areas for some time but the eclectic a p p r o a c h to interior design w h i c h is ever more inclusive allows entry to all periods and all styles. A s the great church architect of the early twentieth century S i r N i n i a n C o m p e r f a m o u s l y said "Cthese pieces a c q u i r e ] unity through i n c l u s i o n " .

Though this catalogue is entitled the nineteenth century there are a few incursions into the twentieth. We find it too limiting to restrict ourselves and we p a r t i c u l a r l y wish to illustrate our stock of Val S t L a m b e r t glass. This Belgian f a c t o r y has been undervalued for too long and our glass d e p a r t m e n t under J o h n S m i t h has already been instrumental in redefining the c o m m e r c i a l and a c a d e m i c perception of this highly influential production centre.

There are hopefully many temptations in this selection but we p a r t i c u l a r l y wish to d r a w your attention to some pieces that we feel refuse to be defined by the period of their m a n u f a c t u r e . These are the exceptional safe on page 58, the red tole centre table on page 44, the Heal's a r t deco sideboard on page 72, the pair of giltwood bobbin turned hall c h a i r s on page 8 6 and the s t r i k i n g aesthetic movement gasoliers on page 8 8 .

We hope you enjoy the catalogue and if there is any item that you find of p a r t i c u l a r interest please do not hesitate to c o n t a c t us and we w i l l help in any way we can.

L e f t : A m i d 1 9 t h c e n t u r y c a r v e d a n d s t a i n e d l i m e w o o d g r o u p d e p i c t i n g an e a g l e p e r c h e d o n a t r e e s t u m p lool<ing d o w n on t o a bear. T h e e a g l e is d e p i c t e d o p e n - w i n g e d a n d c a r v e d in f i n e d e t a i l . T h e g r o u p is s u p p o r t e d o n a n i n t e g r a l oval plinth.

A William IV derni-lune side table A highly unusual William IV chinoiserie demi-lune side table. The top, the frieze, the base plinth and the back supports are all lavishly decorated with gilt against a black ground with scenes derived from perceptions of Chinese life. The frieze itself is bordered with a gilt ribbon carved moulding and has a drawer at the centre. The exotically fashioned legs are boldly carved with interlocking foliate scrolls and foliate patera at the centre. The platform base is of serpentine outline and is supported on demi-lune feet. The back is mirrored and flanked by chinoiserie decorated pilasters. Probably England, circa 1835 Height: 34in (85cm) Width: 54in (137cm) Depth: 25in (64cm)

The origins of tlie technique l<nown as 'japanning' stem from the luxury

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

import of Chinese and Japanese lacquer f r o m the 16th century

However, it was not until after the 1 6 5 0 ' s that these imports really

onwards. The English enthusiasm for oriental art and culture was lit

arrived in considerable quantities in Europe.

with the founding and success of the East India Company in 1 6 0 0 .

A f t e r a slight waning of popularity in the early 18th century, there

Lacquer represented the ultimate in sophisticated interior decoration.

was a revival to coincide with the emerging romantic spirit of the age,

A s a consequence of the prestige attached to imported lacquer, the

stimulated by books on travel to the Orient that appeared. The designs

costs of cabinets were prohibitive. Such was the impact of lacquer that

became quite extravagant and wild and, by 1 7 6 5 , the m a n i a for it was

there sprang a school of craftsmen who attempted to imitate these

on the wane again.

Japanese and Chinese imported wares. Techniques developed and often involved coating a ground in at least two applications of varnish

It did not disappear completely and re-surged towards the end of the century being made fashionable again by the dining room of the

composed of gum-lac, seed-lac or shell-lac.These substances derived

Prince of Wales at C a r l t o n House, described and illustrated in

f r o m various preparations of a resin deposited by the insect 'coccus

Sheraton's Drawing Book ( 1 7 9 3 ) .

l a c c a ' on twigs. The resin would be dissolved in spirits and the solution

By the 19th century large lacquer screens were being used as

would be applied to the surface in numerous coats, using various

grand furnishing items to divide rooms in great English houses. These

colours but mainly black, green and sealing-wax red. Decorations were

screens directly inspire the decoration on this side cabinet. Chinoiserie

drawn in gold size, built up with gum arabic and sawdust, then

became an increasingly popular motif in English decorative arts.

coloured, polished and gilded. The whole surface was burnished.

Famously Thomas Chippendale used Chinese motifs as a decorative

Japanned wares were greatly sought after by European clients and

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

there was a strong trade with Spain and Portugal. Thomas Howard,

demonstrates the enduring appeal of chinoiserie as a f o r m of

E a r l of Arundel wrote to his wife regarding the purchase of a quilt

decoration. Cabinet-makers were still captivated by the exoticness of

which " w i l l serve ye bedde of J a p p a n exceedinge w e l l " ; such coining of

imported lacquer throughout the 19th century and even today the

terms and the vague geographical comprehension of the time resulted

taste for the oriental remains.

A pair of gothic wall lanterns A pair of mid 19th century early Victorian large-scale gothic, parcel-gilt cast iron hexagonal wall lanterns. Each has an elaborate scroll acanthus finial, supported by a pyramidical canopy with a frieze of scrolling acanthus above gothic arched windows, each supported by a base of comparable form to the canopy. In the manner of A W N Pugin England, circa 1845 Overall height: 66in (168cm) Width: 18in (46cm) Overall depth: 21in (54cm)

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A suite of grotto furniture A most unusual suite of mid 19th century Nortli Italian grotto furniture, consisting of four armchairs and a centre table. The chairs are carved in naturalistic detail and in high relief to simulate the effect of gnarled twigs and tree trunks, each having a serpentine back rail and very stylised cabriole legs. Each chair is carved with a different leaf at the apex of the back and each chair, though conceived from the same ornament, is different in the detail. The centre table is of tripod form and is further carved with a motif of trailing ivy throughout the base and has insects and small reptiles hidden within the carving. It retains its original scagliola verde antico top having a shallow frieze also carved with trailing ivy. Italy, circa 1840 Table: Height: 28in (71cm) Diameter: 43in (109cm) Chairs: Height of seat: 19in (48cm) Height of back: 47in (119cm) Width: 24in (61cm) Overall depth: 24in (61cm)

Mrn^

i .

The design influences on this suite of furniture extend bacl< through

Newcastle. Throughout the Rococo period in Europe, during the

the aesthetic philosophers of the 18th century to the poets of

middle years of the 18th century, this inspiration from natural

classical Rome. In the writings of both Horace and Ovid the virtue of

elements was continuously redefined. Furniture designs from this

grottoes, as man-made natural vi^ilderness v>/ithin formal gardens, is

period by Chippendale, as well as by Darly and Manwaring, often

frequently extolled. This unnatural or constructed disorder became a

suggest the natural shape and form of the original timber, sprouting

major tenet of 18th century landscape theory contrasting the

as twigs and boughs interlaced to become chair backs and legs.

formality of neo-classicism with the natural spectacle of the sublime.

This grotto suite is an exceptional example of the revival of this

Famous grottoes were lavishly designed using natural elements, often

rococo aesthetic, extending the tradition of naturalised furniture and

housing fountains with classical sculpture, throughout Europe.

man controlling nature, by reconstructing a natural twig and branch

Architects, such as Claude Ledoux (1736-1806), introduced theories on the origins of architectural elements deriving from natural

rustic look from skilfully carved solid timber and then having it richly gilded. This paradox, as with the grottoes of classical Rome, was

forms. The arch was often drawn as a tree with multiple bent boughs.

intended both to stimulate and amuse the enquiring minds of leisured

Such theories were reproduced in the decorative arts and even

and wealthy Italian patrons.

engraved and enamelled on glass, for instance by the Beilby family in

A malachite casket An unusual mid 19th century Russian ormolu mounted

Two pairs of Empire side cliairs

malachite casl<et with a stepped domed lid bordered in gilt bronze, which is repeated at the foot. The sides have re-

Two pairs of Empire mahogany side chairs. The backs have

entrant corners and are enriched with rococo revival gilt

column side rails, which flank a panel of upholstery, which is

bronze handles.The interior retains its original red velvet

supported by a pierced gallery with a patera at the centre of

lining. Throughout the malachite is of the finest quality.

each element.The chairs stand on sabre back legs and turned tapering legs of baluster form at the front which have an

Russia, circa 1850

unusual bell form foot.

Height: 5in (12cm)

France, circa 1815

Width: l l i n (28cm) Depth; 7in (17cm)

Height of back: 37in (94cm) Height of seat: 17in (43cm) Width: 19in (48.5cm) Depth: 17in (43cm)

v^ vi.

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Three oeeasioiial tallies A very unusual octagonal occasional table, having a specimen top

A highly unusual polished iron early 19th century occasional

with a star at the centre and surrounded by overlapping trefoils,

table having an elaborately turned central column supported

with an outer border of an irregular diamond pattern. The table

by three scrolling stylised serpents. The table is surmounted

stands on an octagonal stem with a white marble capital and foot.

by a specimen marble top with a six-point centre, fashioned

The whole supported on a triangular concave sided plinth.

from triangles of sample marbles.

