I ' *

ssssssssssstttttw^ ttv/

i-V A

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

V

\r l l i i i t ' M o i U a g i i e 11: l(S7()-l

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

11

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