Needlework: A Fine Art by Mallett

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MALLET T

EEDLEWORK A FINE ART

2001

14 1 NKW B O N D STREET, L O N D O N W l BOUF^DON HOUSE, 2 DAVIES STREET, L O N D O N Wl

M A L L E T T IN B O N D STREET Mallett & Son (Antiques) Ltd 141 New Bond Street London W I S 2BS Telephone: 020 7499 7411 Fax: 020 7495 3179

M A L L E T T AT B O U R D O N

HOUSE

Mallett at Bourdon House Ltd 2 Davies Street London W I K 3 D | Telephone: 020 7629 2444 Fax: 020 7499 2670 Mallett Website: www.mallettantiques.com Email: antiques@mallett.co.uk

Front cover: Detail from a George II walnut Gainsborough armchair (sec pages

38-39).

Frontispiece: Detail from a Chippendale library armchair with needlework covering (see pages

6-7).

FOREWORD

Malletts have always drawn attention to the importance and beauty of fine needlewori<. One of Britain's most historic treasures, the Oxburgh hangings, embroidery worked by Mary Queen of Scots and Elizabeth Countess of Shrewsbury, was acquired for the Nation through Malletts. Many other pieces have passed to museums and great private collections through the company, notably the Goodhart collection of samplers, now exhibited by the National Trust at Montacute House, Somerset. Mallett is of course known for fine English furniture and some of the best examples of 18th century needlework is united with the glories of chairmaking. The examples shown on pages 7 and 2 7 are by all standards particularly special. We have also gathered here a wider range of interesting and beautiful English, French and Indian embroidery. This exhibition is mounted partly to mark the publication of Art of Embroidery, A History of Style and Technique, which I have been working on for the past 20 years. The book is published in association with the Royal School of Needlework. This organisation was founded in 1872 and continues to train young people in fine technical abilities which will help to carry on the wonderful tradition of needlework which this country enjoys.

Lanto Synge Chief Executive

2001

A R T o/EMBROIDERY

History of Style and

Technique

LANTO SYNGE

Art of Embroidery, History of Style and Technique, Lanto Synge, 350 colour illustrations, ÂŁ45, available from Mallett and bookshops, ISBN I 85149 359 7

A CHIPPENDALE ARMCHAIR

An extremely fine Chippendale period carved mahogany Gainsborough armchair, the arm supports and hand rests carved with acanthus, standing on cabriole legs carved at the front with shell motif and acanthus at the knees and ending in claw and ball feet, and at the back with an acanthus scroll, the rectangular padded back and seat and the arm-rests all covered in period floral petit point needlework in remarkable condition, depicting natural garden flowers and foliage on a brown ground. English, circa

1760

Height: 36/2 in / 93 cm W i d t h : 26/4 i n / 6 7 cm Depth of seat: lOVi in / 52 cm

WITH NEEDLEWORK

COVERING

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THREE

REGENCE

PANELS W I T H

A set of three large Regence needlework panels, decorated with swags and ribboned posies of flowers, including daffodils, roses and carnations worked in a variety of rose and tawny silks on a ground embroidered entirely in silver thread. French, circa

1735

Each panel framed: 92

X 31 in / 235 x 79 cm

SILVER

GROUNDS

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A 17TH C E N T U R Y

A LOUIS XV

BEADWORK

PICTURE

CUSHION

A small 17th century b e a d w o r k c u s h i o n ,

BEADWORK

A very fine a n d rare I 8th century

w i t h a r a d i a t i n g sun b r e a k i n g t h r o u g h

b e a d w o r k picture depicting a lady in an

coloured clouds and shining on a blue

exotic garden p l a y i n g a t a m b o u r i n e .

m a c a w sitting in an a p p l e tree a n d a red

In E n g l a n d , b e a d w o r k became p o p u l a r

squirrel in a hazel tree, o n a w h i t e beaded

in the 16th century a n d m a y be seen o n

ground.