England, circa 1830

Continental, circa 1810

Height: 29in (74cm)

Height: 28in {71.5cm)

Diameter of top: 19in (49cm)

Diameter of top: 28in (71.5cm)

A rare Napoleon III gilt bronze occasional table having a column stem mounted with a foliate spiral achieved in finely chased detail; this is supported on three foliate scroll legs in turn mounted with stylised acanthus leaves. The top retains its original polychrome scagliola top decorated with geometric motifs and a border of foliate scrolls terminating in fantastical stylised waterfowl. In the manner of Barbedienne

France, circa 1860

Height: 30in (77.5cm) Diameter of top: 21in (53.5cm)

A Palais Royal etui

A Regency side table

A rare early 19th century Palais Royal mother of pearl and

A Regency parcel-gilt side table. The frieze is decorated in

ormolu etui In the form of a miniature secretaire. The marble

gilt at the front with a female mask framed in a roundel of

top opens to reveal a mirror above a tray with scissors,

honeysuckle and flanked by narrow staves bound in vine.

needle case and thimble. The fall front has a leathered back

The table is supported at the front with neo-Egyptian heads

and small well incorporating funnel and perfume bottles

above square tapering legs terminating with gilt enclosed

above two false drawers and a single long drawer. The whole

anthemia. At the back are rectangular pilasters with gilt

has a mirrored back and supported on square feet.

foliate capitals and feet. The whole is supported on a

France, circa 1820

gilt neo-classical ornament. The table retains its original

rectangular plinth decorated with a sphinx surrounded with grey marble top. Height: Sins (21cms) Width: Sins (13cms)

England, 1810

Depth: 4ins ( l l c m s ) Height: 34in (86.5cm) Width: 30in (76cm) Depth: 14in {36cm)

A good pair of Empire red tole trumpet vases.The front face is decorated in gilt with a putto playing a lyre and one of the sides with gilt foliate ornament. The vases stand on gilt claw feet above a simulated marble plinth. France, circa 1820 Height: 9in (23cm) Maximum width: 6in (14cm)

••"•J T

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S 15

A pair of Canterburies An unusual pair of late 19th century aesthetic nnovement mahogany canterburies. The decoration is in the neo-Egyptian style typical of Liberty & Co. Stamped M a w Till and Kirke & Co Ltd, Hull England, circa 1885

Depth: 12in (31cm)

A pair of Empire gilt bronze wall lights A n unusual pair of north Italian Empire period gilt bronze, two branch wall appliques, the back plate takes the form of a vase with stylised acanthus leaf at the base and issuing from the top of the vase. The arms are o f ' S ' scroll form and have acanthus leaf bright burnished at the terminal. The socles are enriched with machined neo-classical ornament and are supported on drip pans with further neo-classical ornament and gadrooned bases.

Italy, circa 1 8 1 0

Height: 13in (33cm) Width: l O i n (25.5cm)

A William IV hexagonal lantern A fine quality William IV bronze patinated hexagonal lantern having six scroll arms supporting a smoke cowl and bearing each face of the lantern. The sides are surmounted by foliate scrolls and supported by foliate bun feet. The lantern has a replacement three branch chandelier. England, circa 1830 Height: 29in (74cm) Width: 14in (36cm)

overleaf

Four reel tole tea caiiiiisters

All Empire eaiiipaigii bee

Four early 19th century red and gilt japanned tole tea

A n exceptional Empire brass campaign bed. The ends are

cannisters, each numbered and decorated with an individual

fashioned as four columns flanked by square cross-section

Chinese figure in polychrome, standing in exotic gardens

pilasters with circular patera capitals and raised panels on the

within a gilt Chinese lattice border.

front face. The sides of the bed are a series of ' X ' frame sections centred with further paterae and supported by a rail

England, circa 1820

of similar construction to the ends. The whole terminates in square tapering legs with castors.

Height: 17in (44cm) Diameter: 9in (23cm)

France, circa 1820

Length: 81in (206cm) Width: 36in (91.5cm) Height of ends: 47in (116cm) Height of sides: 27in (68cm) Height to top of mattress: 29in (74cm)

A r o s e w o o d side table b y T^eiiiarehand A fine quality late E m p i r e rosewood side table having a

A fine pair of early 1 8 t h century c l o b b e r w a r e porcelain vases

mahogany lined single drawer in the frieze decorated with a

with covers decorated with shades of red, yellow, green and

recessed panel with a ripple-moulding border. S m a l l recessed

pink over underglaze blue.

panels decorated in the same manner, flank the drawer. The table stands on boldly carved scroll legs enriched with acanthus leaf

China, c i r c a 1 7 0 0

moulding at the front and having recessed subsidiary scrolls carved into it. The console has square supports at the back.

Height: 1 9 i n ( 4 8 c m )

The whole is supported on a large-scale box plinth. The table retains its original black fossil marble top. Stamped twice L e m a r c h a n d

France, c i r c a 1 8 2 0 Height: 3 8 i n ( 9 6 c m ) Width: 50in (127cm) Depth: 1 8 i n ( 4 6 c m )

The L e m a r c h a n d dynasty is one of the greatest in F r e n c h f u r n i t u r e

did retire, he simply c a r r i e d on. He f i n a l l y r e t i r e d and left his

history. Its f a m e rests on the oeuvre of two men; the f a t h e r C h a r l e s -

business to his son s h o r t l y before his death, in 1 8 2 6 .

J o s e p h and his son, L o u i s - E d o u a r d . T h e i r business f l o u r i s h e d for

L o u i s - E d o u a r d L e m a r c h a n d was born in 1 7 9 5 and was sent off

over sixty years between 1 7 9 1 and 1 8 5 2 but t h e i r apotheosis c a m e

at the age of 15 to study a r c h i t e c t u r e . This was seen as useful

when L o u i s - E d o u a r d was c o m m i s s i o n e d to provide N a p o l e o n ' s t o m b

e d u c a t i o n for f u r n i t u r e c o n s t r u c t i o n techniques. However, he was

for Les Invalides.

enticed by the m i l i t a r y life and he deserted his studies to sign up for

C h a r l e s - J o s e p h L e m a r c h a n d was born in Dieppe in 1 7 5 9 , the son of the postmaster. He had one brother and three sisters, one of

the m i l i t a r y a c a d e m y of S a i n t Cyr in 1 8 1 3 . F o l l o w i n g Waterloo, he was released f r o m the a r m y w i t h the

w h o m m a r r i e d the ebeniste P. R o u s s e l . T h e next mention of C h a r l e s

rank of sub-lieutenant and joined the f a m i l y business. Despite his

is in 1 7 8 9 when he became a maTtre on the eve of the R e v o l u t i o n .

youth, he i m m e d i a t e l y played an a c t i v e role and soon his f a t h e r

He possibly served his a p p r e n t i c e s h i p w i t h Roussel but

ceded c o m p l e t e c o n t r o l to him, indeed, it is f r o m this period t h a t the

unfortunately h i s t o r y does not relate. His business f l o u r i s h e d and

w o r k s h o p s achieved t h e i r greatest o u t p u t . He m a n a g e d to negotiate

s u b s t a n t i a l w e a l t h was r e c o r d e d at the time of his m a r r i a g e . He had

for L e m a r c h a n d to be patented suppliers to the R e s t o r a t i o n G a r d e -

two sons E m i l and L o u i s - E d o u a r d , w h o joined his f a t h e r ' s business

meuble. He supplied the kings, C h a r l e s X and L o u i s - P h i l i p p e . In

in 1 8 1 5 .

1 8 3 0 , he obtained the t i t l e of o f f i c i a l ebeniste to the due d ' O r l e a n s .

Despite the v i c i s s i t u d e s of G a r d e - m e u b l e c o m m i s s i o n i n g , his business seems to have enjoyed a s t a b i l i t y of success so seldom found w i t h ebenistes of the period. He a p p e a r s to have never gone

He passed the business on as a successful going concern in 1 8 5 2 but lived in good health until 1 8 7 2 . The L e m a r c h a n d s t a m p was used t h r o u g h o u t the period of both

b a n k r u p t w h i c h is a l m o s t unheard of. He was c l e a r l y as good a

father and son and was a c k n o w l e d g e d as a sign of quality and

businessman as he was a c a b i n e t - m a k e r and one of his ploys has

finesse. T h o u g h not renowned for innovation, they were f a m o u s for

come down to us. He liked, on occasion, to give the impression that

the use of exotic woods and the c o n f i d e n t a p p l i c a t i o n of

he was going to retire and he o f f e r e d his entire stock, or s u b s t a n t i a l

c o n t e m p o r a r y style. T h e i r r e p u t a t i o n rests on fine carving, good

p a r t s of it, to various clients at discounted prices. However, he never

design and o u t s t a n d i n g c a b i n e t - m a k i n g .

