2001 - Mallett at Bourdon House by Mallett

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MALLETT at Bourdon House

2001

MALLETT at Bourdon House

2 Davies Street London W 1 and at l 4 l New Bond Street London W 1

Mallett at B o u r d o n H o u s e Ltd

Mallett & S o n (Antiques) Ltd

2 Davies Street

141 N e w B o n J Street

London W I K 3DJ

L o n d o n W I S 2BS

Tel 0 2 0 7 6 2 9 2 4 4 4

Tel 0 2 0 7 4 9 9 741 1

Fax 0 2 0 7 4 9 9 2 6 7 0

Fax 0 2 0 7 4 9 5 3 1 7 9

T h o m a s W o o d l i a m - S m i t h Director

L a n t o Synge Mmulging Director

Flenry Neville Director

ITie H o n Peter Dixon Director Paula H u n t Director

Felicity Jarrett

Giles H u t c h i n s o n Smith Director

Annabel D'Arcy

James Harvey Director

Fiona Barker

J o h n Smith Associate Director

Fimotliy l.angston

Richard Cave Associmc Director Jeremy G a r n e l d - D a v i e s Associate Director larquin Bilgen Charles Mackinnon Ainslie Marchant

M A L L E T T PLC DIRECTORS

George Magan* Chtirman Lanto Synge Chief Fxecutive T h e H o n Peter Dixon Paula H u n t Giles H u t c h i n s o n S m i t h Thomas Woodham-Smith H e n r y Neville T h e H o n . Mrs Simon Weinstock* Rex Cooper* Simon de Zoete*

Non

L'Xccutivc

Mallett Website: w w w . m a l l e t t a n t i q u e s . c o m Fmail: a n t i q u e s g f m a l l e t t . c o . u k

Introduction T h e 2001 Bourdon House catalogue takes a new form this year. We have taken the decision to divide it into sections devoted to countries or regions. This new approach allows us to look in greater depth at the styles and influences in European and Asian art. We are not limited by time periods, nor stylistic conformity, so despite these new strictures we hope to allow ourselves greater freedom.

To begin the catalogue we offer you a selection of our stock of French furniture. T h e bureau plat attributed to Noel Gerard is, without doubt, one of the finest pieces we have ever offered. From the starting point of this collection we move through France, Italy, Germany, the Baltic region and Asia. We hope this journey will both entertain and provide the reader with temptations.

O u r website is growing daily and you can view everything here illustrated on the web at vvww.mallettantiques.com. You can also print out images from it or even e-mail a picture directly from the site. It is updated every day and new stock is arriving regularly. For the most recent review of Mallett stock the website is invaluable.

We would be delighted to discuss with you any object you find interesting or intriguing.

FRANCE

B O I R n ÂŤ) N U I) V S

A Noel Gerard bureau plat An important Regence ormolu-mounted brass inlaid ebony bureau plat, attributed to Noel Gerard, the ebony veneer with elaborate and finely chased gilt bronze mounts, the rectangular top framed by an ebony border and gilt bronze outer edge, inlaid with a panel of deep red tooled leather, above two short and one long central drawer on the front with a large escutcheon in the form of a pierced, scallop shaped palmette of leaves and husks, the opposite side with similar mounts on blind drawers, the sides with a bacchante mask set in a symmetrical cartouche, all above four cabriole legs, triangular in section and with a chamfered inner edge, each with a gilt bronze chute of an espagnolette

head from which flowers and foliage cascade down the

knee and taper to a fillet that then descends into a foliate sabot and ' C scroll feet, with fine inlaid stringing throughout. Attributed to NocM GERARD France, circa

1720

HEIGHT: 3 0 Vl IN ( 7 7 . 5 CM) w i d t h : 7 6 '/4 IN (I93.5 CM) DKI'TH: 38 IN (96.5 CM)

Illustrated: Bureau Plat, Bibiotheqtie Nationale de I'Arsenal, Paris John Whitehead, The French Interior

in the 18th Century,

Latirence King Publishing, I.ondon, 1922, p. 121

Noel Gerard, ( 1 6 8 5 - 1736) Noel Gerard, was one of the most important cabinet makers and dealers of the French Regence period. In 1 701, Gerard was apprentice

in design, the grandeur was retained by use of exotic timbers such as

to Francois Clabaux. By 1719 he was established in the rue du Faubourg-Saint-Antoine under the name Cabinet d'Allemagne.

During the Regence period the designs for bureau plat became less rigid and formal than during the reign of Louis XIV. Although lighter

In that

ebony and the introduction of delicate cabriole legs supporting gilt

year a commission for a "bureau de travail" with cabriole legs was

bronze mounts which produces a rich and dramatic effect, Gerard

recorded for the Abbe Le Camus. His business soon prospered and he

would not have made the mounts for this furniture in his own workshop

moved to the hotel of the financier Jabach located on the corner of rue

as guild regulations encouraged specialization. The result was

Saint-Martin. This area was the centre of financial business and as a

exceptional skill in each separate discipline, as exemplified by the fine

result of luxury goods.

casting and chasing of the ormolu and lacquering on the ormolu on this

Apart from his activities as an ebeniste, Gerard became one of the

bureau plat. These mounts can be attributed either to de Rouvray or

most successful furniture dealers in Paris. His clients ranged from the

Louis Regnard, both maitre ciseleurs, who are mentioned in Gerard's

King of Poland, members of the nobility, Chancellors of the Parliament

1736 inventory.

of Paris, the chief tax collector and many foreign ambassadors. As a

Examples of Gerard's work are exhibited in public collections

dealer Gerard would have played an important role in the changing

across the world, however the two closest bureaux plat to the one

design of furniture as dictated to him by the taste of his purchasers.

illustrated are held by the Toledo Museum of Art, Ohio and the

Gerard was still working when he died in the spring of 1 736. The

Bibliotheque Nationale de LArsenal, Paris. The first of these, dated

inventory taken on 17 August 1736 reveals a large and highly

between 1720 and 1730 has the initials. N G impressed on the carcass

successful business. It lists a considerable stock of all elements used to

and carries identical cornucopia and handles on the side drawers. It also

create his furniture with total assets valued at 565,000 livres. The

has a moulded edge around the top, with double stringing around and

workshop consisted of seven work benches each with their own set of

down the outer edges, in a very similar manner to the main example.

tools, a large stock of exotic w o o d s gilt bronze mouldings, and more

The second bureau plat, in the Bibliotheque Nationale, exhibits the

than 150 pieces of furniture.

same characteristics that illustrate Gerard's designs. These are: the recessed central drawer enclosed by curved bronze elements, the

Design History

broken curve to the top of the legs, with female gilded bronze bust on

Although it is not stamped, this bureau plat can be safely attributed to

each of the corners, as well as the female ormolu masks on each side.

Gerard. The stamping obligation dated from a decree of 5 December

While the ormolu mounts on the feet are individual in each case, all

1637, however it does not appear to have been greatly abided b y and

exhibit a scrolling toe beneath foliate detail, elements which are

It soon ceased to be enforced until the revised Statutes of the Guild

repeated in other furniture attributed to Gerard.

were conferred in 1743, Gerard abided by the 1637 statutes by using

Thus the use of timber the style of design and the nature of the

an identifying mark on some of his furniture, as did his contemporaries

ormolu mounts all characterize this bureau plat as being by Noel Gerard

Nicolas Sageot and Etienne Doirat.

and from the Regence period.

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A Molitor card table A fine quality Empire period double tier demi-lune card table, each leaf with a brass rolled edge. T h e tops double open to reveal a polished circular tea table and green baize card table, supported on the extending centre back leg which contains a drawer for games pieces. T h e table stands on octagonal tapering legs with turned brass toes and capitals, beneath a deep frieze panelled with bold brass quadrant moulding. Attributed to B M O L I T O R .

France, circa 1810

height:

3 0 IN ( 7 6 C M )

W H ) T H : 4 2 V2 IN ( I 0 8

CM)

D E P T H : 21 IN ( 5 3 . 5 C M )

Bernard M o l i t o r (1755 - 1833) Bernard Molitor led a charmed life. Born before the revolution in the most turbulent of times he survived the French revolution, the Terror the Empire and even the Restoration without serious loss. A t his death at the then very senior age of seventy-eight he left a substantial fortune. As you examine the lives of the great and famous ebenistes from the eighteenth and nineteenth centuries it is rare to find financial stability let alone the ability to survive political upheaval. The life and w o r k of Bernard Molitor are exceptional from this perspective alone, before you even examine his prodigious output. Born in Betzdorf in Luxembourg in 1 755 Bernard Molitor trained as a s c u l p t o r Tired of the provincial life, quite young probably before 1 778, he moved to Paris. Almost immediately his business acumen came to the fore. In 1778 he is recorded in the "Petites Affiches" advertising a patent insect killer Later in 1782 he advertised an ingenious patent hand w a r m e r fashioned as a small pile of books this box in mahogany or walnut had a metal liner which could be filled with hot coals. However Molitor's output was not limited to toys. He had a w o r k s h o p which he leased at L'Arsenal and enjoyed considerable success, however it was not until 1 787 that he became a " m a i t r e " . In 1788 Molitor married Julie-Elisabeth Fessard, daughter of the "charpentier du roi". It is perhaps cynical to see this marriage as entirely motivated by his career because Molitor had already received a royal commission. However he soon began to receive numerous commissions from patrons from within the Queen's circle. The Revolution brought ruin to many and death at the guillotine. The ace Molitor held was that his cousin, Michel, had been actively involved in the storming of the Bastille, so with his help Bernard, though interrogated, managed to avoid arousing serious Revolutionary suspicions. Over the following decades he was honoured with commissions from the Emperor Napoleon, King J e r o m e of Westphalia and many private noble collectors including the due de ChoiseulPraslin. Molitor's remarkable survival o w e s most to the fact that he managed to create a style which was always both simple and original. His work was clearly individual as well as being not too intrusive. A b o v e all other factors Molitor achieved success over this extended period because his work was reliably of the finest quality.

