141 New Bond Street London W1S 2BS - The Culture Concept ......furniture to the court; under the...

141 New Bond Street London W1S 2BS929 Madison Avenue at 74th Street New York 10021

L O N D O N M A L L E T T N E W Y O R K

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Introduction

In 2007, we sold our second London shop Bourdon House and absorbed its uniqueidentity into our galleries on Bond Street and Madison Avenue. Bourdon Housealways added a distinctive and individual flair to the more traditional Mallett taste,with its eclectic mix of furniture and objects that were not acquired essentially for their importance, but more for their combination of style, individuality andoccasionally their charm and wit. In the current market we feel it is important to not only offer pieces that combine the elements of fantasy and originality, butalso exhaustive sourcing. We have developed over the years an extensive networkwhich allows us to offer pieces that are fresh to the market in every sense.

We are proud to offer you in this catalogue a treasure trove inspired by theunusual imagination that was the spirit of Bourdon House; mixing the last threecenturies, antique through contemporary, from countries as far afield as Japan inthe East, Spain in the South, Russia in the North and America in the West. It is trulya trans-global collection.

Over the last few years collecting has changed and these days it is increasinglyimportant to find something that will, of itself, give a room focus and beindividual. Mallett has for many years specialised in finding pieces that fill this role. This catalogue with its eclectic diversity continues that tradition. This, ourAutumn catalogue hopes to reflect the energy of both the past and the present to inspire the new spirit of collecting.

Giles Hutchinson Smith

Chief Executive

A PAIR OF LOUIS XVPAINTED COMMODES

A pair of Louis XV bombé vernismartin single door commodesdecorated on a white groundwith coral floral vignettesframed by interlocking scrolls.The legs are painted in coral toecho the presence of mounts.The commodes retain theiroriginal breche violette tops. Attributed to Gilles Joubert.France, circa 1760

Height: 30in (76cm) Width: 24in (60cm) Depth: 14in (36cm)

F2J0349


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Gilles Joubert (1689-1775) was a Parisian ébéniste who workedfor the Garde-Meuble of LouisXV for two and a half decades,beginning in 1748, earning the title ébéniste ordinaire du Garde-Meuble in 1758, andfinally that of ébéniste du roi(“royal cabinet-maker”) on thedeath of Jean-François Oeben in 1763. He produced casefurniture in a robust Rococostyle, but from the later 1760shis furniture increasingly shows a conservativecompromise with the nascent neoclassical style. Much of his furniture wasproduced before Parisian guildregulations required ébénistesto stamp their production, andpieces intended for the royal

Garde-Meuble were exemptfrom such regulations; however,the minutely-detailed inventorydescriptions of the Garde-Meuble de la Couronne andinventory numbers stencilledon surviving furniture haveenabled scholars to identify a number of pieces fromJoubert’s workshop. In the decade following 1763 he supplied 2200 pieces offurniture to the court; underthe pressure of such a volumeof commissions, he was obligedto subcontract even someimportant pieces of furniture.Not all the furniture deliveredby Joubert received afavourable reception: a bombécommode painted with flowerson a white vernis martin ground

(now yellowed), with silvered-bronze mounts, delivered 11th January 1755 for MadameAdelaïde fourth daughter andsixth child of King Louis XV of France at Versailles, wasreturned to the Garde-Meublethe same day. Comparable tothe Mallett commodes, it waspurchased for Versailles in 1965, though the apartment for which it was intended nolonger exists, replaced by LouisXVI’s library. In interior design,vernis martin is a type oflacquer named after the French brothers, Guillaume and Etienne-Simon Martin. It is an imitation Chineselacquer and was applied to a wide variety of items, from furniture to coaches.

THE ‘CARINA’ DINING TABLE

The table is constructed fromthree pieces of interlockingCarrara marble.England, 2010

Height: 29in (74cm) Width: 118in (300cm)Depth: 43½in (110cm)

C3A0266

Suitable for interior andexterior use.

Klauser and CarpenterEd Carpenter originally trainedas a sculptor at KingstonUniversity, before studyingProduct Design at the RoyalCollege of Art. Followingnumerous successfulcommissions, he established his design office in 2001. Andre Klauser first studieddesign in Germany, beforemoving to London to join JasperMorrison’s design studio. Andre

then pursued further studies atthe Royal College of Art, wherehe has now taught since 2007. Klauser & Carpentercollaborate in the field offurniture, product and interiors,and also allow each other towork on personal projects.

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9A PAIR OF BRONZE GEESE

A pair of late nineteenthcentury oriental naturalisticallymodelled, bronze geese, eachstanding in life like form withhead raised upwards with giltenrichments.China, circa 1880

Height: 15in (38cm) Width: 15in (38cm) Depth: 7½in (19cm)

O2I0380

A CHARLES X WALNUT GUERIDON

A Charles X walnut gueridoninlaid with fine boxwoodstringing. The hexagonalbaluster supported by a tripodplinth mounted with scrolls and terminating in castors. The table retains its originalBroccatelle marble top. France, circa 1830

Height: 29in (74cm) Diameter: 36in (92cm)

F2J0347


11A REGENCY TÔLECENTRE TABLE

A very rare Regency periodpapier mâché, tôle andjapanned centre table, the top decorated with achinoiserie scene of courtiers in a landscape setting against a black japanned ground, theborder decorated with a trellisand floral frieze and having agilt-metal mount, supported on a turned stem and floraljapanned decoration in red,resting on brass paw caps and castors.England, circa 1810

Height: 27½in (70cm) Width: 41in (104cm) Depth: 34½in (87cm)

F3A0150

Similarly decorated japannedtôle goods were produced inthe Pontypool factory ownedby the Allgood family from themid-18th century until circa1820. However examples offurniture incorporating panelsof Pontypool tôle are extremelyrare, as the factory mainlyproduced small decorativeobjects such as urns and trays. The present table also hasaffinities with the work of John and Frederick Crace,whose commissions included

work for the Prince Regent atBrighton Pavilion between 1800and 1804, where they designedinteriors in the Chinese style.Their accounts for this periodshow that from the start theCraces were involved in muchmore than merely the applieddecoration at Brighton. Notonly did they amuse the Princewith a variety of Chinesecuriosities, including costumes,ivory junks, and even ‘sevenpounds’ of Chinese tobacco’,but large quantities of furniture

were supplied by them too.Most of it seems to have beeneither Chinese - especiallybamboo furniture - or English in the Chinese manner. In 1802 ‘One very Fine Japan IndiaCabinet...£14’ was invoiced, the following year five more,one costing £15, and in 1804 acharge was made for japanninga stand for a cabinet in blackand gilt (see Megan Aldrich (Ed.),The Craces Royal Decorators,1768-1899, 1989, pp. 21-26.


