Mallett at Bourdon House 1998 by Mallett

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MALLETT at Bourdon House

Autumn 1998

MALLETT at Bourdon House

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

M a l l e t t at B o u r d o n H o u s e L t d

Mallett & Son (Antiques)

2 Davies Street

141 N e w B o n d Street

London W I Y

ILJ

Ltd

L o n d o n W I Y OBS

Tel 0 1 7 1 - 6 2 9 2 4 4 4

Tel 0 1 7 1 - 4 9 9 7 4 1 1

Fax 0 1 7 1 - 4 9 9 2 6 7 0

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

DIRECTORS

Thomas Woodham-Smith

L a n t o Synge Managing Director

Henry Neville

T h e H o n Peter D i x o n

L a n t o Synge

Giles H u t c h i n s o n S m i t h

Paula H u n t

T h e H o n Peter D i x o n M A N A G E R OF T H E GLASS

Paula H u n t

DEPARTMENT

John Smith

M A N A G E R OF T H E M A L L E T T G A L L E R Y James Harvey

MALLETT

PLC

DIRECTORS Rex C o o p e r *

Chairman

L a n t o Synge Chief Executive T h e H o n Peter D i x o n Paula H u n t The H o n Mrs Simon Weinstock*

*Non executive

Mallett Website: http://www.mallett.co.uk F^mail: A n t i q u e s @ n i a l l e t t . c o . u k

M A I. I h r r

B O I- R I) () N

H () U S I

Introduction Mallett at Bourdon House is this year, undergoing a radical programme of building works. By the beginning of next year, there will be three new showrooms: two anterooms and one magnificent double cube room measuring forty feet long, twenty feet wide and a remarkable twenty feet high. This new room will allow the whole of the Mallett group greater scope to show large scale and important pieces. It will also afford us a unique exhibition space.

The developments at Bourdon House make us all the more aware of the need to provide for our clients both unusual and fine quality pieces. This year, our largest ever catalogue offers work from sources as diverse as Denmark, Bohemia, China and India. At the same time as offering decorative arts from the four corners of the world, we are also focusing evermore on the acquisition of stamped French furniture. Never before has Bourdon House been able to offer so many pieces by the great names of French cabinet making.

We always feel a tinge of regret that, from our large stock, we can only select a relatively small number of pieces for our catalogue and are compelled to leave so much out. The catalogue is never more than a roomful of pieces and we have sixteen rooms at Bourdon House. So do please visit us to see much more of equal interest and quality.

Thomas Woodham-Smith

Henry Neville

A pair of polished steel commodes A most unusual pair of 1930's polished steel commodes in the Louis XVI taste decorated with gilt stringing and having octagonal chased brass handles. They have two short drawers and two long drawers and stand on turned tapering legs terminating in steel castors. France, circa 1930 H E I G H T : 3 5 IN ( 8 9 C M ) W I D T H : 4 0 IN ( I O Z C M ) D E P T H : 1 9 IN ( 4 8 C M )

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A Georgian III painted settee A late 1 8 t h c e n t u r y G e o r g e III p a i n t e d s e t t e e , t h e c u r v e d s h a p e d t o p rail c a r v e d w i t h s t y l i s e d roses w h i c h s w e e p r o u n d t o t e r m i n a t e i n s c r o l l e d h a n d s u p p o r t s . T h e r e a r e s h a p e d u p r i g h t s w h i c h a r e i n s e t w i t h foliate c a r v i n g , all s u p p o r t e d o n a fluted s e r p e n t i n e f r o n t rail, a n d s t a n d i n g o n c i r c u l a r fluted t a p e r i n g legs.

E n g l i s h , circa

HEIGHT:

1775

38 IN

(96CM)

WIDTH:

5 6 IN

(143CM)

DEPTH:

3 0 IN

(76CM)

This settee relates closely to the designs which Chippendale

that the work of Chippendale and John Linnell had on English

published in the third edition of T h e Director'. 1 762. in which for the

furniture manufactured at this time. A further interesting technical

first time, several plates of sofa designs are printed. The simplicity

comparison can be drawn between this settee and the work of

and elegance of line in his new, refined designs were copied closely

those two cabinet makers. On the underside of the frame, notches

by Mayhew & Ince in their 'Universal System' in 1 763.

are carved at each corner, this enables clamps to fit and secure the

The scrolled arms with elbow pads and particularly the can/ed floral cresting to the swept upper rail, are typical of the influence

joint during construction. These 'V'notches also facilitated the fixing of batons during transportation.

M A I. I. K I I

A I

B (> f R I) (

Mars and Athena wall appliques A most unusual pair of early 19th century gilt metal two branch appliques in the form of caryatids, one representing Mars, the other Athena. In their arms, they hold a spiral branch supporting two candle holders; the armour and robes of the figures rendered in precise detail.

Probably England, circa 1820

HEIGHT: WIDTH:

2 3 IN (58 C M ) 1 2 IN ( 3 0 C M )

MALLRTT AT BOURDON HOUSK

An early 19th century Sarguemines Tazza A very rare large scale Sarguemines porcelain campagna form vase, in porphyry colour m o u n t e d with gilt metal stars. (Restored)

F r a n c e , circa

HEIGHT:

1800

2 7 IN ( 6 9 C M )

DIAMETER:

2 2 IN (56 CM)

In France at the beginning of the 19th century, the

poli imitant pour les coleurs et pour la durete, le

abolition of restrictive guild regulations had created a

porphyre, le granit, le basalte, le jaspe etc' (a paste

climate favourable to entrepreneurs who were willing to

made of powdered stone which is formed into vases

experiment with new manufacturing methods. They all

which can be polished and which imitate both in colour

vied for attention, taking part in the exhibitions specially

and hardness porphyry, granite, basalt, jasper etc).

created to encourage their activity.

The high polish was obtained on a lathe.

One of the most extraordinary firms to participate

The samples were noticed by Vivant Denon,

regularly in such exhibitions was the pottery founded in

Napoleon's Directeur General des Musees. who

1 778 by Joseph Fabry at Sarreguemines in Eastern

recommended them to the Emperor, and as a result,

France. In 1792, he took as his partner Frangois-Paul

from 1810 to 1814, a number of vases and torcheres

Urtzschneider. who was to prove the driving force for

were delivered to decorate the Imperial palaces and

the firm's inventiveness for nearly fifty years.

gardens. Some, presumably those for interior use, were to be mounted in gilt-bronze.

At the Exposition de I'Industrie in An X (1802), Urtzschneider won a medal 'pour la perfection qu'il

It appears that Vivant Denon himself may have had

avail donnee aux poteries communes de sa fabrique'

a hand in their design. A great connoisseur of Antiquity,

(for the perfection of the common pottery of his

he had formed his first collection of antique vases in

manufactory).

the 1 780s, and sold them to Louis XVI. He is renowned for the account he wrote of his travels to Egypt with

As related in a report in 1810 by the Minister of the Interior, a further medal was obtained in 1806 for

Napoleon. The Emperor was to follow Denon's advice

'une pate formee de cailloux pulverises avec laquelle

blindly, aware that he himself had no taste in art

on etablit des vases susceptibles de prendre un beau

whatsoever

VI f #

M A L I. i- T r

BOURDON

HOUSE

A Molitor card table A fine q u a l i t y E m p i r e p e r i o d t w o tier d e m i - l u n e c a r d table b y M o l i t o r . T h e t o p a n d t h e first tier are v e n e e r e d in d e n s e l y figured

' a c a j o u m o u c h e t e ' , e a c h tier h a v i n g a brass roiled e d g e . T h e w h o l e s t a n d s o n o c t a g o n a l t a p e r i n g legs w i t h brass

capitals a n d feet t e r m i n a t i n g in castors. T h e b a c k is finished w i t h recessed p a n e l s b o r d e r e d w i t h delicately c a r v e d m o u l d i n g s . T h e c e n t r e b a c k leg pulls o u t t o reveal a d r a w e r f o r g a m e s pieces a n d t o p r o v i d e s u p p o r t f o r t h e t w o tiers. S t a m p e d o n t h e c e n t r e b a c k leg, left h a n d side B M O L I T O R .