H DON

II () I S I-

overleaf

A Toulouse mirror A very unusual late 17th century Toulouse pier mirror

A pair of Louis XV fauteuils

having an elaborately shaped cartouche framed by scrolls and inlaid with floral marquetry. The mirror frame is ot

A large-scale pair of giltwood Louis XV fauteuils. They have

bolection form having a geometric border at the outer

a serpentine top rail with a boldly carved vase carved at the

edge with two further borders of finely wrought floral

centre hung with a laurel swag. The arms are scrolled and

marquetry. The mirror retains its original bevelled

elegantly join the seat rails. The front rail is similarly decorated

mercury plate framed with an ebonised moulding.

to the back top rail and the vase motif is repeated. The fauteuils stand on cabriole legs each surmounted by a carved fan motif Throughout the carving is of exceptional quality.

France, circa 1690

H E I G H T : 4 9 IN ( 1 2 5

CM)

W I D T H : 3 2 V2 I N ( 8 2 . 5

France, circa 1765

CM) H K I G H T o i ' SKAT: r 6 IN (41 H K I G H T O F H A C K : 2 4 IN (6L D K I ' T H : 2 6 IN ( 6 7

CM)

CM) CM)

This pair of fauteuils is noteworthy for a number of reasons. Primarily

Metropolitan Museum in New York bears various decorative parallels

they are of unusually generous proportions. Secondarily though pre-

which might suggest Delanois as a name but there is no certainty.

eminently of rococo design, the swag-hung vase motif is a neo-

The vase motif, which is the only neo-classical element on the

classical motif and therefore places these chairs very much at the

fauteuils, is probably the most ubiquitous of all decorative devices

birth of the Neo-classical revival. Though unstamped, their design

from this era. To find such a confident use of this motif in a pair

finds no direct parallel which leads one to suppose an author rather

of chairs, otherwise wholly rococo in expression, is most unusual.

than a generic workshop production. The menuisier, Louis Delanois,

The reaction against the perceived frivolity of rococo design began

was one of the forerunners in the classical revival and there is a

almost at once. However, it is not until the mid 1750's that one

chair illustrated by Svend Eriksen, plate XXIV in his monograph on

begins to see menuisiers starting to introduce a hybrid of the two

Louis Delanois published in 1968. This chair which is in the

schools. Svend Eriksen's seminal work "Early neo-classicism in

ÂĽ â&#x20AC;˘H-

France', published in 1974, explores how what we know as the Louis

ebenistes. Several albums of these survive and Eriksen illustrates

XVI style had fully eroded the fluidity of the Louis XV rococo style by

examples by Neufforge 1755, Le Lorrain 1 752 or earlier, Vien 1753

the tinne of his coronation in 1774. In the above-mentioned volume

and Saly as early as 1746, and several others. The vase seems to

the derivation of the vase motif as coming from students at the

have been used as a rallying cry for a neo-classical idea representing

French Academy in Rome is discussed. Once a student had won the

not only classical antiquity, but also the flowering of the late Baroque

Grand Prix de Rome at the Academies Royales they were sent, at

in Rome which reminded artists of the decorative grammar of the

the King's expense to Rome, to study and draw from classical

Louis XIV period and before. By employing the vase as a decorative

antiquity. Many of these young students sent back drawings and

motif, designers were thus able to sandwich the rococo period

capricci of vases and other ornament. These were then published

between the perceived gravitas and simplicity of classical epochs.

and distributed as an inspiration for menuisiers, bronziers and

Vifivr-i

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O n the consoles are illustrated a pair of mid 19th century serpentine dogs after the antique.

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A Tilliard fauteui A fine q u a l i t y a n d rare early L o u i s X V f a u t e u i l , r i c h l y c a r v e d o n all faces w i t h rocaille d e c o r a t i o n . T h e a p e x o f t h e b a c k is c a r v e d w i t h a c a r t o u c h e , f l a n k e d b y a stylised shell m o t i f a n d f o l i a t e scrolls. T h e c o r n e r s o f t h e t o p rail a r e s i m i l a r l y c a r v e d in h i g h relief w i t h f o l i a t e e l e m e n t s i s s u i n g f r o m a f l u t e d scroll. T h e a r m s are s e r p e n t i n e in o u t l i n e a n d h a v e a n u n u s u a l l y c a r v e d s c r o l l i n g e l e m e n t at t h e j o i n t o t h e b a c k . S i m i l a r l y t h e e n d o f t h e a r m is c a r v e d w i t h a c a b o c h o n f r a m e d b y c-scrolls. T h e c h a i r s t a n d s o n c a b r i o l e legs, t h e t o p o f w h i c h a r e c a r v e d w i t h a stylised floral e l e m e n t . T h e b o l d c a r t o u c h e o n t h e c e n t r e o f t h e seat rail reflects t h o s e c e n t r a l e l e m e n t s o n t h e b a c k f r a m e a b o v e . A t t r i b u t e d t o J e a n - B a p t i s t e I. T I L L I A R D .

F r a n c e , circa 1 7 4 5

H F I G H T O F S E A T : I 7 IN ( 4 3 C M ) H E I G H T O F B A C K : 4 O IN ( 1 0 2 C M ) W I D T H : 31 IN ( 7 9 C M ) D E P T H : 2 6 IN ( 6 6 C M )

Jean-Baptiste I Tilliard, (1686 - 1766) Jean Baptiste I Tilliard was a member of a large family of

1 723, worked with his father and gradually took over allowing his

menuisiers. He became a maitre in 1717 anid he worked his entire

father to more-or- less retire by 1 764: he died two years later.

life in the rue (de Clery, in the same workshop as his ol(der brother

As father and son employed the same stamp it is often hard to

Nicolas. He is wicdely considerecd to be one of the greatest chair

tell who made what. However the early rococo pieces which retain

makers of the Louis XV periocJ. In the 1730's he was a supplier to

elements of the Regence are definitely attributable to the father.

the 'GarcJe-Meuble de la Couronne' (possibly following his father).

The hand of Jean-Baptiste is discernible not just through a paradigm

He was at the centre of the evolution of the Rococo style,

of quality but also through a series of sculptural motifs. The most

supplying between 1 737-1 739 a set of 'new' chairs for the King and

famous of which is the carved heart framed by a shell cartouche.

Queen at Versailles. Later between 1751 and 1756, he delivered a

This can be found at the apex of the back or at the centre of the

number of works to the prince of Soubise. He included within his

seat rail. He also used at the tops of the legs a folded palmette

clients the Marquise de Pompadour, various members of the

taking the stylised form of a fan. Finally the lower cross member of

aristocracy a 'fermier general', Fontaine de Cramayel and several

the back on a number of his larger fauteuils displays a small linear

'marchands-merciers'. His son Jacques Jean-Baptiste, born in

scroll 'accolade'.

I'M

A tile map of France

An ormolu travelling clock

A very unusual m a p o f classical France consisting

o f fifteen tiles with the major towns and rivers a n d

An exceptional small o r m o l u pendule d'officier.

bordering countries clearly outlined. T h e m a p framed

T h e circular b o d y supports a platform on which stands

within a scaled border and to each side by fantasy

an elaborate o r m o l u basket of fruit and flowers. T o each

c o l u m n s s u r m o u n t e d by St G e o r g e and St Michael

side d o u b l e twisted snakes head handles rise as if to taste

each slaying a D r a g o n .

the fruit. T h e clock face, with its original enamel dial, has France, d i m 1840

a central geometrically tooled o r m o l u face. T h e whole is supported on a rectangular plinth with lion's paw feet. T h e clock retains its original red m o r o c c o leather case

HEIGHT: 30 IN (76 CM)

with brass catches.

WTDTH: 4 9 IN (I24.5 CM)

France, circa 1820

HEIGHT: 8 Vi IN (22 CM) WIDTH: 5 '/> IN <14 CM) DEPTH: 3 Vi IN (9 CM)

The movement is an exceptional grande sonnerie example which repeats both the hours and the quarter if required. The reverse of the movement is finely executed with several ornamentally detailed elements.

I I I I A r K lÂť I K no N HOI

The Arch of Titus in Rome Rdmond L F . C H E V A L l . I E R - C H E V I C N A R D (1825 - 1920)

Pen, black ink, and watercolour on paper. Signed and dated, b o t t o m left 'Lechevallier / 1851'

F R A M K D : 5 0 X 4 2 IN < 1 2 7 X 1 0 6 . 8 C M )

The Jacob and Delanois sofas A n e x c e p t i o n a l pair o f L o u i s X V I giltvvood s m a l l - s c a l e settees. T h e b a c k rail is c a r v e d as an e l a b o r a t e m o u l d i n g a n d

flanked

e n c l o s e d foliate p a t e r a e s u r m o u n t e d b y a c a n t h u s tlnials. T h e a r m r e s t s are c a r v e d as an e x t e n d e d ' S ' scroll w i t h foliate o r n a m e n t at t h e j o i n w i t h t h e b a c k . T h e a r m t e r m i n a l s are carved at t h e c e n t r e w i t h a d o u b l e row o f b e a d i n g . T h e seat rail is similarly carved to t h e b a c k rail, flanked b y e n c l o s e d foliate patera b u t d r a w n t h r o u g h o u t in larger scale. T h e settees are s u p p o r t e d by t u r n e d , t a p e r i n g fluted legs. C:)ne settee s t a m p e d D E L A N O I S , t h e o t h e r , J A C O B A N D

DELANOIS.