E l i z a b e t h a n c o s t u m e a n d accessories a n d , particularly in the late i 7 t h century, multi-

English, circa

1690

IVi in / 13

19 c m

D i s p l a y e d w i t h i n a m o d e r n silk lined

c o l o u r e d beads were used in pictorial subjects, d e c o r a t i n g caskets, m i r r o r frames a n d other small items. In Erance by the m i d

m a h o g a n y box measuring:

18th century it h a d reached n e w heights o f

11 X 13/. i n / 28 x 3 4 c m

delicate intricacy a n d the detail created by sewing m i n u t e i n d i v i d u a l glass beads o n t o the g r o u n d material is remarkable. In this picture, each a n d every tiny bead contributes to the final accomplishment of a c h a r m i n g contem porary su bject.

French,

1750

Eramed: 2 9 x 23'/. in / 7 3 . 7 5 x 5 9 . 7 5 c m

A BEADWORK

GARDEN issf

This carefully w o r k e d oval b e a d w o r k panel by M i c h a e l van Selow depicts a formal enclosed garden with topiary trees and stylised flowerbeds surrounding a central fountain. G e r m a n , circa

1770

Framed: 41 x 3 0 in / 104 x 7 6 c m Little is k n o w n o f M i c h a e l Van Selow other than the w o r k he left behind. He was originally a shell w o r k e r w h o moved to Brunswick just outside Hanover, around 1 7 6 3 , having left the Netherlands owing money to an Anton Wagener o f Amsterdam. His financial difficulties continued t h r o u g h o u t his career despite monetary support from the D u k e o f Brunswick and his business eventually closed in 1 7 7 3 . His b e a d w o r k c a m e to decorate furniture such as tables and writing desks and also smaller o b j e c t s like vases. Each surface was prepared with a linseed screen and then a special cement was applied in which the stringed beads were laid in their pattern. Especially favoured were imaginary castles in landscapes, parrots on blossoming branches and classical

formalised gardens with pavilions and

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fountains. T h e very intricate nature o f beadwork decoration also makes it very delicate. T h e practical objects it clad were subject to everyday wear and tear and, indeed, to m o v e m e n t in the w o o d over the centuries. T h e r e f o r e such fine specimens b e c o m e all the more rare.

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A N E E D L E W O R K P A N E L W I T H AN A M E R I C A N

THEME

An American-indian theme is worked into this large panel of early 18th century needlework with an overall floral pattern surrounding a central mask wearing an elaborate headpiece. Further masks, with feathered headdresses at the sides, hold in their mouths a trailing ribbon of flora, the brown ground of gros point with finer detailing picked out in petit point. These masks and their headpiece feathers are motifs often seen in needlework of this period as representing the continent of the Americas. French or English, circa 1720 Framed: 53 x 33 in / 134 x 84 cm

A FLORAL

BOUQUET

A fine wool embroidered picture retaining very fresh colours depicts a spray of flowers including tulips, carnations, a stylised peony and tied with a blue ribbon. English, circa Framed: 28%

1750 x 25%

in / 72 x 64 cm

A PAIR O F PASTORAL. SCENES

A pair o f Q u e e n A n n e canvas w o r k panels,

small g u i t a r a n d , in the other, the

rural idyll w a s often used in needlework

each d e p i c t i n g a c o u r t i n g c o u p l e in a

g e n t l e m a n plays a flute for his a u d i e n c e , a

o f this t i m e , gentlefolk p l a y i n g , like

h i l l o c k y landscape a m o n g s t l a m b s , dogs,

picnic basket lying by her side. Both

M a r i e - A n t o i n e t t e later in the century, at

deer a n d an o x . In each scene o n e plays a

couples are placed in front o f impressive

being shepherds a n d shepherdesses. T h e

t u n e to the other. In o n e , the ladv strums a

red brick houses. T h e r o m a n t i c ideal o f a

classical ruins in o n e o f these scenes a d d s

to the feeling that the embroiderer has created a c o n t e m p o r a r y Arcadia. F-ngHsh, circa 1710 Each f r a m e d : 32 x 27^4 in / 8 1 x 69 cm