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A PAIR OF BRONZEPATINATED IRONCONSOLES

A pair of French modernistbronze patinated iron consoletables inspired by Louis XVIdesigns. France, circa 1950

Height: 34½in (87cm) Width: 38½in (98cm) Depth: 17½in (45cm)

F3A0106

A CHINESE EXPORTWATERCOLOURLANDSCAPE

A large-scale late 19th centuryChinese export watercolourlandscape of Hong Kongmerchants at the port ofCanton. In the centre is theAmerican flag flanked by thoseof Britain, France and Holland.China, circa 1890

Height: 38½in (98cm) Width: 51in (130cm)

P3A0253

A PAIR OF BOHEMIANGLASS AND GILTCHANDELIERS

A pair of twelve branchBohemian gilded green andopaline chandeliers. The armsand stem fashioned as giltbronze vines issuing from a basket set with boldlymodelled glass vine leaves. The arms and socles aremounted as naturalisticallypainted honeysuckle flowers.Now electrified.Bohemia, circa 1880


L2J0351

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A PAIR OF FAUTEUILS BY HUTTUNEN

A highly unusual pair of 1940'sFinnish walnut armchairs. Thechairs have rounded front legswhich sweep up to a shapedarmrest which in turn sweepsdown to a square back leg with sharply carved cornermouldings. From the privateapartment of Erkki Huttunenand the design attributed to him.Finland, circa 1940


F3A0344

The Finnish architect ErkkiHuttunen (born Alavus, Finland1901), completed his training at the Technical University inHelsinki in 1927. Between 1928and 1939 he was architect ofthe building department ofSuomen OsuuskauppojenKeskuskunta (SOK; the CentralFinnish Cooperative Society)and, from 1940 to 41, thedepartment’s head. In 1931Huttunen set up his ownarchitect’s office which, in the 1930’s and 1940’s, wasresponsible for many of theimportant works of Finnish

modernism. Between 1943 and1953 Huttunen was Director inChief of the National BuildingBoard. He died in Helsinki in1956. A major figure of north-European Functionalism, he has designed furniture for some of his own buildings and also practiced as a painterand caricaturist.

LITERATURE

Jokinen, Teppo , Erkki Huttunen:1901-1956 Arkkitehti. Helsinki:Abacus Ajankohta 3, 1993.


17AN EMPIRE MAHOGANYCONSOLE TABLE

A fine quality Empire mahoganyconsole table. Throughout theveneers are of the finest qualityand figuring. The table has giltbronze mounts on the centre of the frieze drawer and on the knee of the scroll front legs and at the feet. Now with a replacement portormarble top.France, circa 1810


F3A0131


19A CALAMANDER KIDNEY DESK

A Victorian calamander andmahogany crossbanded kidneyshaped desk in the manner ofGillows of Lancaster, the deskretains its original tooledleather top above a frieze withthree drawers each pedestal hasa further four drawers below.The reverse has adjustableshelves for books. The wholesupported on a plinth base.England, circa 1870

Height: 29½in (75cm) Width: 51in (130cm) Depth: 25in (64cm)

F3A0147

PROVENANCE

The Longton family, HeathwoldStud, Burghclere, Berkshire.

This kidney desk came from theLongton family. The HeathwoldStud had been a two hundredacre farm and was transformedby the outstandinghorsewoman and personalityAnn Jenkins. Recruited fromnearby Foxford House Stud in1959 by Elizabeth Longton,

Jenkins spent forty five yearsbuilding and developing thefarm into the successful stud it is today. A photograph of the Irish mare Silver Aster takenin 1966 was found in the desk.From Silver Aster was bredSovereign Patu who becamethe second leading sire inEngland in 1970 and won fourstakes including Lockinge andthe Queen Elizabeth Stakes.


20 A FRENCH ART DECOBEAD WORK LANTERN

A highly unusual square lanternwith a pyramid canopy, eachface is decorated with stringsof faceted beads forminggeometric patterns, androundels. The centre of each ofthe sides is further enrichedwith a high relief cast frostedmedallion portrait.France, circa 1925

Height: 19in (48cm)Width: 12in (30cm)Depth: 11in (28cm)

L3A0099

The Maison Bagues wasfounded in 1840 by M. NoelBagues, they were makers andretailers of unusual and stylishlight fixers. Eugene Baguesjoined his father in 1880. Thebusiness continued as bothsuccessful and pioneering until after the second worldwar, helped and supported by further generations of the original founding family.


21A SET OF TWELVE LOUIS XVI CHAIRS

An unusual set of twelvemahogany lyre back Louis XVI dining chairs. Each chairprecisely carved with arectangular back with centralsplat carved in the form of alyre. The square seats are setwith paterae on the cornersabove turned tapering reededlegs. In the manner of Georges Jacob.France, circa 1790


F3A0055

The chairs though unstampedcan be related to the work ofthe Jacob firm for the followingreasons: they are constructedand carved in a manner knownto be consistent with theoeuvre of Jacob. In additionthey are closely related indesign as examples illustratedin Le Mobilier Français du XVIII Siècle, page 425. The JACOB family was one of the most famous of all cabinet-making ‘dynasties’.There were three maingenerations who were activebetween 1765 and 1847,namely Georges Jacob, his twosons Georges II and Francois-Honore-Georges and hisgrandson, Georges-Alphonse. Georges Jacob was one of the most renowned andprolific 18th century Frenchchair makers. Original designsand skilled construction meantthe name JACOB becamesynonymous with quality andluxury. He was inspired byEnglish chair making andbecame one of the firstFrenchmen to use mahogany in seat furniture. His work spansthe Louis XV period through tothe Consulat. The orphaned sonof a Burgundian farm worker, he went to Paris at the age ofsixteen and was apprenticed toJean-Baptiste Lerouge in 1756,who died the following year.Jacob continued his six yearapprenticeship with Lerouge’swidow and it was in thisapprenticeship that hemade friendships with Boucault,Forget and above all LouisDelanois, with whom heremained particularly close,becoming godfather to hissecond son. It seems thatJacob’s work was considerablyinfluenced by this friendship.Jacob started his workshops in the rue de Bourbon and then moved to the rue du Cléry where he stayed until1775, one street away from

Delanois’s workshop in the rue du Petit Carreau. He finallymoved to the rue de Mesléefrom where some of his finestwork was issued. Therefore,there is a period of about sixyears during the early 1770’swhen the close friends, GeorgesJacob and Louis Delanois, wereworking as neighbours in thejoiners’ district of Paris. He received his mastershipin September 1765, andunusually set up on his ownwithout succeeding a retiringmaître, as was the norm. Histwo sons followed him into the firm with success and theirfather was appointed to variousposts within the Corporationdes Menuisiers-Ebénistes in 1781. He survived theRevolution but his royalcommissions made him an enemy of the newadministration. Luckily hisfriendship with the painter,Jacques-Louis David, deflectedany suspicions. He was inspiredby the current politics and thepassion for all things Antiqueleading him to design and makeseveral pieces that David usedin some of his most famousGreek mythological paintings.He was close also to thearchitects Percier and Fontaineand the four were instrumentalin establishing the Antiquestyle and worked together onthe furnishing and decorationof the salle de la Convention.The large rostrum, supported,by two gryphons, the writingdesks, tiers and seatingdesigned by Percier andFontaine and executed byJACOB. This commission wasfollowed in 1798 with the ‘Cinq-Cents’ at the Palais-Bourbon. After the death of his eldestson in 1803, Georges Jacob and his younger son, François-Honoré-Georges, reformed thefirm under the name of Jacob-Desmalter et Cie. Francoisbrought financial and

professional benefits to thefirm through his marriage toAdélaïde-Anne, daughter of the famous bronze worker and cabinet marker, Marin-EloiLignereux. Towards the end of the 18th century the firm startedto make other pieces than seatfurniture using woods such as fruitwood, maple andmahogany embellished withebony, rosewood and ormolumounts. JACOB exhibited at the Expositions des Produits de l’Industrie Française, and atthe second Expositions in therevolutionary year IX they wereawarded the gold medal. Duringthe period from Louis XVI to the First Empire, JACOBproduced some trulymagnificent pieces, includingmany important State andImperial commissions asprincipal supplier of furniture to the Emperor. In 1800 theywere commissioned to furnishand decorate le château deMalmaison for the EmpressJosephine, the bedroom ofMadame Racamier at the hôtelde la rue de la Chausée-d’Antin,and a day bed executed forNapoleon’s bedroom at thechâteau de Compiegne.