F r a n c e , circa 1 7 8 0

H E I G H T OF SEAT: 2 0

IN (5I

HEIGH'R OF BACK: 37 WIDTH: 44

IN (112

DF.I'I H: 2 4 IN (61

IN ( 9 4

CM) CM)

Louis Delanois, (1731 - 1792) Maitre 27th July 1761 George Jacob, (1739 - 1814) Maitre 4th September 1765 It is rare for pieces of French furniture to be stamped by two maitre

apprenticeship with Lerouge's widow and it was in this

menuisiers. Usually this refers to some restoration of a later date

apprenticeship that he made friendships with Boucault, Forget and

being undertaken by a second hand, however, on this occasion the

above all Louis Delanois, with whom he remained particularly close,

likely explanation for one of the pair of sofas illustrated being

becoming godfather to his second son.

stamped by both Jacob and Delanois is a reflection of the large

Jacob started his workshops in the rue de Bourbon and then

scale success of Delanois's business.

moved to the rue du Clery where he stayed until 1 775, one street away from Delanois's workshop in the rue du Petit Carreau. He

Delanois was one of the most important furniture makers of the 18th century specialising in chairs in the Louis XV and Louis XVI

finally moved to the rue de Meslee in 1 775, from where some of his

style. He started in a modest workshop in the rue Bourbon-

finest work was issued. Therefore, there is a period of about six

Villeneuve, progressed quickly and moved to rue des Petits-

years during the early 1770's when the close friends, George Jacob

Carreaux where he also traded in timber Among his numerous

and Louis Delanois, were working as neighbours in the joiners

illustrious clients include the comte d'Artois, the prince de Conde.

district of Paris.

for w h o m he supplied several pieces for both the Palais-Bourbon and

The demanding production that we have already seen from

his chateau at Chantilly; the due de Chartres and the comtesse du

Delanois's order book often necessitated that the menuisiers would

Barry for Louveciennes. In addition to these aristocratic patrons he

sometimes have to share a commission for a suite of furniture

often undertook commissions from the marchands tapissiers, having

amongst other workshops, if one alone could not supply all that was

close business relationships with more than twenty in Paris.

required within time. There is a sofa, in the Metropolitan Museum, which was made by Delanois and yet bears the stamp of Sulpice

His output was enormous, the majority of which is recorded in his Livre des Ouvrages

et Fournitures

de Meubles

Bhzard. This example in the Metropolitan, perhaps explains the

fails a credits

which is kept in the Paris Archives. His output inl 770 alone was

double stamping on these two sofas. It appears that Delanois

1,300 chairs, nearly 300 beds, 14 screens and 105 diverse other

outsourced the supply of a second settee to his close friend, Jacob,

pieces. The record bears witness to his constant efforts to create

in order to complete the pair more quickly and then stamped it with

original designs and ornamentation for some of his more demanding

his own stamp once it had been completed. Interestingly each sofa,

clients who desired the most inventive designs and latest fashions

although exactly the same in carving details, measure an inch or two

such as the King of Poland.

differently in proportion. This fascinating illustration of the complexities of 18th century

Jacob was one of the most renowned and prolific 18th century French chair makers. His work spans the Louis XV penod through to

French furniture manufacture is the only known occasion where

the Consulat. The orphaned son of a Burgundian farm worker, he

arguably the two most important and stylistically influential of the

went to Paris at the age of sixteen. He became apprenticed to Jean-

second half of the 18th century are known to have worked together

Baptiste Lerouge in 1 756. Jacob continued his six year

and jointly stamped their production.

i'Wi.

) N H ÂŤ) R S I

A Louis XVI commode A highly unusual small mahogany commode retaining its old marble top. T h e top drawer veneered in Cuban mahogan)' is richly mounted with ormolu rams heads interspersed with pendant swags each containing nine finely chased apples with foliate and floral scrolling husks above. This pierced frieze continues along each side panel and is framed by a moulded brass border. T h e two lower drawers are veneered in contrasting mahogany veneers, framed by a similar border to that above, with richly cast handle and central key escutcheon mounts of classical herms, with bearded philosopher's masks. T h e whole stands on elegantly turned, tapering legs terminating in finely chased topie feet. France, circa 1780

H E I G H T : 3 4 IN (86 CM) W I D T H : 4 4 VZ IN ( 1 1 4 CM) DKL'ITI: 2 2 VL IN <55 CM)

This L o u i s X V I c o m m o d e is e n r i c h e d w i t h s o m e o f t h e m o s t

m y s t e r y . The apple has long b e e n a s y m b o l of love, fertility

unusual gilt b r o n z e m o u n t s . In particular, t h e frieze d r a w e r

and. f r o m biblical t i m e s , k n o w l e d g e and w i s d o m and, in

w h i c h p r e s e n t s material s w a g s holding nine a p p l e s h a n g i n g

particular, luxury. In c l a s s i c a l m y t h s w e have t h e a p p l e s of t h e

b e t w e e n r a m s h e a d s . In addition, t h e e s c u t c h e o n s o n t h e l o w e r

fHesperides r e p r e s e n t i n g i m m o r t a l i t y and, f r o m t h e s t o r y of

d r a w e r s t a k e t h e f o r m of classical h e r m s s u p p o r t e d o n plinths,

A t a l a n t a and H i p p o m e n e s , love v i c t o r i o u s o v e r timidity.

f l a n k e d by an o p e n k e y p a t t e r n e l e m e n t . W e h a v e t o d a t e n o t

In a d d i t i o n , t h e a p p l e w a s s a c r e d t o V e n u s and t o A p o l l o .

f o u n d o t h e r e x a m p l e s o f t h e s e d e s i g n s . This leads o n e t o

To V e n u s t h e a p p l e w a s a bridal gift o r o f f e r i n g . A t t r i b u t i n g a

s u g g e s t t h a t t h e s e m o u n t s w e r e m a d e as a special c o m m i s s i o n

s i g n i f i c a n c e t o t h e n u m b e r o f a p p l e s is p e r h a p s far f e t c h e d , b u t

relating t o t h e client and p e r h a p s a part of a particular s u i t e o f

t h e n u m b e r nine is b o t h t h e n u m b e r o f t h e G r a e c o - R o m a n g o d s

furniture. The h e r m is c e n t r a l t o t h e g r a m m a r o f t h e c l a s s i c a l

and t h e m u s e s . G i v e n t h e i n t i m a t e scale o f t h e p i e c e and its o b v i o u s d e c o r a t i v e r e f e r e n c e t o t h e i c o n o g r a p h y of a n t i q u i t y it

d e c o r a t i v e language and t h e r e f o r e d o e s n o t n e c e s s a r i l y have a

is p o s s i b l e t o s u g g e s t that it m a y have b e e n i n t e n d e d as a

c o n t e x t u a l m e a n i n g but t h e s w a g of a p p l e s is m o r e o f a

m a r r i a g e gift.

A I

KOI

ÂŤ) \

HOI

An Empire tricoteuse

A mahogany semainier

A fine quality E m p i r e m a h o g a n y tricoteuse. T h e t o p

An exceptional l.ouis XVI m a h o g a n y semainier h a v i n g

edge is e n r i c h e d w i t h a brass m o u l d i n g . T h e fall f r o n t

eight drawers, each veneered w i t h an u n u s u a l highly

is retained by a brass clip a n d t h e sides take t h e f o r m

figured

m a h o g a n y . E,ach d r a w e r is f r a m e d w i t h a brass

of a lyre carved w i t h stylised strings a n d are joined by

m o u l d i n g , flanked by e b o n y s t r i n g i n g w i t h a f u r t h e r brass

a p l a t f o r m stretcher. T h e piece t e r m i n a t e s in scroll feet

line inside. T h e side panels are veneered a n d b o r d e r e d in

a n d retains its original brass castors.

t h e s a m e way a n d are flanked by a fluted brass s q u a r e

France, circa 1 8 1 0

T h e w h o l e is s u p p o r t e d o n t o p i c feet w i t h f u r t h e r brass

pilaster b e h i n d , a n d a fluted brass c o l u m n pilaster in f r o n t .

e n r i c h m e n t s a n d s u p p o r t s a m a r b l e top. H K I G H T :

3 0

W I D T H :

2 4

D K P T H :

( 7 6

C M )

( 6 2

(32

France, cimi

C M )

1790

C M ) H E I G H T :

(181

W I D T H :

(I30

D E P T H :

(55

C M )

B t) I R [) () S

A compendium table A highly unusual (^Jiarles X large-scale games table. T h e table opens to reveal a wide diversity oF traditional French parlour games with their original pieces contained in the two side drawers. The plain mahogany top is lined on the reverse with baize for playing cards. Beneath is a central well for backgammon in ivory and ebony. To each side are two inlaid double sided games boards. T h e side of each is inlaid for chess and draughts or chequers. T h e underside oFeach is inlaid with complex lined boards for Nine Men's Morris and Fox and Geese. Beneath the backgammon well is a slide containing a roulette wheel that has a richly tooled leather frame outlining the betting table. T h e top has brass corner mounts and again is reversible and inlaid on one side with three further traditional dice games. At each end of the table are single drawers containing all the original pieces for the complex group of games described above. There is a further table top elaborately fitted with a steel internal gallery and ormolu columns, having two bells supported on ormolu arches and finely turned ebony and ivory skittles. This game is known as TX'vil Amongst the Tinker.s' or T a b l e Toupie' in French.

