Post on 24-Mar-2016
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M A L L E T T riie Nineteenth Century
B o u r d o n Mouse 2 I )a \ ics S i ree l L o u d o n W I
(111(1 [\\ 111 New B o n d S l i ' c c I L o n d o n W I
I n l r o d u c l i o n
This year we are proud to be able to offer our cl ients a catalogue which is both a selection
of some of the most important and fine qual ity 19th century pieces Ma l le t t has ever
acquired and which also captures the charm and whimsy of the age. The Jackson and
Graham centre table (page 4) is an exceptional piece of furniture which highlights the
mastery of marquetry achieved during the V ic to r ian era. In tandem we have the Baccarat
occasional table (page 56) which equal ly is a testament to man's t r iumph over mater ia ls.
Neither of these pieces would be possible today: the hours required coupled with the loss
of ski l ls render such creat ions unrepeatable. However the V ic tor ian age was not just about
technical excellence; it was also a period when new creative freedoms were sought. Here
we i l lustrate several works that draw inspirat ion f rom the l iberation init iated by the
Impressionist movement.The 19th century is remembered for its rigidity and discipl ine but
in its arts and crafts the range of media and ideas employed is a lmost unbounded. By
showing tables made of iron and glass in addit ion to the works which revived Renaissance
and medieval designs we hope to be able to give a true taste of the age.
Both at Bourdon House and at Bond Street we continue to show 19th century pieces
alongside the creat ions of other epochs. It has always been the ethos of Ma l l e t t to combine
and connect decorat ive arts in an eclect ic manner. Therefore^ though we celebrate the 19th
century with in these pages and in our showrooms, we aspire to tempt our cl ients to buy
f rom al l eras.
The re-evaluation of the decorat ive arts of the 19th century is part ly driven by the
observation that the greatest creat ions of the age can be acquired for much less than those
of the previous century. There were obvious changes in style, and methods changed as did
materials, however ingenuity and ski l l did not diminish. In this catalogue we hope to
demonstrate the qual i ty of the age and show that many pieces are sti l l undervalued in
compar ison to their antecedents.
We look forward to discussing with you any piece that you may find of interest.
Thomas Woodham-Smi th Henry Nevil le
An exhibition centre table An exceptional mid 19th century, satinwood circular breakfast-table, profusely inlaid with geometric and floral ornament in precious timbers, including rosewood, sycamore, ebony and ivory. The top has a border of multiple cross-bandings and a motif of inlaid marquetry guilloche.The central patera is a floral design surrounded by floral arabesques, which continue into the next bands of ornament which are linked at the outer edge with floral swags. The whole stands on elaborately inlaid, simulated fluted columns with a circular segmented platform stretcher terminating in profusely inlaid scroll feet.Throughout, the marquetry and cabinet-making is of the highest calibre. By Jackson and Graham
•s I n
England, circa 1860
Height: 28in (71cm) Diameter: 50in (127cm)
Clive Edwards, in an art ic le for the Furniture History Society
describes tliis famous firm, Jackson and Graham, thus: " In the
pantheon of Victorian furnishing enterprises, few names are more
important than Jackson and Graham". Charlotte Gere and iVIichaei
Whiteway describe Jackson and Graham in their work ^Nineteenth
Century Design' as "probably the most important High Victor ian
cabinet-making f i rm" . With academe clamouring to lavish praise
of such high degree on this company's head, why is it that almost
no one has heard of them? The truth is that the endeavours of
19th century cabinet-makers are still undervalued.The advent of
the mechanical age and the lush overelaboration of the epoch
combine to render the whole Victorian era as seemingly second
rate. The mistake this idea represents is only now coming to light.
Indeed Jackson and Graham celebrated this same mechanisation.
They delighted in the fact that their machines afforded them the
opportunity to execute a sophistication of marquetry that mere
hand work could never have achieved. It is true that Jackson and
Graham were elaborate in their confections, but the sophistication
contained therein rendered their work superior to all but a few.
The f irm was active between 1836 and 1885. They had
premises in Oxford Street, which gradually expanded until they
control led six buildings on the same street. They were great
exhibitors at fairs and like other cabinet-makers of the age they
employed fashionable designers and architects to enhance their
work. Amongst these, Jackson and Graham employed Dr
Christopher Dresser and Bruce Talbert. However, the longest
and closest affil iate was Owen Jones. He was central to the work
carried out for Al f red Morr ison at 16 Carlton House Terrace
and Fonthill, Wiltshire. Pieces made for Morr ison were shown
at exhibitions around Europe and Owen Jones'sty le defines the
Jackson and Graham look.The f i rm gradually moved into decline
through a mixture of internal strife and external trading conditions,
finally being bought out by their rivals, Collinson & Lock, in 1885.
A f)air of Gothic painted jardinieres A pair of late 19th century Gothic painted metal jardinieres. The pierced sides are enriched with a quatrefoi
terminating in fleur de lys, bordered by a ring. The fleur de lys motif is continued with large-scale finials.
England, circa 1880
Overall height: 20in {51cm)
Square: 13in (33cm)
ml
\r l l i i i t ' M o i U a g i i e 11: l(S7()-l<S,S:)
rhe infcfior oflhc sliulio of
\rtliiir Jose dc Souzd Loiireiro
in Melhoiu'iic
Oil on canvas
Unframed: 30 x 42 in (76.5 x 107cm)
Framed: 42 x 54 in (107 x 137cm)
Provenance: acquired in Aust ra l ia by the last
owner in about 1978
This is an exceptionally rare view of the
interior of an art ist 's house in Austra l ia
at the time of the Aesthetic movement.