F r a n c e , circa 1 8 1 0 P r o v e n a n c e : P r i v a t e Parisian C o l l e c t i o n

T h e t a b l e is i d e n t i c a l in f o r m a n d t i m b e r t o o n e f r o m t h e F o u c a u i t family, o w n e d b y t h e f a m i l y s i n c e its a c q u i s i t i o n f r o m t h e ' A e n i s t e ' . It is i l l u s t r a t e d in 'Molitor' by Ulrich Leben, plate N o 118.

H E I G H T : 2 9 IN

(74CM)

W I D T H : 4 3 IN

(109CM)

D E P T H : 2 2 IN

(56CM)

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. At his death, at the then very senior age of seventy-eight, he left a substantial fortune. As the lives of the great and famous ebenistes from the 18th and 19th centuries are examined, it is rare, to say the least, to find financial stability, let alone the ability to surv/ive political upheaval. The life and work of Bernard Molitor are exceptional from this perspective alone, before his prodigious output is even examined. Born in Betzdorf in Luxembourg in 1755. Bernard Molitor trained as a sculptor Tired of the provincial life, quite young, probably before 1 778, he moved to Paris and 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

The Revolution brought ruin to many and often death at

hand warmer fashioned as a small pile of books, this was a

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

box in mahogany or walnut which had a metal liner that could

had been actively involved in the storming of the Bastille, so

be filled with hot coals. However Molitor's output was not

with his help Bernard, though interrogated, managed to avoid

limited to toys. He had a workshop which he leased at the

arousing serious Revolutionary suspicions. Over the following

Arsenal and enjoyed considerable success, but it was not

decades, he was honoured with commissions from the

until 1 787 that he became a 'maitre'.

Emperor Napoleon, King Jerome of Westphalia and many private noble collectors, including the Due de Choiseul-

In 1788. Bernard Molitor made the usual political marriage that successful cabinet-makers seem always to

Praslin. Molitor's remarkable survival owes most to the fact

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

that he managed to create a style which was always both

is perhaps cynical to see this man-iage as entirely motivated

simple and original. His work was clearly individual as well as

by career as Molitor had already received a royal

being not too intrusive. Above all other factors. Molitor

commission, but he did soon begin to receive commissions

achieved success over this extended period because his

from the Queen's circle.

work was reliable and of outstanding quality

M A I. I. K T T

BOURDON

HOUSE

A Soldani table bronze A n e x q u i s i t e F l o r e n t i n e s m a l l scale b r o n z e o f a n a t h l e t e s t a n d i n g n a k e d , w i t h a n oil e w e r in h i s h a n d s . By M a s s i m i l i a n o Soldani.

Italy, circa

1700

HEIGHT: I2IN

(3OCM)

Massimiliano Soldani was born in Florence in 1658 and died in 1 740 in Montevarchi. He was a pupil of Ciro Ferri and Ercole Ferrata, he worked for Cosimo III de Medici. Christine of Sweden and Louis XIV. He was at home with both secular and religious subjects. His particular mastery was with the table bronze which required both originality of design and precision of manufacture.

V J J*

A Genoese throne chair A mid 18th century Genoese Italian giltwoocl armchair with strongly carved foliate decoration, cabriole legs and scroll over toes. Now upholstered in contemporary Venetian flame stitch needlework. It is similar to a suite of chairs in the Palazzo Reale, in Genoa. Italy, circa 1750 H E I G H T OF BACK: 4 7 IN

(II9CM)

H E I G H T T O S E A T : I 6 ' / 2 I N C42 C M ) W I D T H : 2 6 IN (66 CM)

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A terracotta cat A very unusual large scale Louis Philippe model of a seated cat, the modelling achieved in an impressionistic manner and in high relief.

France, circa 1845

H E I G H T : 3 3 IN ( 8 4 C M )

' H I) ( ) N

HOI'

Travies birds An extremely unusual pair oFcut paper pictures depicting partridge and mallard duck in naturalistic landscapes with rushes and grasses, all in three dimensions. Both in extremely good condition with their original watercolour and gouache painted surface. Bv Edouard Travies, (animal painter and lithographer, exhibitor at the Paris Salon between 1831 and 1866). France, circa 1840

FRAMED: 2 2 X 2 7 1 N (56 X

69CM)

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H O U S t

A parquetry etagere An unusual early Victorian walnut a n d parquetry three tiered etagere, the t o p and drawer frieze decorated with t r o m p e I'oeil parquetry a n d having a pierced ornamentally cast brass gallery. Each tier is s u p p o r t e d by a fluted yew w o o d c o l u m n with a foliate capital a n d base. T h e whole is richly m o u n t e d with brass work. T h e base plinth conceals a single drawer. Attributed to Holland & Sons.

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

H E I G H T : 351/2 I N

I^OCM)

WIDTH:

(70CM)

2 7 V 2 IN

C^^

D E P T H : 1 6 IN (41 C M )

An officer s chair A very rare Empire mahogany fauteuil with boldly cast, foliate ormolu mounts and richly inlaid with brass fluting and mouldings. T h e sabre back has an octagonal inset cushion, and stands on octagonal columns, which become circular and tapering below the seat rail. T h e arms are in the manner of flying buttresses with cube fmials supported by turned tapering fluted legs with foliate ormolu topie feet. France, circa 1810

H E I G H T T O B A C K : 4 0 IN

(I02CM)

H E I G H T T O S E A T : LY'/Z I N (45 C M ) W I D T H : 2 7 IN ( 6 9 C M ) D E P T H : 25 IN

(64CM)

Gothic furniture by Caron aine A rare Charles X rosewood secretaire abattant, profusely inlaid in boxwood with gothic ornament. T h e centre of the fall, the frieze drawer and the base are inlaid with roundels o f stringing in the form o f interlocking lancet arches. T h e secretaire is flanked by cluster c o l u m n pilasters with trompe I'oeil hexagonal capitals and circular feet. T h e counter weighted fall opens to reveal a birds eye maple interior with rosewood stringing having six drawers and two shelves for books, flanked with 'S' scroll pilasters. T h e fall retains its original gilt tooled blue leather writing surface. T h e b o t t o m section opens to two slides and a strong box, all veneered in partridge wood. T h e piece retains its original double throw locks and its original white marble top.

France, circa 18.50

HEIGHT:

6I IN

WIDTH:

4 0 IN

DEPTH:

19 I N

(155CM) (I02CM) (48CM)

c . f 'Le Mobilier Fran^ais d u X l X e m e Siecle Fran^ais' 1795-1889, by Denise Ledoux-Lebard..

Jean Josse Caron aine (1773-1838). His importance

est aujourd'hui le gout dominant, mais d'autres

lies not so much in his achieved works, which only

donnent la preference aux meubles fait dans le gout

flowered for a brief period between 1831 and 1838.

gothique. II faut le dire, le nombre de ces derniers

but in two key and influential events. In 1836 he wrote

augmente dans une proportion telle que le genre

to the 'Garde-meuble de la couronne' offering them 'un

gothique est une des branches principales du

bureau de dame a etageres en bois de palisandre de

commerce de l ebenisterie.'

sa fabrique'. They accepted it and following this, many

In other words. Caron offered gothic style

other commissions were granted. Caron's style was

furniture, but he was aware of the taste for simplicity

highly favoured and in a few short years he furnished

and in his work one can see how his forms are simple

many noble clients with pieces in this distinctive,

even though the ornament is rich. What is more. Caron

delicately inlaid rosewood Gothic furniture, both in

can be interpreted as one of the forerunners of the

France and abroad. The second key event was the

heavier, more Victorian furniture that was to become

publication, in 1836. of sixty designs under the title 'le

popular by the middle of the century.

manual de I'ebeniste'. Many of these are in the Gothic taste. He explains his style in the introduction: Beaucoup de personnes tiennent a se procurer des meubles confectionnes dans le gout simple et pur qui

M A I I. E T T AT B O U R Âť O N HOUSE

A companion Charles X rosewood commode a vantaux profusely inlaid in boxwood with gothic ornament, having a single drawer in the frieze inlaid with a roundel of lancet arches. The doors below are also inlaid with a large oval of finely achieved lancet arches, which open to reveal partridge wood veneered slides. The commode is flanked by cluster column pilasters with trompe I'oeil hexagonal gothic arches and circular bases. The commode retains its original locks and white marble top. By Caron aine France, circa

1830

H E I G H T : 38'/2IN WIDTH:

5I'/2IN

DEPTH: 241N

(98CM) (131CM)

(61CM)

c . f ' L e Mobilier Fran9ais du XlXeme Siecle 1795-1889 by Denise Ledoux-Lebard.'

