2002 - Mallett at Bourdon House

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Mallett at Bourdon House 2002 catalogue.

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2002

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MALLETT at Bourdon House

jf.

2 Davies Street London W1

and at I4 l New Bond Street London W1

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Mallett at Bourdon House Ltd 2 Davies Street London W 1 K 3 D J Telephone: +44 (0)20 7629 2444 Fax: +44 (0)20 7499 2670

Mallett & Son (Antiques) Ltd 141 New Bond Street London W I S 2BS Telephone: +44 (0)20 7499 7411 Fax: +44 (0)20 7495 3179

Thomas Woodham-Smith Director Henry Neville Director

Felicity Jarrett Associate Director

Fiona Barker Annabel D'Arcy Timothy Langston Nicholas Kilner

MALLETT PLC

DIRECTORS

George Magan* Chairman Lanto Synge Chief Executive The H o n Peter Dixon Paula H u n t Giles Hutch inson Smith T h o m a s Woodham-Smi th Henry Neville Rex Cooper* T h e H o n Mrs Simon Weinstock* Simon de Zoete*

*Non executive

Lanto Synge Managing Director The Hon Peter Dixon Director Paula Hun t Director Giles Hutchinson Smith Director James Harvey Director

John Smith Associate Director Richard Cave Associate Director Jeremy Garfield-Davies Associate Director

Tarquin Bilgen Charles Mackinnon Ainslie Marchant

V I S I T O U R W E B S I T E

w w w . m a l l e t t a n t i q u e s . c o m

E m a i l : a n t i q u e s @ m a l l e t t . c o . u k

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M A L L E T T A T B O U R D O N H O U S E

Introduction

Mallett at Bourdon House is pleased to present this year's Autumn catalogue. With the

breadth and variety of the stock illustrated we can only capture the flavour of the shop

and hope that it will act as an enticement to visit us here in London. Perhaps the

greatest frustration for us is that new stock is arriving every day and we cannot illustrate

all the newest things. Our most significant development this year is that for the first

time we can offer yvorks from the twentieth century. O f particular note from this new

section are the rosewood games table and the shagreen and palmwood standard lamp.

The most exciting project for all of us at Mallett this year has been developing our

premises in New York at 929 Madison Avenue. We are planning to open in the spring

of next year. The shop will stock pieces from all departments of the group and will also

carry details and descriptions of everything in London. In this way we will be able to

offer an advisory service as well as selling what is on show in Manhattan. We will be

staffing the shop with our experienced current employees and each one will be happy to

help with anything to do with Bourdon House.

The two Mallett shops together will be exhibiting in New York at the International

Show in October. We are delighted that the show is returning to the 7th Regiment

Armory after a year's absence following the tragedy of September 11th. In addition we

are showing for the first time at the San Francisco Fall Antiques Show, which is also in

October. Please contact us if you would like tickets to either of these events.

Finally we hope that you enjoy the catalogue and we look forward to answering any

questions you may have.

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M A L L E T T A T B O U R D O N H O U S E

This bureau belongs to the most fashionable and luxurious class of

Louis XIV furniture and would have been an important indicator of its

original owner's wealth and rank. Since only the nobility would have

found a use for writing-furniture at this time, the bureau acquired a

higher status than most other forms of furniture and was often

decorated accordingly. The bureau Mazahn takes its name from the

eminent statesman Cardinal Mazarin (1602 -61) although this term,

like so many convenient labels in the decorative arts, was not used

until the nineteenth century. Yet while the bureau Mazarin is most

closely associated with writing-furniture, a number of contemporary

engravings show them in use as dressing tables.

The earliest-known example of a bureau Mazarin was made in

1669 and is documented in the 'Journal du Garde-meuble' (the

register of furniture supplied to the French royal households) of

1676. This piece was made in cedar by Pierre Gole (1620-84), a

Dutch-bom ebeniste who became cabinet-maker to the King and

whose work was characterised by the application of exotic veneers

of ebony, tortoiseshell and ivory. Gole went on to make more than

two dozen such pieces and it is generally accepted that he invented

the form, which usually comprised two sets of three drawers, placed

either side of a central recess, upon eight tapering legs.

The distinctive marquetry employed on this bureau Mazarin was

a tenth-century Italian invention that found its way to France after

Henry IV married his second wife, Marie de Medici in 1600. This

technique was advanced and perfected by Andre-Charles Boulle

(1642-1732), who, on the recommendation of Colbert, became

ebeniste du roi in 1672. He also enjoyed the patronage of illustrious

private clients and his distinctive style of marquetry became so

fashionable that it was taken up by many of his contemporaries.