A QUEEN ANNE SHEPHERD'S CROOK

A Queen Anne walnut armchair, with elegantly shaped and dished arm rests shepherd's c r o o k supports, the padded'^'^'' back and seat retaining period needlework depicting baskets o f fruits on a scarlet

ARMCHAIR

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ground, surrounded by scrolling stylised leaves; raised on cabriole front legs and turned back legs, joined by an unusual serpentine stretcher. English, circa 1 7 1 5 Height: 3 6 i n / 9 1 . 5 cm Width: 2 4 in / 6 1 c m Depth o f seat: 17 Yi in / 4 4 cm

A G E O R G E I WALNUT STOOL

An early 18th century rectangular walnut stool, raised on cabriole legs carved with stylised acanthus at the knees and ending in pad feet, the seat upholstered in period needlework with an urn of flowers on a pale rust coloured background. English, circa

1715

Height: 16 in / 41 cm Width: 24 in / 61 cm Depth: 1 8 in / 46 cm

LOUIS

ORIHNTAL

FRUITS

A large panel o f m i d i X t h century French

w i t h red stems, entirely w o r k e d in w o o l s .

n e e d l e w o r k , w o r k e d in gros p o i n t o n a cream g r o u n d , w i t h p o m e g r a n a t e s a n d

l-'rench, circa

other exotic fruits a n d c u r l i n g leaves, s o m e

F r a m e d : 41 x 3 6 in / 104 x 93 c m

1750

A COUNTRY

DANCE

An early 18th century needlework picture with central cartouche depicting a lady a n d gentleman dancing in a rustic setting, surrounded by flowers and leaves. Knglish, cirai

1720

Framed: 391/ x 28'/: in / 100 x 72 cm

A GEORGE 1 WALNUT

ARMCHAIR

An early 18th century walnut armchair, the shaped top rail with scrolled ends above a pierced back splat and scrolled arms with shaped hand supports, the drop-in seat covered in contemporary needlework depicting a mother and her children in a woodland setting surrounded by flowers on a brown ground; the chair supported on cabriole legs terminating in pad feet. English, circa

1720

Height: 38 in / 87 cm Width: 29 in / 74 cm Depth: 19 in / 48.5 cm

A PAIR O F Q U E E N A N N E W A L N U T S I D E C H A I R S

A fine pair of Q u e e n A n n e w a l n u t side chairs, the tall r e c t a n g u l a r back a n d seat covered in 19th c e n t u r y flame stitch n e e d l e w o r k , raised on c a b r i o l e legs at the f r o n t a n d b a c k , the f r o n t knees carved w i t h shells, e n d i n g in p a d feet. English, circa

1710

H e i g h t : 38/2 i n / 9 8 cm W i d t h : IVA

i n / 5 7 cm

D e p t h : 2 7 in / 6 9 cm

A GENOESE G I L T W O O D T H R O N E

CHAIR

A mid 18th ccntury Genoese Italian giltwood armchair with strongly carved foliate decoration, cabriole legs and scrollover toes, upholstered in contemporary Venetian flame stitch needlework. This chair is similar to a suite of chairs in the Palazzo Reale, Genoa. Italian, circa

1750

Height: 4 7 in / 119 cm W i d t h : 26 in / 66 cm Depth: 25 in / 63.5 cm

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A G E O R G E II W A L N U T W I N G

A fine and rare George II walnut wing chair of unusual form, having shghtly incurving sides, upholstered in its original needlework depicting exotic birds, stylised flowers and scrolling foliage, the back worked with a central vase and a seated lady crowned with a laurel wreath; raised on cabriole legs carved at the front with scrolling acanthus at the knees and ending in claw and ball feet. English, circa 1735 Height: 45 in / 114 cm Width: 29 in / 74 cm Depth: 3 1 ' / 2 i n / 8 0 c m