France, circa 1820

Labelled on the underside: Rue Lafitte 4 6 a 48, H A L T E M U L L E , TAPISSERIE, M E U B L E S E T B R O N Z E S , Paris

H F . I C U R: 33 V2 IN (85 <:M) W I D T H : 59 IN ( 1 5 0 C M ) D K P I H : 2 4 V2 IN ( 6 2 C M )

History of some of the games Nine Men 's Morris

also called

'/Were/s'Versions of this game have

diagonally along the marked lines. Only the Fox may jump another

been found dating back to ancient Egypt. A Nine Men's Morris

piece. When a piece is jumped, it is removed from the board. The

pattern is one of the boards that has been cut into the temple at

object of the Geese is to capture the Fox by surrounding him so he

Kurna, Egypt (1440BC)^ Other boards have been found in Ceylon

cannot move or jump. The Fox must try to remove all the Geese, or

which were carved during the reign of Mahadithika Maha-Naga (9-

at least enough of them so that there are not enough left for a

2 I A D ) . European boards have been found in such places as the first

capture C5).

city of Troy, within a Bronze age burial site in Ireland and at the

Devil Amongst

Acropolis in Athens. The game reached its peak popularity in Europe

played with tops and skittles. It was popular in North America,

dunng the fourteenth century.

particularly with the native Indians, where it has apparently been

Fox and Geese Fox and Geese seems to have originated in

handed down the generations for centuries. Little is known about the

The Tinkers or Table Toupie This table top game is

Northern Europe some time during the Viking Age. It may be the

history of this game, but it was known in France dunng the 1820's

game called Halatafli mentioned in Gerttis Saga. The game is a

where an Englishman who saw it referred to it as Devil Amongst the

contest between one Fox and thirteen geese. Play begins with the

Tinkers'. Although virtually unknown in England today, two sources

pieces in the positions shown. Players move a piece to any vacant

indicate that it was played in England in the latter half of the

adjacent spot on the board, either, vertically, horizontally or

nineteenth century.

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TlIMlLLi

•i V!'ISSLr.il" tfr' ULLSKT :

A terracotta figure of a river goddess A m o s t u n u s u a l early 19rh c e n t u r y terracotta

figure

a n d a finely m o d e l l e d t o g a w i t h e l a b o r a t e l y r e n d e r e d w h i c h w a t e r is s h o w n By J a c q u e s E d m e

F r a n c e , circa

flowing

folds.

D U M O N T

1800

I 6 IN (41

1900.

CM)

Jacques Edme Dumont was born in 1 761. son of Edme Dumont, Sculptor to the King at the A c a d e m y of Painting and Sculpture, He attended the school for young and talented artists in 1 777 and went on to join Pajou's w o r k s h o p coming s e c o n d in the competition tor the sculpture prize in 1 783, taking first prize in 1 788, Certain of his w o r k s can be seen today in I'eglise de Sees and in I'eglise de SaintSulpice in Paris. He received the prix de pensionnaire' of the King in Rome in S e p t e m b e r 1 788. In N o v e m b e r he arrived in Rome and on finishing his A c a d e m y studies he went to Naples in 1 792, returning to France in 1 793, Immersed in revolutionary Paris he produced several pieces reflecting contemporary themes and tastes, obtaining third pnze in the C o n c o u r s nationaux in 1 795 with three studies entitled 'Peuple du despotisme'. federalisme'

frangais

vainqueur

'Peuple frangais terrassant

and 'Liberte'.

flowing

cresses

S h e is s e a t e d a g a i n s t a r o c k a n d h e r a r m r e s t s o n a n u r n

fi-om

i n t o a s t r e a m , in w h i c h b u l r u s h e s are g r o w i n g . T h e reverse bears t w o e x h i b i t i o n labels.

E x h i b i t e d at T h e C e n t e n n i a l E x h i b i t i o n in Paris,

HEIGHT:

o f a river g o d d e s s w e a r i n g a laurel w r e a t h over h e r

A t this stage in his

c a r e e r D u m o n t had to produce numerous small groups and statuettes in order to make a living. These w e r e sold to bronze sculptors and goldsmiths. Later in his career under the Empire he was commissioned to produce important works. He w o r k e d on the Colonne de la Grande A r m e e and the Arc de Triomphe du Carrousel. He also received commissions to produce statues for, among other state buildings, the palais de Justice. Several of his busts were destroyed in the 1871 Tuilenes fires. In 1798 he was compelled to leave his w o r k s h o p and install himself at the Sorbonne in order to work on the Louvre, project of Napoleon, First Consul, He died in February 1821 leaving his wife and son, the sculptor, Augustin Dumont.

sf' 'g

B O I- R O O S

M O I- S K

An L. C. Carpentier bergere An exceptional finely carved walnut Louis XVI bergere. T h e coved back is carved with four bands of neoclassical ornament, each achieved in the finest detail. T h e arms are scrolling and carved at the base with an acanthus leaf. T h e side and front rails are carved with ribbon moulding and beaded edge and are flanked by foliate patera. T h e turned, tapering legs are fluted and terminate in bun feet. Stamped L. C. C A R P E N T I E R . France, circa 1765

H E I G H T O F B A C K : 4 I IN ( I O 4 H E I G H T O F S E A T : I8 IN ( 4 6 WIDTH:

IN ( 6 9

CM)

DEPTH:

IN ( 6 9

CM)

Louis Charles Carpentier, (circa 1730 - 1788) Maitre 26th July 1752 Carpentier's workshop was on the rue de Clery, Paris, nearby other illustrious menuisiers such as Louis Delanois. He was famous for his chairs (particularly fauteuils and bergeres) and sofas. From around 1 770 he enjoyed the Royal patronage of the Prince of Conde for whom he provided numerous suites for the Palais Bourbon and the chateau de Chantilly. Many pieces were probably after the designs of the architects Bellisard and Le Carpentier and carved in collaboration with Charles Lachenais. He was also appointed cabinet maker to Philippe, due d' Orleans, His work encompassed the rococo style of the Louis XV period, the transitional period and through to the neo-classicism of Louis XVI's reign. The rococo and transitional styles remained popular in France throughout the 18th century and seat furniture particularly reflects this. Thus, in his time, Carpentier was considered a modernist and a progressive, embracing the neo-classical style at a very early stage. His chairs have particularly bold mouldings yet retain a gentle line, absorbing the decorative motifs associated with neo-classicism. His work is suffused with splendid, intricate and delicate carving of fleurettes. entrelacs and piastres, turned tapered legs surmounted by a patera centred cube, beading and scroll ornament.

.^7

A pair of Leleu occasional tables A pair o f A r t D e c o circular e n d tables in m a c a s s a r ebony. T h e circular t o p s are s u p p o r t e d b y a n u n u s u a l s q u a r e c o l u m n , w h i c h t e r m i n a t e s in a c h r o m i u m plated collar, in turn s t a n d i n g o n a circular plinth. T h e s u p p o r t s each bear the maker's n a m e L E L E U o n a n ivory p l a q u e . France, circa 1 9 3 5

H E I G H T : 1 7 Vl IN (45 C M ) D I A M E T E R OF T O P : l 8 Vl IN ( 4 7 C M )

aii^m'

r-ii^-

Jules Leleu was born in Boulogne-sur-Mer, France and at the age of 26 succeeded his father in the fannily painting business. With his brother he began work in the decorating field. After World War I, Leleu specialized in furniture making. He opened a Paris gallery in 1924 and exhibited at the 1925 Exposition Industrielle et Arts Decoratifs. Leleu designed the Grand Salon of the Ambassadors at the Society of Nations in Geneva and the Paris Embassies of several nations. He also contributed furnishings for numerous steamships during the 1930's before the Second World War.

M A L L E T 1 AT B O I' K D () N H () I' S E

A pair of tole mirrors A pair of Charles X rectangular tole mirrors. The concave moulding is outlined with gilt stringing enclosing scrolling gilt foliage at each corner. At the centre of each face is a floral vignette; at the top and bottom is a group of lily of the valley and at the sides, roses. Each vignette has the flowers in white and the leaves in gilt. France, circa

1840

H E I G H T : 2 9 IN ( 7 4 CM) W I D I H: 2 3 IN (58 C M )

A Louis XVI gueridon An unusual Louis XVI gueridon, with a circular gris St Anne marble top, bordered with a brass edge. The table is supported on an hexagonal stem inlaid with marquetry satinwood flutes against an amaranth background. The base of the stem is stepped and supports the three scroll legs, each mounted on the top face with a panel of brass and inlaid with satinwood stringing, terminating in brass casters. In the manner of B. M O L I T O R . France, circa 1780

H E I G H T : 3 0 1/2 I N ( 7 7 . 5 C M ) D I A M E T E R OF T O P : 3 2 Vz IN <82.5 C M )

Two pairs of Empire candelabra Two pairs of unusual Empire bronze and gilt bronze three branch candelabra. Each takes the form of a young maiden dressed in the Antique style, bearing in each hand a stylised oil lamp modelled as a candle socle and on their heads a vase. O n one pair, the vase on the head is flanked with 'S' scroll handles and is of attenuated form. O n the other pair, the equivalent socle is of a more traditional campagna shape and is decorated with open anthemia supported by a vitruvian scroll and stands on a stylised tassel cushion. Each figure is supported by a triangular plinth in bronze with a gilt bronze capital and foot and decorated on the front face with winged female figures representing Victory, one playing a trumpet, the other bearing a palm leaf France, circa 1810