A pair of armchairs from Prague A most unusual pair o f Empire period B o h e m i a n stained fruitwood cove back bergeres, the back supported by alternate oval and half oval roundels, the circular frame standing on an 'X' frame base terminating in brass castors. B o h e m i a , probably Prague, circa 1 8 1 0

H E I G H T O F B A C K : 33 IN

(84CM)

H E I G H T T O SEAT: I 9 IN (48 C M ) WIDTH:

24'/2IN

DEPTH:

25 IN

(62CM)

(64CM)

There is very little furniture that is seen here, in Westenn Europe, that comes from the erstwhile Eastern Bloc. However, these chairs offer a rare insight into a previously hidden world. One can see that the form of these chairs derives from Vienna and Berlin, early Biedermeier, and in turn from French Empire furniture. However, the actual model is highly original and betokens a style which is clearly indigenous. The cabinetmaking is very skilled; employing extremely thick veneers and applying them around the coved back is no mean achievement. However, one can see that the use of fruitwood as a veneer timber is indicative of provincial manufacture, where fine mahogany veneers would not be available. These fine and original chairs, we hope, will be the first of many pieces to emerge from the Czech Republic, so that our understanding of this comer of the Austro-Hungarian Empire can be enhanced.

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M A L I. K T R A T BOURDON H O U S H

A pair of Louis XV tole flower groups A very rare pair of Louis XV rococo tole polychrome table ornaments, or wall appliques, in the form of asymetrically formed trees with intricately fashioned, naturalistically painted flowers and leaves. The gilt metal bases take the form of pierced woven baskets. The interiors lined with silvered metal. (The bases, early 20th century).

France, circa 1755

HEIGHT: WIDTH:

39'/2IN

(IOOCM)

lyViiN

cyocM)

DEPTH:

An Indian ivory charpoy stool An unusual set of mid 19th century ivory charpoy of traditional form, the ivory having good colour and craquelure. Now mounted as a stool covered in red silk velvet.

India, circa 1850

HEIGHT:

131/2 I N

(34CM)

WIDTH:

2 2 IN

(56CM)

DEPTH:

1 6 IN (41 C M )

9 IN (23 CM)

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M A I- I. K T r

BOURDON

MOUSE

A set of four oversized fire irons An exceptional large scale set of four aesthetic movement polished steel fire irons, the tongs having an unusual stylised foliate o r n a m e n t and cobra's head pincers. Each piece is profusely decorated with punched ornament.

England, circa 1870

Provenance: Hackwood Park

,30

A pair of Louis XVI vases An exceptional, large scale pair of late Louis XVI pink granite vases, decorated with carved high relief spiralling ribbed decoration to the bodies, standing on turned circular socles, terminating in a square plinth.

France, circa 1780

H E I G H T : 2 5 IN ( 6 3 C M )

A lacquer cabinet on stand A rare Chinese export late 17th century coromandel lacquer cabinet. The exterior is decorated in polychrome with a rocky landscape on a gold ground. The interior is fitted with multiple drawers which are decorated with further landscape scenes. The door interiors are decorated in large scale with central panels of birds and flowers. Now standing on a modern Queen Anne style stand. China, circa

1690

H E I G H T : 3 0 V 2 IN WIDTH: 35'/2IN

(77CM) (90CM)

D E P T H : 2 0 IN (51 C M )

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mm I â&#x20AC;˘Hi'

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.32

M A I. 1. E T T

B (> U K 1) O N

M () U S F.

A pair of romantic scenes A pair of N o r t h Italian oval blue m o n o c h r o m e 'fete champetre' paintings depicting rustic romantic scenes. Oil on canvas, laid onto board

Italy, circa 1790

F R A M E D : 4 1 X 50 IN (IO4 X

I27CM)

BOURDON

HO U S h

The t w o images w e r e inspired by engravings

period's artistic preoccupations are succinctly

taken from the w o r k of Nicolas Lancret ( 1 6 9 0 -

summarised. The fact that these paintings are

1 743). He was one of the f o r e m o s t figures in the

achieved in blue monochrome further removes

style known as 'fete champetre.' This style was

the subject from reality and lends them a quality

central to the Rococo. Place elegant, clearly

which is reminiscent of Chinese art, where often

urban figures in an idealised, bucolic setting, add

very elaborate scenes painted on porcelain are

to that a romantic subject and much of the

achieved in only one colour.

Male and female bacchante heads A pair oFmid 19th century white marble busts depicting male and female bacchante, their hair braided with vine branches, both standing on turned waisted socles. After the Antique.

England, circa 1840

H E I G H T : 1 3 IN ( 3 3 C M )

M A I I. h r I

A r

H <) V R I) C) N

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A Danish oval etagere A most unusual Danish early 19th century m a h o g a n y oval mirrored etagere o f four tiers, each tier decorated with stylish floral motifs in b o x w o o d , having at its centre the unusual ornament o f a bonnet pierced by an arrow. T h e tiers are supported by turned columns with b o x w o o d capitals, collars and feet. T h e plinth base is also decorated with floral marquetry.

D e n m a r k , circa 1 8 3 5

H E I G H T : 6 8 IN WIDTH:

241N

DEPTH:

21 IN

(173CM) (61CM) (53CM)

.37

Two large scale vases and covers A very rare large scale p a i n t e d tole vase s i m u l a t i n g faience ware, t h e old gold g r o u n d w i t h c r e a m p a n e l s a n d b o r d e r s d e c o r a t e d w i t h f l o w e r i n g p e o n y b r a n c h e s , h a v i n g a d e e p b l u e s c r o l l i n g b o r d e r ; t h e w h o l e in p a r t i c u l a r l y g o o d o r i g i n a l condition with gilded

D r e s d e n , circa

finial

top.

1720

H E I G H T : 3 9 IN ( I O O C M ) MAXIMUM

DIAMETER:

I9'/2IN

{50CM)

These t w o massive vases both come from Germany. They represent a moment in history when the taste for chinoiserie pieces was for the enormous, which the export trade was not able to satisfy. Moreover, in both Berlin and Dresden the taste was more inclined towards European efforts than it was for actual

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Chinese pieces. The influence of the elector of Saxony. Augustus the Strong (1670 -1733), can be clearly felt. His palaces have myriad examples of European chinoiserie expressed in all the forms of the decorative arts.

finely

An exceptional large scale mid 18th century Berlin pottery vase and cover decorated in the Chinese export manner with gilt and bronze chinoiserie dragons, pheasants and chrysanthemums; the cover surmounted by a gilt lion.

Berlin, circa 1760

HEIGHT: 4 4 1 N

(IIZCM)

MAXIMUM DIAMETER:

22V2IN

(57CM)

M A I. t. K T T

BOURDON

HOUSE

An Empire mahogany side table An Empire mahogany demi-lune console table, the recessed frieze mounted at the front and sides with oval gadrooned paterae carved in high relief The three scroll legs are surmounted by carved, overlapping leaf ornament in the antique manner, and are reeded down to a triangular platform. The legs continue in animal form and terminate in claw feet. The back legs are shaped to allow the table to stand flush with the wall and accommodate a skirting rail. T h e table retains its original verde antico marble top. In the manner of J A C O B FRERES France, circa

HEIGHT:

1810

35 IN

(89CM)

WIDTH:

38 IN

(97CM)

DEPTH:

1 9 IN

(48CM)

J a c o b Freres w a s t h e s t a m p used by the vast J a c o b cabinet making empire b e t w e e n 1796 and 1803. The name, however, is equally applicable t o t h e syle of their u n s t a m p e d furniture during the Directoire and C o n s u l a t periods. The style manifests the early f o r m of many of t h o s e e l e m e n t s w h i c h w e recognise n o w as typically Empire; t o whit animal legs, heavy reeding reminiscent of the b o u n d f a s c e s and o t h e r classical revivals. H o w e v e r there is still a severity and simplicity w h i c h w a s a reaction t o t h e p e r c e i v e d d e c a d e n c e of the end of the Louis XVI period.