Boulle marquetry is prepared by gluing sheets of ebony or

tortoiseshell together with sheets of brass or pewter. These are then

cut according to the requirements of the intended design. When cut,

these materials were separated from one another and applied as

veneers in one of two manners. Boulle marquetry was termed

premiere partie when the brass decoration was inlaid into a dark

ground (ebony or tortoiseshell) and contre partie where the ground

was of metal. Pairs of bureaux, wardrobes and commodes, could,

therefore be adorned with boullework from a single panel, the first in

premiere partie and the second in contre partie. On occasion, both

practices were combined within one piece. The designs applied to

boulle marquetry were generally taken from contemporary engravings

in pattern books, published by the great interior designers of the day

and on this bureau, the chosen subject is floral geometry.

A large looking-glass, Paris, 1690s. Fashion-plate by

Jean de St-Jean. Victoria and Albert Museum, London.

Illustrated in 'Authentic Decor, The Domestic Interior

1620-1920'. Peter Thornton, publ. Weidenfeld &

Nicholson, London, 1993.

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B O U R D O N H O U S E

A transitional mantel clock by Osmond A n o u t s t a n d i n g e a r l y n e o - c l a s s i c a l L o u i s X V g i l t b r o n z e m a n t e l c l o c k . T h e c i r c u l a r d i a l is f r a m e d w i t h a r i n g o f l a u r e l

l e a v e s a n d s u r m o u n t e d b y a c l a s s i c a l v a s e w i t h r i n g h a n d l e s . T h i s r e s t s o n f a c i n g h i g h r e l i e f g i l t b r o n z e f o l i a t e s c r o l l s ,

w h i c h i n t u r n s u p p o r t s w a g s , a m o t i f r e p e a t e d b e l o w t h e d i a l . T h e c l o c k s t a n d s o n a fluted b r e a k f r o n t c o l u m n , w i t h a

l a u r e l l e a f b a n d b e n e a t h . T h e w h o l e is s u p p o r t e d o n a r e c t a n g u l a r p l i n t h w i t h c o n c a v e f a c e s e n r i c h e d b y a r e c e s s e d

p a n e l o f g u i l l o c h e a n d t e r m i n a t e s i n flattened b u n f e e t .

S i g n e d O s m o n d .

T h e d i a l s i g n e d L a C r o i x a P a r i s .

F r a n c e , circa 1 7 6 0

H E I G H T : I8 IN ( 4 6 C M )

W I D T H : SVI IN ( 2 2 C M )

D E P T H : 6V2 IN ( I 6 C M )

I l lustrated be low right: The des ign o f th is c lock . B ib l io theque

Douce t , Paris. I l lustrated in 'Vergo lde te Bronzen 1', Hans

O t t o m e y e r a n d Peter Proschel , p. 195, fig. 3 .12 .5 , publ.

Kl inkhardt & Biermann, Munchen , 1996.

The c lock is s igned O S M O N D , wh ich refers to Rober t

O s m o n d w h o w a s a bronze founder o f cons iderab le

s tanding in his day and a special ist in c lock cases , indeed

his s tamp is only found on c lock cases . The s igni f icance of

the O s m o n d s tamp is intr iguing. In s o m e cases , it may

mean that t he founder also made the original model . In

1746, he had b e c o m e a maltre fondeur en terre et sable. In

1756 he w a s e lec ted Jure des Fondeurs. The fame of

O s m o n d spread and by the end o f the n ineteenth century

the Parisian bronze founder, Lou is -Augus te Beurdeley,

o f fe red fo r sale cop ies desc r ibed as modele d'Osmont.

O s m o n d w a s a f r iend o f Caff iert and bo th w e r e a m o n g the

founders w h o s igned the ar t ic les govern ing the copy ing o f

des igns on 2 1 s t Apr i l 1766.

. c .

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mi

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BOURDON HOUSE

A pair of Louis XVI giltwood chairs A p a i r o f p a r t i c u l a r l y fine L o u i s X V I g i l t w o o d c h a i r s w i t h fine t w i s t e d r o p e c a r v i n g t o t h e u p p e r b a c k a n d d e t a i l e d

f o l i a t e c a r v i n g a t e a c h a r m . T h e f o u r e l e g a n t l y t a p e r e d l egs e n d i n t u r n e d f e e t a n d s u p p o r t a s h a p e d s e a t r a i l c a r v e d w i t h

a g u i l l o c h e m o t i f

S t a m p e d S U L P I C E B R I Z A R D .

