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MALLETT at Bourdon House

1999

MALLET T at Bourdon House

2 Davies Street London W 1 and at 141 New Bond Street London W 1

Mallett at Bourdon House Ltd

Mallett & Son (Antiques) Ltd

2 Davies Street

141 New Bond Street

London W I Y ILJ

London W I Y OBS

Tel 020 7629 2444

Tel 020 7499 7411

Fax 020 7499 2670

Fax 020 7495 3179

Thomas Woodham-Smith Dirraor

L a n t o S y n g e Managing Director

Henry Neville Director

T h e H o n Peter Dixon Director Paula H u n t Director

Katie Pertwee

Giles Hutchinson Smith Director

Felicity Jarrett

John Smith Associate Director J a m e s H a r v e y Associate Director

Richard Cave Jeremy Garfield-Davies Tarquin Bilgen

MALLETT PLC DIRECTORS

Rex C o o p e r * Chairman

Lanto Synge Chief Executive T h e H o n Peter Dixon Paula H u n t Giles Hutchinson Smith Thomas Woodham-Smith Henry Neville T h e H o n Mrs Simon Weinstock* * N o n executive

Mallett Website: http://www.mallett.co.uk Email: antiques@mallett.co.uk

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Introduction It is with great pleasure that we present to you our 1999 Autumn catalogue. This year has seen the opening of our new showroom which is a magnificent double cube, measuring 20ft in height and 40ft from end to end. This new room offers the company in general opportunities to show pieces even more magnificently.

We are continuing to exhibit at fairs around the world with Mallett Bond Street and next year we will appear for the first time at the Winter Show at the 7th Regiment Armory in New York in January.

Throughout the last year we have been concentrating increasingly on the decorative arts of France. We have dedicated a large section of this catalogue to showing you a selection of the pieces we have found. As part of our established tradition of eclecticism we have acquired pieces from across the centuries, offering you work from the early 18th century right up to the early decades of the twentieth.

We hope that you find many temptations within these pages and please call to discuss any piece you find of interest.

Thomas Woodham-Smith

Henry Neville

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A large Regency mahogany bookcase A fine quality Irish Regency mahogany bookcase, the cresting having at its centre a laurel wreath flanked by enclosed anthemia with an egg and dart motif below. T h e bookcase has four tall doors above with finely cast brass grilles, below four smaller doors have similar grilles. Throughout, the carving and choice of timbers are of the highest quality.

Ireland, circa 1810 Provenance: supplied to Christopher Dillon-Bellew circa 1810 for Mount Bellew, Co. Galway.

Mrs. Grattan-Bellew, Mount Loftus, Kilkenny.

O V E R A L L H E I G H T : I I 9 IN (3O3 CM) W I D T H : 6 9 IN ( I 7 5 CM) D E P T H (UPPER B O O K C A S E ) : 18V2 IN ( 4 7 C M ) D E P T H (LOWER B O O K C A S E ) : 2 2 IN (56 C M )

The history of the Mallett mahogany bookcase is long and varied having

and 1811, the invoices from the Morgan workshops had exceeded

ohginally been made for the Bellew family of Mount Bellew, Co.

ÂŁ1,000. Furnishings such as Grecian sofas, covered with blue velvet to

Galway, Ireland. It was made in conjunction with redecorating work in

match the curtains, as well as cabinets lavishly inlaid with ivory, and

the first decades of the 19th century, carried out by Sir Richard

rosewood sofa tables in the Regency taste were used throughout.

Morrison. The bookcase, which is in the early Regency manner, was

Stylistically the Mallett library bookcase coincides exactly with the

made to complement the decoration of the library to the architect's

refurbishing works undertaken by Lewis and Anthony Morgan. The quality

specifications of grandeur.

of craftsmanship is excellent, and is particularly seen in the choice of

Sir Richard Morrison (1767-1849) was a family member of a well established architectural practice based in Dublin since 1800 (see Country Life Magazine May 24 1973). His main commissions were for private patrons, designing, altering and building country seats. He also had several

veneer and its application. The crisp detailed car\/ing of the base and cornice is very fine and well proportioned for a bookcase of such scale.

The library was, for Christopher Dillon, perhaps the most important room. It was lavishly decorated with mahogany doors and bookcases,

commissions for public buildings, such as the Cathedral at Cashel,

ladders and a large centre table in the 'Gothic Style', blue calico curtains

completed for the Archbishop of Cashel, and Court Houses throughout

and brass fixtures. During the period of nearly 30 years, between his

Southern Ireland. In 1841 he was given the title of Earl de Grey, and was

father's death in 1797 and his own in 1826, he had accumulated what was

the President of the Institute of Architects of Ireland.

Some of his most important private commissions were those which

probably the finest private library in Ireland. The books - first editions in their original boards - were stored in purpose built damp proof cupboards.

were designed from scratch. His work is typified by the use of subtle

Much of his library was purchased through the prominent Dublin based

lines and recesses combined with a fine balance, between expanses of

bookseller John Archer and an 1812 catalogue of the library, which

clear wall and strategically placed details, often taking inspiration from a

records the volumes, their size and the date and place of purchase, runs

variety of sources, but in particular the Irish architect and tutor, James

to a staggering 92 full pages, containing nearly 3,800 titles.