Ar thur Montague lived next door to
Ar thur Jose de Souza Loureiro, and
the present picture was executed as a
memento of their friendship.
I wo verre d ea A \erre d'eau' consisting of a tray with a large and a small
decanter, a covered bowl and a glass on a light baluster stem. The
whole suite is made from fine latticino glass swirling out from the
central point. All the elements are decorated with bands known as
'torsades' in emerald green and white thread twisted glass.
St. Louis, France, circa 1850
Diameter of tray: 12in (30.5cm)
Height of decanter: 12in (30.5cm)
A 'verre d'eau' consisting of a lightly cut tray, upon which rests a
large and a small decanter, a covered bowl and a footed tumbler all
decorated with large hexagonal facets. The two stoppers and the
handle of the bowl contain miliefiori bouquets of flowers.
Baccarat, France, circa. 1850
Diameter of tray: l l i n (29.2cm)
Height of decanter: lOin (26.5cm)
10
A i i iomcnl (Voni [\\c sie^e of IVov O ./
A Charles X period, oil on canvas, neo-classical scene, depicting Hector remonstrating with Helen
and Paris. The scene is taken from the story of the siege of Troy.
Signed Boidier and dated 1830
Framed: 30 x 26in (76 x 66cm)
The enthusiasm during the
19th century for history
and in particular ancient
history was unbounded.
The siege of Troy seemed a
very romantic subject to
those living amongst the
first fruits of the Industrial
Revolution. In no other
period of history has this
subject been so fully
explored. Critics and
general observers alike
looked to the stories and
legends of ancient Greece
and Rome for a model for
contemporary life. Here we
see Paris and Helen
languishing, while Paris'
brother Hector, who was
the warrior leader of the
Trojans, has come to
remonstrate with his
brother for not fighting.
As the story was so well
known it was not necessary
to explain the short or
long-term outcomes. The
symbolism here is twofold;
on the one hand we see an
allegory of work versus
idleness and on the other
we are given a fantasy rich
with romance and
glamorous detail. In the
true Victorian spirit we are
being taught a lesson
whilst being aesthetically
entertained.
12
A Renaissance revival side table A Victorian yew wood two-drawer side table in the manner of Richard Bridgens.The top is decorated with a trompe I'oeil parquetry top of diamonds of yew wood creating the impression of stepped cubes. The top is bordered with an ogee moulding. The frieze has two drawers, each unusually canted towards the centre, which is enriched with an armorial cartouche. The drawers have boldly carved scrolling shell handles, which are flanked by pierced relief strapwork. The legs are strongly carved and have a large rectangular capital carved with a recessed panel. The bottom half of the leg is square and tapering and is similarly carved with recessed panels and has a large carved cabochon at the centre. The whole stands on ball feet.
England, circa 1845
Height: 36in (91.5cm) Width: 61in (155cm) Depth: 27in (68.5cm)
r-'a.-
A n ()C(*asi()iial table l)y Jciuiens and Bcl lr idge A rare early V ic tor ian c i rcu lar table by Jennens and Bettr idge. The japanned top is decorated with polychrome exotic birds and
butterfl ies in f lowering branches with gilt leaves on an apple green ground. The underside is stamped 'Jennens and Bettr idge'
surmounted by a crown. The top is supported by a finely cast brass column, the base formed of entwined dolphins, surmounted by
acanthus leaves, standing on a plinth of concave tr iangular form, the top of the co lumn stamped ' J & B 71' .
England, c irca 1840
Height: 30 in {77.5cm)
Diameter: 24 in (63cm)
In the early 19th century Jennens and Bettridge founded a
papier mache factory in Birmingham. They were the
natural successors to the most distinguished of the 18th
century producers, Henry Clay.The German traveller and
scientist, G.C.Lichtenburg, when visiting Birmingham at
the turn of the century, noted that, " a number of sheets of
paper are pasted together and dried; they are then carried
out to a room resembling a little timber yard; cabinet
makers form every art ic le as it is required sawing it out of
paper....with greatest exactness. It is then Japanned and
polished, and this is always done by hand which gives a
more exquisite lustre than by any other means". Jennens
and Bettridge became most famous for introducing new
types of furniture including elaborate tables and chairs
made from papier mache, extending the range of Henry
Clay's range from the limited production of tea trays and
tea wares. Jennens died shortly after the company's
successful display at the Great Exhibit ion of 1851, after
which their products were stamped Bettridge & Co.
Therefore this table pre-dates the 1851 Great Exhibit ion.
14
Iwo unusual Victorian music stools A charming late 19th century brass music stool having a
carry ing handle and four scrol l legs terminat ing in cap feet.
The seat is upholstered in green silk velvet with brass buttons.
England, c i rca 1870
Height: 23 in (58 .5cm)
Width of seat: 12 in (31cm)
Depth of seat: 12in (32cm)
A Lou i s XV-s ty l e wa lnut music stool , the seat carved in the
shape of a sca l lop shell w i th a scro l l end. The seat is
supported by three cabr io le legs, which terminate in c law
feet and are jo ined by an unusual shaped t r ipod pl inth base
France, c i rca 1870
Height: 23 in (58 .5cm)
Width: 15in (38cm)
Depth: 18in {46cm)
An Aiish'iari inal iogany jardiniere
A most unusual, eacly 19th century mahogany jardiniere. The top is decorated with a frieze of simulated stone-work
and has a modern brass liner and is supported by a turned baluster stem with foliate carving. The central column
stands on a moulded and shaped lower plinth with four animalistic feet with acanthus leaf carving at each knee.