Louis XVI lyre back chair by GeorgesJacob, one of four made for MarieAntoinette at Chantilly. Le MobilierFrançais du XVIII Siècle, P. Kjellberg.Les Éditions de l’Amateur, p. 425.

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24 WILLY RIZZO LAMPS

Pairs of stainless steel square,round, and triangular lampseach lined in copper with adimmer at the base, the squareand triangular lamps mountedon a lacquered brass plinth.Each signed in manuscript‘Willy Rizzo’.Italy

Height: 27in (70cm) Width: 14in (36cm) B

Square lamps: L2J0374Round lamps: L2H0099Triangular lamps: L2J0117

Willy designed the first twoforms of these lamps in the1970s. The triangular lamp wascreated in 2009 to complete a long dreamt for trilogy. “The ultimate love triangle.”


25“I love these lamps because thelight is so favourable to flirting.It’s also a progressive light. Itmoves between brightness andshadow and has a sense ofmystery.” Willy Rizzo

Comparative examples:ILLUSTRATED

Spencer-Churchill, HenriettaBlenheim and the ChurchillFamily p139, The Duchess’ssitting room. The Duchess ofDevonshire, Chatsworth TheHouse p157, The Duchess’ssitting room.

The Elbogen porcelain factorywas founded on the Austrian /Czech border in 1815 by RudolfK and Eugen K Haidinger. It wasnamed Haideinger BrothersPorcelain Factory in Elbogen,

and was also known as ViennaPorcelain and EarthenwareFactory. The factory waslocated in the Czech city ofLoket, which was known asElbogen whilst under Austrianrule. Like Samson of France, theElbogen workshops produced a number of designs in theeighteenth century mannerinspired by Chinese andEuropean models. Towards theend of the 19th century theyspecialised in producing finelymodelled animalia andchinoiserie figures.


26 A PAIR OF PORCELAINELEPHANTS

A rare pair of finely modelledwhite porcelain elephants eachstanding with left foot forward,trunks curled beneath tusks,the features naturalisticallypicked out in colours, each with impressed stamps underthe front feet. Elbogen, Austria, circa 1900

Height: 8½in (21cm) Width: 11in (28cm)Depth: 4in (10cm)

O3A0156

THIRTY FRENCHMODERNIST TÔLE CAFE CHAIRS

Thirty Art Deco cafe chairsdecorated on a brown groundwith the stylised decoration of a military drum. The back and feet oil gilt.(Available in sets of six). France, circa 1940

Height: 34½in (88cm) Diameter: 19½in (50cm)

F2J0359


29A MAHOGANY BUREAU BOOKCASE

A fine quality mid 18th centurymahogany bureau bookcase,attributed to Gillows, withscrolled broken pedimentcarved with sun flowers andhaving a central parcel giltarmorial crest, the beautifullyfigured doors with shapedmoulded panels flanked byfluted pilasters with Corinthiancapitals revealing a fittedinterior of drawers and pigeonholes, above a fall front openingto reveal more pigeon holes and fitted drawers on bothsides and six secret documentholders with gilt lead capitals,the base with three shortdrawers above three graduateddrawers with unusual solidsilver drop handles, raised on ogee bracket feet.England, circa 1750


F3A0153

PROVENANCE

A Lancashire family

Gillows of LancasterThis family firm was establishedin Lancaster as early as the1730’s. Throughout theeighteenth century, asuccession of Robert andRichard Gillows worked for and controlled the firm. Theirsuccess really began in 1769,when they opened their firstLondon office. The history of Gillows is exceptionallycomplete, as nearly all the orderbooks and salesman’s archivesstill exist. We know that thepractice of stamping GILLOWS.LANCASTER started in around1780 and continued until 1817. Today, it is difficult tocomprehend the range ofGillows’ business at this time.They traded not only in finishedfurniture, but also in timberfrom the West Indies along with sugar and spirits from thesame region. They undertookarchitectural joinery and fittedout entire buildings, providingwall papers, fixtures andfittings. Their salesmen touredthe country with books ofillustrations lavishly coloured to tempt buyers. Gilllows evenpioneered ‘flat-packing’ in order

to offer their clients a reducedprice. There was no corner ofthe furniture trade they did notthoroughly exploit. Between1780 and 1830, they were thefurniture trade, leading in price,fashion and even work practices. This recent discovery shows marked similarities tothe Sudley cabinet that oncebelonged to a branch of theBlundell family from Halsall,near Ormskirk. (see Gillows ofLancaster 1730-1840, SusanStuart pp 20-21). The mouldingson the doors have similarshaped corners and the interiorconstruction of the doors isvery similar in both cases, alsoto the Inman clothes press,made for the West Indiesmerchant, Mr Charles Inman & Satterthwaite. (Stuart p 49)The interior of the fall front is almost identical to that of a mahogany bureau in The Judges’ Lodgings Museum,Lancaster, with a rare label inthe prospect cupboard of ‘JohnLowther Lancaster maker’.(Stuart p 261) In 1759 Lowtherwas in partnership with RobertHaresnape, Robert Gillow’s expartner.

A GILT BRONZE TREE CANDELABRA

A large scale modernist twelvebranch candelabra in oil giltbronze constructed as astylized tree with elaborateintertwining roots andbranches.France, circa 1950


L2J0352

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A LOUIS XVITERRACOTTA BUST

A Louis XVI terracotta portraitbust of Mme. Roland depictedwearing festive robes with alarge bow at the front and aportrait medallion of M. Rolandaround her neck. Her hair is tiedwith a further ribbon, the wholestanding on a grey St. Annesimulated marble turned plinth.France, circa 1775

Height: 34½in (88cm) Width: 23½in (60cm)

O2H0199


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A NEEDLEWORKBANQUET VIGNETTE

A late 17th century needleworkdepiction of a decadentbanquet with figures in a lushbucolic setting. Seven figuressit beneath an arbour framedwith flora and fauna.England, circa 1690

Height: 18in (46cm) Width: 15½in (39cm)

T3A0050


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SIX CHARRON SWIVELDINING CHAIRS

A set of six late 1960’saluminium rotating diningchairs each having a spadeshaped seat and back,supported on a single faceted ‘S’ scroll support which is in turn supported on a chamferedtapering spade form plinth.Designed and made by Charron,Paris (stamped on underside ofthe base). France, circa 1960

Height: 36in (91cm) Width: 19½in (50cm) Depth: 24in (60cm)

F2I0068

A RUSSIAN BRASSOCCASIONAL TABLE

A rare and unusual late 19th century Russian brassoccasional table, the Swedishgreen marble top is framed by a fluted band, supported on ageometric stem standing on acurious tripod of interlockingelements, at the apex of thetripod, there is a stylisedcrowned bird.Russia, circa 1870


F2J0198

The grammar of the design is loosely derived from Celticornament, the revival of whichwas highly prized in Russia atthis time.