Gandon and the prominent English architect. Sir John Soane. His early villas built in the Neo-Palladian manner refer to those of Soane, square

The Family

in plan with bombe projections and centrally positioned stairwells lit by

The earliest record of the Bellew family is 1210, recorded in Gilbert's 'Roll

domed cupola. Two houses built in this manner are Castlegar Co.

of Early Settlers' under the name of De Belle Aqua, the family was again

Galway, and Bear Forest Co. Cork.

The building of Castlegar commenced in 1803. supervised and probably designed by Sir Richard Morrison. Henry Holland, who was the

recorded in 1402, under the name Bellew as a phonetic translation. They were well established and powerful at the end of the eighteenth century, when the alterations to Mount Bellew took place. Christopher Dillon Bellew

Prince Regent's architect from 1783 to 1806, also submitted plans.

1763-1856 was heir at the time. His son Sir Michael Dillon Bellew 1 st Bt

Holland's plans no longer exist, but Neale, an authority on Irish

1796-1865, may have also made some alterations.

architects, assures that the design is typical of Sir Richard. Either way. it

In 1858, Thomas Arthur Bellew, son of Sir Michael, married

is clear that Sir Richard worked closely with Henry Holland and was

Pauline Grattan. the daughter of the Statesman, orator and M P for

influenced by his 'modern' approach to architecture and interior design.

Dublin and Prime Minister the Rt Hon Henry Grattan, whence the

Holland's furniture designs were strongly influenced by the French

name changed to Grattan-Bellew. This was perhaps the most

Empire style and many of his designs are precursors to the later

significant marriage for the Bellew family, until the marriage of Thomas

Regency style.

In 1810 Christopher Dillon Bellew commissioned Sir Richard Morrison to add wings and a porch to Mount Bellew and to redesign the

Henry Grattan-Bellew to Bettina Idrone Dorothy Loftus of Mount Loftus in 1933. It was at this time that the bookcase was transferred to Mount Loftus. In the 1930's the Bellew library commenced its

interior The cabinet-makers Lewis & Anthony Morgan of Dublin were

dispersion in a series of sales which started in May 1933. The house

employed to refurbish the house in a lavish and expensive manner

was sold in 1938 and was later to be demolished.

according to the design of the architect. In only one year, between 1810

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A Piedmontese giltwood side table and mirror (below) A fine quality North Italian early 19th century giltwood side table. The frieze decorated

A fine quality North Italian early 19th century giltwood pier mirror surmounted by facing griffins with a lyre at their

with carved anthemion and acanthus leaves,

centre, the borders carved with arabesques of floral motif with

supported by winged leopard monopodia at the

vases at their apex. The top frieze carved with enclosed

front and square fluted columns at the back,

anthemia mounted on a recessed glass panel. Throughout, there

retaining its original marble top.

are multiple borders of beading, laurel leaf and egg and dart; retaining its original mirror plates.

Possibly Piedmont, area 1810 Possibly Piedmont, area 1810 H E I G H T : 361/2 I N ( 9 3 C M ) W I D T H : 53'/2 I N ( 1 3 6 C M )

H E I G H T : 9 0 IN ( 2 2 9 CM)

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

W I D T H : 5 0 IN ( 1 2 7

m

CM)

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A pair of Milanese commodes A pair of late 18th century Milanese rosewood c o m m o d e s , the tops with quartered veneers o f rosewood bordered with lines o f stringing and a herringbone veneer o f tulipwood and foliate paterae at the corners. T h e three drawers are veneered in a similar manner to the top. T h e lower two drawers are 'sans travers' and stand on square tapering legs surmounted by a foliate patera and terminating in lacquered brass sabots.

Italy, circa 1790

H E I G H T : 35 I N ( 8 9

CM)

W I D T H : 4 8 IN (122

CM)

D E P T H : 2 2 V i IN (57

CM)

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A double decanter box A very unusual Austrian mahogany double decanter box in the form of two octagonal containers, joined by a concave sided stretcher, the tops domed. Inside are the original square decanters with canted corners.

Probably Vienna, circa 1830

H E I G H T : I O IN (25 WIDTH:

CM)

1 2 IN ( 3 0 C M )

16

A pair of ship's candlesticks A remarkable very large scale pair of gilt copper ship's candlesticks, the drip pan having a beaded rim, as does the socle capital and base. T h e tapering column is s u r m o u n t e d by incised laurel leaf o r n a m e n t , fluted and supported on an overscale circular base, similarly decorated with laurel leaves in low relief on a p u n c h e d ground.

Baltic, circa 1780

H E I G H T : 15 IN (38 CM)

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A Genoese mirror An unusual large scale North Italian mid 18th century giltwood rococo mirror, the cresting taking the form of interlocking 'S' scrolls of acanthus, with boldly drawn corner scrolls. The sides are enriched with equally boldly carved free standing acanthus 'S' scrolls with a shell at the centre. The base continues these themes and terminates at the centre with a large cartouche.