. I. I. F. T T

BOURDON

HOUSE

A metamorphic back bergere A v e r y rare a n d u n u s u a l W i l l i a m I V m a h o g a n y b e r g e r e h a v i n g a b o l d l y r e e d e d t o p rail a n d a f l u t e d scroll s i d e rail. T h e a r m is s u p p o r t e d b y a t u r n e d c o l u m n s t a n d i n g o n a seat rail c a r v e d w i t h a r e c e s s e d p a n e l a n d s q u a r e p a t e r a e . T h e t u r n e d f r o n t legs t e r m i n a t e in b r a s s c a s t o r s a n d t h e b a c k legs a r e o f s a b r e f o r m . T h e c h a i r h a s a n u n u s u a l f e a t u r e : w h e n a b r a s s b u t t o n in t h e c e n t r e o f t h e b a c k is p r e s s e d t h e w h o l e o f t h e b a c k rises u p to create a high b a c k e d bergere, or porter's chair.

E n g l a n d , circa

1830

H E I G H T OF B A C K : SEAT H E I G H T : MAXIMUM

38 IN

18 IN

HEIGHT:

(97CM)

(46CM) 52 IN

WIDTH:

2 7 IN

(69CM)

DEPTH:

2 6 IN

(66CM)

(I32CM)

The rooms of many 18th century houses were underheated and draughty, with doors and windows which were seldom sealed as well as of today. Much furniture was designed to protect the user from discomfort. Four poster beds with heavy curtains and wing chairs with their high backs well illustrate this tradition. This gentleman's reading chair has a unique lifting back supported on a brass ratchet; this is an amalgam of the classic library chair and a hall porter's chair which was made with wings and an arched top. They were always upholstered in leather to comfort the men servants on duty as openers of doors to the private rooms of the master of the house. This chair can sit in any room as a gentleman's chair yet easily be converted to become a warm winter reading chair by pushing the brass button in the middle of the curved back. It is the only example of such a metamorphic chair that we have ever seen.

M A I. L F. T T A T

BOURDON

HOUSE

M A I- I. K T 1

B O U R I) I) N

HOUSE

A mid 18th century lead bust of Bacchus An exceptional English mid 18th century lead bust of Bacchus cast in fine detail. Probably from the workshops of John Cheere. The design taken from the Bacchus by Baccio Bandinelli. (1493-1560) England, circa 1760 H E I G H T : 3 7 IN

(94CM)

WIDTH:

2 4 IN ( 6 1 C M )

DEPTH:

1 2 IN <31 C M )

In the Hermitage in St Petersburg, there is an almost identical bust in white marble attributed to Bandinelli, the famous rival of Michelangelo whose Hercules and Cacus flanks the door to the Palazzo Vecchio in Florence with Michelangelo's David. In Lawrence Weaver's work 'English Leadwork. Its Art and History', there is a lead bust of Bacchus atop a term at Castle Hill, North Devon. The suggestion is that there is either an antique model that was copied by both Bandinelli and Cheere's workshops or that someone on the Grand Tour saw such a head and had it copied directly.

•a.'.

•-1.

I S*:^ -

I\\/

M A I t. K I T

B O U R C> O N

H O U S E

The roe deer A roe deer in a stylised l a n d s c a p e . B e a r i n g a d e d i c a t o r y i n s c r i p t i o n to the M a r g r a v e o f B a d e n B a d e n . S i g n e d a n d d a t e d 1 7 3 8 H e n . Lihl Oil on Canvas.

G e r m a n y , circa 1 7 3 8

F R A M E D : 3 7 x 31 IN ( 9 4 x

79CM)

Heinrich Lihl (1690 -1756) was very much a local painter, his work was mostly commissioned for the churches in his area. However, his greatest work was the series of game subjects painted for the Margrave, of which this is one of the finest examples.

A pair of Louis XV ormolu candlesticks An exceptional pair of Louis XV rococo gilt bronze candlesticks having early neo-classical revival decorative elements, bearing the ' C couronne poingon.

France, circa 1745

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

A M

K T T

A t

B <) U R |} <

Six Louis XVI fauteuils An exceptional set of three pairs of Louis XVI giltwood fauteuils, every element richly carved with neo-classical ornament. The backs have a guilloche pattern interspaced by acanthus leaves. The arms are similarly decorated and are supported by fluted baluster columns decorated with acanthus. The seat rail is of breakfront form, the central panel carved with acanthus and flanked with further guilloche carving. The front legs being turned and tapering and carved with foliate ornament. One pair stamped GEORGES JACOB. France, circa

1780

Provenance: from the collection of Comtesse Diane de Castellane

H E I G H T O F B A C K : 3 4 IN ( 8 7 C M ) H E I G H T OF SEAT: I 6 I N W I D T H : 2 2 IN D E P T H : 1 7 IN

(4ICM)

(56CM) (43CM)

G e o r g e s J a c o b ( 1 7 3 9 - 1 8 1 4 ) w a s t h e first in o n e of

and t h e seat rail is t u r n e d slightly o u t w a r d s . This is

France's m o s t illustrious families of c a b i n e t - m a k e r s .

v e r y s o p h i s t i c a t e d cabinet making. His f a m e r e s t s o n

F r o m t h e m o m e n t in 1 7 6 5 w h e n he r e c e i v e d his maitrise' t h e family w e r e at t h e f o r e f r o n t of Parisian

his r e p u t a t i o n as an i n n o v a t o r He w a s o n e of t h e first t o u s e m a h o g a n y f o r chair furniture in France, an

c a b i n e t m a k i n g f o r nearly o n e h u n d r e d y e a r s . He is

a v o w e d l y anglophile g e s t u r e . He w a s also o n e of t h e

f a m o u s for t h e f u r n i t u r e he s u p p l i e d t o t h e painter,

first t o plane t h e u n d e r s i d e o f t h e f r a m e , t o lighten t h e

David, w h i c h can b e s e e n in t h e portrait of M a d a m e

c o n s t r u c t i o n . His c a r e e r carried on until t h e year

R e c a m i e r He b e c a m e n o t e d f o r t h e high quality of his

b e f o r e his death. T h o u g h he is j u s t l y r e n o w n e d for his

carving, m a n a g i n g t o c r e a t e chairs, as in t h e s e chairs,

w o r k during t h e ancien regime, it is p e r h a p s his

of s e e m i n g l y unfeasible c o m p l e x i t y and i n t r i c a c y W i t h

N a p o l e o n i c c o m m i s s i o n s that a r e best r e m e m b e r e d

t h e s e chairs in particular, t h e j o i n b e t w e e n t h e a r m r e s t

today.

) U R IX) N

HOUSE

A large scale seascape by Vernet A large scale seascape with m o u n t a i n s in the b a c k g r o u n d . T h e r e is a ship at h a r b o u r a n d figures fishing in the f o r e g r o u n d . In a c o n t e m p o r a r y carved giltwood frame. Studio of Joseph Vernet. Oil on canvas. France, circa 1760

F R A M E D : 53 x 7 2 1 N

(135 x

183CM)

Joseph Vernet was born in Avignon on the 14th August 1714. and died on the 4th December 1789. Apprenticed in Avignon, he was influenced by the works of Claude Lorrain. Gaspard Dughet and Salvator Rosa all of whose works could have been seen in local private collections. In 1 734, he was sponsored by the Marquis de Caumont to travel to Italy. In the early 18th century, Avignon was a papal territory which meant that Vernet had many contacts with Churchmen when he arrived in Rome. He soon settled into the already well established French artistic community, which catered to the voracious appetite of the Grand Tour visitors. That market required images of the surviving antiquities and views of Italy cast in the manner they were used to. In 1750, for example, a 'seaport sunset' (in the collection of the Duke of Buccleuch) was commissioned to be painted expressly in the manner of Claude. Vernet quickly became the dominant figure in the Roman artistic community and was elected to the Accademia de S. Luca.