H E I G H T : I8 IN 146

CM)

M A X I M U M W I D T H OF BASE: 6 IN (I5 CM)

M A L L I- T 1

H C) I' R 1) O N

II () i: S I-

A pair of Louis XVI chenets

A pair of Louis XV wall appliques

A fine q u a l i t y p a i r o t L o u i s X V I b r o n z e a n d gilt

A rare p a i r of m i d 1 8 t h c e n t u r y L o u i s X V gilt b r o n z e 2 b r a n c h

b r o n z e c h e n e t s , d e p i c t i n g a lion a n d a l i o n e s s s e a t e d

wall a p p l i q u e s d e c o r a t e d in a h i g h l y stylised m a n n e r w i t h

w i t h t h e i r h e a d s t u r n e d a n d t h e i r tails t u c k e d u n d e r

scrolls, rocaille a n d e n t w i n i n g a c a n t h u s foliage.

t h e i r b o d i e s . E a c h o n e is r e n d e r e d in fine n a t u r a l i s t i c d e t a i l in b r o n z e . T h e y rest o n p l i n t h s c a r v e d w i t h a b o l d l y m o d e l l e d a c a n t h u s leaf a b o v e t u r n e d

F r a n c e , circa

1750

fluted

legs w i t h f o l i a t e p a t e r a a b o v e a n d a c a n t h u s leaf at t h e

H E I G H T : 2 3 VL I N ( 6 0

f o o t . B e l o w t h e frieze at t h e f r o n t is a stylised

WIDTH:

CM)

15 IN (38 C M )

material swag. An almost identical pair are in F r a n c e , circa 1 7 8 0

the Quirinale in Parma. This pair form part of a large suite

H E I G H T : 1 0 I N <25 C M )

of two and three branch wall

WIDTH:

1 0 IN (25 C M )

lights that were purchased

DEPTH:

5 IN (I3 CM)

new in the mid 18th century in Paris, by the Duke's agent, Du Tillot. Though familiar in form, this exact model is very rare. The illustrated pair may have formed part of this commission, especially as the original commission was for six pairs of appliques of three different models. The only other recorded pair is illustrated in: Ottomeyer & Proschel Vergoldete Bronzen. page 140, plate 2.11.9.

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A pair of Louis XVI brule parfums An exceptional pair ot ormolu mounted red griotte brule parfums. The lid has a twisted flame finial and is supported on a pierced ormolu gallery. The finely marked marble of the turned body is mounted with three Bacchic heads, each with elaborately spiral twisted horns and pendant chains, with pearl running border above. Below each head the elegantly tapering shaped ormolu tripod supports end in a finely detailed goat's hoof on a shaped triangle marble base. The elaborate detail of these ornaments is further enriched by a central spiral column supporting a foliate sunburst beneath the upper bowl. France, circa

1780

H E I G H T : 1 4 I N (35 C M ) D I A M K T E R : 6 Vi I N ( 1 7

CM)

The quality of the chasing, which is particularly evident in the masks and on the legs, which are rectangular in section with sophisticated geometric step cutting running d o w n each front face, is in exceptional original condition. This traditional form of perfume burner emulates other examples, of which perhaps the most famous are those made from jasper in the Wallace Collection, with ormolu mounts by Gouthiere, w h o s e elements although more complexly ennched, are very similar to this model, with masks surmounting goat's feet and replacing the spiral horns in the Wallace collection are richly chased swags of vine.

A set of four Courtois fauteuils A set of four Louis XVI fauteuils decorated in grey, off-white and yellow. The backs are of stylised horseshoe shape with fluted bases to the back rails. The arms have scroll reeded terminals supported by fluted and reeded supports. The serpentine front rail is carved with a deep flute and moulding below, flanked by floral patera. The chairs are supported by turned, tapering fluted and reeded legs. Each chair bears numerous inventory numbers as well as the JME stamp and an unidentifiable chateau mark, MFN. (The chairs retain their original webbing). Stamped COURTOIS France, circa 1775 H E I G H T OF B A C K : 3 5 VL I N ( 9 0 C M ) H E I G H T OF SEAT: I 4 IN <36 C M ) W I D T H : 2 3 Vl IN ( 6 0 C M ) D E P T H : 2 0 IN (51 C M )

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"ft

Nicolas Simon Courtois b. 1724, Maitre 19th November 1766 Courtois worked in the rue de Charenton and later in the rue de Charonne in Paris up to the Revolution. He produced work of the Louis XV. transitional and Louis XVI styles and was principally a maker of chairs. His chairs display a high quality of craftsmanship and are exemplified by their strength of line, moulded decoration and delicate carving.

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II.)

m^M )

N:-

A gilt-bronze lantern An exceptional, small scale late Louis XV early neoclassical gilt bronze lantern, each face surmounted by a double facing scroll with foliate ornament at the centre. There are four main sides with four smaller concave facets. Each edge has a capital of a ' C scroll supported by a swag and surmounted by a fan shaped foliate element. The feet are the mirror image of the capitals, with the exception that they terminate in berry clusters. T h e lantern retains its original three light chandelier and is in an exceptional state of conservation throughout.

France, circa 1765

H E I G H T : 2 9 IN ( 7 4 CM) W I D T H : 1 5 IN (38 C M )

•5 « i

IM ill If •i"

;

M il

V- f

R-

J '

B <) R K N T) N II (

A pair of Neapolitan stools A pair of mid 18th century Italian silver-gilt stools. T h e stools stand on cabriole legs with acanthus leaf carving on the corners, above a pendant bell flower, ending in scrolling foliate toes. T h e carved apron repeats the scrolled moulding, again decorated with foliate and shell carving. T h e central fan shaped foliate plumes are repeated on all four sides. Each is strengthened with an 'X' frame stretcher and is now upholstered with period Bargello stitch needlework.

Italy, circa 1750

H E I G H T : 2 2 IN (56 C M ) W I D T H : 2 2 IN ( 5 6 C M ) D E P T H : 1 5 IN (38 C M )

AT IT <) I R I) ON II () I-

A pair of Neapolitan 18th century side tables A pair oFgilt-lacquered, silver-gilded Neapolitan mid 18th century side tables, having elaborately carved foliate ornament. T h e central cartouche takes the form of a foliate fan scroll, supported by an 'S' scroll moulding with a further foliate fon motif below. T h e cabriole legs are surmounted by boldly carved ' C scrolls enriched with foliate o r n a m e n t with further flowers carved to both the front and the back of the knee. T h e sides of the legs are fluted and terminate in a tripartite foot carved with an extended ' C scroll at the front. T h r o u g h o u t the carving is of high quality and very boldly achieved. T h e tables have replaced Siena marble tops.

Naples, circa 1750

H E I G H T : 35 IN (89 C M ) W I D T H : 58 Vl IN ( 1 4 9 C M )

• m -

A pair of Borghese and Medici vases A pair of extremely finely carved early 19th century marble vases, modelled after the Medici and Borghese vases. O n e vase depicts drunken bacchantes chasing Silenus. The other with Iphigenia, accompanied by Achilles and Agamemnon, seated below the statue of Diana. The upper rim with crisp egg and dart moulding above entwined fruiting vines. Each vase is supported on a turned socle with fluted base and foliate egg and dart apron.

Italy, circa 1840

H E I G H T : 2 5 IN ( 6 3 C M ) W I D T H : 2 2 IN ( 5 6 C M ) D I A M E T E R O F BASE: 8 IN ( 2 0 C M )

' ••

•».

1 1 t I r

A r

H O 1 R [> O N

This pair of vases are modelled after two classical Athenian vases

were copied three times for the Bassin da Latone at Versailles but

from the second half of the 1 st century AD. The one on the left

in the version of the Borghese vase, closest to the copies of the

after the Medici vase now in the Uffizi and the one on the nght after

Medici vase, the krater form twith handles) of the latter is borrowed

the Borghese vase now in the Louvre. The Borghese was first

in the interest of symmetry.

recorded in the garden of Carlo Mutti in 1 594 and the Medici vase

The revival of neo-classicism of the Grand Tour at the

in the Villa Medici in Rome in 1598.

beginning of the nineteenth century after the Napoleonic W a r s enabled many of the wealthiest Englishmen to acquire great

From the mid 17th century until the mid 19th century these classical vases were the most admired of antique marble vases,

classical wares. A pair of near identical vases, with this extremely

and. sometimes ascribed to Phidias (5th century B C ) . the Greek

fine almost transparent marble, was acquired by the 3rd Marquess

sculptor, who received from Pericles a commission to execute the

of Londonderry to adorn his new classical sculpture gallery in

chief statues for the city of Athens. The two vases were often

Londonderry House in the late 1820's.

compared and copies of them were arranged as companions. Both

M A 1.1.

r 1

A I

H o I- R 1) o N

n o r s t

A pair of 17th century still lifes A pair oFstill life paintings w i t h f r u i t a n d flowers o n pedestals covered by a rich b r o c a d e in an architectural setting. A t t r i b u t e d to G i o v a n n i Battista S A L V l . (Active in R o m e , m i d 1 7 t h c e n t u r y ) . O i l on canvas.

F R A M E D : 4 4 1/2 x 3 4 1/2 I N ( 1 1 3 x 8 8

CM)

4 ^V

Bii, if

> >

yim

\ 1 I 1-. I T

B t ) t H I) () N

H I) I'

Literature

M.ROSCI, Baschenis. Bettera and Co, 1971, pp.61-62, fig. 158-163. F.ZERI, La Natiim morta in Italia, 1989, p.211, 743, fig.238, 875-877. M.Bona CASTELLOTTl, La Pittura Lombarda delseicento, 1985, p.674, fig. 533-534.

overleaf

A mid 18th century side table

A pair of Italian mirror sconces

A N o r t h Italian m i d 1 8 t h c e n t u r y parcel gilt side table.