F r a n c e , circa 1775

BACK H E I G H T : 35 IN (89 CM)

SEAT H E I G H T : I F A IN (39 CM)

W I D T H : 2 5 IN (63 CM)

D E P T H : 20V2 IN (52 CM)

Sulpice Brizard was born in 1 735 and became a master in

1 762. He was a renowned chair maker, who established himself

in the rue de Clery in 1 765. He is recorded as having produced

a group of seat furniture during the middle of the eighteenth

century in the rococo taste, however, the core of his oeuvre is

in the later Louis XVI neoclassical style. His work is noted for its

particularly fine proportions and detailed carving. The illustrated

pair of chairs shows both these features with all the differently

carved details complementing each other. A design particular to

Brizard, often found on his chairs, is the crisp spiral motif that

runs along the upper section of the backs on these chairs. His

work is exhibited in Musee des Arts Decoratifs as well as in the

Louvre. A very similar pair of chairs was sold in 1986, in Paris

and are illustrated in 'Le Mobilier Frangais du XVIII Slecle' by

Pierre Kjellberg, on page 1 19.

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MALLETT AT BOURDON HOUSE

A Sevres biscuit figure A fine Louis XVI Sevres biscuit porcelain figure depict ing a semi nude female figure leaning on a co lumn with her hand

marking a page in a book. T h e subject is known as 'Medi ta t ion after a model by Boizot.

France, circa 1780

H E I G H T : 14V2 IN ( 3 7 C M )

Biscuit was introduced at the Vinoennes-Sevres porcelain

factory in France in 1 751. The word 'biscuit' in French literally

means 'twice cooked' and describes unglazed white porcelain

with a smooth surface. This was ideal for the purpose of

simulating finely polished marble.

Jean-Jacques Bachelier (Paris 1724-1806) appears to have

been the first sculptor to favour biscuit as a medium for

decorative objects as he was appointed Art Director at

Vincennes in 1751 (in 1 752 Louis XV became the major

shareholder). Popular early figures made at Vincennes were

small models of children drawn from designs by Boucher and

larger groups of animals after Oudry. Bachelier would probably

have selected these design sources himself. The biscuit figures

and groups made of a paste invented by Bachelier are arguably

the most famous. The three categories of biscuit sculpture were

pieces made for the centrepiece of a dining table, those

intended as free-standing sculptures in their own right, and bas

relief plaques. In 1757, Etienne-Maurice Falconet (1716-91)

became chief modeller at Sevres and eased the factory towards

a more neo-classical style. His statuettes usually depicted

classical figures and groups taken from Pompeian paintings and

antique statues.

Louis-Simon Boizot (1743-1809) specialized in small scale

decorative pieces in marble. He trained under Michel-Ange

Slodtz (1765-1770). a notable sculptor, in Rome. From 1773-

1800, he assumed the position of Director of Sculpture section

of the Sevres porcelain factory. He modelled numerous figures

and busts for reproduction in biscuit porcelain. He developed

from a sweet classicising Rococo style to a more solid and

severe Neo-Classical manner His hard paste porcelain group of

a woman and two children representing a personification of

Charity, circa 1785 (Getty Museum) is typical of the taste for

moralizing subjects popular during the late eighteenth century.

The statuette illustrated here depicts the theme of meditation

with a beautiful young woman leaning against a stone column,

her index finger marking a page in a closed book. The illustrated

model is recorded in the Sevres archive and though several

examples exist, the original terracotta is no longer extant.

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A pair of Empire end tables A rare pair of Empire parcel gilt mahogany end tables or Vide poches'. The tops have a high flared gallery and are

enriched with quartered veneers with a roundel at the centre. The tables are supported by three bowing swans and

are joined at the base by a concave sided stretcher with an attenuated baluster vase at the centre.

France, circa 1810

H E I G H T : 2 7 I N ( 6 9 C M )

D I A M E T E R O F T O P : I4V2 I N ( 3 7 C M )

' > , VT.:

. .A-I

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MALLETT AT BOURDON HOUSE

overleaf

A pair of giltwood armchairs A p a i r o f L o u i s X I V g i l n v o o d a r m c h a i r s . T h e a r m s a re e n r i c h e d a t t h e b a c k a n d a t t h e t e r m i n a l w i t h b o l d l y c a r v e d

a c a n t h u s l e a f o r n a m e n t , a s a re the a r m s u p p o r t s . T h e c h a i r s a re s u p p o r t e d o n t u r n e d c o l u m n legs a n d j o i n e d b y a n

' H ' f o r m s t re tcher . E a c h j u n c t i o n is e n r i c h e d w i t h a c a r v e d f o l i a t e p a t e r a a n d t h e c e n t r e o f t h e s t r e t c h e r is c a r v e d w i t h

a s e c t i o n o f f a c i n g b o l d l y m o d e l l e d a c a n t h u s l e a f T h e c h a i r s a re c o v e r e d w i t h R e g e n c e p e r i o d b i z a r r e p a t t e r n

p o l y c h r o m e n e e d l e w o r k .