CHAIR

A PAIR O F F L A M E C O L O U R E D C R E W E L W O R K

A magnificent pair o f crewelwork

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hangings, with worsted wool embroidery in

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vibrant reds, oranges and yellows showing

HANGINGS

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exotic blooms and lush leaves branching from waved and ascending stalks, growing

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from a hillocky ground. T h e s e hangings would originally have been made to surround a bed, making it the focal point o f the r o o m . Crewelwork in these tones, rather than the more usual blue-greens, is extremely rare. English, drcij

1700

Each panel: 8 4 x 88 in / 2 1 3 . 5 x 2 2 3 . 5 cm

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TWO FRENCH NEEDLKWORK

Above:

An e a r l y I 8 t h c e n t u r y F r e n c h

PICTURES DEPICTING Cl.ASSICAE

Right:

An early 18th century French

n e e d l e w o r k p a n e l in e x c e p t i o n a l c o n d i t i o n

n e e d l e w o r k p a n e l , a l s o in very fine

w o r k e d w i t h w o o l a n d silk in g r o s p o i n t

c o n d i t i o n , w o r k e d w i t h w o o l a n d silk in

a n d petit p o i n t d e p i c t i n g D i d o a n d A e n e a s

gros point and petit point depicting a

within a foliate border.

scene with D i a n a and her a t t e n d a n t s s u r r o u n d e d hv f l o w e r s .

French, circa

1720

F r a m e d : 3 6 / 2 x 32'/- in / 9 3 x 8 2 . 5 c m

French, circii

I 720

Framed: 31/2 x 2 4 1

in / 6 7 X 6 2 c m

SUBJECTS

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A SET O F F O U R G E O R G F I W A L N U T

CHAIRS

A fine set of four George I walnut side chairs with vase shaped back splats with burr walnut veneers, the seat rails having a moulded top edge, with drop-in seats covered in 18th century needlework with baskets of flowers on a blue ground within red borders, the cabriole front legs with boldly carved shell motif together with scrolls and pendant husks ending in claw and ball feet. English, circa

1720

Height: 41 in / 104 cm W i d t h : 22 in / 56 cm Depth: 19 i n / 4 8 cm

A PAIR O F G E O R G E I W A L N U T C H A I R S A pair of George 1 walnut side chairs, the hacks with burr wahiut veneers of very fine colour with central vase shaped splat flanked by shaped side rails with turned roundels at the top and base, and surmounted with a very unusual carved foliate cresting within narrow moulded borders, having drop-in seats covered in 18th century needlework with flowers on a light brown ground, raised on boldly

carved cabriole front legs with a shell and bell-flower at each knee and ending in claw and ball feet, the back legs of curved and tapering form with diamond shaped toes. English, circa 1720 Height: 40/2 in / 103 cm Width: 23 in / 59 cm Depth: 20 in / 51 cm

A PAIR OF Q U E E N A N N E W A L N U T

A pair of Queen Anne walnut side chairs with vase shaped splat backs in burr walnut, the drop-in seat covered in fine period needlework with summer flowers worked in petit-point on a cafe au lait ground, on cabriole legs carved on the front knees with shell and bell-flower motif and ending in pad feet.

English, circa 1710 Height: 39 in / 99 cm Width: 21 in / 54 cm Depth: 17 in / 43 cm

CHAIRS

A PAIR O F C H I P P E N D A L E P E R I O D S T O O L S A very fine pair of George HI mahogany rectangular stools of large scale, raised on cabriole legs carved at the knees with a cartouche and acanthus and ending in scroll feet, the seats covered in fine period floral needlework with garden flowers and scrolling foliage worked in petit point with a dark blue ground. English, circa 1760 Height: 17 in / 43 cm Width: 24 in / 61 cm Depth: 19/2 in / 50 cm