A p a r t i c u l a r l y g o o d p a i r o f Italian g i l t w o o d m i r r o r s

T h e t o p is d e c o r a t e d t o s i m u l a t e v e r d e a n t i c o . T h e sides

r e t a i n i n g t h e i r o l d m i r r o r plates. T h e t o p has s c r o l l i n g

a n d f r o n t are of s e r p e n t i n e f o r m , e a c h h a v i n g a recessed

p l u m e s a b o v e an a r c h e d u p p e r m o u l d i n g w i t h p u n c h e d

p a n e l , t h e o u t l i n e p a i n t e d in a n o c h r e t o n e . T h e base of

g r o u n d , w h i c h s u r m o u n t s t h e e l a b o r a t e ' C scroll f r a m e

t h e frieze is c a r v e d w i t h silver gilt i n t e r l o c k i n g 'S' a n d

w i t h c r i s p f o l i a t e c a r v i n g , as if c r e a t i n g a d o u b l e m i r r o r

' C scrolls w i t h a f o l i a t e p a t e r a at t h e c e n t r e . T h e t a b l e

frame border, with grotesque masks beneath.

s t a n d s o n c a b r i o l e legs, c a r v e d at t h e k n e e w i t h silver gilt a c a n t h u s leaf a n d a t t h e toe, w i t h a scroll a n d a

Italy, circa 1 7 5 0

f u r t h e r leaf m o t i f . H E I G H T ; 4 4 IN ( 1 1 2 C M )

Italy, circa 1 7 6 0

W I D R I I : 28 '/2 IN ( 7 2 C M )

H E I G H T : 3 4 'A IN ( 8 7 C M ) W I D T H : 5 4 '/I IN (138 C M ) D E P T H : 2 6 Vl IN ( 6 7

CM)

"j^mM-

m 'Xf

61 JL

.1 A I. 1. K r T

H t ) I' K I) O N

HO U S E

A rare castelli polychrome bow

Four Genoese rococo armchairs

A rare castelli polychrome bowl with fluted sides, decorated with classical figures.

A set of four mid 1 8th century Genoese rococo parcel gilt armchairs. T h e elaborately shaped backs are carved with gilt rolled edges and a foliate scroll at the apex of the back and

Naples, circa 1740

with a stylised shell at the base. T h e scroll arms and arm supports are similarly embellished with an acanthus leaf

H E I G H T : 4 IN ( I D C M )

carved at the terminals. T h e front seat rail has at the centre

DIAMETER:

a shell cartouche flanked by 'S' scrolls. T h e chairs stand on

I 3 VI I N ( 3 4 C M )

cabriole legs and terminate in a gilt shell foot.

Italy, dm!

1755

H E I G H T OF B A C K : 4 I IN ( I O 4 C M ) H E I G H T OF SEAT: I8 IN ( 4 6 W I D T H : 2 7 IN ( 6 9

CM)

D E P T H : 2 2 IN (56 CM)

CM)

,1ft..

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A pair of parce gilt torcheres

A bronze figure of an athlete

A very unusual pair of late 18th century parcel gilt

An unusual mid 18th century Italian bronze figure

Piedmontese torcheres, having triangular tops with

of a bearded athlete standing with one arm raised

canted edges supported by corinthian capitals above a

and the other lowered.

fluted and reeded column. This is supported by a base carved with acanthus leaf and a collar of oak leaves.

Probably Florence, circa 1750

T h e whole is supported by a concave sided, triangular plinth carved on each face with neo-classical motif in

H E I G H r: 1 2 I N (31 CM)

giltwood, standing on fluted column feet.

Northern Italy, circa 1785

H E i G i r r : 59 i n ( 1 5 0 CM) DIAMETER OF TOP: 8 IN ( 2 0 CM) D I A M E T E R OE BASE: I 3 I N (33 C M )

9 I

Four Neapolitan silver-gilt girandoles A set of four Neapolitan silver-gilt mid 18th century girandoles. T h e crest is carved with a pierced shell flanked and surmounted by floral ornament. T h e corners are similarly carved, as is the base. T h e inner edge is decorated with an unusual dentil moulding and encloses the original mirror p l a t e s . ^ ^ ^ ^ ^ ^ l Italy, circa 1760

H E I G H T : 35 IN (89 CM) W I D T H : 23 IN (58.5 CM)

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A pair of views of Rome by Franz Kaisermann Franz K A I S E R M A N N (Yverdon 1765 - Rome 1833) Watercolour on paper

Inscription: Vue de Rome prise au pied du Mont Marius peint et define en grand d'apres nature par Francois Kaisermann. Artiste a Rome le 16 mars 1814.

F R A M K D : 4 3 x 35 IN ( 1 1 4 x 8 9

CM)

architectural scenes depicting the surrounding areas and

Franz K a i s e r m a n n w a s of S w i s s origin and like so many contemporary artists was lured by the arts and classical history

buildings and vistas of Rome. Paintings such as the present pair

of Italy. In 1783 he travelled to Rome where, in 1789, he became

are characteristic of his oeuvre with a bucolic scene in which the

the pupil of the great Swiss watercolourist Abraham Ducros.

human element is almost o v e r s h a d o w e d by a majestic landscape.

Sadly as a result of differences b e t w e e n the t w o men,

Kaisermann's handling of the watercolour medium has clear

Kaisermann forged his own way and subsequently travelled to

similarities with that of his tutor, which is seen in the choice of

Naples for a period of six years, returning to Rome where he

colours and the expression of solid and liquid forms through tone.

spent the rest of his life. Princess Borghese (nee Pauline

He also displayed an eye for fine detail of content, form and

Bonaparte) and her husband Camillo Borghese were among his

colour which particularly appealed to the English and German

most notable patrons and c o m m i s s i o n e d from him large,

tourists. He had a preferred formula to which he adhered and

accurately drawn watercolours of well-known Roman sites.

his figure studies display his ability to render the human form,

His topographical scenes w e r e extremely popular; by 1800

however, often the figures in his paintings w e r e executed by

his reputation was well established, selling regularly to tourists,

B a r t o l o m e o Pinelli. The m e t h o d of dual authorship w a s used at

a wealthy Roman clientele and a strong following of Roman

least as far back as the 16th century and was certainly c o m m o n

collectors w h o avidly sought his w o r k .

practice in 17th century Rome, w h e r e usually the Italians

Kaisermann's oeuvre is populated with landscape and

provided the figures, the Netherlandish painters the landscapes.

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A Venetian console table A highly unusual late 18th century Venetian marbelised glass m o u n t e d console table having gilt lead foliate mounts. The top has a central panel of simulated lapis bordered with a brocatelle. T h e front panel is similarly decorated and is enriched with a large white glass spiralling patera in high relief. T h e console tapers down to a boldly cast acanthus finial at the base. T h r o u g h o u t the console is covered with fine strips of glass. On the bracket is illustrated a pair of Swedish hardstone ewers. (See page 8 8 . ) Northern Italy, circa

1780

H K I G H 1': 2 4 I N ( 6 1 C M ) W I D T H : 31 C M ( 7 9 C;M) D E P T H : 15 I . \ (38 C M )

GERMANY & AUSTRIA

A set of four German side chairs A highly unusual set of four early 19th century mahogany single chairs. Each chair has a curved and shaped back with show wood frame, which is supported on two ' C scrolled back supports, that continue as a solid piece of mahogany to form the outcurving and splayed rear legs capped by brass toes. The arched seat frame is supported in the front by fluted, tapering legs, placed on the angle, with brass trim and again ending in brass toes.

Germany, circa 1815

The seat frame of each chair is stamped with the Crown and Inventory marks of the Thurn and Taxis family and Schloss St Emmeram.

H E I G H T OF BACK: 33 VL IN (85 CM) H E I G H T OF SEAT: I8 IN ( 4 6 CM) W I D T H : 21 IN (53 CM) D E P T H : 19 IN (48 CM)

The House of Thurn una Taxis The Thum and Taxis family gained their wealth by forming the most

to find grand enough lodgings. So in 1753 part of the local monastery

successful network of horse posts along the Alpine passes between

of St. Emmeram was converted into accommodation for Carl Anselm

Italy and Austria. This early postal system was rapidly expanded

(1733-1805), 4th Prince von Thum und Taxis. By 1812 the family had

during the later 16th and earlier 17th century under the patronage

purchased the remaining parts of the monastery of St. Emmeram and

of the Hapsburg Dynasty.

set about transforming it into one of Germany's finest Schlosses.

In the 16th century, the Emperor Maximilian granted a monopoly

Each successive generation of the Thum und Taxis family has left

to the Tasso family on many communication routes and granted

its mark on the Schloss St. Emmeram. In 1816, at about the time

Francisco Tasso letters patent to adopt the German noble title of

when our chairs were constructed, the family consulted Leo von

von Taxis. By the beginning of the 17th century, his ancestor Roberto

Klenze (1784-1864), chief architect to the Court at Munich in the

von Taxis was created a Count Prince of the Holy Roman Empire.

transformation of the east wing. His remarkable room of mirrors, is

In the early 18th century. Emperor Karl VI demanded that his

a rare survivor from this period in St. Emmeram's history. Between

postal headquarters should be moved from Brussells to Frankfurt,

1829 and 1831 the family made further improvements to the

where the family entertained in lavish style. A further diplomatic

buildings, perhaps the most notable being the construction of a riding

posting moved the von Taxis to Regensburg, where they were unable

school at the vast cost of more than a quarter of a million gulden.