In 1 746, three years later, he gained the reputation he deserved in France. He became an 'Agree' (approved) by the 'Academie Royale' in Paris, allowing him to exhibit at the Salon and in 1753, he became a 'regu' (received) which meant he was a full member Vernet's fame was well established by the mid 18th century and no international collection was complete without one of his works. In particular, many Russian noblemen bought his work. Hence the version of this canvas that is now in the Hermitage. After 1753, Vernet returned to Paris and started his greatest commission for the French crown, painting the seaports, a series which was originally intended, perhaps, to encompass over twenty-four works, but which was never completed. The work of Joseph Vernet has never been out of fashion and as one travels the worid, his distinctive works appear to be ubiquitous, representing the taste of the late 18th century's greatest collectors.

4 A [. I- K T T

H U IJ R D O N

detail

H <) II S I

^ A I. I. E T T

BOURDON

H O U SK

M A L I , t; -I' T

BOURDON

H C) U S E

M A 1 L

T T

A 1

H O i: H I) O N

eascape by Vernet tains in the b a c k g r o u n d . T h e r e is a s h i p at h a r b o u r a n d

figures

fishing

jrary carved g i l r w o o d f r a m e .

: m )

on the 14th

In 1746, three years later, he gained the reputation

)ecember 1789.

he deserved in France. He became an 'Agree'

jenced by the

(approved) by the 'Academie Royale' in Paris,

)ughet and

allowing him to exhibit at the Salon and in 1753, he

Quid have been

became a 'regu' (received) which meant he was a

1 734, he was

full member

lent to travel to

'Vernet's fame was well established by the mid

non was a papal

18th century and no international collection was

ad many

complete without one of his works. In particular

arrived in Rome.

many Russian noblemen bought his work. Hence

>11 established

the version of this canvas that is now in the

itered to the

Hermitage. After 1 753, Vernet returned to Paris

ur visitors. That

and started his greatest commission for the French

iving antiquities

crown, painting the seaports, a series which was

3r they were

originally intended, perhaps, to encompass over

=aport sunset'

twenty-four works, but which was never completed.

ccleuch) was

The work of Joseph Vernet has never been out of

3sly in the

fashion and as one travels the world, his distinctive

>ecame the

works appear to be ubiquitous, representing the

:ic community

taste of the late 18th century's greatest collectors.

de S. Luca.

H O U S J

M A 1. L t; r I

A r

h (i u R n o N

M t) U S E

Madame Vigee Le Brun by Foucou A most unusual white marble late 18th century portrait bust of Madame Vigee Le Brun. Signed FOUCOU, I an France, circa 1790 H E I G H T : 3 0 IN

(76CM)

J e a n - J o s e p h F o u c o u ( 1 7 3 9 - 1 8 1 5 ) w a s e l e c t e d t o the

A n t o i n e t t e and painted her m a n y t i m e s . This f a v o u r e d

' A c a d e m i e d e St. Luc' in 1785. He exhibited t h e r e at

position m a d e her v e r y vulnerable during the revolution

t h e Annual Salon b e t w e e n 1 7 7 9 and 1812. His

and so, judiciously, s h e s e t o f f f o r an e x t e n d e d t o u r of

particular s t r e n g t h w a s in his c o n t e m p o r a r y portrait

Italy in 1 789. S h e visited all t h e m a j o r central European

b u s t s , many of w h i c h are n o w in institutions a r o u n d

capitals, receiving c o m m i s s i o n s and social a c c e p t a n c e

France and Europe.

w h e r e v e r she w e n t . H e r f a m e w a s greatly e n h a n c e d by

M a r i e L o u i s e Elizabeth V i g e e Le Brun, CI 755-

her personal c e l e b r i t y and g o o d l o o k s . S h e finally

1842), w a s t h e d a u g h t e r o f a portraitist and p r o f e s s o r

r e t u r n e d t o Paris in 1802, o n l y leaving o n c e m o r e in

at 'The A c a d e m i e d e S t Luc'. S h e also r e c e i v e d advice

her life w h e n she v i s i t e d L o n d o n f o r t h r e e years.

f r o m J e a n B a p t i s t e G r e u z e and J o s e p h V e r n e t . S h e

T o w a r d s t h e e n d of her life, her reputation and skill

w a s v e r y highly r e g a r d e d f r o m a y o u n g age and w a s

sadly diminished. Even today, she is a romantic figure

made a m e m b e r of t h e A c a d e m i e in 1 7 7 4 at t h e t e n d e r

linked inextricably w i t h t h e last years of t h e 'ancien

age of eighteen. S h e b e c a m e a favourite of M a r i e

regime'.

it*-

A pair of Bow porcelain lions A rare pair of m i d 18th c e n t u r y w h i t e Bow porcelain models of c o u c h a n t lions, after an a n t i q u e m o d e l .

E n g l a n d , circa 1755

L E N G T H : II IN ( 2 8 C M ) H E I G H T : 5 % IN ( I 5 C M )

Bow porcelain was made between 1750 and the early

lie with crossed paws, making them appear more

1770's at Stratford-le-Bow in East London. Thomas

docile than a pair of domestic cats.

Frye took out a patent in 1748 and the factory became

Although much later production was highly

quite a considerable enterprise with sales exceeding

decorated, the modelling can always best be seen in

ÂŁ10,000 per year during the mid 1750's. After one of

the clear white porcelain, because the soft-paste

the partners died in 1762, the business declined and

porcelain did not take well to later transfer printing and

went bankrupt the following year The factory was

the prints often appear blurred. Coloured pieces by

purchased by William Duesbury who closed the works

Bow are always distinctive, often displaying vivid

in 1775 and removed the moulds to Derby.

colours in bold dissonance. The white, undecorated

During the 1750s, Bow produced some of the

wares, such as these lions, are very rare, as the use of

best English porcelain and were particularly admired for

colour or transfer designs predominated. Other models

their well-modelled figures. The soft paste porcelain,

of lions are known to have been produced by the

which used bone ash, was of variable quality but at It's

factory but very few examples of this size and in such

best is of an ivory-like texture having a creamy tone

good condition survive.

with bright flecks, as with this pair of lions. The figures were chiefly drawn from Meissen models, but were produced with a naive charm combining often incongruous elements. Here, the pair of lions illustrated

M A L 1. H R T AT B O U K D O N H O

S T.

Paris porcelain vases A fine quality pair of Empire Paris porcelain parcel gilt baluster vases of lapis blue ground, which have scroll handles in the form of stylised trumpeters. The bodies are decorated with fantastical landscapes and fine quality etched gilt decoration, and bear a cherubic vignette. Paris, circa 1810 H E I G H T : 1 3 IN (33 C M )

M A I. I. H T T

B (> II R IJ O N

H C) I! S M

A fine pair of parcel gilt Empire Paris porcelain vases of translucent dark blue ground, having foliate scroll handles in matt and burnished gilt, decorated both front and back with rustic landscapes, bordered with fine etched gilt decoration.

Paris, circa 1810

H E I G H T : 1 4 IN (36 CM)

•v.,

• w

mtit.

I..