AN I M P O R T A N T PAIR O F G E O R G E II A R M C H A I R S An important pair of George II walnut Gainsborough armchairs of grand proportions, elaborately carved throughout, the hand rests of scroll form with acanthus carving, on down-curving rocaille supports ending in further acanthus leaves, the serpentine seat rail richly carved at the front and sides with central cartouche flanked by scrolling foliage, the back more simply shaped with small scrolls, all four legs of bold cabriole form with foliate cartouche at the knees above pendant bell-flowers and ending in acanthus carved scroll feet, with original leather castors, the arched and padded back and the seat covered in magnificent period needlework with large stylised chrysanthemum heads in shades of red and pink with blue-green foliage on a gold and ivory ground; the needlework in a remarkable state of preservation and with strong, fresh colouring. The chairs English, circa 1750 The needlework French, circa 1750 Height: 38 in / 97 cm Width: 31 i n / 7 9 cm Depth: 32 in / 81 cm

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A PAIR OF R E G H N C K

SCREENS

A rare pair of early 18th century four panel

used the colours and foliage to produce

screens, decorated with colourful needlework

satisfying repeating designs, especially during

depicting exotic fruits, pineapples and

the Regence period. The screens would have

pomegranates with foliage against red,

had a practical use as room dividers and

cream, yellow and blue grounds.

draft excluders as well as providing a

The pomegranate in early mythology was a symbol of abundance and fertility and

spectacular display of colour, with lustrous wools and silks.

especially an emblem of I'ersephone, whose annual release from the underworld heralded

French, circa

spring. Pomegranates were particularly

Fully extended each measures:

favoured in decoration bv the French, who

1 730

107 in / 195

272 cm

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PAIR

RKGENCH

NHEDl.HWORK

A magnificent pair of early 1 8th century French floral panels with e m b r o i d e r e d t r o m p e Poeil f r a m e s as a b o r d e r enclosing baskets of flowers, mostly c h r y s a n t h e m u m s , s u p p o r t e d by formal s t r a p w o r k c a r t o u c h e s f n ) m which h a n g f u r t h e r floral garlands. French, circa

1730

F r a m e d : 71 '/, x 3 9 in / 181

x 99 cm

PANELS

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A R A R E LOUIS XIV

CARPET

A finely preserved and rare French needlework carpet consisting of 'paned' vertical panels, with multicoloured floral decoration linking oval panels of petit point showing pictorial subjects including familiar mythical scenes and groups of flowers, all joined in borders and an outer frame of a stylised flower pattern on a brown background with smaller borders. France, circa 1710 104 X 64 m / 2 6 4 x 163 cm

A QUEEN ANNE STOOL

An early 18th century rectangular walnut stool with drop-in seat, raised on turned legs joined by an 'H' stretcher and ending in pad feet; the seat covered in period floral needlework with a dark blue ground. English, circa 1710 Height: 18 in / 4 6 cm Width: 20/2 in / 52 cm Depth: 16 in / 41 cm

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A WILLIAM AND MARY NEEDLEWORK

PANEL

A rare late 17th century needlework picture made up of nine squared panels of needlework, each showing a branching and flowering plant growing from a hillocky landscape, mostly worked in browns, greens and blues. Hnglish, circa

1690

Framed: MVi x 33 in / 82.5 x 84 cm

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AN U N U S U A L SPOT M O T I F

PANEL

A fine William a n d M a r y n e e d l e w o r k picture depicting a s t a g at the centre s u r r o u n d e d by slips of flowers a n d fruits, interspersed with caterpillars, a snail a n d butterflies. Knglish, circci 1 6 9 0 F r a m e d : 21 x 25% in / 5 3 x 6 5 . 5 c m The formal layout of this early needlework can be attributed to the fashion at the time for creating flower 'slips'. These small, embroidered vignettes were often copied from woodcLit illustrations in treasured Herhiils, and later cut out and reapplied to other material to decorate bed hangings and other upholstered items. In this case the well thought out composition suggests that the piece w a s always intended as a pictorial panel.