F r a n c e , circa 1 7 0 0

BACK H E I G H T : 4 4 IN (112 CM)

SEAT H E I G H T : 17 IN (43 CM)

W I D T H : 27 IN (68 CM)

D E P T H : 28 IN (71 CM)

Louis XIV high back chairs characteristically reveal little wood

and are almost entirely upholstered. The broad, deep, slightly

reclining seats, bold carving and overall corporeal structure

were intended for the highest social order combining comfort

with grandeur. The straight lines of Louis Xlll's reign are

combined harmoniously and balanced with curves that became

evident just before the Regence style.

Bizarre pattern needlework was fashionable throughout

Europe from 1695 to 1 720, starting with silks and spreading to

other fabrics. This highly fashion conscious time was exploited

by weavers who found it profitable to change their patterns

frequently.

Bizarre pattern was woven according to a wide range of

exotic designs composed mainly of curiously swaying and

tropical-looking floral and foliate motifs, often off-set by sharply

jagged lines and rectangular motifs (for a comparison see a

George II carved fruitwood armchair upholstered with

eighteenth century French 'bizarre' needlework, Mallett

Catalogue 2001, 'Needlework - A Fine Art ' , p. 62). The chairs

here are covered by an extremely bold, regally coloured, bizarre

pattern needlework. It was once believed erroneously, that the

silks, being influenced by Oriental textiles, had actually been

woven in India. They contrast sharply with the formally

patterned baroque silks of the seventeenth century and

naturalistic patterns of 1 730 onwards and prefigure the taste for

asymmetry, characteristic of the forthcoming rococo period.

Illustrated right: A gilt fauteuil, second half of the

seventeenth century of similar form, bold carving and decorative

motifs to those illustrated here, Musee des Arts Decoratifs ,

Paris (illustrated. 'Le Siege Franijais' p.49. fig, 30 and 31).

13

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assoiaaP^

14 -t,

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M A L L E T T A T B O U R D O N H O U S E

An Empire cast iron gueridon A very unusual Empire cast iron gueridon having a highly unusual top with a profusion of pierced ornament . T h e top

appears to be decorated with a spiral of scrolls, however it also has numerous hidden faces and animals, the suits f rom a

pack of cards and stylised celestial ornament . T h e top is supported on a fluted column with acanthus leaf ornament at

the base. T h e table stands on three scrolling animal legs with acanthus leaf and anthemion motif to the upper edge.

France, circa 1820

H E I G H T : 2 8 I N ( 7 1 C M )

D I A M E T E R : 2 7 I N ( 6 9 C M )

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M A L L E T T A T B O U R D O N H O U S E

A bird diorama A charming and highly unusual group o f French provincial carved and naturalistically painted wooden models o f

songbirds. Each bird is shown attached to a twig perch that is, in turn, mounted on a carved plinth. T h e whole is now

framed as a diorama on a background painted as a tree.

T h e birds, France circa 1860

F R A M E D : 54 IN X 4 2 IN ( 1 3 7 C M X 1 0 7 C M )

H E I G H T

W I D T H :

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A pair of Charles X stools A pair of Charles X rosewood 'X' framed stools inlaid with boxwyod foliate patera at the arm terminals and at the centre of th

legs. The arms and the stretcher are formed as double balusters with multiple collars and bobbin turned elements at the centre

The stools are inlaid on the outer edges with boxwood stringing and terminate in bun feet of the same timber.

France, circa 1825

ARM H E I G H T : 2 5 IN (63 CM)

SEAT H E I G H T : 1 9 IN (48 CM)

W I D T H OVER H A N D L E S : 2 3 IN (58 CM)

D E P T H : I5I/2 IN (39 CM)

J

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A pair of gilt bronze chenets An outs tand ing pair of finely chascd gilt bronze Louis XVI chenets. They take the form of a wind blown flaming

vase on a tr ipod h u n g with swags. The lower end is a fmely wrought pine cone. T h e two stand on a stretcher

with applied laurel leaf inotiFs to the sides and a vitruvian scroll to the top. Each end is suppor ted by fluted

co lumns . T h e larger has an oak leaf scroll a round the ba.se.

I 'rance, circa 1780

H E I C ; H T : I 6 IN (41 C M )

L E N G T H : 1 7 I 4 IN ( 4 4 C M )

i I'111

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mj/ " i

The identical model is illustrated in Vergoldete Bronzen' p.274

pi.4.11,10. Other examples are in the Musee des Arts

Decoratifs. at the Huntingdon Gallery in San Marino and in the

Louis XVI room in the Villa Ephrusi illustrated on p.48 of the 'Villa

Ephrusi de Rothschild.

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MALLETT AT BOURDON HOUSE

A pair of Empire bronze and ormolu ewers A pair of Empire bronze and ormolu ewers with finely wrought spouts surmounted by griffin scroll handles. At the

centre of each ewer is a border of hippocampi and masks in low relief At the base there is gilt oak leaf decoration

above machined gilt collars. The whole stands on a turned bronze and ormolu stem foot, supported on a block of

rouge griotte marble.