Genoa, circa 1750

H E I G H T : 73 I N ( I 8 6 W I D T H : 43 IN ( I I O

CM) CM)

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A group of candlesticks (left)

(second f r o m left)

(far right)

A pair of Louis X V I gilt b r o n z e

A pair of Empire white marble

A pair of Louis XVI white

candlesticks having f l u t e d socles

and o r m o l u candlesticks, the

marble and o r m o l u candlesticks

w i t h h o n e y s u c k l e swags, the

socles s u p p o r t e d by gilt metal

of u n u s u a l f o r m , the socle

m a c h i n e d drip pans h u n g w i t h

scrolls h u n g with swags standing

s u p p o r t e d on a circular p l a t f o r m

swags a n d s u p p o r t e d by a

on a white marble baluster

s t a n d i n g o n o r m o l u baluster c o l u m n s , in t u r n s t a n d i n g o n a

tapering column and a tripod

c o l u m n , s u r m o u n t e d by laurel

of a c a n t h u s leaves. T h e w h o l e

leaves. T h e whole s u p p o r t e d o n

tripod base with scroll claw feet.

s t a n d i n g o n a circular w h i t e

a circular stepped plinth and

T h e whole s u p p o r t e d by a w h i t e

m a r b l e p l i n t h with gilt b u n

standing on unusual gilt metal

marble circular p l i n t h with a

feet.

feet.

beaded o r m o l u border.

France, circa 1790

Possibly Sweden, circa 1800

France, circa 1790

H E I G H T : IO IN ( 2 5 C M )

H E I G H T : II IN ( 2 8 C M )

H E I G H T : 9 IN ( 2 4 C M )

20

A pair of Regency stone elephants A most unusual pair of early 19th century stone elephant!>, each elephant walking forwards with their trunks upturned. The stone is in fine condition with a weathered surface.

England, circa 1800

HEIGHT:

23 I N (58 C M )

L E N G T H : 3 2 I N (81 DEPTH:

1 0 IN (25

CM) CM)

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A pair of mid 18th century Castelli plaques A pair o f m i d 18th century rectangular Castelli majolica plaques, each depicting twilight set amidst a lush landscape.

Naples, circa 1760

I I X 8V2

IN (28 X 1 1

CM)

22

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The majolica factory at Castelli near Naples

Grue ( 1 6 5 5 - 1 7 2 3 ) who is considered to be the

flourished in the 17th and 18th centuries. A potter is

originator of the distinctive style. These panels are

recorded there by the name of Pompei in the 16th

typical of his work and also that of one of his sons,

century and production continued, in a debased form,

Francesco Antonio. They both specialised in painting

into the 19th century. The great moment for the

freely styled Baroque landscapes with classical ruins,

factory was during the period lasting three

often drawing inspiration from the work of

generations of the Grue family. It is Carlo Antonio

contemporary engravers.

23

An arte povera telescope An extremely rare arte povera telescope, retaining its original decoration, in a fine state of preservation.

Italy, circa 1740

length:

24"/2 IN ( 6 2 C M )

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24

25

An Adam grate An exceptional large scale Adam period polished steel summer grate having engraved vase fmials and paterae, the frame being bordered with a bead motif and having a pierced frieze of faceted and engraved paterae of circular and oval form.

The whole standing on fluted square tapering legs. The cast iron basket grate and fire back case are cast in high relief with a pierced fan bordered with similar beading to the steel work.

Possibly Ireland, circa 1770

H E I G H T : 4 3 IN ( 1 0 9 C M ) W I D T H : 4 2 IN ( 1 0 7 C M ) D E P T H : 2 1 IN (53 C M )

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A set of three ornamental Italian panels A set of three Italian late 18th century oil on canvas arabesque panels, each decorated with an elaborate vase at the centre issuing forth a spray of flowers flanked by song birds.

Italy, circa 1790

F R A M E D : 4 5 x 4 8 IN ( 1 1 4 x 1 2 2 C M )

27

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A Victorian revolving bookcase A late 19th century oak revolving bookcase in the Moorish taste, each face having a c o m p a r t m e n t o f four shelves, the sides to each being three Moorish arches. T h e whole standing on a raised cross frame support with trefoil gothic arches.

England, circa 1880

HEIGHT: WIDTH:

6 4 IN (163 2 6 IN ( 6 6

CM)

CM)

30

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An Italian mandolin A mid 19th century Italian mandolin, the face inlaid with mother of pearl geometric ornament and the soundboard with Apollo driving his chariot. O n the reverse, the shaft and head are veneered with tortoiseshell and the back is in rosewood with an ivory border and steel stringing.

Italy, circa 1860 H E I G H T ON STAND: 2 /

IN ( 6 8

CM)

31

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A group of early electric light bulbs A most unusual group of eleven ornamental experimental early electric light bulbs known as Geissler lamps.

Germany, circa 1880 T H E TALLEST: 1 4 IN (36 CM)

Provenance: John Logie Baird

These electrical discharge tubes are at the same time

'lamps'. Geissler was primarily an artist and yet the new science

fascinating scientific objects and masterpieces of the art of

of electrically generated light production drew many enthusiasts

glass. Known as Geissler lamps after their inventor Henry

and he exploited the market for ornamental scientific

Geissler, a German glass blower who invented, in 1855, the

instruments. The present examples were almost certainly made

Geissler tube. This was used to place gas at low pressure and

in his workshop in Bonn in the 1870s. It is of considerable

then to apply an electrical voltage; the result was that the gas

interest that they were previously owned by John Logie Baird,

glowed. The Geissler tube inspired further inventions including

the inventor of the television, which is also a glass tube.

32

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A pair of Cardinal Fesch armchairs A pair of Italian giltwood neo-classical armchairs with domed pediments supported by fluted pilasters and seat rails, the arms carved with giltwood winged leopards standing on animal legs at the front and sabre legs at the back (numbered 1 and 25). The design by D or L Santi.