Austria, circa 1825
Height: 30in (77cm)
Diameter: 27in (69cm)
17
A pair of architectural bedside cal)iiiets
A pair of German early 19th century side cabinets decorated to simulate tooled leather. The tops are stepped and
have a triangular pediment below the top, which is supported by giltwood columns flanking a concave door above a
single drawer. The whole is supported on block feet.
Germany, circa 1820
Height: 31in (79cm)
Width: 28in (71cm)
Depth: 16in (41cm)
18
A hackgamiiioii table
A Wi l l i am IV maliogany backgammon table, in the Frencin style,
having a removable top with a card playing surface on the
reverse. When removed it reveals a tooled leather polychrome
backgammon well, bordered with ivory sockets for markers and
having boxwood stringing. The sides have two concealed drawers
for playing pieces. The table stands on turned, co lumn legs with
a double baluster capi ta l and a turned foot.
England, c irca 1830
Height: 29 in (73cm)
Width: 43 in (109cm)
Depth: 23 in (58cm)
19
A. set of six Gillows chairs
A set of six mid 19th century Ar t s and Crafts mahogany side chairs, having chamfered edges and a scrol led serrated
top rail, decorated throughout with ornamental ebony dowels. The chairs have co lumnar front legs and sabred back
legs, joined by a form turned stretcher. Each chair stamped several times ^Gillows' and bearing the model number
3971 and each back rail signed by the craftsman in pencil.
In the manner of J P Seddon
England, c i rca 1865
Height of back: 34 in (86 .5cm)
Height of seat: 16in (41cm)
Width: I S i n (47cm)
Depth: 18in (47cm)
The design for this set of six chairs is drawn from a model chair exhibited by
Seddon & Co in the 1862 International Exhibit ion in London. The Medieval
Court at the Exhibit ion, at which Seddon displayed a number of designs, was set
up as a showcase by the Ecclesiological Society to extend the aesthetics of the
new Gothic designs from church architecture to domestic usage. Always using
domestic timbers, Seddon simplified the more arcane and elaborate Gothic ideas
of his contemporaries such as Burges.The strength and elegance of J P
Seddon's chairs stem from his family background, being the son of one of the
most successful 18th-century furniture manufacturers. The Clerical Journal at
that time wrote that "we are bold to say that ... we have achieved ... works of
which posterity wil l recognise as one of the great works of the art ist 's mind and
hand ... which may go out of fashion but which wil l, nevertheless, be treasured
by our descendants". The success of Seddon's elegant simplicity in adapting
architectural detail for everyday use resulted in the popularity, not only for his
firm, but also for his Gil lows work and his pottery designs for Minton.
20
A l l H rn|)ir*e lal)lc A highly unusual early 19th century F lorent ine c i r cu la r sa t inwood centre table. The table has a narrow fr ieze and stands on
boldly model led scrol l legs wh ich in turn stand on a concave sided t r iangu lar pl inth terminat ing in pad feet. Each element is
bordered w i th mahogany cross-banding w i th a double border of boxwood and k ingwood str inging. The table has a most unusual
scag l io la top, wh i ch has a f inely d rawn oak leaf border in shades of ye l low and brown. The centre has a car touche dep ic t ing a
bucol ic landscape w i th f igures f ishing in the foreground. The car touche is bordered w i th a f rame of s imulated beads w i th
t rompe I ' o e i l shadows.
Italy, c i r ca 1820
Height: 30 in (76cm)
Diameter: 34 in (86 .5cm)
22
A pair of rnirrored bedside cabinets A pair of contemporary faceted mirrored glass bedside tables in the Moorish taste, having two small drawers in the frieze with a further long drawer below, constructed employing late 19th century engraved glass panels.
England, modern
Height: 30in (76cm) Width: 26in (67cm) Depth: 13in {33cm)
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A |)air of hloodslone iinis A pair of early 19th century bloodstone neo-classical vases in Etruscan style with high right-angle arms.
The bodies of the vases are engraved with two lines near the top.
Baltic, circa 1810
Height: lO in (25cm)
Diameter: 5in (13cm)
25
A (^liarles X ( jot l i i r soCa Uihle A rare Charles X rosewood Gothic sofa table, the top having a scrolling border of stylised foliate ornament framing an elaborate Gothic cartouche. The table has two drawers in the frieze decorated with Gothic marquetry and lined with bois citronnier, and stands on square legs decorated on each face with a recessed Gothic arch and with rosewood and boxwood cluster columns at the edges. An octagonal plinth foot supports the legs. The table has a shaped stretcher inlaid in boxwood with Gothic ornament. The design attributed to Caron I'Aine.
France, circa 1830
Height: 30in (77.5cm) Width: 52in (133cm) Depth: 23in (59cm)
The importance of Jean Josse Caron I'Aine (1773-1838), lies not so much in his achieved works, which only flowered for a brief period between 1831 and 1838, but in two key aspects of his career. The first was the influence he exerted on contemporary taste following 1836, when he wrote to the 'Garde-meuble de la couronne' offering *un bureau de dame a etageres en bois de palisandre de sa fabrique'.They accepted it and, following this, many further commissions were granted. Caron's style became favoured and in a few short years he furnished many noble clients with distinctive, delicately inlaid rosewood Gothic furniture, both in France and abroad. The second key event was the publication, in 1836, of 60 designs under the title 'Le Manuel 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 est aujourd'hui le gout dominant, mais d'autres donnent la preference aux meubles fait dans le gout gothique. II faut le dire, le nombre de ces derniers augmente dans une proportion telle que le genre gothique est une des branches principales du commerce de I'ebenisterie'.