France, circa 1810

h e i g h t : 1 5 IN (38 CM)

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A pair of giltwood stools A highly unusual pair of Louis XV giltwood stools having a straight back and a serpentine front. The backs are carved with

incised foliate ornament whilst the corners and centre of the seat rail are richly carved in high relief with a sunflower carved

to imitate the petals being blown in the wind. The stools stand on cabriole legs terminating in a scroll foot. •N

France, circa 1755

H E I G H T : 1 9 IN (48 CM)

W I D T H : 2 5 IN ( 6 4 CM)

D E P T H : 1 5 IN (38 CM)

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B O U R D O N H O U S E

A Louis XV iron bracket A n e x c e p t i o n a l a n d r a r e fer forge L o u i s X V b r a c k e t h a v i n g a d o u b l e s e r p e n t i n e t o p s u p p o r t e d b y a n e l a b o r a t e i n t e r w e a v i n g

o f f o l i a t e a n d g e o m e t r i c scrol ls .

F r a n c e , circa 1 7 5 0

H E I G H T : 2 0 IN (51 CM)

W I D T H : 1 6 IN (41 CM)

DEPTH: 9 IN (23 CM)

As George Himmelheber states in his seminal work 'Cast Iron

Furniture' publ. Philip Wilson, 1996, "France in the 18th century

saw the apotheosis of the ironworkers skill." It»is in the leafwork

and strapwork of the rococo period that this skill found one of its

most appropriate expressions. However, the need or desire for

furniture of wrought or cast iron was slight, consequently pieces

from this era are exceptionally rare. In almost all known cases, as

in the illustrated example, the strapwork forms the armature

around which the rocaille work is applied.

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An Empire console desserte A particularly fine small scale console desserte by Molitor, the upper and lower shelf inset with finely grained grey white

marble. T he top, enclosed by its original brass gallery, stands above a single long drawer veneered in acajowinouchete, with brass

and ebony stringing and a central elaborate escutcheon. The upper section stands on elegantly tapering brass fluted legs with

finely cast and chascd capitals and bases. The whole stands on turned topie feet, again mounted with turned brass fittings.

Stamped MOLIT'OR

I-rance, circa 1820

MEICIHT: 38 IN ( 9 6 CM)

W I D T F J : 38I/2 IN ( 9 7 . 5 CM)

D E P T H : 1 4 IN (35 C M )

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BOURDON HOUSE

A pair of vide-cigares A very rare pair of Charles X brass mounted mahogany

demi-lune vide-cigares. The brass surmounted column

handle can be depressed to open the ash tray compartment.

The whole is supported on turned bun feet.

France, circa 1825

H E I G H T : 2 9 IN ( 7 4 CM)

overleaf

A pair of Empire display cases A pair of Empire mahogany display cases, each having

an elaborately shaped neo-classical pediment above

double glazed doors with brass astragals. The doors are

flanked by ionic column pilasters and are chamfered

towards the glass. Each bookcase is supported on a box

plinth. Throughout, the mahogany is finely figured.

These vide-cigares were made when smoking became particularly

popular amongst the affluent classes. During the early 1800s,

cigars had for the first t ime begun to compete with snuff, chewing

tobacco and pipes. The smoking jacket was born, and wealthy

nineteenth century homes would include a well-venti lated smoking

room, preferably with a westward aspect.

France, circa 1810

H E I G H T : 1 1 4 IN ( 2 9 0 CM)

W I D T H : 6 6 IN ( 1 6 8 CM)

D E P T H : 1 9 IN (48 CM)

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A barometer and thermometer compendium A F r e n c h p r o v i n c i a l m a h o g a n y b a r o m e t e r a n d t h e r m o m e t e r

c o m p e n d i u m . T h e s i lvered d ia l s are e n g r a v e d w i t h finely c h a s e d

gilt b r o n z e m o u n t s a n d i n s c r i b e d w i t h n u m e r o u s t e m p e r a t u r e s

o f t o p o g r a p h i c a l a n d hi s tor ica l interes t .

S i g n e d L a v e r g n e a L y o n .

F r a n c e circa 1 8 1 0

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

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Since first invented by Evangelista Torricelli in 1643. the

mercury barometer has been produced in a number of

differing shapes and sizes, some more practical than

others. However, despite its many subsequent

incarnations, Torricelli's original 'stick' type retained its

popularity and is arguably the most attractive alternative.

While a significant number of examples survive from this

period, they are rarely of such fine quality.

A traditional 'stick' barometer of the closed cistern

type, this example attracts immediate interest due to its

fine cut glass cistern. Mercury-reservoirs on such

barometers are usually encased within the wooden

frame, the exceptions being either turned ivory or simple

glass bulbs. Equally noteworthy is the unusual nature of

the scales on the register-plate. Either side of the main

tube are two thermometers, one measuring Fahrenheit,

the other Centigrade. Beside the varying temperatures

are descriptions and places, Paris 1740 registering at

around -10° on both while Syria sits at 60°C and 145°F.