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37A PITTI PALACEINTERIOR

The Sala dell’lliade in theGalleria Palatine at the Pitti Palace in Florence.Antonio Maria Aspettati (1880 -1949)

Signed ‘A.M. Aspettati’ on thelower left side and inscribed‘A.M. Aspettati Viale Milton 31Firenze’.Oil on canvas.Italy, circa 1931

Framed Height: 45in (115cm)Framed Width: 59in (150cm)

P2H0228

A WILLIAM IVROSEWOOD DRINKINGCOMPANION

A most unusual William IVrosewood patent DrinkingCompanion. The dished toppanels fold out and aresupported by arms or can drop down flush with the sides.The counter weighted centralsection has recesses for bottles and a leather surface for glasses. The pedestal form of the Companion is supportedby three drawers on each facewith blanks above.England, circa 1825

Height: 29½in (75cm) Width: 42in (107cm)Depth: 28in (71cm)

F2J0214

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41A BRASS TELESCOPE BY TULLY

A very fine quality early 19thcentury brass solar and lunartelescope supported on a gunbarrel stem standing on anarticulated tripod. The wholewith a subsidiary arm for fineadjustments. The maintelescope has a small side lensfor basic view finding. Signed‘W. Tulley Brothers Islington.London’. Retaining its originalcarrying case and alternativelenses.England, circa 1830

Height: 23½in (60cm) Length: 51in (130cm)

O3A0214

The signature relates to WilliamTulley who worked for most ofhis life with his brother Thomasand father Charles, in Territ’sCourt in Islington. His fatherand he were pioneers in lensand telescope manufacture. The early 19th century hadwitnessed the emergence of the taste for privateobservatories, discoveries were published constantly by the Astronomical Society of London (founded 1821) or in “philosophical transactions”.

The market leader was Dollondbut Charles Tulley and his sons were very much in the vanguard of developing and catering to this taste.Employing newly bright andclear imported lenses fromGuinand in Switzerland thefamily supplied many highlyregarded instruments to theAstronomical Society and itsnoble supporters. Sadly Charlesdied in 1833 and for a briefperiod William took over thebusiness and was able to

trumpet his own name on hiswork. He too passed away in1838 and his younger brotherfollowed in 1846, thus endingthe astronomical chapter inIslington, London. William’sgreatest recognised personalcontribution was to be the firstin 1824 to make achromaticmicroscope object glasses, how much his father’s successwas down to him we will never know.

A PAIR OF DOUBLEMAGNUM DECANTERS

In boldly cut diamond facetedglass with collars around theneck and mushroom formstoppers. Liège. Belgium, circa 1840

Height: 15½in (40cm)

O3A0247


42

This highly unusual table relatesmost closely in form to Germandesigns of the early 18thcentury. In particular the spiralor Solomonic stem above atripod. At this time an ivoryveneered table would havebeen an extraordinary luxury. In addition, the spiral seems to echo a narwhal tusk morethan a simple spiral. With this table we have a marquetry top which seemsat first glance to be a

symmetric pattern of abstractshapes but which reveals oncloser examination to be aplayful use of the fleur de lys,the emblem of the Frenchcrown. In the absence of aprovenance it is difficult to becertain of the origin of thisexceptional piece but it isperhaps reasonable to proposethat the fusion of German formand a French emblem imply aFlemish origin.

A REGENCE IVORY TABLE

A very rare early 18th centuryivory marquetry octagonalgueridon. The top inlaid with scrolls and fleur de lys. Standing on a solomoniccolumn supported on a tripod with bun feet.Flanders, circa 1720

Height: 28½in (72cm) Width: 32½in (82cm)

F3A0246


44 A PAIR OF APOTHECARY SCALES

A highly unusual pair ofornamental scales in preciselyfashioned lacquered brasssupported by Asklepios in lead, the Greek god of medicinestanding on a stepped plinth.England, circa 1820

Height: 17½in (45cm) Width: 17½in (45cm) Depth: 5in (13cm)

O2J0334

Asklepios was the god ofmedicine and reputed ancestorof Asklepiades, a prominentmember of the ancient Greekdoctors’ guild. Asklepios wasdepicted as a kingly, beardedman holding a serpent-entwined staff. He is almostcompletely absent from ancient Greek vase painting,but statues of the god are quite common.

A LARGE-SCALEREGENCY EBONISEDTUB CHAIR

The ebonised frame is mountedwith brass ornamental neo-classical elements, the boldlyscrolling back is echoed by theequally strong scroll of the arm.The back legs are sabred. Thefront rail is reeded andsupported by richly carvedturned tapering baluster form legs terminating in brass castors.England, circa 1810


F2J0232


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47A JAPANESE IVORYEAGLE RELIEF

A fine quality late 19th centuryJapanese ivory and mother ofpearl high relief panel depictinga crouching eagle and threedoves, each shown in anarboreal stylised setting withgilt leaves and blossom, againstan ebonised punched ground.Japan, circa 1880

Height: 56in (142cm) Width: 38in (96cm)

P2J0271

A MUSIC STAND BY ÉRARD

An unusual Érard Regencymusic stand in the form of a pelta-shield decorated in brown and gold withneoclassical ornamentsupported by a stylised arrow in brass, standing on atriangulated plinth decoratedwith gilt anthemia on a blackground. The rest retains muchof the original label.England, circa 1810

Height: 51½in (131cm)Width: 19in (49cm)

F2I0143

Sebastien Érard (1752-1831),was founder of the Érard firm.It was on the estate of hispatron the Duchess of Villeroiin 1777 that he built the firstFrench square piano. Louis XVI granted him a licence to manufacture instruments.Having established hisreputation, notablecommissions included a piano and organ combinationfor Marie Antoinette and many others.


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A MOLITORMAHOGANY EMPIREBUREAU

A fine and rare mahoganyparcel gilt Empire bureau plathaving leather covered slides at each end and a double tier of citronnier lined drawers inthe frieze. The table stands onfour parcel gilt leopards headmonopodia, each end joined by stepped plinth stretcher.Signed Molitor and bearing the JME stamp.France, circa 1820


F2J0348

Bernard Molitor led a charmedlife. He was born in Betzdorf,Luxembourg in 1755 andtrained as a sculptor beforetiring of provincial life andmoving to Paris probably before1778. He lived through themost turbulent of times andsurvived the French Revolution,the Terror, the Empire and eventhe Restoration without seriousloss. On his death in 1833, atthe then very senior age ofseventy-eight, he left asubstantial fortune. The greatand famous ébénistes of thelate 18th and 19th centuriesrarely enjoyed a lifetime offinancial stability, let alone the ability to survive politicalupheaval. The life and work ofBernard Molitor are exceptionalfrom this perspective alone,before you even examine hisprodigious output. Early on in his career hisbusiness acumen came to thefore. In 1778, he is recorded inthe ‘Petites Affiches’ advertisinga patent insect killer. Later, in1782, he advertised aningenious patent hand warmer,fashioned as a small pile ofbooks; the box in mahogany orwalnut, had a metal liner whichcould be filled with hot coals.