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I A I 1 T. I T A R B O I K II <) N 11 O R S 1

The Life of King David A very remarkable early 18th century silk needlework picture, depicting the life of King David. T h e extraordinary detail includes topiary gardens, intricate costumes and many characters and buildings. Unusually for this period, the picture is given extra depth by the inclusion of shadows and three-dimensional buildings. South Germany, circa 1720 F R A M E D : 33 Vi x 7 3 Vi I N

(85 x 1 8 6 C M )

\1 A 1 t 1 1 I

A 1

B () [ U I

The reign of King David is recognised as the golden age of Israel

merciful King. The King is always shown in the same costume of

and he is depicted here, during various historical moments,

a green coat.

through the use of repeated representation like a modern cartoon

This picture transplants a traditional biblical subject and

strip. To the left in the background, is the most famous of all the

illustrates it within a contemporary 18th century setting. The life

stories - David and Goliath. Beneath it, in the middle ground,

of David therefore b e c o m e s a brilliant visual commentary on

David protects his family's sheep against a ferocious lion. To the

European court life, dress, architecture and garden design at the

low/er right David and Jonathan and. in the centre, David as

turn of the eighteenth century.

overleaf

An Austrian mahogany centre table

A pair of giltwooc pier mirrors

An unusual Austrian early 19th century circular

A fine pair of early 18th century German giltwood pier

mahogany centre table, the top having an ebonised

mirrors, each having an elaborate scroll cresting with a

border inset with a bois clair diamond motif. The

stylised tan at the centre supported by a male profile on

pedestal is of tripod form and each leg is hexagonal,

one and a female on the other. The reliefs are flanked by

inlaid with a satinwood flute and terminates in a parcel

foliate 'S' and ' C scrolls against a varied ptinched and

gilt claw foot. The platform base has an ebonised border

crosshatched background. The mirror borders are similarly

and is supported on a gilt foliate pad foot. Each leg is

decorated with arabesques in low relief against a diaper

joined by a panel inlaid with a scroll and a foliate motif

ground. The base of each is shaped to echo, in smaller scale, the cresting. They retain their original bevelled plates.

Atistria, circa

1810 Germany, cimi

H E I G H T : 3 6 IN ( 9 2

1725

CM)

D I A M K T K R : 4 0 IN ( 1 0 2

CM)

H E I G H R: 5 5 IN ( I 4 0 WIDTH:

2 5 IN ( 6 3

CM) CM)

This pair of mirrors is closely related to a group of giltwood mirrors produced in Lower Franconia during the second decade of the eighteenth century. They differ from earlier, more frequently found German designs, in being lighter and more delicate both in carving and architectural design. There are a number of distinguishing features which are clearly apparent on the pair of mirrors here illustrated, such as the simple cushion moulding of the rectangular frame being carved with bands of geometric running strapwork, alternating with undecorated borders. The cresting above is also smaller than earlier mirror designs, yet retains many similar features, such as the upright palmette, which surmounts the central pair of low relief profiles. This development and refinement of mirror design in Lower Franconia was centred on the town of Lohr Interestingly, it is recorded that a group of French glassworkers had established a workshop at Lohr in the early 18th century. Therefore, it seems reasonable to suppose that a group of French sculptors could have influenced this new style of Lohr mirror frames, which closely correspond to the French Regence carving style and gilding patterns of this time. The combined delicacy and richness of the ground pattern, with three different designs of diaper work, is a very sophisticated departure from Franconian mirrors made only a decade earlier

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M A I. Li-, r T AT B O I R I) <) S II O I' S F.

An Austrian centre table An early 19th century Austrian mahogany centre table, the top with finely figured flame veneer having a boxwood strung border at the outer edge. T h e table is supported on a hexagonal stem with three fluted scroll supports m o u n t e d with repousee brass acanthus leaf and similarly bordered with ebonised stringing. T h e whole stands on a concave sided triangular plinth with a beaded repousse brass border supported by giltwood claw feet.

Austria, circa 1810

H E I G H T : 3 2 IN (81

CM)

D I A M E T E R OF T O P : 3 7 IN ( 9 4

CM)

RUSSIA & SCANDINAVIA

B o r R I) <) N ii () r s I

A Swedish gilt-lead pier mirror A magnificent large scale early 18th century Swedish pier mirror having an elaborate bevelled mirror trefoil cresting above a canopy formed from facing 'S' scrolls of bevelled mirror. T h e upper plate of the main mirror is engraved with foliate o r n a m e n t with a scalloped bevelled edge at the base. T h e bottom edge of the mirror is similarly decorated in small scale with a finely cast foliate element at the centre. T h r o u g h o u t , the mirror is bordered with fine quality gilt repousse lead. Attributed to Burchardt P R E C H T .

Sweden, circa 1720

height:

9 2 IN ( 2 3 4

W I D T H : 3 9 IN ( 9 9

CM)

Burchardt Precht trained as a sculptor and cabinetnnaker in Bremen

transport large enough plates from France, which was the only

and moved to Stockholm in 1674 where he w o r k e d at Drottingholm

centre capable to floating a single plate large enough.

Palace. This mirror is a fine example of his w o r k , which can be dated

The use of lead edging, richly tooled with decorative detail, is an

to the early eighteenth century for a number of reasons. First, the

element particularly favoured in Scandinavia and is gilded to match

presence of bevelled border-glasses to outline the main plates was a

the carved w o o d e n elements on both the cresting and lower apron.

popular decorative trait that is comparable to contemporary English

Here the cresting has b e c o m e part of the frame and is balanced by

examples. In addition, the c u s t o m of fitting t w o main panels of mirror

the lower shaped apron in a development of the traditional late

glass, as a means of achieving the necessary size, was essential

seventeenth century mirror designs. The architectural refinement of

because no domestic mirror manufacturer could float large enough

these details gives this mirror a richness and grandeur which belies

plates. It would be both impractical and inordinately expensive to

its simple lines.

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A pair of jasper vases

A serpentine tripod athenienne

A pair of very fine Russian jasper vases. The turned column stands on a square base and is in a straight grained jasper, while the upper vase is finely turned and

A rare fine quality Swedish ormolu mounted serpentine

polished in a richly figured contrasting lamsk jasper and

tripod athenienne. Each leg has a carved leopard's head

stands on an ormolu plinth.

capital and is enriched on the fi-ont face with a gilt bronze guilloche of laurel leaves and terminates in a claw foot.

Russia, circa

The base of the bowl is decorated with a starburst of

1810

further laurel leaves in gilt bronze. The piece stands on a H E I G H T : 9 '/2 I N ( 2 4 CM)

white marble tripod plinth with bands of matt polished

W I D T H : 3 Vl IN (9 CM)

brass beading. Sweden, circa

1790

H E I G H T : 18 '/4 I N (46.5 CM) d i a m e t e r : I I I N (28 CM)

J a s p e r Is a granular chalcedony. T h e original name c o m e s from the G r e e k for spotted stone. T h e finest red jasper is found in the Ural mountains in central Russia, which w a s originally an archipelago of islands. T h e volcanic ash mixed in different proportions with silt from the s e a and formed a sediment. This friable sediment w a s c o m p r e s s e d , hundreds of millions of y e a r s ago, thus turning into a multicoloured stone, which when polished, a s in these urns, forms nch and complex patterns. Here this brown red jasper, which is figured with grey green lines, c o m e s from the Uchalinsk region. The rich figuring was always highly valued by Russian craftsmen and a number of columns and v a s e s are exhibited in the Hermitage M u s e u m .

M A L I- 1-. I T AT H I) R K I) I) S II () I' S [

A Swedish glass candelabrum

A Russian mahogany bookcase

An exceptional, large scale Swedish late 18th century

An unusual mid 19th century Russian brass inlaid

blue glass and ormolu six branch candelabrum, taking

mahogany display cabinet. The top is stepped and is

the form of a vase mounted upon a circular colimin

bordered with a brass moulding, as is the top frieze.

supported by a tripod key pattern base, standing on a

The sides are decorated with an inlaid rectangular brass

white marble plinth terminating in claw feet. The candle

moulding with inverted corners which are decorated with

arm is strung with glass bead swags and has an ornament

patera. The front is flanked by brass inlaid flutes and the

of both aquatic and floral motif

doors are glaz.ed in the upper section with brass astragals above an ornamental mahogany panel decorated with

Sweden, circa

brass stringing, which joins an elaborate central patera.

1790

The whole stands on square, tapering block feet with H E I G H T : 3 8 IN ( 9 7

WHJIH:

brass sabots.

CM)

1 5 1/2 I N ( 3 9 I N )

Russian, circa

1850

H K I G H T : 7 2 IN ( 1 8 3

CM)

WIDTH:

52 IN ( I 3 2 C M )

DEPTH:

1 4 I N <36 C M )

The use of blue glass combined with the clear white crystal on this candelabrum reflects the close liasons between Russian and Swedish glass manufacturers. The extensive use of ormolu was inspired by the French neo-classical designs of this period. These particular elements, such as the scrolling foliage, on the metal mounts, can be seen on later designs manufactured by Lindroth of Stockholm and are drawn from French publications by Percier and Fontaine.