A pair of Ceylonese jardinieres A pair of 19th century Ceylonese circular ebony jardinieres. The boldly carved edges take the form of an elaborate cornucopia of insects, flowers and fruit. The sides are carved to simulate a lattice of basket work and are flanked by an acanthus leaf. The whole stands on four flattened bun feet. Now having brass liners. Ceylon, circa 1 8 5 0 Height: 19in (48.5cm) Diameter: 13in (33cm)

\ Berlin marble occasional table A n unusual early 1 9 t h century Berlin white marble c i r c u l a r occasional table having an elaborate foliate baluster c o l u m n stem finely carved with stylised foliate ornament. The whole standing on a stepped plinth of octagonal concave sided f o r m and terminating in flattened bun feet. A t t r i b u t e d to K F Schinkel. Northern Germany, c i r c a 1 8 2 5 Height: 3 3 i n ( 8 5 c m ) Diameter: 3 3 i n ( 8 4 . 5 c m )

Karl Friedrich Schinkel ( 1 7 8 1 - 1 8 4 1 ) had a most prolific and

commissions for several interiors. Through these he developed strong

productive life. He had great aspirations for the philanthropic power

links with artisans and craftsmen. The a r t historian, Gustav Waagen,

of his art. W h i l s t these aspirations proved to be rather idealistic and

in 1 8 5 4 at the Schinkel Festival, said that Schinkel, through his link

over ambitious, it would be true to say that in an increasingly

with Beuth, "enjoyed the advantage of constantly expanding his

industrialised world, his work displayed a humane character linking

knowledge of Greek, Roman, Romanesque, Gothic, A r a b i c ,

the past with modernity. Philosophically, Schinkel was influenced by

Renaissance and modern art and thereby achieved rare universality of

Johann Gottlieb Fichte who believed strongly in the will and creative

outlook. [ H e ] possessed ...the quality of penetrating into the spirit of

power of man's action; writing of the duty of the individual towards

the a r t of the most varied nations and eras and assimilating it in such

society and the active role of the state in education and training of

a way that he was able to work in that spirit himself." Waagen, 1 8 5 4 ,

the people. Schinkel took Fichte's writing on his first Grand Tour; for

col. 3 0 1 .

Schinkel, therefore, the study of antiquity, the Renaissance, medieval

To conclude, his applied art designs can be said to have arisen

and mannerist art, architecture and landscapes was integrally

f r o m an historical perspective, schooled in antiquity and the

important. In his extensive areas of study including lithography,

Renaissance which equally respected modern requirements and

painting and theatre set design he constantly refers the viewer to

manufacturing processes. He handled all diverse mediums including

Antiquity. Classical Athens, for example, being presented as a social

wood, iron, stone and glass with skill and imagination. Uniquely he

and a r t i s t i c model for the modernisation of Prussia. Fundamentally, Schinkel devoted his service to the state. He pursued initially a classical training in architecture ceasing, in 1 8 1 0 ,

received the admiration and the respect of his contemporaries and history has shown him to be one of the most influential designers f r o m his era.

to concentrate on working for the King, becoming a civil servant working as an Oberbauassessor with the Kbniglichen Technischen

L i t e r a t u r e : Karl

Oberaudeputation ( P r u s s i a ' s supreme building authority). He served

Yale University Press,

as an Oberbaurat (councillor) f r o m 1 8 1 5 and became an Oberbaudirektor in 1 8 3 0 until he died. M a n y of his celebrated designs for furniture and works of a r t were for new and rebuilt royal palaces

Friedrich

Schinkel:

A universal

man,

M i c h a e l Snodin, publ.

1991

I l l u s t r a t e d : A c o m p a r a b l e e x a m p l e in t h e " B r o w n R o o m ' of P r i n c e

Albrecht's

P a l a c e , c i r c a 1 8 2 9 - 3 3 . Karl

Michael

Friedrich

Schinkel:

A universal

man,

S n o d i n , p u b l . Y a l e U n i v e r s i t y P r e s s , 1 9 9 1 , p. 8 2 , p i . 8 0

and residences. During the Napoleonic occupation, patriotism was strong and Schinkel leant towards the R o m a n t i c school drawing influences for his work f r o m Germany's medieval and Gothic past. However A n t i q u i t y won him over and its philosophy, which appealed to the bourgeoisie, also suited him commercially.

He resolved that one should not

slavishly copy history but should rethink the role of antique models within modern culture, making it relevant to the contemporary age. A t the same time, like many of his peers, he followed the work of J o h a n n Wolfgang von Goethe. He believed in the Greek concept of the " i d e a l " , this came from a uniquely harmonious, integrated and free society and became the epitome of an integrated art and culture. He was constantly striving to reconcile A t t i c and contemporary influences. E x a m p l e s of his building achievements in Berlin are the Neue Wache ( N e w Guardhouse), the Schauspielhaus (Theatre), and the M u s e u m on the Lustgarten (Altes M u s e u m ) . Schinkel was the architect with the greatest influence on the industrial arts and crafts of the 19th century. His designs and theories were disseminated by his pupils and through design

D e s i g n o f t a b l e w i t h r o u n d t o p f o r t h e s c u l p t u r e g a l l e r y in S c h l o s s T e g e l , c i r c a 1 8 2 4 . K. F. Schinkel.

Mdbel

und

Interieur,

Barbel Hedinger and Julia

publ. Deutscher K u n s t v e r l a g M i i n c h e n Berlin, p . 1 0 9 , pi. 2 1 .

Berger,

A novelty lemon squeezer and soda stand A n unusual E d w a r d i a n novelty silver-plate lemon squeezer and soda stand. Entwined rods that t r a n s f o r m into supports for real lemons, swizzle sticks and period soda bottles, support tfie central stylised lemon. The whole is supported on a c i r c u l a r plinth with a central recess for a glass. By and stamped Hukin & Heath.

England, c i r c a 1 9 0 0 Height: 1 2 i n ( 2 9 c m ) M a x i m u m width: 1 2 i n ( 2 9 c m )

I l l u s t r a t e d : O r i g i n a l designs c o u r t e s y of N a t i o n a l Design A r c h i v e , Kew, Richmond, Surrey

A William IV side cabinet An unusual late William IV parcel-gilt side cabinet.The ends liave three open quarter round shelves which frame the central double doors. The top frieze has ebonised borders around recessed panels framed in gilt and veneered in rosewood and having a repousse brass acanthus moulding above. The central doors are glazed and flanl<ed by ebony veneered pilasters. The whole is supported on an ebony plinth enriched with a further moulding of repouss6 gilt brass. England, circa 1840 Height: 36in (91.5cm) Width: 50in (127cm) Depth: l O i n (25.5cm)

Two folio stands A V i c t o r i a n patent mahogany and brass folio stand having

A good quality V i c t o r i a n parcel gilt patterned folio stand.

adjustable a r t i c u l a t e d brass arms. The supporting mahogany

The folio is supported by a r t i c u l a t e d bronze legs. The leather

elements are chamfered on the front face. The whole is

flap opens to reveal marbleised paper and interior fitments.

supported on brass and ceramic casters. The brass work is

The ' A ' frame support is in the neo-classical taste with

stamped ^Patent L o n d o n ' . The folio now contains a modern

fluting and elaborate turning.

green leather folio case. England, c i r c a 1 8 7 0 England, 1 8 7 0 Height: 4 9 i n ( 1 2 4 . 5 c m ) Height: 4 0 i n ( 1 0 1 . 5 c m )

Width: 32in (81cm)

Width: 37in (94cm)

Depth: 2 1 i n ( 5 3 . 5 c m )

Depth: 2 5 i n { 6 3 . 5 c m )

V ;

V-

A pair of giltwood side chairs A pair of W i l l i a m IV giltwood side c h a i r s . The backs are surmounted by facing foliate scrolls and have side rails with foliate c a p i t a l s . T h e back pad is supported by a double bar stretcher with further stylised c l a s s i c a l scrolls between.The c h a i r s stand on sabre legs at the back and turned tapering ones at the front that have a band of gadrooning at both the c a p i t a l and at the base.

England, c i r c a 1 8 3 0 A t t r i b u t e d to Thomas Dowbiggin Height to seat: 1 8 i n ( 4 6 c m ) Height of back: 3 5 i n ( 9 0 c m ) Width: IBin (46cm) Depth: 2 1 i n ( 5 4 c m )

T h o m a s Dowbiggin (b. 1 7 8 8 - d. 1 8 5 4 ) only relatively recently

separate awards for their innovative furniture designs,

has been credited with the recognition he deserves as one of

exploiting new timbers and decorative techniques. A m o n g s t

England's finest cabinet-makers of the second quarter of the

some of his greatest c o m m i s s i o n s are for furniture for S i r

19th century. The earliest record of the business was in 1 8 1 6

C l i f f o r d Constable at B u r t o n Constable, Yorkshire; The Duke of

at 128, M o u n t Street, finally settling at no. 23. His successful

Wellington at Apsley House, London; and significant amounts

and prosperous f i r m helped to establish M o u n t Street as a

of major pieces between 1 8 2 1 and 1 8 3 1 for L o r d W i l l o u g h b y

c a b i n e t - m a k i n g centre. A m o n g his patrons were members of

de Eresby at D r u m m o n d Castle, Tayside; Grimsthorpe,

the Royal family, the a r i s t o c r a c y and gentry. The cabinet-

Lincolnshire and Piccadilly, London. The c h a i r s shown here are

makers, H o l l a n d & Sons, previously known a s T a p r e l l , H o l l a n d

very similar to a set of chairs in the L i b r a r y at Dalmeny House,

& Son, had been in business since the early part of the 19th

seat of the E a r l of Rosebery. There is no f i r m connection to

century. In 1 8 4 5 , they worked closely with Dowbiggin, later

Dowbiggin for these c h a i r s but in the 4 t h E a r l ' s cash book, the

t a k i n g over the premises. H o l l a n d & Son were often listed in

following invoices are found:

directories under Dowbiggin's name. In 1 8 2 1 , in association with H o l l a n d & Sons, Dowbiggin leased property in Hanover

1 8 2 0 Feb 20

Square f o r m the E a r l of Grosvenor as w o r k s h o p and warehouse space.