However, Molitor’s output was not limited to innovativegadgets. He had a cabinetshopwhich he leased at the Arsenaland enjoyed considerablesuccess, though it was not until 1787 that he was receivedas a maître. In 1788, Bernard Molitormade the usual ‘political’marriage to which successfulcabinetmakers seempredisposed. He marriedElizabeth Fessard, daughter ofthe charpentier du roi. Perhapsit is cynical to see this marriageas entirely motivated by career,as Molitor had already receiveda royal commission but he soonreceived frequent commissionsfrom the Queen’s circle. The Revolution brought ruin to many and death at theguillotine. The ace Molitor held

was that his cousin, Michel, had been actively involved inthe storming of the Bastille; sowith his help, Bernard, thoughinterrogated, managed to avoidarousing serious Revolutionarysuspicions. Over the followingdecades, he was honoured withcommissions from the EmperorNapoleon, King Jerome ofWestphalia and many privatenoble collectors including theduc de Choiseul-Praslin.Molitor’s remarkable survivalowes most to the fact that hemanaged to create a style thatwas both simple and original.His work was clearly individualas well as not being toointrusive. Above all otherfactors, Molitor achievedsuccess over this extendedperiod because his work wasreliably of outstanding quality.

50 AN ART DECO PEDESTAL DESK

A fine quality large scale ArtDeco burr walnut partners desk.With three drawers in the friezewith brass ring handles. Eachpedestal has a door whichopens to reveal slides. Each face is panelled both front and back and richly veneered.England, circa 1930

Height: 30½in (78cm) Width: 73½in (187cm) Depth: 42in (107cm)

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51A PAIR OF PARCEL GILT BENCHES

An exceptional pair of NorthItalian parcel-gilt two-seaterbenches. Each is carved on the top edge with foliatedecoration above a recessedfrieze with a scroll of appliedfoliate ornament. The benchesare supported by gilt reeded ‘X’ frame legs enriched withfurther foliate ornament andjoined by a boldly carvedbaluster stretcher.Now upholstered in yellowdamask.Italy, circa 1800

Height: 17in (43cm)Width: 39½in (100cm)Depth: 19in (48cm)

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54 TWO SETS OF ANGLO INDIANWATERCOLOURS OF BIRDS

A set of eight Anglo-Indianwatercolour ornithologicalstudies of indigenous birds,each achieved in naturalisticdetail. Ornithological details on request. Gouache on English blue tinted paper.Anglo-Indian, circa 1780

Framed height: 16in (40cm)Framed width: 18in (46cm)

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55A set of six Anglo-Indianwatercolour ornithologicalstudies of indigenous birds,each achieved in naturalisticdetail. Ornithological details on request. Gouache on English blue tinted paper.Anglo-Indian, circa 1780

Framed height: 17in (44cm)Framed width: 16in (41cm)

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56

A JAPANESE BRONZEDOLPHIN

Seido mono: A fine and unusualJapanese bronze sculpture inthe likeness of a dolphin, castbronze (seido) with patinatedfinish and silver wash, mottledpatina. Early 20th century, earlyShowa period.Japan, circa 1900

Height: 8in (20cm) Width: 27in (68cm)Depth: 7½in (19cm)

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57A GEORGE I WALNUTBUREAU BOOKCASE

A fine quality George I burrwalnut bureau bookcase.Having a scrolled pedimentflanking a gilt cartouche abovedoors retaining their originalbevelled mirror plates with yew wood cross banding. Doors open to reveal a fittedinterior. The fall has a finelyfigured book-matched walnutand opens to reveal pigeonholes and drawers and secretdrawers behind the pilasters.

Below there are two short and two long drawers eachretaining its original hardware.The whole standing on bracketfeet.England, circa 1720


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60 A PAIR OF EMPIRE GILT BRONZE VASES

An unusual pair of Empire gilt bronze vases having finelywrought machined neoclassicalornament and enriched withfurther applied foliatedecoration, standing on rougegriotte plinths with paterae onthree faces and swans drinkingat a fountain on a front face,the whole standing on Belgianblack stands terminating in giltbronze bun feet. France, circa 1810

Height: 19½in (50cm)Width: 5in (13cm)Depth: 5in (13cm)

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61A PAIR OF EMPIREBRONZE AND GILTCASSOLETTES

A rare pair of Empire bronzeand gilt cassolettes taking theform of antique oil lamps withgilt bronze eagles, head scrollhandles and flame finials. Thebodies are enriched with finelychased neoclassical ornament.The oil reservoir has a foliatecover, which reverses as thesconce, the whole standing onrouge griotte oval pedestals.France, circa 1810

Height: 8½in (22cm)Width: 9in (23cm)Depth: 3½in (9cm)

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A PAIR OF BRONZE EWERS

A large scale pair of Empirebronze and gilt ewers. Thebodies are enriched with abacchic mask and anthemionmotif around the neck. Thehandles are fashioned as an ‘S’ scroll with acanthus leaf inthe middle, an eagle’s head atthe top and a scroll at the base,supported by a further bacchichead mask. Each ewer issupported by a base of highgadrooning standing on a small waisted stem in bronzewith gilt capitals and feet. The whole rests upon a rouge griotte block plinth.After a design by André-Antoine Ravrio (1759-1814)France, circa 1810


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64 THREE GIRAFFES IN A LANDSCAPE

Abraham Bruiningh van Worrell(1787-died after 1833)Oil on canvasEngland, circa 1790

Framed height: 28½in (72cm) Framed width: 25in (64cm)

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Abraham Bruiningh van Worrellwas born at Middelburg,Zeeland, in Holland on 22ndMarch 1787, the son of JanRoeland van Worrell (1763-1821) and his wife AdrianaJacoba, nee Krap. He receivedhis artistic training there. Hemarried Johanna Luberta Lans in that town on 15th October1809; his second wife wasElizabeth Angel Coben whomhe married on 10th January1819 at St. Marylebone, London. His technique is highlypolished, reflecting the thencurrent Dutch taste forfijnschilderei, the refinedacademic style which haddeveloped in late 17th centuryHolland and which retained itsinfluence for nearly 200 years.Like many Continental painters,he moved to England after theend of the Napoleonic Wars,and established himself in the artistic milieu of Fitzroviawhere he worked as an animaland landscape painter with a studio at 62 Warren Street,Fitzroy Square. Here heproduced a large variety ofpaintings of various types, from topographical views of the Thames and London, idyllic rural scenes of a distinctlyromantic nature, carefullyobserved domestic interiorsand conversation pieces, andportraits of animals. He isfrequently referred to as amember of the Royal Academy,

though he is not listed amongst the official role of Academicians. He seems to have enjoyed an exaltedpatronage, and painted picturesfor various members of theRoyal family, though only one painting (acquired by King Edward VII in 1904) is now in the Royal Collection. Van Worrell alsocollaborated with a group of booksellers and art-dealers to produce Van Worrell’sTableau of the Dutch andFlemish Painters of the Old School. Dedicated, ByPermission, To His Majesty(1832-3) which illustratedportraits of the major figures of Netherlandish art ofpreceding centuries. The present picture is a rarerecord of a ‘nine-days wonder’,The Nubian Giraffe, which waspresented to King George IV bythe Ottoman Viceroy of Egyptin 1827. This animal was a mostexotic edition to the royalmenagerie, which had beenestablished late in the previouscentury by the Prince Regent atCumberland Lodge in WindsorGreat Park. The animal createdsomething of a sensation whenit appeared in London, and wasvisited by large numbers ofpeople. At least three artists, J-L Agasse, R B Davis and J B van Worrell painted its portrait.Only the latter made anattempt at placing it in its

natural environment: hence the odd conjunction shownhere of a creature of the AfricanSavannah being depicted in adistinctly suburban landscape – with the addition of PalmTrees and (apparently) SouthAmerican cacti! After its early demise, theNubian Giraffe (the English hadearly dubbed the species theCameleopard, having imaginedit a cross between a camel anda leopard) achieved a sort ofimmortality; by 1838 itsskeleton was preserved at theZoological Society of London. A lecture on its anatomy byOwen is recorded in theProceedings of the ZoologicalSociety of London (Part VI, 1838 p.20 et seq.) Worrell is last recorded in

England in 1833; he had eitherdied or departed by 1841, whenneither his name nor his secondwife’s are found in the census.