In other words, though Caron offered Gothic-style furniture, he was aware of the taste for furniture that exhibited simplicity even though the ornament could be rich. Caron was a precursor and disseminator of the Gothic style but his forms always retain Empire lines.
27
A pair of Kni|)ire gilt bronze vases
A pair of Empire gilt bronze vases, the handles decorated with foliate ornament with sunflower paterae at the
end of the scroll. The bodies are enriched with an ornamental punched decoration. Both vases stand on square
block plinths, with a putto rifleman and Eros in a circular vignette.
France, circa 1810
Height: l l i n (28cm)
28
" 1 ••
\ pair of Charles X fauteuils A pair of Charles X rosewood fauteuils having a domed top rail and unusual scrolling bombe sides with a bowed
front rail.The armrests are supported on scroll supports above stylised cabriole legs with a scroll toe.The back legs
are sabred. Each element is bordered with delicately inlaid boxwood stringing which follows the outline and
terminates in a delicately drawn scroll.
France, circa 1825
Height of back: 38in (96.5cm)
Height of seat: 15in OScm)
Width: 23in (58.5cm)
Depth: 20in (51cm)
•i
A (Char les X w r i t i n g la l ) l c by L e s a g e
A fine qua l i ty Char les X sma l l wr i t ing table in rosewood w i th boxwood str ing ing having an unusual ba lus t raded
ga l lery in rosewood w i th boxwood ba lus te rs .The table has a single drawer in the fr ieze, wh ich opens to reveal a
pol ished mahogany inter ior and a removable wr i t i ng tray. The fr ieze is supported by boxwood scro l l e lements and
stands on twin co lumns, in turn standing on scro l l feet in la id w i th boxwood str ing ing and having a boxwood pad foot.
The table has an e laborate ly turned st retcher w i th a finely carved roundel at each end.
Bear ing an ind is t inct s tamp for the Ma r chand , Lesage
France, c i r ca 1 8 2 5
Height: 31 in ( 79 cm)
W id th : 28 in {72 .5cm)
Depth: 17 in ( 4 4 c m )
Antoine Nicolas Lesage ( 1 7 84 - 1841 ) was one of the most
important Par is merchants. Though frequently recorded as a
cabinet-maker, the clerk of the Royal 'Garde-meuble ' , Veytard,
noted in 1823 that he was a dealer, not a maker. Lesage started
and directed a shop for furniture and objets d 'a r t at 2
Boulevard des Ital iens f rom 1812 to 1821 . A t that date, he
also became d i rector of another shop ca l led the 'Un ion des
A r t s ' at 2 rue Grange-Bate l iere. These shops offered cl ients a
remarkab le range of products and services f rom furniture and
objects to a complete upholstery and decorat ing service. He
counted the Duchesse de Berry, who bought for the Chateau de
Rosny, amongst his c l ients. Sadly, his business fa i led in 1 839
and he died two years later in 1841 . F rom his bankruptcy
papers, it is c lear that he made a great deal of his stock, and
that he also commiss ioned pieces f r om many of the finest
craf tsmen of his day, for example the bronzier, Remond, and the
cabinet-maker, Jeanse lme.
30
Paul (]esar J I el leu us,-)!) - l ! ) 2 7 )
As a chronic ler of the *Belle Epoque' Paul Cesar Helleu has no equal .Though he worked extensively in oils and pastels, he is chiefly
remembered as the master of the drypolnt portra i t . His delicate, a lmost minimal ist technique seems to capture the spir it of the age
perfectly. Under the patronage of the Marqu is de Montesquieu and the guidance of J J Tissot, Helleu succeeded in drawing the nobil ity of
Europe, as well as some of the many distinguished Amer icans who travel led to Europe during this t ime.
Ma l le t t have over the years established a tradit ion of exhibit ing Hel leu's work and last year we mounted an exhibit ion that covered
al l aspects of his career. In this catalogue we are i l lustrat ing just three drypolnts but we continue actively to market his complete oeuvre.
These works cover three strains of his output. In 'Les Lionnes' we see a series of gir l 's heads. The t it le refers to the mane of hair
that each head depicts. This is a very personal study and the subject bears some paral le l with the drawings he made of his own daughter.
The work entit led 'Madame Cheruit ' is one of his public subjects, a commiss ion probably, of a society figure. F inal ly there is the portra i t
o f ' M a d a m e Letel l ier ' ; this is both a private and a public subject. She was one of the great beauties of the age and was to be seen at al l
the important events of the season. She was also one of Hel leu's most favoured subjects and many portra i ts of her are recorded.
Ar.v Lionncs
Drypoint
Signed, c i rca 1900
Framed size: 22 x 21 in (56 x 53 .5cm)
32
Mdddntc ('licruil: clv<^(uilc du nKUilcdii dcJoun'urc
Drypoint with watercolour highlights
Signed, circa 1900
Framed size: 30 x 21in (76 x 53.5cm)
33
Mdddluc Lclcllicr
Drypoint with watercolour highlights
Signed, circa 1900
Framed size: 30 x 21in (76 x 53.5cm)
34
A [)air ofC^olhic g i l l l)r()ri/(^ vas(\s A pair of Charles X gilt bronze miniature campagna form vases supported by verde antico pedestal bases.