His prosperity grew enabling him to

purchase Bute House, built by J a m e s A d a m , brother of Robert,

£1,000

Oct 2

Dowbiggin balance, of furniture

£428.09

1822 Jan

L a m b upholsterer Trotter

involved with various building projects in Bute Street and the

Parker bronze lamps

Grosvenor Square area. He was appointed an adviser on furniture and upholstery for the Great E x h i b i t i o n of 1 8 5 1

£338.12

Dowbiggin on acct. of furniture

in the fashionable area of B r o m p t o n , in 1 8 3 3 . Dowbiggin was

where both he and H o l l a n d & Son exhibited, resulting in

Trotter upholsterer furniture

Dowbiggin 1823

J a n Trotter

£86 £360 £ 2 9 . 7.6 £1,092.12.4 £558.10

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A watercoloiir of flowers A large scale mid 1 9 t h centui-y w a t e r c o l o u r of a classical vase bearing the p a r t i a l l y legible dedication to (Ly)cidas, shown bedecked with a swag of flowers. The plinth bears an indistinct signature. France, c i r c a 1 8 7 0 Framed: 4 1 x 3 4 i n ( 1 0 4 x 8 6 c m )

This vase of flowers is derivative of an archetypal f o r m seen in

enthusiastically. The vase here is adorned with a luxurious

Dutch and Flemish paintings of the 17th century when flowers

variety of spring and summer garden flowers that f a l l

and insects had a didactic purpose: to remind us of the

predominantly to the left, the vase being visible on the right.

perishable and m o r t a l state of man and the brevity and

This still-life as a whole is thus quite idealised and functions

insignificance of our own indulgent pleasures. A n antique vase

purely decoratively. So whilst these flowers may be seen as

reveals part of the name of L Y C I D A S , a name that is c o m m o n

having a c o m m e m o r a t i v e purpose they tumble and flow in a

in ancient Greek pastorals. It may be making reference to the

lively cascade of gentle c o l o u r s and can only be seen as

mythological c h a r a c t e r of Lycidas the shepherd or M i l t o n ' s

positive and cheering. However, in the 19th century, a great

poem " L y c i d a s " , a lament for the death of E d w a r d King, a

interest developed in professional and a m a t e u r botany and the

fellow collegian at C a m b r i d g e who drowned off the coast of

flowers drawn here are carefully and t r u t h f u l l y rendered, f a r

Wales in 1 6 3 7 . By the 1 8 t h century, in Europe, flowers in a r t performed a highly decorative function and became a prolific design motif

more so than flower paintings two centuries earlier, so that we can recognise clearly the unbelievably comprehensive bouquet containing many of the flowers that feature in M i l t o n ' s poem:

in many mediums. Over the previous three decades, both

ivy, roses of various varieties, peonies, primroses, pinks, tulips,

Northern and Southern European painters had endeavoured to

honeysuckle, daffodils, hyacinths, lobelia, snowdrops, cowslips,

depict flowers with increasing accuracy. A l t h o u g h French

anemones, lilies, a m a r a n t h u s ( o r N o v e lies bleeding'), gentians,

painters had not favoured the subject greatly in the past, by

violas, violets, dianthus, willow, narcissi, pansies, myrtle and

the middle of the 1 9 t h century, this genre was embraced

berried ivy.

The chaise longue became an extremely fashionable article of

forefront of taste during this period and the English

furniture during the Regency period. The form and ornament

aristocracy, led by the Prince Regent, keenly followed the

are derived from classical antiquity. Although the form is

fashions In Paris. One of the Iconic Images of the post French

derived from a Greek source with its bold inlaid key pattern

revolutionary period is the painting of Madame Recamier by

and out-swept sabre legs, the execution of the decoration is

Jacques Louis-David in which she regally reclines on a similar

taken from French cabinet making. The French were at the

daybed in a classical pose.

A grey marble occasional table

A seated bouiid A Regency white marble model of a seated hound shown with his tail tucked In and head turned to the

A very unusual Italian early 19th century grey marble circular

left. The whole carved with an integral, irregular oval

occasional table having an elaborate rolled moulding on the

shaped plinth.

outer edge. Each element is secured with bands of lead. The top is supported on a turned column with a boldly carved collar towards the base. The whole stands on a concave sided square with scrolls at the corners.

Central Italy, circa 1830

England, circa 1810 Height: 31in (79cm) Width: lOin (25cm) Depth: 19in (48cm)

Height: 29in (75cm) Diameter: 29in (73.5cm)

A L()uis-Phili|)j)e tile carpet A L o u i s - P h i l i p p e needleworl< tile carpet having a scroll border surrounding a band of foliate paterae with three rows of four elaborately rendered quatrefoils. The entire carpet is achieved in green, yellow and shades of red. Two of the corners are inset with a r m o r i a l panels. The upper corner bears the arms of Pierre Henri Gerault de Langalerie, Bishop of Belley f r o m 19th M a r c h to 2 7 t h October 1 8 7 1 and, f r o m 1 8 7 1 , A r c h b i s h o p of A u x . T h e a r m o r i a l is surmounted with the motto: *Vince In Bono M a l u m ' ( X o n q u e r evil with g o o d ' ) . T h e lower corner bears the arms of Joseph Augusta V i c t o r M o r l h o n de Laumiere, A r c h b i s h o p of Le Puyen-Velay, f r o m 3 0 t h M a y 1 8 4 7 , died 6th October 1 8 6 3 .

France, c i r c a 1 8 5 0 (Reduced f r o m a larger carpet) 106in X 133in (269.5cm x 338cm)

N e e d l e w o r k c a r p e t s ranging in size f r o m s m a l l rugs to large c a r p e t s were made in both F r a n c e and E n g l a n d in H i l e ' form, t h a t is, in separate sections of about 1 2 i n x 1 2 i n t h a t could be fitted together to f o r m a k a l e i d o s c o p i c overall pattern. The design of this carpet echoes t h a t of medieval f l o o r tiles. Yet the c o n c e p t of this type of textile was entirely the innovation of such designers as W i l l i a m M o r r i s and A W N Pugin, c h a m p i o n s of the A r t s and C r a f t s movement, whose a i m was to extol the honesty and r o m a n t i c i s m of c r a f t s m a n s h i p and design of the p r e - i n d u s t r i a l age.

\n Empire walnut etagere An Empire walnut etagere having two drawers in the frieze, each enriched with finely figured flame veneer and mounted with boldly modelled gilt bronze patera. Large-scale neo-classical mounts flank the central one. The frieze is supported on six turned columns with gilt bronze capitals and feet decorated with machined ornament in low relief. There is a single shelf, which has concave front and sides. The whole is standing on a platform plinth enriched with boldly figured veneer. The table retains its original grey marble top. France, circa 1810 Height: 38in (96cm) Width: 54in (137cm) Depth: 19in (48cm)

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A painting of tlie Taj Malial A fine quality mid 19th century gouaclie on ivory painting of the Taj IVlahal, mounted within an ebony f r a m e carved with foliate scrolls and having a silver rim retaining the bevelled glass cover. India, c i r c a 1 8 6 0 W i d t h of ivory panel: 9in x 1 3 i n ( 2 3 c m x 3 3 c m ) Framed: 1 6 i n x 1 9 i n { 4 0 . 5 c m x 4 9 c m )

In 1 6 1 2 , the f i f t h M u g h a l emperor. Shah J e h a n (then Prince

origin of the name is unclear, it is generally believed that " T a j

K h u r r a m ) was m a r r i e d to A r j u m a n d B a n u Begam, better known

M a h a l " (Crown of the Palace) is an abbreviated version of her

by her other name, M u m t a z M a h a l . Though his second marriage,

name, M u m t a z M a h a l ( E x a l t e d One of the Palace).

the coupling was a resounding success, M u m t a z becoming her

The t r a d i t i o n of miniature painting in India finds its origins

husband's inseparable c o m p a n i o n on all his journeys and

in the M u g h a l style. Scenes of this type were painted as grand

expeditions. However, having inspired in him countless acts of

souvenirs for wealthy E u r o p e a n tourists, though this piece is

charity and benevolence, and provided him with fourteen children,

p a r t i c u l a r l y unusual due to its exceptional scale. It is not

tragedy struck in 1 6 3 0 when she died in childbirth, a mere three

u n c o m m o n to find f a r smaller panels of painted ivory depicting

years after his accession to the throne. Overpowered by grief.

f a m o u s ancient monuments, as an active trade existed in tourist

Shah Jehan resolved to erect a monumental sepulchre in m e m o r y

souvenirs produced by Indian a r t i s a n s throughout the 19th

of his lost love. The Taj M a h a l , on the banks on the river Y a m u n a

century. Nevertheless, examples of this size with painting of such

in Agra, the c a p i t a l of the M u g h a l monarchs, was finally

fine quality are a rarity, making this a rather prestigious Grand

completed in 1 6 4 8 , twenty-two laborious years later. W h i l e the

Tour souvenir.