65


67A CHROME ÉTAGÈRE

A Kim Moltzer chrome étagèreof asymmetric form and havinga central downlighter. Thelower level with mirror shelves.France, circa 1970


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Kim Moltzer (born 1938).His work is colourful andgeometric (resembling anEllsworth Kelly painting). Hiscommissioners included thelate French President GeorgePompidou and Italy’s Bulgarifamily. In the 1960’s and 1970’s,when Moltzer was designingworks for Pompidou’s countryhouse, his geometric pieceswere highly coveted amongParisian society.

A PAIR OF TÔLE LAMPS

A pair of Louis Philippe tôlecolumn oil lamps decoratedwith a border of red enclosedanthemia with gilt acanthusleaf above a vitruvian scrollbelow, retaining their originaletched glass shades.France, circa 1845

Height: 26½in (67cm) Diameter: 7in (18cm)

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69A PAIR OF IRONARMCHAIRS

A pair of modernist iron Xframe armchairs fashioned in delicate detail with a bowedback with two panels as reededstraps surmounted by finials.The arms are constructed as a bound cluster of reeds abovea traditional X frame support.The pierced saddle seat nowwith a silk cushion.France, circa 1930


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A RED LACQUER BERLIN VASE

A rare mid 18th century Berlinpottery vase decorated withpolychrome chinoiserie on a red ground with raisedenamel decoration. The coversurmounted by a silveredcockerel. Now mounted on a late 19th century neo-classical gilt bronze plinth. Germany, circa 1740


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70 VAL SAINT LAMBERT ART DECO GLASS

Below, from left to right: Opposite, from left to right:

A pair of ‘Achille’ vases with ‘bleu Français’ casing.Height: 9in (23cm) O3A0085

A ‘Cerbères’ vase with ‘bleu Français’ casing.Height: 10in (25cm) O3A0048

An Art Deco vase with ‘bleu Français’ casing.Height: 6½in (17cm) O2J0282

Belgium, circa 1930

A ‘Brighton’ vase with ‘prune’ casing.Height: 11½in (29cm)O3A0089

A ‘Cerbères’ vase with ‘prune’ casing.Height: 10in (25cm)O3A0098

A flared Art Deco vase with ‘prune’ casing.Height: 10in (25cm )O3A0084

A ‘Cézanne’ vase with ‘prune’ casing.Height: 9in (23cm)O3A0083

Belgium, circa 1930


71

The crystal glass company of Val Saint Lambert wasfounded at Seraing, near Liège in Belgium, in 1825 on the site of an old abbey. Amongst theearly shareholders was KingGuillaume I of Belgium, thusensuring royal patronage of thecompany, which has continueduntil the present day. Since 1839 the company has exported artistic crystalglass objects throughout theworld and has been anenthusiastic exhibitor at world

fairs. At the Brussels Exhibitionof 1897 the new Art Nouveauaesthetic was enthusiasticallyembraced by the companyunder their designer Leon Ledru. The company’s skill was in casing and cutting glass, producing particularlybold effects together withnaturalistic designs in the Écolede Nancy. Their use of multi-layered coloured glass wasparticularly distinctive andalthough this technique wasused by other companies,

particularly Stevens andWilliams in England, no othercompany produced suchdistinctive effects, cuttingthrough both sides of objects. Joseph Simon had succeededLeon Ledru the year after theParis Exhibition of 1925 hadintroduced Art Deco to thewider world. The technicalabilities of the company were well suited to their newgeometrical designs which areimmediately recognisable andunique to the company.


72

A pair of green painted Empiretôle colza wall appliqués. Eachwith a gilt removable femaleterm reservoir supported by a column decorated in twoshades of gold, the sides with a gilt swag and a Thyrsus. Thefront face depicts an armouredcupid. The candle support isfurther decorated in the samestyle with a martial trophy. Each with a tôle shade and a glass drip pan.France, circa 1810

Height: 18½in (47cm) Depth: 9in (23cm)

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TWO PAIRS OF TÔLE APPLIQUES

A pair of red painted Empiretôle colza wall appliqués. Eachwith a gilt removable femaleterm reservoir supported by a column decorated in twoshades of gold, the sides with a martial cartouche. The front with a classical vase surmounting a foliatearabesque. The candle supportis further decorated in thesame style with a martialtrophy. Each with a tôle shade and a glass drip pan.France, circa 1810

Height: 18½in (47cm) Depth: 9in (23cm)

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A MID 18TH CENTURYDUMBWAITER

A fine Chippendale periodcarved mahogany three tierdumbwaiter, the balusterturned stem supportinggraduated tiers each with a ribbon-carved edge, the lower two tiers revolving, raised on three cabriole legscrisply carved with acanthusleaf decoration, ending in padfeet and castors.England, circa 1760

Height: 45in (114cm)Diameter: 25in (64cm)

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A CHARLES X MANTEL CLOCK

A fine quality Charles X giltbronze lyre clock. The dialbordered with cut paste. Thegilt bronze enriched with scrollsand griffin surmounted bytrumpet form cornucopia. Thewhole supported by claw feeton a stepped plinth, terminatingin Belgian black marble.France, circa 1820


A comparable clock signedThomire et Cie is illustrated on page 379, item H. in LaPendule Française by Kjellberg.

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TEN ALUMINIUMDINING CHAIRS

A set of ten French polishedaluminium Regency style chairs.Each with scroll back and frontlegs, with sabre legs at the back.Design attributed to “La MaisonJansen”, each stamped by afoundry “NFK”.France, circa 1955

Height of seat: 19in (48cm)Height: 36in (91cm) Width: 19in (48cm) Depth: 23in (59cm)

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79

A ‘SPUTNIK’ BRASSCHANDELIER

A mid 1960’s multi branchchandelier known as the‘Sputnik’ in reference to theearly Russian satellite design.The central sphere is mountedwith numerous rods, the endsof which form socles for thelight fittings.Italy, circa 1965


L3A0070

The so called Sputnik chandelierpays homage to the launch of Sputnik which was in 1957.Italian design in the 1950’s and 1960’s was very muchimmersed in the excitement of modernity both in terms of materials and culturalhistory. Though brass could not be considered innovative as a material, the technicalachievement of the chandelier’sconstruction and its designreference to the cutting edgeof space exploration speak of design at its mostcontemporary.