Italy, circa 1810

BACK HEIGHT: 43^4 IN (IIO CM) SEAT HEIGHT: I8 IN ( 4 6 CM) W I D T H : 261/4 IN ( 6 7 CM) DEPTH: 213^4 IN (55 CM)

This pair of chairs are part of an extended suite of furniture, originally designed for Cardinal Fesch, Napoleon's uncle who probably commissioned two sets of chairs from Dioniso and Lorenzo Santi, after their design was published in 'Modeies des Meubles' 1812. The only difference between each set was in the cresting, one being triangular, the other, as here, being domed. These chairs were sold in Paris in 1816 and some were acquired by William Beckford for Fonthill Abbey, where an extensive suite lined the walls of the Drawing Room. Other arched backed chairs of this design can be seen in the Ballroom of the Villa Demidoff. Today, there is a settee in the Dulwich Picture Gallery, a part suite at Malmaison and a chair in the Lady Lever Gallery at Port Sunlight.

34

m mm

A Victorian triple spirit barrel An unusual silver plate mounted oak triple spirit stand, each barrel bearing an engraved label: Whisky, Gin, Brandy. The spigots support miniature drip pails. The barrels stand on a silver plate capped trestle and they retai their original ivory bordered stoppers.

England, circa 1880

H E I G H T : 1 4 IN ( 3 6 C M ) W I D T H : 1 4 IN ( 3 6 C M ) D E P T H : 9 IN ( 2 3 C M )

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A pair of Qing dynasty hardwood chairs A pair of mid 18th century Chinese hardwood chairs, the arms and backs and seat rails having deUcately carved scrolling ornament.

China, circa 1740

B A C K H E I G H T : 33 I N ( 8 4 C M ) SEAT H E I G H T :

2 0 I N (JI

WIDTH:

2 3 I N (58 C M )

DEPTH:

L-JVL I N ( 4 4

CM)

CM)

B O U R D O N

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A Vizagapatam games box A late 18th century Vizagapatam book-form ivory games c o m p e n d i u m . T h e box opens to reveal a horn and ivory b a c k g a m m o n surface and two lidded cedar containers holding horn and ivory b a c k g a m m o n and chess pieces. T h e outside of the box forms the chess board.

India, circa 1790

OPEN:

2 0 X I8 IN (51 X 4 6

CM)

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B O U R D O N

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A Holland & Sons writing table A n u n u s u a l early V i c t o r i a n g i l t w o o d w r i t i n g table in the R e g e n q ^ taste with neo-classical scroll legs, c a r v e d w i t h stylised a c a n t h u s a n d floral o r n a m e n t t e r m i n a t i n g in claw feet, j o i n e d by an o c t a g o n a l stretcher e n r i c h e d with stylised floral o r n a m e n t . T h e frieze h a v i n g two drawers m o u n t e d with brass h a n d l e s o f b o l d l y g a d r o o n e d f o r m , the right h a n d drawer s t a m p e d H o l l a n d & S o n s .

E n g l a n d , circa 1 8 5 0

HEIGHT:

2 9 IN ( 7 4

WIDTH:

52 IN ( 1 3 2

DEPTH:

2 6 IN ( 6 6

CM) CM) CM)

Holland & Sons stamped and traded under this name from 1843. They were previously known as Taprell, Holland & Son and had been in business since the first years of the century. They went on to become one of the greatest furnishing firms of the Victorian period, continuing in decline until 1942. The firm's earliest known major commission was the fumishing of the Athenaeum 1824 - 1838. During this period, they also supplied items to Arundel Castle, Harewood House and Ickworth. The neo-classicism of these houses can be seen in the form and ornament of the illustrated writing table.

In 1845, they took over the business, and later the premises, of Thomas Dowbiggin, with whom they had been supplying furniture for Osborne House on the Isle of Wight. The designs for this furniture were by Henry Whitaker and date from the late 1840's. These pieces are the closest in form and ornament to the writing table illustrated here.

40

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A bloodstone and ormolu candelabrum A rare and unusual early 19th century bloodstone and ormolu two branch candelabrum, the 'S' scroll arms in the form of branches with budding and flowering roses issuing from them, supported by a corinthian capital above a tapering fluted column supported on a turned base terminating in an ormolu square plinth with return corners.

Baltic, circa 1810

H E I G H T : l 6 IN ( 4 2 CM) MAXIMUM W I D T H : ID IN ( 2 /

CM)

42

FRANCE

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A pair of Louis XV giltwood fauteuils A fine quality pair of Louis XV giirwood fauteuils profusely carved with foliate and scroll ornament.

The top rail embellished with a shell flanked by acanthus leaves. The chair has scroll arms and cabriole legs with a carved heart motif at the knee. The legs terminate in a shell foot.

In the manner of Jean-Baptiste Tilliard I, maltre 1717

France, circa 1750

BACK HEIGHT: 38 IN ( 9 7 CM) SEAT HEIGHT: 1 7 IN (43 CM) W I D T H : 2 7 IN ( 6 9 CM) DEPTH: 2 4 IN (61 CM)

Jean-Baptiste Tilliard I was a member of a well-established family workshop, which was organised from the Rue de Clery in the northern district of Paris. Jean-Baptiste became maitre in 1717, and began work for the Garde Meuble de la Couronne in 1730.