\ red tole centre table A rare Charles X red tole centre table, the top decorated w i t h gilt foliate scrolls around a central vignette with a rose at the centre. The scrolls flank open a n t h e m i a and further stylised rose motif. The top is bordered with a boldly modelled bronze egg and d a r t motif enriched with gold leaf. The table stands on four r e c t a n g u l a r legs w i t h t r u m p e t c a p i t a l s decorated with gilt enclosed anthemia. The front face of each leg is enriched w i t h applied gilt bronze foliate arabesques. The r e c t a n g u l a r block feet are decorated with further gilt ornament. A square plinth stretcher, decorated to echo the top with a further rose motif and open anthemia in gilt, joins the legs. France, c i r c a 1 8 2 5 Height: 3 3 i n ( 8 4 c m ) Diameter: 2 6 i n ( 6 6 c m )

Japanning was born out of European attempts to imitate

and then decorated in gold and painted colours. The process

oriental lacquer. One method, that most closely related to its

was first developed at Bilston in S t a f f o r d s h i r e in the late 1 7 t h

eastern counterpart, used preparations of the substance

century and found significant popularity, being practiced

deposited on trees by an insect called the coccus lacca, as

extensively throughout the 18th and 1 9 t h Centuries

opposed to the resin of the rhus vernicifera tree, the essential

throughout Europe. This popularity extended further still,

ingredient of true lacquer, which is indigenous only to the F a r

when f r o m around the m i d - 1 8 t h century onwards it was

East. Numerous coats of this solution would be applied before

practiced in N o r t h A m e r i c a , where it is c a l l e d Toleware.

the object was painted, generally with chinoiserie designs.

Such wares bear little relation to oriental lacquer, tole having

W h i l e this method was used p r i m a r i l y for the decoration of

developed into a wholly independent genre, one that has

wooden objects and furniture, an alternative process was

remained consistently desirable. W h i l e it is not u n c o m m o n to

applied to metal wares, the final product bearing the French

find trays, canisters or s m a l l e r objects, tole furniture is

name ' t o l e ' .

extremely rare. Panels of tole may occasionally be seen as

The basic material for tole was tin-plated sheet iron covered with a black a s p h a l t u m varnish that was heat dried

p a r t of the surface decoration on period furniture but to find a piece constructed entirely of the m a t e r i a l is exceptional.

A shagreen mirror A post World War II bevel plated rectangular mirror; the stepped frame entirely covered in green-stained shagreen.

England, circa 1 9 5 5

Height: 37ln (95.5cm) Width: 31ln {80cm)

An unusual Victorian brass hat and coat stand An unusual Victorian brass hat and coat stand having a central column mounted with three tiers of elaborately scrolling foliate coat or hat hooks and having a finely wrought foliate finial at the apex. The base is fashioned as a tripod of acanthus leaf scrolls, which supports three applied acanthus leaf elements. England, circa 1860 Height: 83in (211cm)

I..

A pair of rouge marble pedestals

A watereoloiir of a gentleinaii

A p a i r of early 1 9 t h century I t a l i a n rouge m a r b l e Tuscan

A c h a r m i n g genre p o r t r a i t w a t e r c o l o u r of a gentleman seated

c o l u m n pedestals, the bodies of the c o l u m n s h a v i n g slight

on the grass in a w o o d l a n d setting, a c c o m p a n i e d by his hound

entasis and the t r a d i t i o n a l c i r c u l a r turned base s u p p o r t e d

and c a r r y i n g a shotgun, whilst enjoying a cigarette.

on a r e c t a n g u l a r block plinth.

Signed and dated J B Wandesforde, 1 8 4 7

Italy, c i r c a 1 8 2 0

Possibly Ireland

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

F r a m e d : 34 x 2 7 i n (85 x 6 8 c m )

A pair of bronze and oriiiolu tazzas An unusual pair of bronze ormolu mounted tazzas. Each tazza is ornamented with elaborate foliate swags and is supported by a tripod of gilt bronze with legs of animal form surmounted by hooded lions' heads. The whole standing on a circular plinth in turn supported on a square one. Possibly England, circa 1810 Height: l l i n (28cm) Diameter of tazzas: 7in (18cm)

A reclining planter's chair A late 19th century elm reclining planter's chair, the dished slatted back surmounted by a scroll top rail, the elongated and adjustable arms with scroll ends above a slatted seat and raised on unusual legs of sinuous form with paw feet at the front, with a modern silk squab cushion. Possibly Java, circa 1890 Height: 38in (98 cm) Width: 24in (62 cm) Depth of seat: 22in (56 cm)

Kjsa

A pair of rosewood occasional tables

All el)()iiy side table ty

A very unusual mid 1 9 t h century lathe turned ebony side table having elaborate Renaissance revival ornament on every face.

A pair of W i l l i a m IV rosewood occasional tables having unusual

Square c o l u m n s which rest on a platform, decorated in ivory

faceted baluster stems, supported on c i r c u l a r plinth bases

and ebony to simulate a marble floor, support the upper frieze.

terminating in flattened bun feet. The tops are of s c a g l i o l a porphyry,

The whole stands on an elaborately turned b r e a k f r o n t plinth.

f r a m e d with borders of machined and lacquered brass.

Now having a fossil marble top.

England, c i r c a 1 8 3 5

England, c i r c a 1 8 5 0

Height: 3 0 i n ( 7 6 c m )

Height: 3 7 i n ( 9 4 c m )

Diameter of top: l l i n {28cm)

Width: 24in (61cm) Depth: 1 6 i n ( 4 1 c m )

A n unusual Louis Philippe mantel clock in bronze and gilt

A highly unusual pair of Russian hardstone vases and

taking the f o r m of a ship's wheel. The handles on the wheel

covers, each supported on a block plinth.

have fine chasing at the tip. Throughout the bronze and gilt is crisply cast and in fine condition. The whole stands on a

Russia, c i r c a 1 8 1 0

r e c t a n g u l a r plinth with a chamfered and engraved top edge. Height: l O i n ( 2 6 c m ) France, c i r c a 1 8 5 0 Height: 1 4 i n ( 3 6 c m ) W i d t h : l O i n {25cm) Depth: 5in ( 1 3 c m )

An Empire mahogany saddle shaped stool

A Bohemian parcelgilt pier mirror

An Empire mahogany saddle shaped stool, the sides having bowing

A large scale Bohemian parcel gilt pier mirror taking the form

swan's head terminals. The solid base flares out at the sides and is

of pilasters surmounted by female caryatid figures with feather

veneered in flame mahogany. The whole is supported on an integral

capitals flanking the main double plate. The upper frieze has a

block plinth.

laurel wreath carved in gilt in high relief contained within a demi-lune recessed panel.

France, circa 1810 Probably Prague, circa 1800 Height: 27in (68.5cm) Width: 27in (68.5cm)

Height: 88in (224cm)

Depth: 16in (40.5cm)

Width: 53in (135cm)

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A liexagonaJ occasiona tab

All ehonv and rosewooc occasional tal)lc

A fine quality hexagonal mid 19th century occasional table.

A fine quality late 19th century ebony and rosewood occasional table.

The top is veneered in c a l a m a n d e r wood with a multiple

The top having a central panel of highly figured rosewood bordered with

border of stringing, ivory beading and a m b o y n a crossbanding.

multiple crossbandings of satinwood, boxwood and ebony. Below there is

The table is supported by three ebony c o l u m n legs with inlaid

a lower tier in ebony which is divided into two c o m p a r t m e n t s by finely

marquetry flutes. The legs are joined by an elaborate turned

turned ebony spindles. The whole is supported by machined turned

stretcher and stand on scroll feet, terminating in brass

ebony c o l u m n legs terminating in a block, supported on a bun foot.

castors. The base bears a model number.

Below the top tier is a three digit model code.

A t t r i b u t e d to J a c k s o n & G r a h a m

A t t r i b u t e d to Collinson & Lock

England, c i r c a 1 8 5 0

England, c i r c a 1 8 8 0

Height: 2 7 i n ( 6 9 c m )

Height: 2 6 i n ( 6 6 c m )

Diameter of top: 1 7 i n ( 4 4 c m )

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

Two pairs of Empire tole sinumbra lamps A pair of Empire red tole column colza oil sinumbra lamps each having a shade carrier decorated with gilt stylised foliate ornament and a pierced gallery above and below. The main Tuscan column is supported on a traditional block plinth all decorated with gilt neo-classical motif on a red ground. The surface of the tole has been machined so as to create the Impression of marbling

A pair of Charles X tole sinumbra lamps having finely cast gilt bronze chimneys supported by cut glass frosted domed shades which are held in position by a pierced galleried bearer ring. These are supported on a Tuscan column standing on a rectangular block plinth. The tole is machined and decorated to simulate grey marble.

through the red glazes. France, circa 1835 France, circa 1820 Height: 32in (81.5cm) Now having replacement engraved glass frosted domed shades.

Diameter of shade: 9in (23cm) Base: 6in square (15cm)

Height: 30in (76cm) Both pairs now electrified.

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A Geniiaii steel safe A magnificent late 18th century German steel safe fashioned as an armoire. Each of the doors are enriched with a border of raised square cross section bands of polished steel with two boldly sweeping intersecting X ' scrolls across the panel. At the centre of each door is a foliate patera that hides the escutcheon. Each side is decorated with diamond patterns and diamond shaped foliate paterae. The interior is now lined in leather and has glass shelves. Many of the raised polished steel elements bear a foundry stamp.