The vases are enriched with low relief decoration of vine leaves and an interlocking motif of Gothic arches
France, circa 1825
Heiaht: Sin (20cm)
/J
' £
A Loiiis-Plulip})e mahogany coniniode A mahogany commode with four drawers, the top drawer being disguised within the flared frieze which supports the
fossil marble top. The lower drawers are flanked by a stylised, fluted pilaster having a scroll bracket at the top with
a demi-lune roundel carved with stylised acanthus below. The commode stands on large scale demi-lune roundel feet
with square block feet at the back.Throughout, the commode is veneered in richly figured flame mahogany.
France, circa 1835
Height: 39in (99cm)
Width: 50in (128.5cm)
Depth: 24in (61cm)
36
A tole chandelier A charming Chai-les X six-branch tole chandelier having a corona with six stylised laurel leaves. The sides are cream painted with a turquoise double anthemion in three panels. The main body of the chandelier has the same motif in reverse and has an upper pierced scroll border. Each arm and shade is painted with a songbird perched on a branch against a cream background.
France, circa 1835
Maximum height: 30in (76cm) Diameter: 28in (71cm)
37
A s|)(HMiiien mcirl)[e
(xx'asioiiaJ table
A very unusual octagonal occasional table. The outer border Is of grey
marble with a ring of blue marble enclosing an unusual serrated pattern
of overlapping bands of exotic stones. This in turn is bordered w/ith a
ring of black marble enclosing a band of alternating yellow and red
marble fleurs de lys. In the very centre of the top there is a rouge royal
star having at its centre a circle of malachite. The table stands on an
octagonal stand with a marble capital, central collar and foot. The whole
is supported on a triangular concave stepped plinth mounted on castors.
England, circa 1830
Height; 29in ( 7 5 c m )
Top diameter: 19in ( 4 9 . 5 c m )
A group of
l)rass doorstops
(clockwise from the left)
A brass doorstop with bell-shaped base and
scrolled handle
England, c irca 1820
Height: 13in (33cm)
An unusual Will iam IV brass doorstop in the form
of a profile of a seated dog, its head turned, on a
rectangular plinth with a fluted border.
England, c irca 1830
Height: 13in (33cm)
An unusual Victorian allegorical brass doorstop
depicting a lion fighting a snake beneath a palm
tree. The whole supported on a cast-iron plinth.
England, c irca 1860
Height: 17in (43cm)
An early 19th century heavy brass doorstop with
semi-circular stepped base and pierced shaft and
handle.
England, c irca 1800
Height: 15in (39.5cm)
A pair of late 19th century brass doorstops in the
form of Hippocampi, each having an articulated
bridle. They stand on shaped plinths.
England, circa 1880
Height: l l i n (28cm)
38
A very large scale mahogany dining table An outstanding Wil l iam iV circular mahogany dining table. The top Is constructed from butterfly panels of finely figured mahogany having a rounded outer moulding. Below there is a shallow cross-banded frieze. The table stands on a solid mahogany turned stem of massive proportions supported on a concave-sided tr ipod plinth with scroll feet.
England, circa 1830
Height: 29in (74cm) Diameter: 84in (213.5cm)
A 19lli century i)()X(Mr (*ani])aign cliair
An early 19th century, mahogany folding campaign chair, with turned, fluted and tapered front legs and splayed back legs,
mounted on brass castors .The chair retains all its brass fitt ings and is now upholstered with vel lum green leather.
England, c i rca 1820
Height of back: 37 in (95cm)
Height of seat: 17 in (43cm)
Width: 25 in (63 .5cm)
Depth: 22 in (56cm)
42
Two ]9l l i ro i i l i i ry c^agores A fine quality Victorian two-tiered etagere. Each face is veneered in
amboyna witPi ebony cross-banding and bordered with boxwood and
ebony stringing. Each tier has a single drawer with turned ebony
handles. The top is supported by four inlaid amboyna columns,
mounted in lacquered brass with a brass gallery on three sides.
The whole stands on turned, tapering, circular legs.
In the manner of Holland & Sons.
England, circa 1870
Height: 36in (91cm)
Width: 26in (66cm)
Depth: 15in (39.5cm)
A Regency burr walnut four-tier etagere. The top has a single
drawer which is lined with mahogany and each tier is supported
by finely carved, reeded columns with turned capitals and feet.
The whole is standing on turned bun feet.
England, circa 1815
Height: 36in (91.5cm)
Width: 19in (48cm)
Depth: 15in (38cm)
44
A papier-inaclie lal)lc A V ic tor ian papier-mache c i rcu lar occasional table. The top is decorated with a
finely painted f loral vignette bordered with an elaborate gilt and polychrome
scrol l . The stem, base and tapered foot are s imi lar ly enriched with elaborate
flowing, gilded f loral ornament.
At t r ibuted to Jennens and Bettr idge. See footnote to page 14.
England, c irca 1870
Height: 29 in (74cm)
Diameter: 26 in (67 .5cm)
45
rustic suite
A most unusual suite of mid 19th century North Italian grotto furniture, consisting of eight armchairs, two centre tables and
two settees. The entire suite is carved in natural ist ic detail and in high relief to simulate the effect of gnarled twigs and tree
trunks. The chairs and the settee have a serpentine back rail and very stylised cabriole legs. The settees have the unusual extra
feature that the apexes of the backs are carved with a scroll of twigs, giving the stylised semblance of a handle.The centre
tables are of tr ipod form and are further carved with a motif of trai l ing ivy throughout the base. They retain their original
scagl iola verde antico tops and have a shallow frieze carved with trai l ing ivy.