Other clients included the highly fashionable leader of taste, the Prince de Soubise and the Marquise de Pompadour. He also supplied the marchands-merciers, one of whom was Simon-Phillippe Poirier. In the 1760's Poirier dealt with English clients such as Lord Coventry of Croome Court, who acquired an exceptional 'gout grec' chair by Tilliard with tapestries supplied by the Manufacture Royale des Gobelins.

The present pair of fauteuils, which are attributed to J.B. Tilliard I, are decorated with motifs familiar to that workshop. The heart motif which is seen on the knees and the shell motif with floral sprigs, which is used on the apron and top rail, are commonly seen on stamped examples by J.B. Tilliard I. A particularly close comparison is a canape 'en corbeille' from the Metropolitan Museum of Art. New York.

44

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A pair of Louis XV consoles A pair of small scale Louis XV parcel gilt console tables of bombe form, the frieze pierced and decorated with a floral motif and boldly modelled facing ' C scrolls carved with a shell.The tables stand on cabriole legs, terminating in scroll toes. The legs are joined by a small stretcher with floral ' C scrolls at the centre. They retain their original red marble tops.

France, circa 1750

H E I G H T : 3 1 IN ( 7 9 C M ) W I O T H : 2 7 IN ( 6 9 C M )

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A Regence commode A particularly fine red lacquer Regence commode. T h e serpentine front with two small drawers above and two long drawers below, each finely decorated with floral and foliate chinoiseries and exotic birds.

Retaining its original finely cast ormolu mounts.

France, circa 1730

H E I G H T : 32'/2 IN ( 8 2 WIDTH:

CM)

51 I N (I30 C M )

D E P T H : 24I/2 I N (62 C M )

48

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BOURDON

HOUSE

An eglomise centre table A fine a n d rare C h a r l e s X r o s e w o o d circular centre table, the t o p inlaid w i t h a stylised floral vitruvian scroll. A t the centre is an o u t s t a n d i n g verre e g l o m i s e panel d e c o r a t e d w i t h neo-classical o r n a m e n t a n d a b o r d e r o f v i n e leaves. T h e t o p has a reeded e d g e with a frieze b e l o w inlaid with floral m a r q u e t r y a n d paterae, s t a n d i n g o n a h e x a g o n a l baluster s t e m in r o s e w o o d with b o x w o o d stringing. T h e w h o l e s u p p o r t e d b y three claw feet.

France, circa 1 8 3 0

HEIGHT:

29 IN ( 7 4

DIAMETER:

CM)

38 I N ( 9 7

CM)

Verre eglomise is a term applied to a process of decorating

collector of art works, Jean Baptiste Glomy (died 1786).

glass from the reverse with metal foil, usually gold or silver,

From his house on the rue de Bourbon he was credited with

engraved with pictorial or geometric designs. The technique

inventing a method of framing prints with black and gold

was known as early as the 3rd century BC in Alexandria and

fillets painted from behind the glass. Thus his name became

was widely used throughout the Roman Empire and in early

arbitrarily linked to a much older process, that in this eariy

Christian times.

19th century table has reached the height of sophistication, with varying tones of gold and mottled greens and greys

This gold glass decoration became associated in France

framing an elaborate central design on a porphyry ground.

during the 18th century with a designer, framer and great

50

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A Molitor gueridon A most unusual Empire two tiered gueridon. Both tiers in striated white marble with pierced lacquered brass galleries, the frieze and legs in fine highly figured pale mahogany. The top of each leg having a repoussee brass patera. The legs o f ' S ' scroll form inset with a panel of brass and terminating in brass claw feet.

By Bernard Molitor (1755 - 1833)

France, circa 1815

Illustrated on page 160, plate 167 in Ulrich Leben, MOLITOR

eheniste from the Ancien Regime to the Bourbon Restoration,

page 160, plate 167.

H E I G H T : 2 8 3/4 I N ( 7 3

CM)

D I A M E T E R O F T O P : 3 2 IN ( 8 l

CM)

In 1788, Bernard Molitor made the usual political

Bernard Molitor led a charmed life. Born before the

marriage that successful cabinet-makers seem always to

revolution in the most turbulent of times, he survived the French revolution, the terror, the Empire and even the

make. He married the daughter of the 'charpentier du roi'. It is

Restoration without serious loss. At his death, at the then

perhaps cynical to see this marriage as entirely motivated by

very senior age of seventy eight, he left a substantial fortune.

career, as Molitor had already received a royal commission,

As the lives of the great and famous ebenistes from the 18th

but he did soon begin to receive commissions from the

and 19th centuries are examined, it is rare, to say the least,

Queen's circle.

to find financial stability, let alone the ability to survive political

The Revolution brought ruin to many and often death at

upheaval. The life and work of Bernard Molitor are exceptional

the guillotine. The ace Molitor held was that his cousin,

from this perspective alone, before his prodigious output is

Michel, had been actively involved in the storming of the

even examined. Born in Betzdorf in Luxembourg in 1755,

Bastille, so with his help Bernard, though interrogated,

Bernard Molitor trained as a sculptor Tired of the provincial

managed to avoid arousing serious Revolutionary suspicions.

life, quite young, probably before 1 778, he moved to Paris

Over the following decades, he was honoured with

and almost immediately his business acumen came to the

commissions from the Emperor Napoleon, King Jerome of

fore. In 1778, he is recorded in the 'Petites Affiches'

Westphalia and many private noble collectors, including the

advertising a patent insect killer. Later in 1782, he advertised

Due de Choiseul-Praslin, Molitor's remarkable survival owes

an ingenious patent hand warmer, fashioned as a small pile of

most to the fact that he managed to create a style which was

books. This was a box in mahogany or walnut which had a

always both simple and original. His work was clearly

metal liner that could be filled with hot coals. However,

individual as well as being not too intrusive. Above all other

Molitor's output was not limited to toys. He had a workshop

factors, Molitor achieved success over this extended period

which he leased at the Arsenal and enjoyed considerable

because his work was reliable and of outstanding quality

success, but it was not until 1787 that he became a 'maitre'.