J,-

A pair of Piedmontese wall lights A highly unusual pair of North Italian parcel gilt three branch wall appliques, in the form of winged caryatids flanking a neo-classical vase draped with a floral swag. The candle arms are carved with laurel leaf drip pans and socles;

each applique is surmounted by a double tier of carved laurel with a floral spray issuing forth and a scroU/and swag below. Probably Piedrmmt, Italy, circa HEIGHTy^OIN (76 CM) WIDT^ I4IN (36CM)

1775

SKVT

d e p t h : 10 IN (25CM)3

M A 1 I t I I

A I

H () I' K I) C) N

H I) I- S t

A pair of Tula miniature candlesticks A fine quality small scale pair of Tula cut and polished steel candlesticks, in the form of a vase m o u n t e d on a fiiceted column standing on a scrolled plinth. Every element is worked in m i n u t e detail with a diamond pattern, even the collars and the rims, of the drip pans bearing delicate cutting and polishing.

Russia, circa 1800

HEIGHT: 6'/2IN

(I/CM)

Tula, s o u t h o f M o s c o w , w a s f a m o u s f o r t h e skill

selling their specialist p r o d u c t s , b o t h as

o f its Imperial a r m o u r e r s . The m a s t e r m e t a l

e l a b o r a t e g i f t s and f u n c t i o n a l f u r n i t u r e . B o t h the

workers often created fantasy decorated

H e r m i t a g e a n d P a v l o v s k Palace have r e m a r k a b l e

furniture and objects for the sophisticated

c o l l e c t i o n s of d o m e s t i c o b j e c t s m a d e f r o m Tula

nobility o f S t P e t e r s b u r g a n d M o s c o w . In t h e last

steel. F o o t s t o o l s and c a n d e l a b r a , pin c u s h i o n s

quarter of the 1 8th century, city newspapers

and m i r r o r s , e v e n a parasol a p p e a r in t h e

h e r a l d e d t h e arrival o f t h e s e m a s t e r c r a f t s m e n

P a v l o v s k i n v e n t o r y of 1 7 8 8 .

6.3

I. L K

BOURDON

H () U S t

A pair of Chinese export oils A pair of Chinese export 'fete champetre' paintings after Lancret. O n e showing the gift of a caged dove, the other a shepherd and shepherdess playing music. T h e y retain their original giltwood frames and glass. Oil o n canvas.

China, circa 1780

F R A M E D : I 6 X 2 1 IN ( 4 1 x

53CM)

M A t- I- K I 1

Examples of reverse glass paintings exist of

Lancret (1690-1 743) is something of a

these subjects. Two were sold at Christie's in

mystery. A s can be seen from the Italian

N e w York in October 1985. However, works in

monochrome paintings in this catalogue, these

oil are exceptionally rare. The palette, with its

images were very pervasive.

bright colours and smooth finish suggests that

The survival of this pair of paintings, which

the painter may well have been used to

retain both their original frames and glass, is

working on glass. In fact, these have been

extraordinary. It is often a cause of much

mistaken for paintings on glass. The fete champetre subject with its derivation from engravings after Nicolas

marvelling that such small and delicate things can survive untouched and so complete for two hundred years.

H O U R I) <) N

H <) I' ^ K

A mahogany games table A r e m a r k a b l e early 19rh c e n t u r y m a h o g a n y g a m e s table by J e a n - J o s e p h C h a p u i s , h a v i n g three levels, the t o p being

finely

figured

m a h o g a n y . B e l o w is a c a r d p l a y i n g s u r f a c e a n d b e l o w t h a t a m a r q u e t r y c h e s s b o a r d ; a

trigger beneath the

fi-ame

releases a b a c k g a m m o n box. B e s i d e the chess b o a r d are t w o d i s g u i s e d

tambour

l i d d e d c o m p a r t m e n t s c o n t a i n i n g chess pieces. T h e table h a s t w o d r a w e r s a n d s t a n d s o n s q u a r e t a p e r i n g legs. S t a m p e d six t i m e s

B e l g i u m , circa

CHAPUIS.

1820

H E I G H T : 3 2 IN (81 CM) WIDTH:

33 IN

DEPTH:

\6V2\N

(84CM) (42CM)

J e a n - J o s e p h C h a p u i s w a s w i t h o u t d o u b t o n e of Belgian c a b i n e t - m a k i n g ' s m o s t illustrious s o n s . B o m in 1765. he died j u s t short of a h u n d r e d years later in 1 8 6 4 . A t t h e time of writing, not m u c h is really k n o w n of his life and w o r k s . H o w e v e r , in t h e last c o u p l e of years his f a m e has been r e d i s c o v e r e d . H e lived in B r u s s e l s and t h e r e e x e r c i s e d a g r e a t deal of influence. In 1806, he is r e c o r d e d as going t o C h a t e a u Laeken, w h e r e w i t h o t h e r Belgian e x p e r t s he c h e c k e d o v e r and v a l u e d furniture c o m i n g f r o m Paris f o r t h e C h a t e a u . Unsurphsingly, his valuations w e r e significantly l o w e r than t h e prices paid by t h e g o v e r n m e n t in Paris. This a f f o r d e d him t h e o p p o r t u n i t y of supplying p i e c e s himself. C h a p u i s ' m o s t prolific p e r i o d w a s t h e first t h r e e d e c a d e s of t h e 19th c e n t u r y and by 1831. he had m o r e o r less c e a s e d t o be active. His w o r k is c h a r a c t e r i s e d by t r e m e n d o u s playfulness and innovation. He w a s influenced by the w o r k of t h e R o e n t g e n family, as this g a m e s table clearly d e m o n s t r a t e s . M e c h a n i s m s and c a b i n e t - m a k i n g s u r p r i s e s w e r e v e r y dear t o his heart and he e x p e r i m e n t e d w i t h lamination. Mallett at B o u r d o n H o u s e had a c e n t r e table in 1987 w h i c h had sabre legs e a c h c o n s t r u c t e d f r o m layers of w o o d - o v e r fifteen in each case. C h a p u i s m a n i f e s t e d his pride by frequently s t a m p i n g his w o r k on e v e r y m e m b e r It is t o b e h o p e d that in t h e next f e w y e a r s this remarkable cabinet-maker, the Belgian R o e n t g e n , will receive t h e recognition he d e s e r v e s .

A Regence commode A late Regence walnut two drawer c o m m o d e mounted in elaborate Rococo gilt-bronze. T h e drawers are cross-banded with broad panels of walnut, retaining its original languedoc marble top. France, circa 1730

H E I G H T : 33 IN WIDTH:

3 7 IN

(84CM) (94CM)

D E P T H : 2 0 I N (51 C M )

ivc^^sa

ir W^-

M A I . 1. K T I

BOltROdN

il () U S ^

Ivory mortar and pestle A very rare early 18th century large scale Netherlandish turned ivory mortar and pestle.

Low Countries, circa 1720

HEIGHT

INCLUDING

PESTLE:

I4V2IN

(37CM)

Two examples of the console desserte A n Empire mahogany brass inlaid console desserte having a pierced brass gallery, a single drawer in the frieze and fluted mahogany column supports. T h e lower tier stands on brass mounted mahogany topie feet. Each face is enriched with brass mouldings and borders o f pierced geometric pattern marquetry. Stamped E. Levasseur

France, circa 1 8 1 0

H E I G H T : 33 3/4IN

(86CM)

W I D T H : 32 1/2 IN ( 8 2 C M ) DEPTH: 1 4 1 N

(35CM)

JSIVw^'-'^^

-1:

Etienne Levasseur (1721-1798), maitre in 1767, Is described by Alexandre Pradere in 'French Furniture Makers' as 'one of the nnost important 6b6nistes of his tinne.' Trained by one of the sons of the great Andr6-Charies Boulle, he became one of the most prestigious workers for the powerful marchandmerciers. He is most famous for his work restoring and creating boulle marquetry furniture and for the luxurious mahogany, marquetry and lacquer furniture which often employed very valuable Japanese lacaoer.

s^'.^C-tU. -

LJ.IM • •

••••

A I

B <) I' R l> I

A particularly fine mahogany console desserte retaining its original marble top enclosed by a pierced brass gallery. The single drawer beneath, with its original hardware, is framed by a single brass line with ebony stringing and is flanked by elaborate cut brass panels on an ebony ground, with a Greek key pattern border similarly worked beneath. The whole is supported by swollen tapering brass circular fluted mahogany columns and square pilasters behind, with a lower shelf of similar richly veined marble, all standing on turned brass mounted topie feet. In the manner of B. MOLITOR. France, circa 1820

HEIGHT:

3 5 IN

(89CM)

WIDTH:

52'/2IN

(134CM)

DEPTH:

18V21N

(47CM)

.1 A I I- F- T T

B O I' R I) O N

H <> I' S I-

An inlaid marble surtout de table An outstanding early 19th century Italian marble surtout de table in six sections having ' D ' ends. T h e decoration takes the form of alternate circular and geometric sections of agates and semi-precious stones. T h e centre decorated with vases and ewers fashioned in the same manner. At the centre there is an octagonal panel of lapis lazuli. T h e outer edge is enriched with gilt metal lions heads alternating with agate panels. T h e whole stands on gilt metal paw feet. In the manner of Giacomo Raffaelli.