A QUEEN ANNE NEEDLEWORK

COVERLET

A very fine early 18th century embroidered coverlet, the cream cotton ground covered with diaper stitch and surrounded by a deep border of silk embroidered flowering tendrils, separated from the centre by a secondary running frame of yellow embroidered flowers and leaves. Further blossoms and foliage decorate each corner and the centre of the coverlet and small sprigs of flowers and exotic birds are placed evenly over the rest of the ground. English, circa

1710

58 X 54 in / 147 X 137 cm

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A RARE INDIAN E M B R O I D E R E D

BED

COVER

A most unusual silk embroidered coverlet made in India for the export market, the cotton ground elegantly decorated with densely filled baskets of flowers and surrounded by sprigs, all in a satin stitch and using lustrous fresh polychrome colours; all within a border consisting of a continuous flowing garland of flowers. India, circa

1750-1770

106 X 7 5 i n / 2 6 9 x 191 cm

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A FINE V I C T O R I A N

FLOWER

PIECE

An embroidered still life of flowers standing

preserved example of Berlin work, wool

on a stone ledge; tulips, roses in bloom and

embroidery on canvas that began the

bud and many other flowers worked in

tradition of popular needlework kits. For

vibrant colours in wool are arranged in a

such ambitious projects as this, either a

vase decorated with putti. Also, on the ledge,

painted canvas would have been provided

a bird's nest holds speckled eggs which are

or a squared chart, together with the large

embroidered with white and blue glass beads.

variety of wools and silks required. Originating in Germany this form of

English, circa

1850

needlework was quickly popularised by

Framed: 39 x 33 in / 100 x 85.5 cm

Wilks of Regent Street and others and

This is an excellentlv worked and well

early Victorian ladies.

became especially fashionable amongst

A LOUIS XV CHILD'S

CHAIR

A Louis X V walnut child's chair in the form of a miniature fauteuil, the moulded frame carved with flower and leaf motifs, upholstered in period needlework with multi-coloured flowers on a cream ground. French, circa

1770

Height: 26 in / 66 cm Width: 19 i n / 4 8 cm Depth: 16 in / 41 cm

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A 17TH

CENTURY

BAND

SAMPLER

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This very fine mid 17th century band sampler is worked predominantly in blues and greens and with red 'boxers'. The formal borders are typical of the early to mid 17th century, as is the alphabet, where I and V also represent J and U. English, circa

1650

Framed: 4 3 x 13 in / 109 x 33 cm The figures of the 'boxers', the stylised boys holding a flower and standing next to a shrub or tree, are thought to have originated in Italian design, originally having been a lover presenting his sweetheart with a bouquet. Over the years his partner has, like Daphne in mythology, been turned into a tree.

A SAMPI.HR C O M M E M O R A T I N G

A sampler by Mary Ann Herbert commemorates the death of Admiral Lord Nelson, within a floral garland, a tessellated diamond enclosing an alphabet and border motifs above a memorial poem. This sampler was probably worked in a schoolroom and was one of several embroidered at the time giving a worthy focus to the school exercise.

NELSON

Fnglish, circii 1805 Framed: 17'A x I7'A in / 44.5 x 45 cm The verse reads: Rest Rest in Peace Bright Honor's Son Thy Sires above ivill Smile on thee CAorious thy race on earth was riin Who Dared to Die to Keep iis free Mourn Mourn Britannia's Sons so Brave Your Laurels Strew round Nelson's (irave

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A SKT O F F O U R

CHINOIS

PORTRAITS

The background to each of this most

materials including scored leather, suede,

unusual set of beatlwork panels is made up

twisted wool, silks, brocades, chintz, star

primarily of bronze coloured faceted glass

sequins, paste jewels and coral, feathers and

beads, each panel with a seated elder and a

a variety of further coloured beads.

younger attendant figure, their faces very finely painted on silk. The costumes and

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furnishings within each interior scene are