Probably southern Germany, c i r c a 1 8 0 0

Height including stand: 76in (194cm) Width: 52in (132cm) Depth: 25in (64cm)

A pair of clear cased cranberry glass vases, the bodies decorated

A fine early 19th century Swedish porphyry "presse papiers"

with panels of flat cutting over a gilt foot also with fired-gilt

taking the form of a rectangular block of porphyry with a finely

floral decoration. The rims of the vases have a torsade made from

chased gilt bronze handle at the centre flanked by gilt bronze

a twisted tape of white and green glass, with a matching

mounted pin cushions.

cranberry edge at each side of the tape. Sweden, c i r c a 1800 France, circa 1850 Length: 12in (32cm) Height: Sin (20cm)

Width: 4in (10cm)

A Louis XVI mahogany oval jardiniere

A pair of William IV cast iron obelisks

A late Louis X V I mahogany oval jardiniere. The frieze is divided

A large-scale pair of W i l l i a m IV polished cast iron obelisks,

into four recessed panels each framed in brass. The panels are

supported by a stepped double parcel-gilt cast iron pedestal;

divided by turned tapering legs, which terminate in brass castors.

the lower section enriched by broad gilt lines.

Now having a polished brass liner. England, circa 1 8 3 0 France, circa 1790 Height: 75in (191cm) Height: 27in (69cm) Width: 21in (55cm) Depth: 16in {41cm)

Base: 17in (43cm) square

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An Art Deco standard lamp A rare A r t Deco standard lamp in stained shagreen and palmwood taking the form of a column with a shagreen capital, flanked by asymmetric tapering shagreen panels. The whole is supported on a square platform enriched with triangular panels of palmwood and shagreen. France, circa 1925 Height (including shade): 81in (206cm)

Shagreen underwent something of a renaissance during the A r t Deco period. Originally it became popular in Europe during the eighteenth century, being used to cover small objects such as caskets or prestigious scientific instruments. Due to the expense and relative scarcity of the material it was rarely used for anything larger, until around 1925. The A r t Deco style placed great emphasis on surface decoration employing a myriad of exotic materials, as is the case here. An uplighter decked in a combination of shagreen and palmwood is an essay in extravagance, representative of the style and period. The term shagreen is derived from a combination of the Turkish 'saghri' (the croup of an animal) and the French word 'chagrin' (on account of the rasping nature of the leather). A type of untanned leather, it was originally obtained, in Persia and Turkey, from the hides of asses, horses and camels. When still soft, seeds were pressed into the surface and shaken out when dried, leaving small indentations behind. However, the term also refers to the treated skin of sharks and ray-fish, ground flat to create a similar granulated pattern, as first used by the Japanese. The shagreen used on this standard lamp appears to be either shark's or ray-fish skin.

A pair of aiuliroiis A pair of late 1 9 t h century aesthetic movement polished steel and brass andirons decorated with incised stylised foliate ornament and brass beading. The andirons are supported by a scroll back leg and stylised animal legs at the front. E a c h bears the d i a m o n d registration m a r k . The design was registered on September 5th 1 8 8 3 in the name of Robins & Co of Fountain Street, Dudley. England, c i r c a 1 8 8 5 Height: 1 9 i n ( 4 8 c m ) Width: 12in (30.5cm) Depth: 1 2 i n ( 3 0 . 5 c m )

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I l l u s t r a t e d : O r i g i n a l design c o u r t e s y of N a t i o n a l Design A r c h i v e , Kew, R i c h m o n d , S u r r e y

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A bronze model of Trajan's column An early 19th century bronze model of Trajan's column on a stepped statuary marble plinth. France or Italy, circa 1820 Height: 35in (89cm)

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A similar gilt bronze model of Trajan's column is illustrated in Vergoldete

Bronzen,

Ottomeyer/Proschel,

Klinkhardt & Biermann,

Volume I, page 310.Trajan was Emperor between 9 8 - 1 1 7 A D . Spanish by birth and a soldier by profession, Trajan was adopted as

are more than two thousand figures represented in the carving, executed at about two thirds life size. They are so finely executed that they cannot be fully appreciated from ground level. Trajan embarked on numerous conquests during his reign, but it

successor to Rome's elderly emperor, Nerva. His reign was universally

was for the Dacian wars and his subsequent grand building projects in

acclaimed and he was given the title of Optimus Princeps that

the Eternal City that he is most remembered. He returned to Rome

appears on his coins and monuments.

with a vast booty which he proceeded to spend in grand style. He was

The commemorative column records his achievements in the

praised by the Romans for his building of roads and aqueducts,

spiral frieze. The whole surface is carved with reliefs that tell the

although the crowning glory of Trajan's Rome was the new forum he

story of Trajan's two wars against the Dacians (a tribe of Germanic

constructed, the centre piece of which was this column.

race who lived across the Danube in what is now Romania). The

The column became one of the most regarded survivals from

reliefs are a mine of information about Roman culture and cover

antiquity and the Grand Tourists bought models of it to take home.

every aspect of military life, from fighting to building camps and from

It is recorded that the Vatican often gave gilt bronze models of it as

war councils to collecting food. They also show many details of the

papal offerings to visiting ambassadors. The illustrated example is

lands through which the Romans passed, for example, the crossing of

identical to the illustrated one listed above and is attributed to

the Danube on a boat bridge. On the base are detailed carvings which

Bofenschen and Hopfgarten who are known to have produced a

illustrate the spoils of war captured from the Dacians. In total, there

number of these papal gifts.

\ brass tiieodolite A finely made late 19th century brass theodolite having numerous dials, levels and adjustments. The theodolite is an instrument for measuring v e r t i c a l and horizontal angles. It bears various patent numbers and a m a k e r ' s initials. England, c i r c a 1 8 8 0 Height: l O i n ( 2 5 . 5 c m ) Diameter of base: Sin ( 1 3 i n )

The theodolite is an instrument that is used in surveyin

measure v e r t i c a l and horizontal angles. The origin of t

theodolite is unknow/n but it has been traced back to 1 century English m a t h e m a t i c i a n L e o n a r d Digges w/ho introduced the w o r d Hheodolitus' in his

Pantometria,

( L o n d o n , 1 5 7 1 ) . This instrument had a c i r c u l a r ring o plate divided into 3 6 0 degrees and a pivoting alidade (sighting device) with sight vanes at either end. Theodolites of this sort and others, with a second pair sight vanes affixed to the graduated circle, were soon

widespread use. In 1 7 9 1 , George A d a m s Jr. c a l l e d this instrument a ' c o m m o n theodolite' and used the term

' t h e o d o l i t e ' f o r the telescopic instruments with horizon circles and v e r t i c a l arcs that had been introduced in

L o n d o n in the 1 7 2 0 ' s . A m e r i c a n s preferred the cheap and more robust surveyor's compass and later the

surveyor's transit. In the 1 8 t h century form, the telesc is mounted directly on the v e r t i c a l arc. In the t r a n s i t

theodolite, which originated in London in the 1 8 4 0 ' s , t

telescope is transit mounted with a v e r t i c a l circle mou

at one side. Heinrich W i l d ' s o p t i c a l theodolite introduc in S w i t z e r l a n d in the 1 9 2 0 ' s had several new features

including an a u x i l l i a r y telescope that lets the user read either circle w i t h o u t moving f r o m the station. S o m e theodolites measure horizontal angles with geodetic accuracy. Jesse Ramsden made the f i r s t instrument of this sort in London in 1 7 8 7 w h i c h was purchased by the Royal Society for use on the geodeti

link between Greenwich and Paris. The f i r s t instrument this type in A m e r i c a was made, c i r c a 1 8 1 5 , by Trough in London, for the newly founded United States Coast

Survey. There are many various forms of the theodolite today: in its current f o r m it is a telescope mounted to swivel both horizontally and vertically. It is used widel many types of civil-engineering w o r k .

Literature: J.A.Bennett, 41, 1 4 6 - 1 4 9 , 1 9 5 - 2 0 0 .

Graphical Essays,

The Divided Circle, O x f o r d , 1 9 8 7 , pp George Adams Jr. Geometrical and

L o n d o n , 1 7 9 1 , pp. 2 2 0 - 2 2 a n d fig. 5 .

A. bronze model of the Warwick vase A fine quality bronze model of the Warwick vase having the traditional intertwined rope handles supporting a wide vase with a vine leaf rim above masks in high relief resting on a stylised pelt. The whole stands on a fluted flared circular stem that rests on a square marble plinth. Bearing the stamp Thiebaut Freres, Fondeurs, Paris France, 1830 Height: 15in (38cm) Width: 22in (56cm)

A regulator clock A fine quality Empire maliogany mantel clocl< having a dentilled pediment above a diamond inset panel of brass. Each face of the clock is glazed and framed in brass. The clock rests upon a bracket foot and terminates in finely wrought gilt bronze bun feet. The dial is in w/hite enamel with Roman numerals and has a gilt bronze bezel and hands and is signed Bouchez Freres a St Quentin.