Italy, circa 1810

LENGTH: WIDTH:

1 0 5 IN IJ'AIN

(267CM) C/OCM)

M A L t. I- I T

B O ir R D () N

H O U S K MALLhTT

A l'

BOURDON

HOUNK

M A [. I. h J r

f! O Lt It I) tJ N

mrtout de table n a r b l e s u r t o u t de t a b l e in six s e c t i o n s h a v i n g ' D ' e n d s . T h e d e c o r a t i o n m e t r i c s e c t i o n s o f agates a n d s e m i - p r e c i o u s s t o n e s . T h e c e n t r e d e c o r a t e d m a n n e r . At t h e c e n t r e t h e r e is an o c t a g o n a l p a n e l o f lapis lazuli. T h e o u t e r a l t e r n a t i n g w i t h agate panels. T h e w h o l e stands o n gilt m e t a l p a w feet.

Alvar Gonzalez-Palacios in his work Tempio del Gusto' illustrates a number of these elaborate lapidary works. It appears that this work was a particularly Italian speciality Several designers and craftsmen, amongst them Luigi Valadier and Francesco Righetti, made them. By far the most sophisticated and prolific amongst these artisans was Giacomo Raffaelli. He had workshops in Rome, Florence and St Petersburg, the most usual ultimate destination for many of these magnificent pieces.

HOU

M A I. [. E T r

B () LI R [5 O N

HOUSE

A pair of opaline vases A pair of Napoleon III opaline baluster vases having fine quality gilding on the rim and the foot. The bodies are decorated with birds and insects perched on fruit bushes.

France, circa 1865

HEIGHT:

i 8 IN

(46CM)

A Louis XVI side table A fine quality Louis XVI giltwood demi-lune side table retaining its original gilding. The frieze is carved with laurel leaves, standing on four turned tapering legs having laurel leaf capitals, reeded and fluted with foliate ornament at the base. The legs are joined by a scrolled double stretcher, carved with a guilloche motif and having at its centre a profusely carved neo-classical vase. Retaining its original brocatelle marble top. France, circa 1780 H E I G H T : 341/2 IN (88 C M ) WIDTH:

51 IN

(130CM)

DEPTH: 25'/2IN

I li; A

(65CM)

\ L L h T T

BOURDON

HOUSK

A pair of giltwood footstools A pair o f L o u i s X V I g i l r w o o d f o o t s t o o l s , the frieze d e c o r a t e d with a pattern o f g u i l l o c h e with a floral patera at the corners, s t a n d i n g o n t u r n e d t a p e r i n g fluted legs. In the m a n n e r o f J e a n - J a c q u e s Pothier.

France, circa 1 7 8 0

HEIGHT: 7 IN (L8 CM) WIDTH: II IN (28CM) DEPTH: 9 IN (23 CM)

Though unsigned, these miniature footstools bear all the distinguishing characteristics of the hand of the master, Jean-Jacques Pothier (maltre 1 750). He is renowned for the precise and elegant nature of his carving and in particular for the relief mouldings. Mallett at Bourdon House has a set of four chairs, which are stamped and have the same exquisitely worked guilloche carving.

m A pair of Neapolitan bedside cabinets An unusual pair of Southern Italian mahogany bedside cabinets of cylindrical form. The tops are sixteen-sided with a recessed grey fossil marble top. T h e bases are circular and similarly faceted to the top with demi-lune raised ornament around the edge. Italy, circa 1860

H E I G H T : 3 4 IN ( 8 6 C M ) DIAMETER: I 6 ' / 2 I N ( 4 2 CM)

VJ A I. L K T T

BOURDON

H O U SK

A Louis XIV marquetry cartonnier A Louis XIV marquetry cartonnier having eight drawers and a central compartment. The drawer fronts, the top, the sides and the back are all richly inlaid with cornucopia and other floral ornament. The drawers have ivory fmials and the piece stands on ivory bun feet.

France, circa 1690

H E I G H T : 8 ' / 3 IN (21 CM) W I D T H : 4 5 % IN ( I I 6 C M ) MAXIMUM D E P T H 9 IN ( 2 2 C M )

The marquetry is comparable to the outstanding boulle marquetry cabinet which is now in the Louvre in Paris. Andre Charles Boulle was as famous for his wood marquetry as he was for the brass and tortoiseshell work that bears his name.

A pair of Shoolbred stools A m a t c h e d pair o f late 1 9 t h c e n t u r y a e s t h e t i c m o v e m e n t m a h o g a n y b a c k s t o o l s , m o u n t e d in b r a s s w i t h b o l d g a d r o o n e d p a t e r a e at e a c h e n d . T h e a r m s h a v e b r a s s a n t h e m i a at t h e h e a d a n d t h e f o o t a n d t h e b a c k h a s a p i e r c e d b r a s s gallery. O n e s t o o l b e a r s the D e s i g n Registration D i a m o n d twice, the other o n c e a n d the maker's m a r k Js. S H O O L B R E D &

CO.

E n g l a n d , circa 1 8 7 0

H E I G H T O F B A C K : 25 I N

(64CM)

H E I G H T O F S E A T : I 7 IN (43 C M ) WIDTH:

2 2 IN

DEPTH:

13 IN

(56CM) (33CM)

In the second half of the 19th century, James

London's first great department stores. It was not until

Shoolbred and Co were one of the top three

1870 that their business extended to cabinet making.

manufacturers and retailers in the centre of London's

Shoolbred were among the Royal appointees in the

fumiture world which was then Tottenham Court Road.

1880's; at this time they were making fine quality

Their rivals were John Maple, who did not make

fumiture in nearly all the fashionable tastes of the time.

fumiture but bought it in, and Heals, which still exists

The firm's catalogue remained more or less unchanged

today. Shoolbred's began, in a small way, as linen

for over twenty years, revealing both the success of

drapers but slowly developed into being one of

the formula and a certain conservatism.

\ I. 1 K T T

BOURDON

M O U S F.

A Chinese export ivory mirror A very rare Chinese export late 18th century oval ivory mirror, the raised central section decorated in fine detail with linking panels of geometric designs and floral ornament, all carved in relief against a hatched ground; the panels are flanked by a border of key pattern also carved in relief.

China, circa 1790

HEIGHT: WIDTH:

2 5 IN

(64CM)

2 2 I N <56 C M )

M A I. L k

H ÂŤ) l- R I) (> N

H O V S K

A pair of shellwork landscapes An extraordinary pair of diorama, entirely fashioned from elements of the sea, depicting port side scenes with neo-classical buildings, ships, gardens and figures. The intricate detail with which these are fashioned defies description. The brickwork of the buildings is constructed from both miniature shells and individual fish scales; even the sky conforms to the integrity of the concept, being made from painted sand.

Genoa or Naples, circa 1780

FRAMED:

2 9 X 3 6 IN ( 7 4 X

92CM)

M A I. I. 1-. I I" A 1

H () I' R I) () N

H () I' S I

H O U R I) <) N

l< () U .S K

A pair of Louis XV fauteuils A fine and rare pair of Louis XV giltwood fauteuils having serpentine backs and seats, profusely carved with intertwined 'S' and ' C scrolls of foliate form. T h e top rail and seat rail are carved in high relief with a rose and a sunflower respectively. T h e chairs stand on cabriole legs with scroll toes.