Furthermore, the pressure readings along the barometer

tube are paired with great mountain ranges and

volcanoes, including the Pyrennees, Mount Vesuvius.

Mount Etna and Mount Taurus, all of which finds few

precedents elsewhere. Though the work of a provincial

maker, this piece is of remarkably high quality.

' r ' I

rr Sfti' •

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A Louis XV lantern An unusual Louis XV lacquered brass pentagonal

lantern. Each panel is surmounted by a foliate arch

in low relief and framed with applied foliate scrolls.

The flat surfaces all have shaping to the outer edge.

The lantern is supported from a finely wrought

canopy with a smoke cowl, unusually, mounted

within its frame.

France, circa 1760

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

D I A M E T E R : 2 0 IN (51 CM)

)

' i i ;

V

f i m

- : ? J-

if

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M A L L E T T A T B O U R D O N H O U S E

An Empire cartonnier An Empire mahogany cartonnier with finely figured flame mahogany veneers on the top and sides. The cartonnier

contains two columns of seven red morocco leather boxes retaining their original gilt tooling and brass ring handles.

The boxes are retained by two hinged, lockable pilasters.

France, circa 1810

H E I G H T : 56 IN ( 1 4 2 C M )

W I D T H : 3 7 IN ( 9 4 C M )

D E P T H : 15 IN (38 C M )

A cartonnier or serre papier'\s a piece of furniture fitted with

pigeon-holes or compartments. Its purpose was to hold

papers and documents thus functioning as a gentleman's

filing cabinet. In the eighteenth and early nineteenth century

a cartonnier might either stand as an independent piece of

furniture or might have been designed as an accessory to a

particular writing table or bureau plat.

.30

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V V / V / ^ / - ! / v r v

^o iMf f iaMaBKt

31

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B O U R D O N H O U S E

Voltaire and Rousseau A pair of Louis XVI, bronze busts of the philosophers Voltaire and Rousseau cast in exceptionally fine detail and

retaining their original patina. Each is mounted on a gris St Anne socle with a finely chased gilt bronze capital and foot.

France, circa 1790

HEIGHT: 10V2 IN <26 CM)

Table-bronzes, popular in antiquity, returned to vogue in the

Renaissance and are still admired today. Their size affords them a

certain degree of intimacy, akin to that of a household object. The

subject matter of such bronzes varied considerably but a

significant amount of historical portrait busts were cast. Often as

described by Jennifer Montagu in her book 'Bronzes', publ.1963, 'a

treasured adornment of the scholar's desk', such famed subjects

convey an element of inspiration, or at least prestigious

association. The celebrated differences between Voltaire and

Rousseau make for an appropriate pairing.

Voltaire and Rousseau lie entombed opposite each other in

the Pantheon in Paris, two of France's greatest philosophers, yet

men whose views could not have been further removed from each

other While Voltaire believed that man distinguished himself

through education and reason, Rousseau saw this as the

explanation of why men became in his view 'unnatural' and

corrupted. Such conflicting ideologies led to the famed intellectual

conflict between the two men, as celebrated by William Blake in his

poem Mock On, Mock On. Voltaire. Rousseau.

32

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M A L L E T T A T B O U R D O N H O U S E

A pair of Sevres vases A fine q u a l i t y p a i r o f C h a r l e s X Sevres p o r c e l a i n c a m p a g n a f o r m vases d e c o r a t e d o n a d a r k b l u e g r o u n d w i t h silver,

p l a t i n u m a n d g i l t n e o - c l a s s i c a l o r n a m e n t . T h e w h o l e s t a n d i n g o n a n i n t e g r a l f a u x p o r p h y r y p l i n t h . T h e bases b e a r i n g

t h e Sevres f a c t o r y m a r k s f o r 1 8 2 9 .

F r a n c e , 1 8 2 9

HEIGHT: 10V2 IN ( 2 7 CM)

Sevres, the national porcelain manufacturer of France, was first

established at Vincennes in 1 738, before rnoving to Sevres in

1756. In 1 759 the factory was taken over by the King, Louis XV,

who became its leading client and salesman, holding an annual

sale of Sevres products in his private dining room at Versailles

from 1758. The gilding is particularly interesting on these vases

as it uses platinum as well as gold and silver, an extravagant

technique associated with the Sevres factory.