France, circa 1810

Height: 17in (43cm) Width: 9ln (24cm) Depth: 5in (14cm)

A Regency circular occasional table A Regency circular occasional table having a white marble top bordered in lacquered brass. This is supported on an hexagonal brass fluted stem which is in turn mounted on a similarly shaped block. The whole stands on a tripod of mahogany scroll legs with inset panels, bordered with brass beading and having an acanthus leaf in brass on the upper face. The table terminates in brass casters. England, circa 1810 Height: 28in (72.5cm) Diameter: 26in (66cm)

An Art Deco Heal's sideboard An unusual art deco period Heal's macassar ebony veneered sideboard having a top of panels of green shagreen with an ogee moulded ebony edge. The sides and front are veneered in boldly figured timber with a border at the top and the base of ebony with ivory lines. The sideboard has cupboards to the left and the right and three drawers in the recessed centre each has square tapering ivory handles. The whole is supported on fluted turned legs that terminate In ivory feet. England, circa 1929-30 Illustrated in the Heal's catalogue of that year. Height: 35in (89cm) Depth: 20in (51cm)

iii

Width: 60in (152.5cm)

While the A r t Deco movement owes its name to *L'Exposition Internationale des Arts Decoratifs et Industriels Modernes'held in Paris in 1925, the term refers to the favoured style of the entire interwar period (1918-1939). Regarded in many respects as a reaction against the overtly decorative nature of A r t Nouveau, Deco drew on classical influences from both Louis X V I and Biedermeier furniture. Design throughout the twenties is marked by an increasing fascination with rich surface finishes, achieved both through the use of lacquer and extravagant materials such as ivory and shagreen, as well as exotic woods. Paris was arguably the centre of the movement, its leading exponents such as Jacques-Emile Ruhlmann combining the use of luxurious materials with classical forms to cater for a rich and discerning elite. In contrast to this, by the end of the decade, technological advances were being embraced by modernists in their effort to supply the masses with well-designed utilitarian furniture. Tubular steel and new plastics such as Bakelite and Catalin were both inexpensive and adaptable. They could be made to emulate the decorative and sensuous surfaces typical of the more exclusive end of Deco in the 1920s but were suited to mass production. Across the Channel in London, Heal's, then headed by Sir Ambrose Heal, managed to embrace both aspects of the style, producing soundly made furniture in the modernist idiom alongside more extravagant, whole-heartedly Deco pieces. This unusual sideboard, emblematic of this latter type, appeared in their prestige catalogue " A Matter of Taste" in April 1930 as part of a suite of dining-room furniture. With its classically fluted legs, the bold figuring of the macassar ebony, combined with the use of ivory for the feet and handles and the green-stained shagreen top, it embodies the Deco notions of extravagance and luxury. Made for Heal's by Green & Vardy, this piece stands apart even amongst its contemporaries as remarkable and a fitting ambassador for its period.

'U.

â&#x20AC;˘

A rocking cliair A very unusual mid 19th century brass mounted steel rocking chair, fashioned in the manner of bentwocd furniture popularised by Gebrudr Thonet. The back rail and arm rests are enriched with lacquered brass foliate mounts. The right hand arm bears the residue of a maker's signature.

England or Germany, c i r c a 1850

Height: 38in (97cm) Width: 24in (61cm) Length: 47in {119.5cm)

A pair of Borg

vases

A pair of gilt bronze models of the Borghese vase cast with Roman figures in high relief, each having the traditional beaded and egg and dart rim below which a vine scroll runs. The bodies of the vases are cast in high relief with a procession of figures. Bacchic masks support the fluted scroll handles and the whole stands on a fluted waisted stem. France, c i r c a 1 8 3 0 Height: 12in ( 3 0 . 5 c m )

This pair of vases is modelled after one of the most famous

have handles, acanthus leaf carving to the base and stands on

classical Athenian vases from the second half of the i s t

a square plinth. However the subject matter could be seen as

century A D : known as the Borghese Vase. In 1807 Napoleon

an interesting juxtaposition: the Borghese vase depicting

Bonaparte purchased it from the family and by 1811 it was on

frenzied, carousing Bacchanal figures escorting an inebriated

display in the Musee Napoleon, now the Louvre. The other

Silenus, possibly representing the servants of King Midas

great vase from antiquity is the so-called Medici Vase that is

capturing the prophet for their king. The Medici vase, by

now in the Uffizi Gallery.

contrast, is believed to show the more sombre martial figures

From their rediscovery in the mid 17th century these classical vases were the most admired of antique marble vases

of Ulysses, Agamemnon and Iphigenia. Either individually or in pairs these two vases inspired the

and sometimes ascribed to Phidias (5th century BC), the

artists catering for the grand tourists and in particular

legendary Greek sculptor.

Thomire is noted for fabricating in gilt bronze a fine pair of

The two vases were often compared and copies of them were

the Borghese vases. The vases can be seen in a number of

arranged as companions. Ironically they are not a pair.The

scales and media and are often illustrated in paintings and

Borghese vase is 1.7m tall and the Medici is 1.52m. The

watercolours from the 18th and 19th centuries.

Borghese vase does not bear any handles, has a gadrooned lower half and a cabled motif to the base of the stem and

Literature: Taste and the Antique, Francis Haskell & Nicholas

finally an octagonal plinth. The Medici vase by contrast does

Penny, publ.Yale University, 1 9 8 1

S: -

A table with a comparable base is in the Chateau Fontainebleau, France and is illustrated in II Mobile dell'Ottocento, publ. De Agostini, 1988.

\n eglomise barometer A Charles X hexagonal verre eglomise barometer, each panel is decorated with stylised neo-classical ornament. The central cartouche is surmounted by a thermometer, which is mounted upon a stylised lyre, similarly decorated with eglomise and having a star finial.

France, circa 1825

Height: 36in (91cm) Width: 20in (51cm)

A Louis Philippe casket A Louis Philippe carton-pierre and gilt metal casket having a panel of floral needlework set into the mirrored top. The sides are silvered and of bombe form and are mounted with repousse gilt metal handles and feet. The casket opens to reveal a pink interior and an applied engraving of a village scene. The interior has a removable carrier that retains four further carton-pierre boxes, each with a mirrored top and an octagonal panel of needlework illustrating a butterfly. Each of the boxes contains stained Ivory counters. France, circa 1850 Height: 3in (7.5cm Width: 9in {23cm) Depth: 7in (18cm)

A pair of tole appliques A pair of Empire t6le wall appliques each taking the form of a neo-classical vase In red t6le enriched with gilt ornament, with square cross-section handles supported by ram's heads. The candleholders are shaded by conical tole shades. The whole is mounted to the wall via an elaborately fashioned lacquered brass applique decorated in low relief with further neo-classical ornament. Now wired for electricity. France, circa 1810 Height: 19in (48cm) Depth: lOin (25.5cm)

\ Durpleheait side table A very unusual A r t s and C r a f t s small-scale side table constructed f r o m solid purpleheart, having a r e c t a n g u l a r top with a chamfered bordered support, on a similarly c h a m f e r e d ' X ' frame base having a stretcher and a stepped p l a t f o r m foot. England, c i r c a 1 8 7 0 Height: 3 3 i n ( 8 4 c m ) Width: 35in (89cm) Depth: 1 4 i n ( 3 5 . 5 c m )

In both the design and architecture of the period, no style is more

t r a d i t i o n a l . S i m p l i c i t y in f o r m and design, with p a r t i c u l a r emphasis

synonymous with the 1 9 t h century than the Gothic revival that had

being placed on the materials themselves became the c o n t e m p o r a r y

f i r s t appeared the century before. Such imposing monuments as

mantra. In M o r r i s ' own words he advocated "good, citizens' furniture,

Charles B a r r y ' s Palace of Westminster (built between 1 8 4 0 and

solid and well made in workmanship, and in design [ i t ] should have

1 8 8 8 ) stand testament to the c o n t e m p o r a r y fascination with the style

nothing about it that is not easily defensible, no monstrosities or

which, as George Gilbert Scott declared in 1 8 5 0 , was "the great

e x t r a v a g a n c e s " . The materials became a source of inspiration,

a r c h i t e c t u r a l f a c t of the a g e " .

c r a f t s m e n often choosing to highlight the grain and colour of the

Such buildings did of course require similarly themed interiors,

wood. Equally, woods were chosen for their interesting grains and

and while much of the earlier Revival furniture employed the same,

colours; species such as ebony, c a l a m a n d e r and as is the case here,

overtly ornamental features found on exteriors s i m i l a r to the Palace

purpleheart, becoming popular.

of Westminster, by 1 8 5 0 the use of this Perpendicular style was

P u r p l e h e a r t (Peltogyne), also widely known as a m a r a n t h or

widely regarded as outmoded. Influenced much by the Continent,

violet wood, grows throughout Central and South A m e r i c a and is

furniture design saw a shift in emphasis f r o m ornament to structure,

r e m a r k a b l e p r i m a r i l y for its colour. W h i l e the heartwood is initially a

a f a c t well represented by the c o n t e m p o r a r y w o r k s of Pugin. Carved

dull brown, when cut and exposed to the air its colour changes to a

pieces found preference over those with elaborate inlays, developing a

vibrant purple. W i t h time it w i l l mature to a darker purple not

precedent that would have significant effect on furniture design in

dissimilar to mahogany, though purpleheart has a straighter grain.

subsequent decades. Driven by the ever-increasing threat of mechanization and mass-

Literature: Nineteenth-Century

Design, Gere & Whiteway, publ.

production to the arts, the A r t s and C r a f t s movement, with W i l l i a m

Weidenfeld & Nicolson, London. William

M o r r i s as its champion, picked up on Pugin's love a f f a i r with the

Parry, publ. Philip W i l s o n Publishers, London.