52

A pair of wall appliques A pair of early 19th century Louis XV style five branch wall appliques with elaborately scrolling arms t)f pierced foliate design supported on a sinuous foliate back plate.

France, circa 1840

H E I G H T E X C L U D I N G C A N D L E S : 2 4 IN ( 6 l CM) W I D T H : 2 2 I N (56 C M )

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A very large scale early Louis XV gilrwood settee of double h u m p back form. T h e back and seat rails profusely carved with floral ornament in high relief, particularly the centre of the back and the centre of the front seat rail. T h e whole standing on cabriole legs terminating in scroll toes.

France, circa 1745

BACK h e i g h t : 37 I N (94 CM) S E A T h e i g h t : 2 0 I N (5I C M ) w i d t h : 85 I N ( 2 I 6 CM) d e p t h : 33 i n (84 CM)

A pair of Louis XVI giltwood fauteuils A fine pair of Louis XVI fauteuils having rectangular tapering backs with a domed top rail, sabre arms and turned tapering reeded fluted legs. The chairs are carved throughout in fine detail with traditional neoclassical ornament.

France, circa 1775 B A C K H E I G H T : 35 I N ( 8 9 SEAT H E I G H T : WIDTH:

16

I N (41

2 4 I N (6L

CM)

D E P T H : 19 IN (48

CM)

CM) CM)

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A pair of Empire ormolu vases An outstanding pair of large scale gilt bronze vases of antique form with scroll handles having neo-classical foliate ornament. T h e bodies are enriched with applied high relief plaques symbolising love. T h e bases of the vases have large scale acanthus and anthemian motif, supported on a fluted circular base standing on a square stepped plinth with neo-classical foliate o r n a m e n t at its lower edge.

In the m a n n e r of Claude Galle (1759-1815).

France, circa 1810

H E I G H T : 1 7 IN (43 CM) B A S E : 7 IN (18 CM) S Q U A R E

Claude Galle was one of the most prominent 'bronziers' of the early Empire. His work was widely praised for its precision and elegance. He supplied many pieces for both the Grand Trianon and the Petit Trianon at Versailles. He is also known to have provided work for the Palais de Compiegne, the Palais de Fontainbleau, the Palais de Rambouillet. and the Palais de Saint-Cloud. He also sold to Italian clients and his work is well represented at the Hunting Lodge at Stupinigi outside Turin and the Palazzo Monte Cavallo in Rome.

60

B O U R D O N

HOUSE

A pair of trompe Toeil paintings A pair o f unusual trompe loeil paintings o f butterflies and moths, each finely detailed and representing more than eighty different specimens from a collector's cabinet. T h e richness o f the colours is enhanced by the intricate shading which gives such effect to this trompe I'oeil design.

Oil on board.

France, circa 1800

F R A M E D : 21 3/4 X 2 6 IN (55 X 6 6

CM)

62

MALLETT

AT B O U R D O N

63

HOUSE

Two pairs of Baccarat glass and ormolu candlesticks A pair of Charles X Baccarat cut glass candlesticks profusely diamond cut on the socle and on the baluster stem.

T h e faceted stepped foot has square cutting beneath and an ormolu rim.

France, circa 1825

HEIGHT:

IO Y^ IN ( 2 7

•Y// J •

CM)

• » J.

* it

1

A t i n e a n d r a r e p a i r o f l - j u p i r c l^accarat t;lass c a n i l l c s t i c k s , tlic f o r m t a k i n g t h a t o f a gilt liron/x- c a n d l c s t i c k willi a n o c t a g o n a l s o c l c , s u p p o r t e d o n a s t e p p e d o t t a g o n a l b a l u s t e r c o l u m n , s t a n d i n g o n a c i r c u l a r s t e p p e d Iwse, s t a r c i u h e n e a t l i a n d f r a m e d w i t h a n o r m o l u r i m .

I'rance, cimi 1810

l i i ' i c i i r:

I \ IN

(28

CM)

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A Louis XV side table An extremely rare Louis XV black lacquer occasional table. The tray top with shaped edge decorated with gilt chinoiseries depicting a river landscape with children playing games and a group playing mahjong beneath a willow tree. The whole standing on particularly elegant tapering cabriole legs with shaped apron containing a single drawer, which is decorated with polychrome flowers and retains its original castors.

France, circa 1750

H E I G H T : 2 7 ' / 2 IN ( 7 0 C M ) W I D T H : 2 7 ' / 2 IN ( 7 0 C M ) D E P T H : 1 7 IN ( 4 3 C M )

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A Directoire commode A Directoire brass mounted mahogany commode with a grey marble top, framed on three sides by a pierced gallery.