Each panel framed:

imaginatively created using a wide range of

37/: X

IVA in / 95

x 59 cm

A G E O R G E II C A R V E D F R U I T W O O D

ARMCHAIR

A G e o r g e II library a r m c h a i r in f r u i t w o o d ,

a n d seat upholstered w i t h 18th century

o f exceptional q u a l i t y a n d grandeur, being

French 'bizarre' needlework w i t h exotic

French style.

carved t h r o u g h o u t w i t h a c a n t h u s leaf a n d

birds a n d a n i m a l s , stylised flowers a n d

English, circa

scroll m o t i f s , i n c l u d i n g an elaborate a p r o n

other motifs o n a c h a r c o a l g r o u n d . In the

f u r n i t u r e carved w i t h the fluidity o f the

1755

centred by a shell at the front, raised o n

18th century E n g l a n d p r o v i d e d a large

H e i g h t : w / i in / 93 c m

cabriole legs w i t h further a c a n t h u s m o t i f

m a r k e t for this type o f n e e d l e w o r k ,

W i d t h : I T / i in / 70 c m

a n d e n d i n g in scroll toes, the p a d d e d back

particularly for covering those pieces o f

D e p t h : 2 8 in / 71 c m

A FRENCH

NEEDLEWORK

CARPET

A particularly fine early 19th century French needlework carpet retaining its rich original colouring. The background is ornately patterned with blue, red, green and brown strapwork and foliate arabesques, all enclosed within a polychrome border. French, circa 1 8 3 0 Length: 121 in / 3 0 9 cm Width: 51'/2 in / 131cm

QUEEN VICTORIA'S BALTIC REVIEW

This impressive w o o l w o r k is one o f the

flying the Royal Standard, is the screw yacht-

Serres, T h o m a s Luny and Nicholas Pocock,

finest k n o w n and shows seventeen ships and

tender, Fairy which carried Queen Victoria.

or, in the 19th century, T h o m a s W h i t c o m b e ,

seven launches of the British fleet assembled

According to reports in the

for a Naval Review by Queen Victoria.

London

steaming up a path created by the ships

illustrious naval history. This piece may well

English, dated 1 8 5 4

anchored on each side. T h e Fairy then led

have been sewn from a sketch or even after

Framed: 3 3 x 41 i/4in / 8 4 x 105 c m

the fleet out o f Spithead as it began its

an engraving of the day. A special edition of

journey to the Baltic. A boat in the lower

the Illustrated London News was printed for

Wary o f a Russian break-out into the North

Neivs,

Illustrated

this ship reviewed the fleet by

recorded for posterity the splendour and power o f Britannia throughout her long and

right flies the flag o f an admiral and is

the occasion and shows drawings of various

moving away from the flagship, most likely

scenes from the day of the review. It is most

Sea, due to the numbers o f their ships in the

having put an admiral on board. T h e central

likely that this wool picture was created by

Baltic, the British Admiralty brought

ship is most probably the Duke

one o f the sailors o f one of the boats

flagship

of Vice-Admiral Sir

together a force to contain them. This first

Wellington,

division o f the Baltic fleet was c o m m a n d e d

Charles Napier. It flies the Royal Standard,

pictures were useful and portable

by Vice-Admiral Sir Charles Napier.

as it expected to receive the Queen.

distractions for the sailors on board ships for

featured. Simpler versions of these woolwork

Napier's task was to find naval recruits and

However, the admirals of the various ships

long campaigns and were very popular. They

train them as quickly as possible. Queen

were in fact presented to her on board the

were also often made on land. They are,

Victoria reviewed Napier's fleet at Spithead,

Fairy. On the horizon is Southsea Castle. At

however, rarely executed in

near Portsmouth, shortly before it set sail.

the bottom of the scene is a crowned red

commonly including just one named boat

This w o o l w o r k picture represents the

banner edged with gold thread and reading

under full sail. Generally these pictures are

review that took place on 10th M a r c h

18 Majesty's Birthday S4.

unsigned and were often given to the sailor's

I 8 5 4 , one day before this part o f the fleet

There is a long tradition o f pictorial

set sail and only eighteen days before

reviews of the Royal fleet, although the norm

Britain declared war on Russia.

is for these to be executed in oils. Renowned

To the right hand side of the picture,

18th centurv marine artists such as Dominic

SLich

detail, most

family or to a loved one as a memento. This example is exceptionally magnificent in scale and is in wonderful condition.