IVIorris, edited by L i n d a

A pair of cast iron vases

All octagonal l)ookstaii( A n unusual early Victorian ebonised octagonal gothic bookstand. Each side is divided into three shelves, alternately open or with false

A rare pair of Berlin cast iron campagna form vases

books. The tiers are each marked out by a line of fine lacquered brass

having gadrooned rims supported by finely chased vine

beading. The whole is supported on small scroll feet.

leaves. The vases have plain bodies supported by elaborately enriched bases surmounted by acanthus

England, c i r c a 1850

leaves and grotesques supporting the faceted scroll handles. The vases stand on fluted stems standing on

Height: 33in (84cm)

square plinths.

Width: 20in (51cm)

Possibly the Gleiwitz factory

Depth: 20in (51cm)

Prussia, circa 1815

Height: 14in (35.5cm) Width: 9in (23cm)

The Koniglich Preussische Eisengiesserei (Royal ironworks) opened in 1793-6 in Gleiwitz in Silesia where iron had been worked since the sixteenth century. There they operated the first coke furnace in Europe and by 1798 were producing works of art as well as utilitarian pieces to a very high standard. In 1804 the sister foundry to Gleiwitz was established in Berlin, in order to be in close proximity to the designers, who included Karl Friedrich Schinkel. It is very hard to distinguish between them as identical models were produced in both foundries.

Literature: Cast Iron Furniture,

Georg

Himmelheber, publ. Philip Wilson Publishers Ltd, London, 1996

A pair of bobbin turned armchairs A rare pair of early 19th century Danish giltwood bobbin hall chairs. The backs are fashioned as a lattice of bobbin turning. The chairs stand on bobbin column legs joined by a similarly fashioned stretcher. The chairs are stamped on the inside of each of the seat rails and are out of Axel C Hellman's workshop, a cabinet maker from Helsingborg. Denmark, circa 1830 Height of back: 31in (79cm) Height of seat: 19in (48cm) Width: 19in (48cm) Depth: 19in (48cm)

Helsingborg is close to Copenhagen, accessible across a narrow strait by ferry. It has a long history dating back over a thousand years. It grew substantially during the Industrial Revolution and is now the primary town of its region. The late 19th century brought considerable prosperity and the Royal palace of Sofiero and the Town Hall were constructed. They both have historicist elements, in particular the Town Hall, which is in the gothic taste.

A pair of Russian colimiiis

A pair of (lecalcoinaiiia vases

A pair of late 19th century Russian brass and maPiogany pedestal

A rare pair of 19th century decalcomania vases and covers, with

columns. Each column is boldly fluted in brass above a carved

unusual chinoiserie decoration on a light green ground, depicting a

giltwood laurel leaf band in turn resting upon a brass veneered

continuous scene of oriental figures amidst trees and flowering

square plinth.

branches and scattered with birds and dragons.

Russia, circa 1890

England or France, circa 1830

Height: 34in (86.5cm)

Height: 17in (44.5 cm)

A pair of aesthetic movement gasoliers

A pair of late 19th century aesthetic movement large scale gasoliers in polished iron, brass and copper, each having a stylised crow/n with scrolls issuing upwards terminating in schematic butterflies.This motif is echoed on the gallery of the central support which Is held by five rods, each divided into three sections by spheres mounted in brass. The lower section is decorated with stylised foliate ornament, each element enriched with subsidiary engraving. Attributed to the workshops of Hardman and showing the influence of G E Street England, circa 1870 Height: 80in (104cm) Diameter: 36in (183cm)

^ J

f^vriv-.v.. V V

v*^-

193()'s glass froiii\^l Saint Laiiil)ert

The c r y s t a l glass c o m p a n y of Val S a i n t L a m b e r t was founded

A n exhibition was held in Brussels in 1 9 9 0 entitled Val

at Seraing, near Liege in Belgium, in 1 8 2 5 on the site of an old

S a i n t L a m b e r t , A r t and Design 1 8 8 0 - 1 9 9 0 . The curator,

abbey. A m o n g s t the early shareholders was K i n g G u i l l a u m e I of

M i c h e l e Thiry, wrote in the catalogue to this exhibition

Belgium, thus ensuring royal patronage of the company, w h i c h

concerning the period 1 9 2 0 - 1 9 4 0 , " T h i s period is c h a r a c t e r i s e d

has continued until the present day.

by a r e m a r k a b l e c o m m e r c i a l d y n a m i s m . A t a large number of

Since 1 8 3 9 , the c o m p a n y has exported a r t i s t i c c r y s t a l

international exhibitions (such as P a r i s 1 9 2 5 , Liege 1 9 3 0 , and

glass objects t h r o u g h o u t the w o r l d and has been an

Brussels 1 9 3 5 ) Val S a i n t L a m b e r t presented some altogether

enthusiastic exhibitor at w o r l d f a i r s . In 1 8 7 9 the c o m p a n y

modern pieces. A b u n d a n t o r n a m e n t a t i o n and n a t u r a l i s m

took over the g l a s s w o r k s in nearby N a m u r and became an

g r a d u a l l y disappeared in f a v o u r of g e o m e t r i c a l sobriety closely

international sized company. A t their Jemeppe-sur-meuse

linked to c o n s t r u c t i v i s m and c o n t r a s t i n g c o l o u r s . This aesthetic

f a c t o r y in the early 2 0 t h century the company, under R o m a i n

point of view was taken under the impulse of Leon L e d r u and

Gevaert, designed a number of widely varying pieces based on

f u r t h e r developed by Joseph S i m o n , w h o became head of the

t h e i r research into raw m a t e r i a l s , including a range o f ' o i g n o n '

c r e a t i o n d e p a r t m e n t in 1 9 2 6 . "

vases using powdered glass picked up f r o m the m a r v e r and 'pull-up'techniques. A t the Brussels E x h i b i t i o n of 1 8 9 7 the c o m p a n y under

J o s e p h S i m o n had succeeded Leon L e d r u the year after the Paris E x h i b i t i o n of 1 9 2 5 w h i c h had introduced A r t Deco to the w i d e r world. The t e c h n i c a l a b i l i t i e s of the c o m p a n y were well

their designer Leon L e d r u e n t h u s i a s t i c a l l y e m b r a c e d the new

suited to t h e i r new g e o m e t r i c a l designs that are immediately

A r t Nouveau a e s t h e t i c . T h e c o m p a n y ' s skill was in casing and

recognisable and unique to the company.

c u t t i n g glass, producing p a r t i c u l a r l y bold effects together w i t h n a t u r a l i s t i c designs in the E c o l e de N a n c y s c h o o l . T h e i r use of m u l t i - l a y e r e d c o l o u r e d glass was p a r t i c u l a r l y distinctive and a l t h o u g h this technique was used by other companies, p a r t i c u l a r l y Stevens and W i l l i a m s in England, no other c o m p a n y produced such distinctive effects, cutting t h r o u g h both sides of objects such as bowls w i t h m i t r e d wheels.

t Lambert over ctear

with a central band of orange

with circular discs, on a clear octagonal foot, its original paper label.

Val Saint Lambert An unusual vase in cased ^black' glass over pale amber. The ' A r t

A fine vase in cased red over clear glass decorated in an

Deco' design of black arcs over a slice-cut amber ground.

asymmetrical fashion with a red double arc to the front and a

Etched mark to base. Design attributed to Joseph Simon.

smaller one to the rear. The design can be attributed to Joseph Simon. Acid etched mark to base.

Height: l O i n (25cm) Height: 12in (30cm)

Val Saint Lambert A vase cased in amethyst over

A tulip form vase in topaz glass

A squat vase cased in amethyst

An amethyst cased over amber

pale uranium straw coloured

cased in ruby decorated with six

over pale uranium straw

vase with flared rim, the body

glass. The vase deeply cut to

vertical panels.

coloured glass. The cutting

cut with six tongue shaped

leave circular and pentagonal

leaving a ring of lozenges and

panels.

areas of straw glass.

broad panels.

Height: 9in (24.75cm)

Height: Sin (20cm) Height: 6in (15cm)

Height: Sin (12.5cm)

Val Saint Lambert A tall vase in cased amethyst over clear glass cut with horizontal and vertical bands leaving two rows of rectangles each cut with large ovals. The incurved rim also cut with ovals.

A tall vase in cased red glass cut with vertical bands and a section of horizontal step cutting. The rim has a silver band with the 800 Belgium silver mark.

An unusually large barrelshaped vase in cased red over clear glass. The body cross-cut to reveal rectangles with each alternate rectangle cut with a circle. The base has a small circular pedestal.

A conical vase in smoke grey glass on a clear glass hexagonal pedestal base. The body of the vase with eight sides and geometrical cutting around the rim. Height: 9in (23 cm)

Height: lOin (25.5 cm) Height: 12in (30cm)

Height: 14in (35.5cm) A covered bowl in cased apple green glass with the original makers paper label. Diameter: 6in (15cm)

Val Saint Lambert A cased blue over amber glass vase decorated with an architectural design and standing on a hexagonal base. The vase entitled 'Foch' and designed by Joseph Simon for the Universal Exhibition in Brussels of 1935. (Company reference EB/51)

Height 13in (33.5cm)

JOS"

f i

Literature: Val St.

Lambert

Album 1935-36 PI 22 IMo 3. M Thiry De I'Art

Deco, Charleroi

1987 No. 18. M Thiry Val Saint Lambert,

Art and Design 1880

1990, Brussels 1990 No 239

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IWanaging D i r e c t o r

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Director

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