Below are three drawers, each bordered with a brass moulding, the top drawer divided to simulate three separate drawers. The drawers are flanked by turned pilasters with brass flutes and at the back are square pilasters similarly decorated. The whole stands on tapering topie feet in brass and mahogany.

France, circa 1800

H E I G H T : 33'/2 IN (85 C M ) W I D T H : 4 9 ! / 2 IN ( 1 2 6 C M ) D E P T H : 2 2 IN ( 5 6 C M )

67

MALLETT

AT

BOURDON

HOUSE

A Georges Jacob side table An exceptional Louis XVI gilrwood side table, the frieze carved with a guilloche pattern having an egg and dart moulding above and a ribbon moulding below. The frieze, composed from a single element of walnut, is particularly finely carved, with additional paterae. The table stands on four turned tapering, fluted legs with laurel and acanthus leaf carving and retains its original marble top.

The front right hand leg bears the stamp of Georges Jacob.

France, circa 1765 HEIGHT:

35 IN (89

WIDTH:

6 5 IN ( 1 6 5

DEPTH:

25 IN (63

CM) CM) CM)

68

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BOURDON

HOUSE

A Louis XVI console desserte A small scale late Louis XVI brass mounted mahogany console desserte having a single drawer in the frieze, both tiers retaining their original white marble, the frieze and base richly mounted in brass with ebony stringing. The console desserte is supported by circular columns inlaid with brass flutes. The whole standing on brass mounted mahogany topie feet.

France, circa 1790 H E I G H T : 35 I N (89

CM)

WIDTH:

35 IN (89

CM)

DEPTH:

13 IN (33 C M )

70

MALLETT

AT

BOURDON

HOUSE

A Louis XV three drawer commode A charming Louis XV small scale three drawer commode having an inset grey brocateile marble top, veneered on all sides in tulipwood with panels of mahogany bordered with a crossbanding of green stained sycamore, the corners having inlaid flutes standing on fine cabriole legs terminating in ormolu sabots. The top drawer fitted with a writing surface and compartments for an inkwell.

France, circa 1755

H E I G H T : 2 8 IN ( 7 1 C M ) W I D T H : 1 8 IN ( 4 6 C M ) D E P T H : 1 4 IN (35 C M )

71

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B O U R D O N

HOUSE

An Empire bonheur du jour A fine quality Empire mahogany bonheur du jour having two drawers in the upper section and a single long drawer in the frieze. T h e top unfolds to reveal its original green morocco leather, standing on turned tapering simulated b a m b o o legs.

France, circa 1805

MAXIMUM WIDTH:

HEIGHT:

30 IN ( 7 6

32I/2 I N (83

CM)

CM)

D E P T H ( O P E N ) : 25 I N ( 6 4

CM)

D E P T H ( C L O S E D ) : 1 6 IN (4I

CM)

74

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BOURDON

HOUSE

An ormolu and rock crystal miniature chandelier A very rare Louis XVI ormolu and rock crystal miniature chandelier having three 'S' scroll arms in gilt metal with rock crystal leaf drip pans. T h e arms are enriched with multiple carved and faceted drops and the central stem is constructed from tapering crystal rods s u r m o u n t e d by a hexagonal faceted capital supported by small scale 'S' scrolls with crystal swags. T h e stem has three collars m o u n t e d in ormolu and rock crystal terminating in a stylised fleur de lys in ormolu.

Possibly incorporating 17th century elements.

France, circa 1780

H E I G H T : 2 3 IN (58 C M ) W I D T H : 1 0 IN (25 C M )

76

MALLETT

AT B O U R D O N

79

HOUSE

B O U R D O N

HOUSE

A Regence giltwood side table A very fine q u a l i t y early 1 8 t h c e n t u r y R e g e n c e c a r v e d g i l t w o o d s i d e t a b l e , s t a n d i n g o n f o u r e l a b o r a t e c a b r i o l e legs, d e c o r a t e d w i t h p i e r c e d foliage s u r m o u n t e d b y n y m p h s ' h e a d s , a n d h a v i n g a r o s s o a n t i c o m a r b l e t o p .

F r a n c e , circa 1 7 2 5

P r o v e n a n c e : T h e C h i c h e s t e r C o n s t a b l e family, B u r t o n C o n s t a b l e .

HEIGHT:

33 I N ( 8 4

WIDTH:

4 3 IN ( I I O

DEPTH:

2 8 IN ( 7 2

CM) CM) CM)

Burton Constable is ostensibly an Elizabethan house and yet it was extensively re-modelled during the 18th century, by both Cuthbert Constable in the 1730s and his son, William, from 1757 to 1778. Both men were historically and scientifically interested, Cuthbert having studied medicine at Montpelier, in the south of France. It was his rebuilding of the west front in 1736, in a Jacobean style, that enabled him to redecorate the Long Gallery with classical bookcases and rich gilded furniture, such as this table.

80

I-

A pair of terracotta vases An unusual large scale pair of Directoire terracotta vases and covers. The rims decorated with an egg and dart motif with wide fluting below. The bodies are spirally fluted and hung with large scale floral swags. The handles are reeded and have female heads as supports. The bases are also fluted with an unusual cabled lower border. The whole supported on a square integral plinth.