Italy, c i rca 1840
Two centre tal)les
Tables height: 28 in (71cm)
Diameter: 43 in (109cm)
A p a i r o f sol Ices Height of seat: 19 in (49cm)
Height of back: 47 in (119 .5cm)
Width: 64 in (162 .5cm)
Depth: 36 in (91 .5cm)
The design influences on this suite of
furniture extend bacl< through the
aesthetic philosophers of the 18th
century to the poets of classical Rome.
In the writings of both Horace and Ovid
the virtue of grottoes, as man-made
natural wilderness within formal gardens,
are frequently extolled. This unnatural or
constructed disorder became a major
tenet of 18th century landscape theory
contrasting the formality of neo-
classicism with the natural spectacle of
the sublime. Famous grottoes were
lavishly designed using natural elements,
often housing fountains with classical
sculpture, throughout Europe.
Architects, such as Claude Ledoux
( 1 7 3 6 - 1806), introduced theories on
the origins of architectural elements
deriving from natural forms. The arch
was often drawn as a tree with multiple
bent boughs. Such theories were
reproduced in the decorative arts and
even engraved and enamelled on glass,
for instance by the Beilby family in
Newcastle. Throughout the Rococo
period in Europe, during the middle
years of the 18th century, this inspiration
from natural elements was continuously
redefined. Furniture designs f rom this
period by Chippendale as well as by
Darly and Manwaring, often suggest the
natural shape and form of the original
timber, sprouting as twigs and boughs
interlaced to become chair backs and
legs. This grotto suite is an exceptional
example of the revival of this rococo
aesthetic, extending the tradition of
naturalised furniture and man controll ing
nature, by reconstructing a natural twig
and branch rustic look from skilfully
carved solid timber, and then having it
richly gilded. This paradox, as with the
grottoes of classical Rome, was intended
both to stimulate and amuse the
enquiring minds of leisured and wealthy
Italian patrons.
lift's:; rr.
I » f ^ -
^ if
A ])air oC Jacobean
revival hall chairs
A pair of 19th century high back hall chairs in the Jacobean
manner, the narrow backs pierced in a strap-work and scrol l
design, on part ly turned legs joined by pierced and turned
stretchers, painted off-white with traces of red.
England, c i rca 1840
Height: 44 in (112cm)
Width: 16in (42cm)
Depth of seat: 16in (41cm)
A set of martial
ire-irons
A late 19th century, unusual set of f ire- irons in the form of
styl ised bayonets with brass and steel mounted wooden handles.
England, c i rca 1890
Length of shovel: 27 in (69cm)
51
A Diitcli lllriipire ])erio(l side lal)le A Dutch Empire-period mahogany side table having a single drawer in the frieze decorated with a recessed panel bordered with brass
moulding. The drawer can only be opened by a secret locking mechanism beneath. The front legs are modelled as caryatids with gilt
bronze heads and feet. The heads are in turn surmounted by an ebony panel inset with a marquetry brass vase issuing flowers. Below
the heads is a triangular panel inlaid with a brass swag on an ebony ground. The table stands on a mahogany platform on bun feet.
The back is mirrored and is flanked by brass strung pilasters. The table retains its original mottled grey marble top.
Low Countries, circa 1815
Height: 32in (81.5cm)
Width: 37in (94cm)
Depth: 18in (46cm)
52
1w() (^asl-ir'on s l \ck s t ands A fine mid 19th century cast-iron stick stand which combines early
floral elements and stylised foliage with fruit and abstract curved lines.
Stamped Falk i rk , with its original design number and patent.
England, c i rca 1870
Height: 34in (87.5cm)
Width: 21 in (53.5cm)
Depth: 11 in {28cm)
A late 19th century Coalbrookdale polished cast-iron stick stand
having stylised foliate ornament at the sides and a similarly stylised
egg-and-dart motif on the base. The top having four rings for canes
with a central open space for larger umbrellas.
Stamped Coalbrookdale and bearing the design registration diamond
together with the model reference number.
England, c irca 1880
Height: 25in (63.5cm)
Width: 24in (61cm)
Depth: 6in (15cm)
The combination of Arum Lily
below and flowers of Morning
Glory above, unified by
scroll ing strapwork, reflect the
designs of Dr Christopher
Dresser, during the middle
years of the 19th century.
Two "Gothic' hall tables
manufactured by the
Coalbrookdale Company
around 1869 reveal a similar
combination of English
botanical detail with more
abstract naturalistic
decoration, inspired by the
il luminated borders of medieval
manuscripts.
At this time Dresser
described himself not as a
designer, but rather as a
Professor of Botany. He held
three academic positions in
Botany in London, as well as a
doctorate from the University
of Jena. The application of his
botanical studies to ornament,
he expressed not only in his
lectures, but also in a number
of books and essays published
during the 1860s. The most
influential of these was 'The
Ar t of Decorative Design'
published in 1862. Here
ornament is treated like a
science, reducing designs to an
elementary condition, building
each element upon another, so
that the eye can take pleasure
in making out form after form
and shape after shape.
53
A pail* o fX icioiMan (ool-slools A pair of Victorian foot-stools upholstered in deep-
buttoned silk velvet and supported by elaborately cast
baroque revival lacquered brass scroll feet.
England, circa 1870
Height: 9in (23cm)
Width: 15in (38cm)
Depth: 12in (30.5cm)
A \)'c\\v oC (^larel A pair of Edwardian cut-glass claret jugs. The bodies are cut with a
boldly modelled spiral pattern. The handle and spout are fashioned in
the neo-classical style in silver plate and have hinged lids that bear an
indistinct maker's mark and model number.