A TORTOISESHELLCABINET ON STAND

A mid 18th centurytortoiseshell veneered andbrass mounted cabinet withmahogany and ebony crossbanding throughout, thepanelled doors enclosing threelong drawers and a centralcupboard with two shortdrawers to either side, theinternal cupboard with threesecret drawers behind a falseback, the drawers with brassdrop ring handles and

mahogany lining. The cabinet is mounted on a moderngiltwood stand.Germany, circa 1740


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81

AN IRISH MAHOGANYSIDE TABLE

An Irish George III mahoganyand marble mounted side table,the later mottled green insetmarble top, above a shapedfrieze centred by a shell andflanked by scrolls, on cabriolelegs carved with acanthus andtrailing bell flowers, on claw andball feet.Ireland, circa 1760


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FOUR VIEWS OF THECRIMEAN PENINSULA

Each painting oil on canvasEngland, circa 1855

Framed height: 45½in (116cm) Framed width: 60in (152cm)

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This extraordinary set oftopographical views dates fromthe period 1853-56 during theCrimean War, as evidenced bythe presence of various soldiersin uniforms of the alliedparticipants (English, Turkishand French) and the presence ofdefence works and artillerypositions.

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82

Above, view looking south down the Western side of the Crimean Peninsula from Eupatoria towards Sevastopol;below, view looking north towards Sevastopol from Balaklava


83

Above, view looking north-west from the heights behind Sevastopol, with Inkerman in the far distance to the East;below, view of across the great harbour towards Sevastopol, looking from Severnaya on the north side


85

THREE PAIRS OF EMPIREMAHOGANY FAUTEUILS

Six mahogany Empire fauteuilseach with square backs carvedwith reeding. The scroll armsterminate in stylised foliateornament above blocks carvedin low relief. The bow front seatrail is supported by sabre legs.France, circa 1810


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A WHITE MARBLERETRIEVER

A white marble model of aseated retriever shown with histail tucked in and head turnedto the left. The whole carvedwith an integral oval shapedplinth. R. Rigolas statuaire Lyon.France, circa 1890


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A TRAVERTINE DININGTABLE BY WILLY RIZZO

Of eliptical form fashioned fromthe finest Travertine marble, thetop edged in steel, the base ofsimilar outline with a steel foot.France, 2010

Height: 29½in (75cm) Width: 98½in (250cm)Depth: 43½in (110cm)

F3A0224

The travertine table was first created in 1969.

“I was interested in thegeometry of the ellipse. One of my first clients for this piece was a bank in Berne,Switzerland, and was exhibitedat MOMA in NY in an exhibitionof Italian art.” Willy Rizzo

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88 A SECESSIONISTÉTAGÈRE

A highly unusual late 19thcentury secessionist circularétagère in steel and brass with red lithyalin glass tops.Hungary, circa 1900


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89A PAUL LÁZSLÓROSEWOOD AND GREY SYCAMORE DESK

A nine drawer desk in Indianrosewood and grey sycamore.Inside of drawers in naturalwhite sycamore, original whiteleather top. Eight silver-platedsteel capped feet and twosilver-plated and steel platedtop drawers. Metal plaqueinside one drawer bearing the inscription: Laszlo Inc.Beverly Hills. Matching chair in greysycamore and black leatherette.America, circa 1950


F3A0251

Paul László (1900-1993) was a Hungarian-born modernarchitect and interior designerwho built his reputation whiledesigning interiors for houses,but in the 1960s, largely shiftedhis focus to the design of retailand commercial interiors. László completed hiseducation in Vienna beforemoving to Stuttgart, where herapidly established himself as a prominent designer. He thenestablished an office in BeverlyHills, where he was popular withthe wealthy political and actingelite, including Ronald Reagan,Gary Cooper, Cary Grant, andthe Vanderbilts. His opulent butnever over stated designs wereexecuted with impeccabletaste. He would design allaspects including furniture,fabrics, drapes, rugs, lamps, and other fixtures. In 1948, László joined withGeorge Nelson, Charles Eamesand Isamu Noguchi to design

for the Herman Miller company.The furniture lines presented byHerman Miller from 1948 havebeen called the most influentialgroups of furniture evermanufactured. Time magazine(August 18, 1952) described himas “the Millionaire’s Architect”.He had an ability to combinecolours which might seemirreconcilable, yet when seen as a whole, were incrediblywarm and beautiful. It was thisuse of colour along with thelarge scale but gentle and

flowing lines to his designs and the integration of an entireproject which made his workmemorable. His designs wereuniformly simple, but neversimplistic. His work is occasionallydisplayed at the Museum of Modern Art in New York City and is frequently seen in national and internationalretrospectives on 20th centurydesign. In 1854, Eli Terry, Jr. formedthe Eagle Lock Company. It

became a major enterprise andthe main industry of Terryville,CT. In the late 1800’s two damswere constructed to hold waterfrom the Pequabuck River tohelp provide power for the lockfactory. Eagle Locks eventuallyenjoyed a worldwide reputationand employed 1800 persons at its peak. The Eagle LockCompany was active until it closed in 1975. The LockMuseum of America nowresides in Terryville, CT.

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93A PAIR OF EMPIREPERIOD JARDINIÈRES

A pair of fine quality mahoganyoctagonal jardinières on stand.The sides are veneered in boldlyfigured mahogany, as is the topface. It is supported on a tallbaluster stem inset with finegilt bronze collars. They standon concave sided rectangularstepped plinths with enclosedacanthus leaf gilt bronzemounts. Attributed to JohannesKlinckerfuss.Germany, circa 1810


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A MODERNIST GILTMETAL STOOL

A highly unusual Frenchmodernist ‘X’ frame multiplescroll stool, the end supportshaving a rusticated punchedsurface. Now having a red silkvelvet cushion. France, circa 1940

Height: 26in (66cm) Width: 34½in (87cm) Depth: 17in (43cm)

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A full research documentavailable on request, showingcomparisons and biographies.

A PAIR OF EILEEN GRAY END TABLES

A pair of mid 20th centurychrome and black lacqueredwood two tiered end tables, thedouble column chrome supportincorporates a carrying handle,each of the tiers is rectangularwith rounded corners.France, circa 1950


F3A0130

Eileen Gray was born in 1878,she attended the Slade Schoolof Fine Art in London and alsoworked at a furniture makers,where she became acquaintedwith Asian lacquers, whichwould prove very influential on her life’s work. After movingto Paris in 1907 she attendedcourses at the École Colarossiand the Academie Julian. The Japanese artisan SeizoSougawara taught her

lacquering techniques, and her own work was stronglyinfluenced by contemporaryarchitecture resulting in herdesigning stringentlyfunctional furniture. In 1937Eileen Gray exhibited her workin Le Corbusier’s ‘Pavilion desTemps Nouveau’. After thatlittle more was heard aboutEileen Gray; her work was notdiscovered until around 1970.

95A POLLARD OAK CHEST OF DRAWERS

A mid 19th century pollard oakrectangular chest of drawers,having five drawers the lowestof which is a double. Eachdrawer is mounted with richlycast foliate lacquered brasshandles and each drawer isfitted with bramah locks. Thesides, pilasters and central splatare mounted with lacqueredbrass mouldings.England, circa 1860

Height: 32in (81cm) Width: 54½in (139cm) Depth: 22½in (57cm)

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97A SICILIAN PARCEL GILT SIDE TABLE

A late 18th century Siciliancarved and parcel gilt side table, the frieze is decoratedwith a central oval cartouche of figures within a band ofribbon tied laurel leaves, flanked with carved giltwoodscrolling acanthus and classicalurns against a white paintedground, the sides are similarlydecorated and there areelaborate carved giltwoodmasks on each corner. The table stands on turned,tapering, and fluted legs with a collar of bound leaves andswags of laurel leaves, allterminating in topie feet. The table retains its originalmarble top.Italy, circa 1780

Height: 36½in (93cm)Width: 54in (137cm)Depth: 27in (68cm)

F2G0406

A PAIR OF CHARLES XRED LACQUER ENDTABLES

A pair of Louis-Philippe circularred japanned end tables. Thetops have recessed panels ofscagliola simulating porphyryand are bordered in gilt with amotif of acanthus leaves. Theystand on three legs decoratedwith Thyrsus and rest on astepped plinth furtherdecorated in gilt with neo-classical motif.France, circa 1825


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98 A PROTOTYPE TUBULAR ARMCHAIR

An Art Deco steel armchair. The sides and front decoratedon the upper edge withrustication and pin holes on the underside of each element.Now upholstered in blue suede.France, circa 1930


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The decoration and finish ofthis robustly made armchairraise many questions. The exact function of the pin holesis unclear, as is the reason forthe weight of the materialemployed. The finish to thearms and lower frame indicate

a completed prototype ratherthan an experimental model,therefore, the presence of theholes is deliberate rather thanaccidental. No chair of thisdesign has hitherto come to light.