France, circa 1800

H E I G H T : 4 0 IN ( 1 0 2 W I D T H : 2 8 IN (70

CM)

CM)

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Four river landscapes by Cazin Jean-Baptiste-Louis Cazin (fl. Paris late 18th/ early 19th century) Four River Landscapes oil on canvas, one signed indistinctly and dated 1777

E A C H P A N E L ( F R A M E D ) : G'^Vl X 31V2 I N ( 1 6 6 X 8 0 C M )

84

BOURDON

HOUSE

Cazin was a pupil of Jollain the Younger (1732-1804). He

up the waterfalls into the distant hills in a more classical Italian

became most widely respected for his marine paintings and

manner Yet, here with dying trees and dilapidated buildings

landscapes exhibited at the 'Salons de I'Academie' between

under dramatic skies, Cazin draws upon the details of the Dutch

1791 and 1810.

landscape tradition, to create a fantasy topography charged with

Traditionally, this group of four paintings illustrate

nostalgia and emotion. This combination of European landscape

joumeying through the four passes into Italy from France. Each

styles are Cazin's earliest known works, painted in 1777, pre-

composition relies upon diagonals which guide the viewer's eye

dating any previously recognised painting by at least 15 years.

85

BOURDON

HOUSE

A Napoleon III games table with roulette An unusual mid 19th century brass inlaid mahogany combination games table, the top opening to reveal a full roulette table. T h e single drawer opens to reveal a reversible chequers and chess board with a baized backgammon board below, also contained is the roulette wheel. T h e table stands on turned tapering brass fluted legs with brass capitals and topie feet.

France, circa 1860

H E I G H T : 29 IN ( 7 4 CM) W I D T H : 3 6 I N (91 C M ) D E P T H : 23I/2 IN ( 6 0 C M )

86

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A mahogany four drawer commode A fine quality Directoire mahogany four drawer c o m m o d e with silver plated escutcheons. T h e top drawer being lined with citronnier, the lower drawers in oak. T h e corners are carved as reeded columns with anthemia in low relief at the capital which transforms to acanthus, the whole stands on finely gadrooned feet.

In the manner o f Jacob.

France, circa 1800

H E I G H T : 33 I N ( 8 4 C M ) W I D T H : 35V2 I N ( 9 0 C M ) D E P T H : 1 9 I N (48 C M )

Previous page: Louis X I V white marble vases

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AT B O U R D O N

HOUSE

A Roussel bureau A fine quality Louis XV slope bureau in tulipwood and amaranthe, each face having quartered veneers framed with a serpentine border of amaranthe with boxwood stringing, the fall having a book rest and a central scalloped marquetry patera. Below there are two short drawers and two long drawers, each mounted with finely chased gilt rococo escutcheons and handles. The interior fall has a tooled leather surface and three concealed compartments in tulipwood.

At the back there are three sections, the central one being pigeon holes which is flanked by serpentine drawers, with further pigeon holes above. The whole standing on half hexagonal block feet, also in tulipwood and amaranthe.

In the manner of Pierre Roussel.

France,

circa

1760

H E I G H T : 3 9 IN ( 9 9 CM) W I D T H : 4I!/2 IN ( 1 0 5 CM) DEPTH:

22V2

IN

(57

CM)

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The bureau de pente was a popular type during the reign of Louis

marquetry, the rigid construction and excellent design of his pieces.

XV. The quartered veneers, known in French as 'ailes de Papillon',

The Roussel workshops were established in the rue de

were seen on many types of furniture varying fronn commodes to

Charenton, Paris, near the Durand workshops and those of Pierre

work tables. The veneers were typically of the rosewood family,

Mignon I and II, who produced similar pieces of high quality

(tulipwood and kingwood), which were favoured for their strong and

furniture. The Mallett bureau shares motifs and design features with

interesting grain.

other pieces stamped 'Roussel'. The marquetry cartouche,

This bureau de pente is in the manner of Pierre Roussel, and

positioned on the bureau fall front, is very similar to various

the quality of the veneers and the design of this piece reveals that

secretaire abattants seen in P. Kjellberg, 'Le Mobilier Frangais du

the bureau originated from a very eminent workshop.

XVIIIe Siecle', Paris, 1989, pp. 734 & 735. Of particular interest is

Pierre Roussel (1723-1782), became master in 1745. His

the loop seen In the corners of the cartouche, which Ingeniously

oeuvre shows an abundance of pieces comparable to our bureau de

plays with the contrasting wood colours. The central motif of a

pente. He was particularly well known for his diverse types of

fanned stylised flower head was also used on a 'sans traverse'

furniture, and although perhaps not as inventive as BVRB, his work

commode stamped Roussel, see p.731 op.cit., veneered In

was highly accomplished, as can be seen in the quality of the

rosewood and purple wood.

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A pair of Nogaret bergeres A pair of Louis XV white painted bergeres, the back rail carved with interlocking 'S' scrolls with a bouquet of flowers at the apex. The arms scrolling down to the cabriole legs, again with floral ornament at the top and terminating in a scroll foot. The serpentine seat rail is deeply carved and enriched with floral ornament at the centre.

Attributed to Nogaret a Lyon.

France, circa 1775

BACK H E I G H T : 3 8 IN ( 9 6 C M )

H I

S E A T H E I G H T : 1 9 IN ( 4 8 C M ) W I D T H 2 9 IN ( 7 4 C M ) D E P T H : 2 7 IN ( 6 8 C M )

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