England, circa 1910
Height: Sin (20cm)
54
1\v() pairs o f
inar(|iicli;\ side
cfiairs
Two most unusual pairs of Victorian
marquetry bentwood chairs having scrolled
backs and arms with an elaborately shaped
splat, standing on cabriole legs at the front
and with sabre legs at the back. The whole
is richly inlaid with floral marquetry, having
highlights in engraved mother-of-pearl, with
deep-buttoned silk velvet upholstered seats.
England, circa 1870
Height of back: 32in (81cm)
Height of seat: 15in (38cm)
Depth of seat: IB in (45.5cm)
Width of seat: 20in (52cm)
55
A Baccarat glass gucriclon
A cut-glass centre table, with a circular top cut on the underside and with a scalloped border, supported
by a baluster-shaped diamond-cut stem in four sections, on cut and moulded foliate scrolled legs.
France, c irca 1880
Height: 35in (92cm)
Diameter: 23in (60cm)
This table was made by Baccarat around
1880, at a time when Baccarat was
developing their Indian market through
their showrooms in Bombay. The Indian
Maharajahs demanded, and could pay for,
the highest standards of workmanship.
The sharpness and quality of the cutting
of this table requires so much time from
the craftsmen as to be completely
uneconomical today.
Baccarat's craftsmen were inspired by
the natural arrangements of flower petals
and seeds in the design for the decorative
cutting of this table top. The double spiral
arrangement, one clockwise, one counter-
clockwise, is nature's most effective way
of arranging seeds, as can be found in the
sunflower. Although common throughout
nature this phenomenon was only
explained in the 13th century by the
Italian mathematician Fibonacci. He
devised a table with consecutive numbers,
for both spirals, where each following
number is the sum of the previous two.
This arrangement was based on the
golden mean and is here employed in the
lozenges on this table top, whose shape is
directly related to the rhombic form of
sunflower seeds.
56
Gaston Latoiiclie I<sr)4-I!)l3
llvo J Inures in a park
Oil on canvas
Signed and inscribed 'a IVlonsleur Feui l lard'
Unframed: 23 x 23in / 58.5 x 58cm
Framed: 31 x 30in / 78.8 x 77.5cm
Gaston Latouche was a painter, printmal<er and
sculptor. He was born in St Cloud in 1854 and died in
Paris in 1913. Determined from childhood to be an
artist, his passion was encouraged and supported by
his parents. During his career as a self taught artist,
Latouche was a leading member of the society of
Beaux-Arts. In 1900 he received the Legion d'Honneur
and carried out several official commissions of large-
scale decorative schemes. In 1917 he illustrated an
edition of poems by de Regnier.
This charming painting is most likely to represent
the park of St Cloud, outside Paris. Latouche painted a
small amount of works 'en plein air ' in St Cloud, often
including figures in the composition, sometimes in
fancy dress. His work is greatly influenced by the
Impressionists, and the light filtering through the
leaves creating a dappled effect reflects this.
•r
m.
"•JT •
58
\ terracotta lion
An heroic scale French mid 19th century terracotta model of a seated
lion, his head slightly turned.The modell ing is achieved in a bold and
impressionist ic manner. The whole stands on an integral square plinth.
France, c i rca 1840
Base: 19in (48cm) square ^ f l
Height: 45 in (114cm)
ft
v
ft
• «-\5;
A pair of small oak Gotliic lal)les
A pair of mid 19th century smal l square occasional tables in oak, with a pierced quatrefoil frieze and spiral carved
supports surmounted by scrol l capi ta ls and with a weighted shelf below, on short turned legs with square Gothic feet.
England, c irca 1 8 5 0
Height: 30 in ( 7 7 . 5 c m )
Width: 12 X 12jn ( 3 0 . 5 x 3 0 . 5 c m )
61
A William IV mahogany writing table A Wil l iam IV mahogany writ ing table having two short and one long drawer in the frieze on each side. I t stands on turned tapering legs carved with a stylised lotus leaf surmounted by a ball capital carved with cabochons. At the top of the leg is a rectangular block plinth mounted with carved elements in high relief. The whole is standing on large-scale brass casters.
England, circa 1830
Width: 60in (152cm) •..-sS'-^.'
Depth: 42in C107cm) . '
A pair of opaline vases A pair of Charles X opaline baluster-form vases decorated with naturalistically painted wild roses, having a gilded lip and foot.
Now mounted as lamps.
The vases, France, circa 1825
Height including shade: 33in (84cm)
64
A pair* o f (jolli'u^ candlosl icks A very unusual pair of Wil l iam IV Gothic bronze candlesticks having castellated socles and drip pans,
supported on a hexagonal stem, in turn supported on a triangular Gothic base. The whole supported by
a further triangular Gothic arch foot with a small-scale circular tower at each corner.
England, circa 1830
Height: 13in {33cm)
65
A L()uis-Pliili|)|)e Scares ])()ixx^laiii centrepiece A very rare Louis-Phi l ippe Sevres porcelain centrepiece, having gilt
enrichments. The main bowl has an egg-and-dart motif border with
lion's masks in high relief on three sides.The base of the bowl is cast
with elaborate attenuated gadrooning. Each of the three legs has a
stylised acanthus capital with a trident issuing forth, the centre flanked
by griffins. The front face of each leg has a recessed panel decorated in
gilt with birds perched on vine leaves intertwining in a stylised
guilloche pattern. The sides of the legs are fluted and they terminate in
c law feet. The central supporting column has a capital of lotus leaves
above a boldly spiral l ing baluster-form support.The whole stands on a
tr ipod concave stepped plinth with rolled mouldings.The base bears an
initial stamp RF and S.50. (This mark is RF for Republique Frangaise,
the S is the initial of the gilder, and the 50 is the year 1850).