France, circa 1750

H E I G H T OF B A C K : 3 2 I N H E I G H T TO SEAT:

I6IN

WIDTH:

23 IN

DEPTH:

1 9 IN (48 C M )

(81CM) (4I CM)

<58CM)

A Louis XV bureau de dame A Louis XV bureau de dame, the fall front opening to reveal an interior filled with four serpentine drawers and pigeon holes. The three lower drawers stand above elegant tapering cabriole legs. The whole is mounted with finely cast brass mounts of elegant foliate design and scrolling cartouches. The finely cut veneers of purple heart and tulipwood are laid in quarter patterns and have a rich patina.

France, circa 1750

H E I G H T : 3 8 IN ( 9 7 C M ) WIDTH: 39V2IN

(lOOCM)

D E P T H : 1 9 V 2 I N (50 CM)

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i I r

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Two pairs of cloisonne vases A good pair of late 18th century Qianlong cloisonne and gilt m m l C h i n a c vaaes decoraMd with deer in a stylised landscape with cranes flying above.

China, circa 1780

HEIGHT: I2'/2IN (32CM)

A most unusual pair of late 18th century Qianlong cloisonne square tapering baluster form vases on stands, each facet decorated with polychrome Taotie masks. China, circa 1780 H E I G H T : 1 7 IN ( 4 3 C M )

W^it

ysk

MALLETT

BOURDON

HOUSE

A Languedoc bolection fire surround A good early 18th century Languedoc marble bolection mould fire surround, very similar to the one in the State Bedroom at the Duke of Lauderdale's Ham House in London. France, circa 1730

O V E R A L L H E I G H T : 5 0 IN

(I27CM)

I N T E R I O R H E I G H T : 4 O IN O V E R A L L W I D T H : 6 5 IN I N T E R I O R W I D T H : 45 IN

(I02CM)

(165CM) (II4CM)

This chimney piece with its deep bolection moulding is made from the Languedoc marble, found in the South of France and which has been much prized since antiquity. It is identical to a fire surround in the State bedroom at the Duke of Lauderdale's Ham House in London. Though we date this fireplace to the first third of the 18th century, it is possibly earlier The Ham House fire surround dates from 1720-30 hence our dating, but the form is older and there is a possibility that the Ham House example is an 18th century adaption of an older piece.

> 1 i

•

M A L L E r T

B O U R D O N

H O U S t

A Russian bureau plat A m o s t u n u s u a l late 18th c e n t u r y m a h o g a n y b u r e a u plat, the t o p e n r i c h e d with t w o p a n e l s o f e b o n y f r a m e d by brass stringing. T h e frieze is o f b r e a k f r o n t f o r m a n d the sides have p a n e l s o f b l u e tinted glass. T h e central drawer is f r a m e d , as are the side panels, with b r i g h t b u r n i s h e d gilt metal m o u l d i n g s . T h e table s t a n d s o n s q u a r e t a p e r i n g legs, each facet inlaid with a n inset panel o f r i b b e d gilt metal t e r m i n a t i n g in s q u a r e gilt metal topie feet. T h e r e are two cyrillic labels b e n e a t h , o n e inscribed in ink a n d w h i c h translated into the R o m a n a l p h a b e t reads the f o l l o w i n g : ' M a l y e n n k a y ' , ' G a r b a y a ' , 'Grostinnaya'

m e a n i n g : Little D r a w i n g R o o m , the other '61 P.

P r o b a b l y Russia, circa 1 7 9 0

H E I G H T : 3 0 IN WIDTH:

521N

(76CM) (132CM)

DEPTH: I / V I I N

(70CM)

Provenance: By repute from the family Graf van Moyland who set up the J. Bosch Foundation near Dusseldorf (also called the Foundation van Moyland). The previous owner was a French nobleman who purchased it from 'The Chef de Cabinet' of von Ribentrop who in turn bought it from the Gulbenkian Foundation in Lisbon. Calouste Gulbenkian organised the sale of works of art for the Bolsheviks after the Revolution.

1 A !- I. K ! I

H O U R I) O N

S h

M A I. I E T T

BOURDON

HOUSE

A Louis XVI parquetry writing table A m o s t u n u s u a l L o u i s X V I p a r q u e t r y w r i t i n g table, the t o p d e c o r a t e d with t u l i p w o o d floral paterae, f r a m e d by a scroll in a m a r a n t h with b o x w o o d a n d e b o n y s t r u n g borders, the frieze a n d sides similarly d e c o r a t e d . T h e t o p slides b a c k to reveal a leathered w r i t i n g s u r f a c e a n d ink wells. T h e legs are s q u a r e a n d tapering, with p u r p l e h e a r t inset panels. T h e w h o l e is m o u n t e d in l a c q u e r e d brass a n d t e r m i n a t i n g in topie feet. In the m a n n e r o f J e a n - F r a n c o i s Leleu. ( c . f L e M o b i l i e r Francais d u X V I I I Siecle by Pierre Kjellberg.) France, circa 1 7 6 0

HEIGHT: 27'/2IN

(70CM)

WIDTH:

31 IN ( 7 9 C M )

DEPTH:

I8'/2IN

(47CM)

Leleu Jean-Fran?ois, (1729-1807, maltre 1764) was one of the most highly regarded cabinet makers of the Louis XVI period and his work was mainly commissioned by nobility. However, only one late work appears to be for the Crown. He trained and worked with both Jean-Frangois Oeben and JeanHenri Riesener However, he famously fell out with Riesener, a feud which ended in Riesener lodging official complaints against him. This may well have prejudiced his chances with the 'garde-meuble du Roi'. However, he did achieve considerable success with work for the Prince of Conde for whom he supplied a great deal. The intricate, interlocking, geometric, parquetry designs that are seen in this table can often be seen in the work of Leleu. It is typical of his oeuvre, as is the metamorphic nature of the piece, which owes a creative debt to the master Oeben. Though unsigned, these constituents and the lavish use of tulip all coalesce to suggest strongly Leleu as the ultimate author of this writing table.

MAI. L E T T

BOURDON

HOUSE

M A 1, I. K I I

A T

B () U K D () N

H t> U S K

H O 11 R I) O N

A pair of Neapolitan watercolours Two Neapolitan early 19th century gouaches of the Bay of Naples, each bearing an inscription: 'Napoli da Mergellina', which shows N^sttvius in the distance, and 'Napoli dal Mare', which shows fishing boats and vessels^-tilme harbour. Both in a fine state of conservation. Signed G SCOPPA a I^d^OLI Italy, circa f r a m e d : 2 0 X 28 I N (51 X 7 1 CM)

A set of large scale carpet weights A set of four large scale Indian mid 19th century white marble carpet weights of particularly good colour and in fine condition. India, circa

071X)

1860

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h e i g h t : 13 I N (33 CM) s q u a r e : 1 0 i n (25 CM) These weights might appear straightforward in function. One would assume that they were placed at the corners of a carpet to hold it in place in high winds, or if there were a large group of people moving around it. However, this would not be correct. The weights were used to create symbolic doorways. Placed in front and behind the carpet, at the outer edge, a doorway space apart, access onto the carpet was only allowed via these stylish portals. Thereby rendering the carpet a private space, the property of whoever controlled it. These overscale examples must have belonged to someone in possession of a very large carpet and, therefore, someone important.

MALI. KTT

HOURDON

HOUSE

A Charles X mahogany collectors cabinet A very large scale Empire flame veneered mahogany glazed collectors cabinet. T h e pediment disguises a secret drawer and the three panel glazed doors open to reveal the drawer section which is divided into four, eleven-drawer compartments. Each side is veneered with a single dramatic panel of flame veneer.

France, circa 1810

H E I G H T : 8 0 IN ( 2 0 3 C M ) WIDTH:

50 IN ( I 2 7 C M )

D E P T H : 1 9 IN ( 4 8 C M )