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M A L L T T T AT BOURDON

A pair of Swedish ewers

H OU S E

A pair of Russian glass vases

A pair of Swedish early 19th century ormolu and marble ewers. T h e handles are in the form of intertwining laurel and the spouts are fluted and strimg with honeysuckle

A particularly rare large scale pair of Russian lead crystal

swags, having waisted stems and terminating in square

vases. T h e finely faceted neck, s u r m o u n t e d by a crisply cast

plinths with concave corners.

ormolu ring, is supported on a deep bowl with cut and polished lobe motifs, flanked with two ormolu looped handles above finely chased bearded masks, retaining their

Sweden, circa 1810

original bright and matted surface. T h e whole is supported on a turned and faceted stem with an ormolu base and

H E I G H T : II IN (28 C M )

winged lion's paw feet.

Russia, circa 1810

H E I G H T : I 6 Vi IN ( 4 2 C M ) D I A M E T E R : 9 Vi IN (25 C M )

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A Russian armchair A Russian Empire mahogany bergere profusely decorated with applied brass ornament. The top rail is layered with a panel of finely figured flame mahogany. The back splat is fashioned as a panel of brass fluted columns with a brass bordered diamond cartouche at the centre. The sides of the bergere are double caned and the seat rail and arms are decorated with fluted brass panels. The chair stands on square tapering legs inlaid with brass at the front and on sabre legs at the back, all terminating in brass castors.

Russia, circa 1810

H E I G H T OF B A C K : 3 7 IN ( 9 4 C M ) H E I G H T OF SEAT: I 7 IN ( 4 3 C M ) W I D T H : 2 3 IN ( 5 8 . 5 C M ) D E P T H : 2 9 IN ( 7 3 . 5 C M )

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R O () N II O I" S E

A Chinese export red lacquer bureau A rare late 18th century Chinese export red lacquer bureau on its original stand, the fall front opening to reveal a fitted interior with a small central cupboard, pigeon holes and drawers, above two long drawers retaining their original handles, decorated throughout in shades of gold with rocky landscapes, river settings, pavilions and trees on a deep scarlet ground, the stand decorated on all four sides with floral motifs and raised on cabriole legs with claw and ball feet.

China, circa 1780

H E I G H T : 38 -H IN ( 9 8 . 5 CM) W I D T H : 28 Vl IN ( 7 2 . 5 CM) D K P T H : 1 7 IN (43 CM)

This f o r m of bureau w i t h its d e s k on a s e p a r a t e s t a n d is d e r i v e d f r o m

G e n u i n e panels of C h i n e s e lacquer w e r e highly prized,

s o p h i s t i c a t e d G e o r g e I e x a m p l e s dating t o t h e 1710's. T h e s e

particularly red examples, and w e r e f r e q u e n t l y i n c o r p o r a t e d into e v e r

e x a m p l e s w e r e e x e c u t e d in oak v e n e e r e d w i t h richly figured walnut.

m o r e elaborate p i e c e s o f European furniture as the e i g h t e e n t h

It is unusual t o find an example in black lacquer and rarer still in red

c e n t u r y p r o g r e s s e d . T h r o u g h o u t this p e n o d European m e r c h a n t s

w h i c h w a s always r e g a r d e d as an auspicious c o l o u r and a s s o c i a t e d

sent out e x a m p l e s of W e s t e r n furniture, silver and painting t o be

w i t h c e l e b r a t i o n in China. The f o r m of our bureau w o u l d s e e m t o be

r e p r o d u c e d by C h i n e s e c r a f t s m e n . S u c h m o d e l s c o n t i n u e d t o be

inspired f r o m an English e x a m p l e sent out t o China, similar t o an

u s e d well after t h e y had fallen f r o m fashion in their h o m e c o u n t r i e s ,

example f o r m e r l y in the H e n r y Hirsch collection, w i t h the intention of

as is o f t e n s h o w n by Export porcelain. The style of this piece of

creating o n e or m o r e lacquer v e r s i o n s . Europe had been f a s c i n a t e d

furniture although initially indicating an earlier p e r i o d may be m o r e

by t h e e x o t i c i s m of lacquer and her c r a f t s m e n tried t o imitate the

a c c u r a t e l y d a t e d t o t h e e n d of the e i g h t e e n t h c e n t u r y by the stylistic

t e c h n i q u e by 'japanning' furniture f r o m t h e late s e v e n t e e n t h c e n t u r y

detail of the C h i n e s e l a c q u e r S u c h a vivid piece of furniture w o u l d

o n w a r d s . This p r o c e s s involved the u s e of c o l o u r e d varnishes on

have fitted in well into the highly fashionable C h i n o i s e r i e b e d r o o m s

g e s s o e d s u r f a c e s rather than the laborious C h i n e s e p r o c e s s of

or t e a - r o o m s of the period.

building up innumerable layers of shellac.

MALLETT AT B O L" R I) O N II O I' S T

Six Japanese hawk pictures Six J a p a n e s e h a w k s , each sitting o n a p e r c h with highly d e c o r a t e d k n o t t e d jesses o n a b r o w n w a s h e d p a p e r g r o u n d . T h e p a p e r is in fine c o n d i t i o n a n d each h a w k is particularly well d r a w n , with detailed p l u m a g e .

J a p a n , circa 1 8 4 0

F R A M E D : 53 X 2 6 Vi IN (135 x 6 8 C M )

M A I, 1- I- t I

A I

BO I R D O N

The Japanese tradition for images of hawks derives from the passion for the sport of hawking. In particular the Emperor received each year a tribute of a hawk from the regions of Japan. Each region can be defined not by the breed of hawk but by the colour and knotting of the 'jesses'.

M O I ' S F.

\I A I. L I r I' A I B <) I' R DOS

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A pair of Chinese oil paintings A pair o f C h i n e s e late 18th century garden scenes depicting figures playing a g a m e on an English style circular table. In the b a c k g r o u n d is a w o o d e d landscape and a pergola beside a lake. T h e other depicts a g r o u p a d m i r i n g a n d tending a collection of potted plants within a formal garden. Attributed to Y O U Q U A .

C h i n a , circa 1795

F R A M E t i : 21 Vl X 2 7 IN (55 X 6 9

CM)

M A I I 1. I 1

A T H (> I li [ ) O N

These t w o small oil paintings illustrating Chinese ladies in garden courtyard settings are very similar to the w o r k s of Youqua w h o was active in Canton in the early 19th century and w o r k e d extensively for the British community in Hong Kong during that time. His w o r k s can be seen in the National M u s e u m of Art. Hong Kong.

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H O I' S 1

A pair of Chinese painted landscape panels A pair oF painted wooden panels depicting a Chinese household in idealised landscape settings, with stylised rocks and trees, in front ot a lake and with mountains in the distance. Each picture shows a lady with her servants, one with her lord smoking, the other holding audience with a philosopher poet.

China, circa 1780

F R A M E D : 5 6 V2

X 3 4 IN ( 1 3 6 X 8 6

CM)

An Imari bowl An unusually large late 17th century Imari porcelain bowl with boldly drawn pomegranates, chrysanthemums and exotic grasses on a stylised rocky ground. The white undergla/.cd body with rich blue, orange and green overglazes, on both the inside and outside o f the bowl.

Japan, circa 1690

H E I G H T : 8 '/2 I N ( 2 2 C M ) D I A M E T E R : 12 '/2 I N (32 C M )

MAM I I T A I B ÂŤ) I' R I) <) N || () (' S H

A pair of Chinese side tables A pair of early 19th century Chinese side tables of b u r g u n d y stained hardwood. Each table has a shaped rail on each side below the frieze, having at its centre tw.'o interlocking rings in gilt. T h e tables have square legs with arched tops and terminate in traditional inturned scroll feet.

China, circti 1820

H E I G H T : 33 IN <84 C M ) W I D T H : 38 IN ( 9 6 C M ) D K I ' T H : 1 9 IN ( 4 8 C M )

100

MA1I

A 1 H O R R L> <) N N O I

Two Chinese export glass paintings Two Chinese export late 18tli century glass paintings each depicting a young European lady with exquisite detail shown in the fashion of the time. O n e is shown seated within an interior resting on a book, finely dressed in blue silk. T h e other is dressed for going out, wearing a lavish bonnet and stole, having her hands protected by a m u f f

China, circa 1790

F R A M E D : 2 1 X I 6 Vi I N (53.5 x 4 2 C M )

101

M A L L F. I r

H (> V H D <) N

A I

II (> l' S

Forthcoming Events 2001

1 9 - 2 5 October

The International Fine Art and Antique Dealers Show The Seventh Regimetit Armory, New York, USA

2002 1 8 - 2 7 January

The Winter Antiques Show The Seventh Regiment Armory, Neiv York, USA

31 January - 10 February

Palm Beach International Fine Art and Antiques Fair West Palm Beach, Florida, USA

8 - 1 7 March

TEFAF Maastricht Fair Maastricht,

10 - 15 Mav

The

Netherlands

The International Fine Art Fair The Seventh Regiment Armoiy, New York, USA

12- 18 June

The Grosvenor House Art and Antiques Fair Grosvenor House Hotel, London,

14 - 17 June

The International Ceramics Fair Park Lane Hotel, London,

18 -24 October

The International Fine Art and Antique Dealers Show The Seventh Regiment Armory, New York, USA

ÂŠ Mallelt & S o n CAntiques) Ltd 2 0 0 1 D e s i g n e d by Sinclair C o m m u n i c a t i o n s Printed in England by Balding + Mansell

Terms and c o n d i t i o n s o f sale All business transacted is subjcct to o u r s t a n d a r d terms a n d c o n d i t i o n s o l sale, copics ol w h i c h are available on reques

102

MAM.E TT A I BOURDON HOUSE