France, dated 1850
Height: 17in (44.5cm)
Diameter: 16in (40.5cm)
ovcrlcdf
A l)rass cani|)aigii bed A rare Charles X lacquered brass campaign bed. The back and
sides take the form of a lattice of brass rods, supported by
columns enriched with moulded col lars and surmounted by urn
finials, decorated with machined neo-classical ornamental motifs.
The whole is supported on six turned legs, enriched with similar
decoration and terminating in brass castors.
France, c irca 1820
Height: 48 in (122cm)
Length: 79 in (202cm)
Depth: 36 in (92cm)
In the world of decorative arts few names stand out as prominently as
that of the Sevres porcelain manufactory. Even the word alone conjures
up the image of France at its creative height. Simply saying a piece is by
Sevres is in itself a benchmark of quality. The factory was founded in
1738 at Vincennes, however its great period began in 1751 when J.-J.
Bachelier became art director. In the following year Louis X V took a
controlling interest and they adopted the famous crossed Ls of the royal
cipher as the factory mark. In 1756 they moved to a new building at
Sevres. From this point on they went from strength to strength, having
the king as their protector, patron and even chief salesman. There was an
annual sale in the king's private dining-room at Versailles and courtiers
were expected to buy. Failure to do so was noted and might even result in
losing the king's favour. Needless to say the sales were a great success
and many commissions followed.The factory continued through the reign
of Louis XV I and even carried on through the revolution. In 1793 the
factory was declared state property and the letters RF (Republique
Frangaise) became the factory mark. Though the revolutionary period
was short the change in style was permanent and with the advent of the
imperial era classicism became the pre-eminent doctrine.The illustrated
tripod centrepiece was modelled for the first time in this period. The
factory has continued through war and revolution, at all times
maintaining its principles and quality as best it can. Sevres still exists
today predominantly making reproductions of 18th-century designs whilst
remaining open to the occasional burst of creativity.
The tripod illustrated is clearly dated 1850, however the model was
created nearly 50 years earlier. The great moderniser of the Sevres
factory was Alexandre Brongniart. He brought the company into the
19th century and through technical innovation and new designs he
ensured that Sevres would survive the vicissitudes of the times, something
that few 'ancien regime' businesses managed. In 1807 Napoleon ordered
from Sevres a personal service of porcelain, part of that service was to
be a 'surtout de table'. Through his agent and director of the Napoleon
Museum, Vivant-Denon, he instructed it to be in the neo-classical taste
and to be in biscuit porcelain. This material was favoured as it was
considered to resemble white marble. The architect Theodore Brongniart
(the father of Alexandre) supplied the design. In it one can clearly see the
tripod.The plan still exists and is kept at the 'Centre Historique des
Archives Nationales'.The idea of using the tripod was both inspired and
political. By adapting the basic form of the athenienne that had been in
currency since the 17th century, Brongniart was alluding to the
magnificence of France's past. The specifics of the design can be
explained politically.The form is a faithful reproduction of an antique
fountain acquired by the Louvre as part of the treaty of Tolentino signed
on the 19th February 1797.The fountain had come originally from
Hadrian's vil la atTivol i .Thus Brongniart was able to make reference to
antiquity and the triumphs of Napoleon in one deft move. Naturally the
designs were swiftly approved and production began.
Here the complete records of the Sevres factory prove invaluable.
They still retain the plaster original modelled by Brachard the elder.The
finished product, which consisted of two tripods, was delivered to the
emperor on the 27th IVIarch 1810 together with the rest of the service.
The delivery coincided with the nuptials of Napoleon and Marie-Louise, a
celebration that lasted six days.The illustrated example, though later in
date, is identical to those from the Napoleonic service except that the
stem is inverted and has a small extra foliate element at the top. It was
certainly produced from the same moulds.The only other difference is
that this example is gilded.The earlier ones were originally supplied with
gilt bronze plinths made by Thomire.This example also has gilt brass
rings in the lion's mouths and a gilt col lar on the stem. Given the imperial
genesis of this piece it is unlikely a copy would have been made without it
being for an exceptional client. 1850 was the middle year of the Second
Republic. On 2nd February 1848 riots tore through the streets of Paris
baying for the blood of the king. Louis-Phil ippe escaped in disguise from
the borders of France.Thus began the Second Republic, and following
further riots in June the same year the nephew of the Emperor Napoleon,
Louis Napoleon, was elected president. In the face of opposition from the
government he swiftly moved to establish a dictatorship. In 1852 the
people elected him in a plebiscite 'Emperor Napoleon III'. It would not
be inconceivable that the tripod was either made or gilded under the aegis
of Louis Napoleon himself.
67
Four tole tea caniiisters
A set of four large-scale red tole tea canisters numbered 1-4. The front of each is decorated with a gilt treillage
at the top and at the bottom, which borders a polychrome chinoiserie vignette related to tea manufacture.
Now mounted as lamps.
England, circa 1860
Height including shades: 30in (76cm)
70
A (Charles X oveniiantel inirrot
A rare large-scale, Charles X eglomise mirror with a polished brass outer edge. Each side is canted and the eglomise depicts
gilt borders and scrol l ing gilt oak leaf motifs against a white background. The piece retains its original mirror plate.
France, c i rca 1830
Height; 41 in (104cm)
Width: 35 in (89cm)
71
M A L L E T T P L C
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Lan tO Synge Managing Director
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Ainsl ie Marchant
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