3 3

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A Charles X rosewood gueridon A Charles X rosewood gueridon profusely inlaid on the top in a continuous motif of interlocking and alternate roses and wild

flowers. At the centre of the top is an outstanding vellum still life of flowers, signed and dated, Azelia Maspero, eleve de

Madame Delaporte, 1836. The top is supported by a frieze, inlaid with geometric neo-classical ornament. This, in turn, stands

on three scroll legs having bowing swans head capitals and acanthus marquetry to the scrolling base. The whole is supported by

a shaped concave sided tripod plinth terminating in block feet.

France, 1836

H E I G H T : 3 0 IN ( 7 6 CM)

D I A M E T E R OF T O P : 3 6 IN (01 CM)

."iijt

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M A L L E T T A T B O U R D O N H O U S E

Delicately inlaid rosewood furniture such as this became popular in France mainly as a result of the success of the designs of Jean-Josse Caron I'Atne (1773-1838). The pieces he produced in the brief period between 1831 and 1838, as well as his publication, in 1836, of sixty designs under the title 'Le Manuel de I'ebeniste', would have considerable influence on contemporary tastes. In the few short years that he actually produced furniture, Caron supplied pieces to many noble clients, his distinctive elaborate inlays finding great demand.

Madame Delaporte probably refers to Rosine Antoinette Delaporte who was a pupil of Redoute. Similarities between his famous series of rose prints and the style of this floral vellum picture are clearly apparent. Unfortunately, a fire in her shop in 1838, destroyed all her paintings and gold medals which she had won in numerous exhibitions. Only one work of hers remains in a public collection, a branch of roses at the Musee de Pontoise.

35

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M-

j i f ^

36

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M A L L E T T A T B O l / R D O N H O U S E

A pair of Dutch side chairs A n e x c e p t i o n a l p a i r o f e a r l y 1 8 t h c e n t u r y D u t c h w a l n u t h i g h - b a c k e d s i d e c h a i r s . T h e b a c k s a r e s u r m o u n t e d b y f a c i n g

s c ro l l s w i t h a f o l i a t e c r e s t i n g . T h e c h a i r s h a v e a p i e r c e d s p l a t c a r v e d w i t h a c a n t h u s o r n a m e n t . E a c h s t a n d s o n s c ro l l

f r o n t a n d b a c k l e g s , t h e f r o n t l e g s b e i n g c a r v e d a t t h e k n e e w i t h a h o n e y s u c k l e s w a g . T h e l egs a r e j o i n e d b y a n

e l a b o r a t e i n t e r l o c k i n g s c ro l l s t r e t c h e r s i m i l a r l y e n r i c h e d w i t h f o l i a t e c a r v i n g in l o w r e l i e f

L o w C o u n t r i e s , circa 1 7 1 0

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

SEAT H E I G H T : 18 IN ( 4 6 C M )

W I D T H : 10 IN (51 C M )

D E P T H : 18 IN ( 4 6 C M )

This pair of side chairs was made in the Low

Countries in the early decades of the eighteenth

century. The elongated back with its profusely

carved splat is a particularly Dutch feature and the

carved ornament upon it shows the influence of late

seventeenth century designers such as Daniel

Marot (1663-1752). His Livres d'Appartements.

published in Amsterdam around 1700, detailed

designs for dining chairs with wooden splats using

interlaced strapwork, masks, armorials, shells and

foliate scrolls and was a popular source for cabinet-

makers working in the first quarter of the eighteenth

century. Marot 's principal contribution to the

development of interior design was his predilection

for unity within a room. The shaped splat on this

type of chair provided an ideal surface for carving,

enabling it to blend with the carved or moulded

stucco ornament on the walls of a fashionable

room. Indeed, it is likely that the decoration on

these high-backs was closely related to the themes

of the interior for which they were commissioned.

The splat-back first appeared in Holland and

England around 1 700, although it was not until the

1 720s that this form would become synonymous

with those countries. It is difficult to determine

which country adopted it first although its origins

are certain - both nations traded with China and

had stronger links with the East than any other

European nation. The splat had been an important

component of Chinese seat furniture since the

Middle Ages and the European fascination with all

things Chinese would account for its instant

popularity back at home

37

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M A L L E T T A T B O U R D O N H O U S E

A couchant greyhound An Empire console A mid 19th century bronze model of a couchant greyhound

after Ravrio (1759-1814). Now mounted on a white and

porter marble stand.

F r a n c e , circa 1 8 5 0

H E I G H T : 12V2 IN ( 3 2 C M )

W I D T H : 16V2 I N ( 4 2 C M )

D E P T H : 6V2 I N ( 1 7 C M )

A particularly fine and elaborately carved mahogany

console, the upper shelf supported by two winged terms

with finely detailed female heads and ebonised

Pompeian neo-classical motifs beneath, each leg ending

in a lion's paw foot. The finely grained mahogany has

many contrasting ebonised details reflected in the

antique mirror plate behind.