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IN MEMORY OF TH0$E WHO PEKISHEO: A T S E A i ® . 15119(2. '

TITANIC

THE SINKING OF THE

A rare early 2 0 t h c e n t u r y Chinese silk

still r e m a i n s o n e of the last century's m o s t

e m b r o i d e r e d picture c o m m e m o r a t i n g the

n o t o r i o u s and tragic incidents. T h e ship

sinking of t h e Titanic

w a s m a r k e t e d as u n s i n k a b l e a n d l u x u r i o u s

on I 5th April 1912,

to m e m b e r s of British a n d American high

after a c o n t e m p o r a r y print.

society a n d as the first step t o a n e w life in Chinese, circa Framed: 2 4 x

America for less m o n e y e d travellers. O n

1912

her m a i d e n voyage to N e w York, c a r r y i n g

2 8 / . in / 6 3 x 72 cm

1,500 passengers, she grazed an iceberg T h e sinking of the W h i t e Star liner

Titanic

and sank with horrific speed.

MALLETT

PLC

DIRECTORS

George Magan"' Chairman L a n t o Synge Chief Executive T h e H o n Peter Dixon Paula H u n t Giles H u t c h i n s o n Smith Thomas Woodham-Smith H e n r y Neville Rex C o o p e r * The H o n M r s Simon Weinstock" Simon de Zoete""

M A L L E T T & SON

M A L L E T T AT B O U R D O N

( A N T I Q U E S ) LTD

H O U S E LTD

141 N e w Bond Street L o n d o n W I S 2BS Telephone: 0 2 0 7 4 9 9 7 4 1 1 Fax: 0 2 0 7 4 9 5 3 1 7 9

2 Davies Street L o n d o n W I K 3DJ Telephone: 0 2 0 7 6 2 9 2 4 4 4 Fax: 0 2 0 7 4 9 9 2 6 7 0

Lanto Synge Managing Director T h e H o n Peter Dixon Director Paula H u n t Director Giles H u t c h i n s o n Smith Director James Harvey Director

Thomas Woodham-Smith H e n r y Neville Director Felicity Jarrett

Director

Mallett website: w w w . m a l l e t t a n t i q u e s . c o m Email: antiques@mallett.co.uk

'^Non-executive

J o h n Smith Associate Director Richard Cave Associate Director Jeremy Garfield-Davies Associate

TERMS AND

Director

Tarquin Bilgen Charles iVlackinnon

CONDITIONS

All business t r a n s a c t i o n s a r e s u b j e c t to o u r s t a n d a r d t e r m s a n d c o n d i t i o n s of sale, c o p i e s of w h i c h are a v a i l a b l e o n r e q u e s t . O M a l l e t t & Son ( A n t i q u e s ) Ltd 2 0 0 1 D e s i g n e d by T h e o H o d g e s B u s i n e s s D e s i g n C ^ o n s u l t a n t s P r i n t e d in E n g l a n d by B a l d i n g a n d M a n s e l l

1 y

A S E L E C T I O N OE C U S H I O N S

Centre top: A cushion with mid 1 8th

Far left a n d right: T w o cushions with mid

century Italian needlework with large

18th century St Cyr needlework

central flowering stalk and foliage.

vignettes depicting courtly figures in

"m m

bucolic settings.

Five other cushions: Five cushions with late 19th century French needlework with brightly coloured floral and foliate patterns, in the Regence style.

12 X 12 in / 30 x 3 0 cm

14'/. X 14 in / 3 7 x 35.5 cm

18 X 19 in / 4 6 x 48 cm

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