A CHROMIUM PLATEDFLOOR LAMP

A highly unusual Italian midcentury polished steel floorlamp in the form of a rocketwith six up and down lights, by and stamped ‘ReggianiLampadari’.Italy, circa 1960

Height: 59in (150cm)

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100

A SECRÉTAIREABBATANT

A highly unusual large scaleEmpire secrétaire abbatant inacajou moucheté and ebonyinset with brass. The secrétairesection, which opens to revealan elaborately fitted interiorwith drawers and cabinets in flame veneer mahogany and innumerable secretcompartments. One drawer inthe secrétaire is inscribed “asrestored by Lesage in 1858”.Attributed to Bernard MolitorContinental, circa 1800


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For a short biography ofBernard Molitor, see page 49.

One drawer in the secrétaire atMallett is inscribed “as restoredby Lesage in 1858". AntoineNicolas Lesage (1784-1841) wasone of the most important Parismerchants, though frequentlyrecorded as a cabinet maker.The clerk of the Royal ‘Garde-Meuble’ Veytard noted in 1823that he was a dealer, not amaker. He started and directeda shop for furniture and objetsd’art at 2 Boulevard des Italiensfrom 1812 to 1821. He alsobecame Director of the ‘Uniondes Arts’ at 2 rue Grange-

Batelière. These shops offeredclients a remarkable range of products and services,furniture, objects and acomplete upholstery anddecorating service. He countedThe Duchesse de Berry, whobought for the Chateau deRosny, amongst his clients. However the inscriptionmay relate to a wholly differentLesage as the date is 1858.However it would be mostunlikely if the workshops wereunconnected.


103

JACOB PETIT VASES

A pair of porcelain vases in the form of Medici, sitting onsquare bases. Enriched withhandles in the form of beardedmasks. Decorated throughoutwith palmette swags andtrellage in gold on an alternatedark blue and white ground,attributed to Jacob Petit.France, circa 1840


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PROVENANCE

From the Daniel Carassocollection

Jacob Petit (1796-1868) was the greatest exponent ofinnovation in nineteenthcentury Parisian porcelain. A self-taught painter, he

launched a modest porcelainmanufacturing business in1830. By 1839 Petit employedabout 200 craftsmen andenjoyed great success. Hisprodigious production includedvases, urns, clocks, figures,inkwells and perfume bottles.

A LOUIS XVIMAHOGANY CONSOLE DESSERTE

A Louis XVI brass and ormolumounted mahogany consoledesserte with concave sidesand a single drawer in thefrieze. The top is framed with a pierced gilt bronze gallery.The drawer and side panels are of finely figured mahoganyand bordered with ebonystringing and a gilt bronzemount. The upper section is supported on brass flutedcolumn legs, the lower tier is supported on turned taperingtopie feet. Retaining its originalmarble tops.France, circa 1790


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104 A PAIR OF EMPIRETÔLE VASES

With swan head handles,decorated with male andfemale bucolic figures on one side and landscapes on the reverse.France, circa 1810

Height: 12in (31cm)

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AN ART DECO GAMES TABLE

An unusual late Art Deco stylegaming table in parchment and walnut. The stepped tophas an inset parchment playingsurface bordered in walnut withparchment covered slides oneach face. The table stands on square legs which are cut to a sabre at the foot. In the manner of Jules Leleu.France, circa 1935


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106

Paktong is a unique, non-tarnishing metal which firstappeared in China in the 12thCentury and disappeared in the 19th Century. Paktong has been recreated with thehelp of Oxford University’sarchaeological materialsciences unit and a small,specialist foundry with aparticular expertise in complex alloys. The newPaktong formulation is basedupon a 1720 candlestick, madeof Chinese-sourced Paktong.

“DIAMONDS” LANTERN

Diamonds 1 is constructedfrom 102 different angles ofPaktong, encasing 24 blownglass panes. The lantern is lit by an internal hanging pendantof a similar shape, and issuspended by a customPaktong chain with a uniquerepeating master link design.England, circa 2009

The lantern is available in twosizes, as well as matchingsconces:

LARGE

Height: 31½in (80cm) Width: 23½in (60cm) C2J0265

SMALL

Height: 28in (71cm) Width: 14in (35cm) C2J0246

SCONCE

Height: 18½in (47cm) Width: 12in (31cm) C2J0250

Matali CrassetAfter graduating from ÉcoleNational Supérieure de CréationIndustrielle in Paris in 1991,Matali Crasset worked with thedesigner Denis Santachiara inMilan and with Philippe Starckin Paris. In 1997 she receivedthe Grand Prix for design fromthe city of Paris and opened her own design studio in 1998, focusing her attention on domestic rituals and thecreation of objects andfurniture for Artemide,Authentics, Cristal Saint Louis, DIM, Domodinamica,Domeau&Peres, Dornbracht,Edra, Lexon, Moeve, Orangina,s.m.a.k. and Thomson. Crasset has participated in and created the designs for many exhibitions. Recentexhibitions include a soloexhibition Soundscapes at theCooper Hewitt National DesignMuseum in New York and as aselector for 25/25 – celebrating

25 Years of Design at theDesign Museum in London. In 2001, Matali completedher first residential project, La Maison du Lac. In 2003, shecompleted her design of theaward winning HI Hotel in Niceand a pigeon house at Caudryfollowed by L’annexe du BHV, a department store in Thiais,France. More recent projectsinclude creating the identity,website, exterior and interiordesign for ‘SM’s’ (the StedelijkMuseum in Hertogenbosch, theNetherlands); Végétable, a restaurant for Alain Passard at Printemps de la Maison; Lieucommun, a Paris retail boutiquewith F communications, Veja and Misericordia; andTout’ouvert, a pet groomingparadise in Nice. Crasset is a regular visitinglecturer at design schools inFrance (Paris, Bordeaux andReims) and abroad (in Denmark,

Milan, Lausanne andAmsterdam). Many of hercreations are in privatecollections and internationalmuseums including CentrePompidou, Paris, the Victoriaand Albert Museum, Londonand The Museum of ModernArt, New York. Matali shared herconstructed and deconstructedworld with Meta as well as herpassion for vibrant colours. Her maturity pared with Meta’stimeless philosophy gave birthto already celebrated designclassics such as Diamonds are a Girl’s Best Friend 1, setting"the lights on the passion thatnurtures the soul of eachobject".

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141 New Bond Street London W1S 2BS - The Culture Concept ......furniture to the court; under the...

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