Attributed to Charles-Joseph Lemarchand (1758-1826)

F r a n c e , circa 1815

H E I G H T : 3 7 IN ( 9 4 C M )

W I D T H : 3 0 I N ( 7 6 C M )

D E P T H : 1 6 I N ( 4 1 C M )

A n a lmost identical piece employed as a cabinet s tand is

i l lustrated in l e mobilier Frangais du XlXeme siecle'. p. 412.

38

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Ma

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M A L L E T T A T B O U R D O N H O U S E

A tole lantern A very unusual Louis Philippe tole hexagonal lantern, each face with a stylised shell cresting supported by ' C and 'S' scrolls.

Between the doors are polychrome stylised flowers held in place by ribbon bows. The lantern is held by a serpentine canopy

decorated with naturalistically painted leaves hung with swags of roses and other flowers.

France, circa 1845

HEIGHT: 2 6 IN (66 CM)

WIDTH: 1 6 IN (41 CM)

Tole is made from tin plated sheet iron covered with a black

asphaltum varnish, heat dried and decorated in gold and colours

to simulate oriental lacquer The process was first developed in

England in the late seventeenth century. It spread across Europe

in the early eighteenth century, to North America towards the

second half of that century and continued to be refined throughout

the nineteenth century. Tole was usually decorated either with

chinoiserie or with sprays of coloured flowers.

40

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% ( k ^

•v^r

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M A L L E T T A T B O U R D O N H O U S E

A giltwood bergere A fine quality Louis X V I giltwood cove back bergere having scroll arms and fluted rails and a bow front. T h e bergere

stands on turned, tapering, reeded and fluted legs surmounted at the fi-ont with square foliate paterae.

Stamped P. P L U V I N E T (Philippe Joseph Pluvinet, maitre 1754, died 1793)

France, circa 1780

B A C K H E I G H T : 38 IN ( 9 6 . 5 C M )

SEAT H E I G H T : 19 IN (48 C M )

W I D T H : 2 6 IN ( 6 6 C M )

D E P T H : 25 IN ( 6 3 . 5 C M )

42

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B O U R D O N H O U S E

A pair of torcheres An unusual pair o f Louis Philippe parcel gilt torcheres having circular tops with a recessed band of gilt on the outer edge.

T h e tops are supported by three attenuated double baluster columns with gilt collars. T h e whole stands on a concave sided

tripod plinth, terminating in boldly modelled lacquered brass claw feet.

France, area 1840

H E I G H T : 4 2 ' / 2 I N ( I 0 8 C M )

D I A M E T E R O F T O P : I2V4 I N (3 I C M )

43

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MALLETT AT BOURDON HOUSE

Four Castelli plaques A set of four large-scale mid 18th century Castelli

factory polychrome plaques depicting neo-classical

landscapes.

Attributed to the Grue family.

Italy, circa 1750

HEIGHT: II IN (28 CM)

WIDTH: 8V4 IN (2I CM)

These plaques are a good example of the narrative wares,

based on contemporary engravings, that were being

produced in Castelli throughout the late seventeenth and

eighteenth centuries. Castelli is located in southern Italy,

near Naples and it was here that potters would pioneer a

new approach to the production of maiolica.

By the 1650s, the heavy earthenware vases and

dishes of the previous century, characterised by their

bright, bold palettes, went out of fashion and gave way to

the new form of maiolica that was produced in Castelli.

This was more delicate than examples from the previous

century and used a subtle palette. Most of the wares

produced in Castelli were functional, although purely

decorative objects such as these plaques were also

manufactured. They are more refined than earlier pieces

particularly in their use of perspective. The subject matter

was inherited from istoriato wares, and included biblical

stories, classical heroes and hunting scenes. In these

examples the pastoral has been embraced within

continuous arcadian landscapes, with classical and gothic

ruins, in a manner typical of Francesco Grue and his family

who favoured a palette of olive green, yellow and brown.

Their work is closely associated with the last great chapter

in the history of Italian maiolica.

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M A L L E T T A T B O U R D O N H O U S E

overleaf

A pair of Neapolitan commodes A pair of mid 18th century Neapolitan parquetry

commodes, each having a writing slide above three

drawers of graduating size. The drawers and the sides

of each commode are decorated with quartered

rosewood veneers and crossbandings in tulipwood and

boxwood with a marquetry eight-sided roundel at the

centre. The top edge of the front of each commode is

inlaid with a quartered herringbone rosewood border.

The commodes have a scrolled bottom edge at the

front and sides and terminate in pad feet with a

tulipwood moulding at the centre. The commodes

retain their original giallo antico marble tops.

Italy, circa 1765

H E I G H T : 3 7 IN ( 9 4 CM)

W I D T H : 4 5 I N ( 1 1 4 CM)

D E P T H : 2 4 I N ( 6 1 C M )

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Eighteenth century Italy was made up of a series of warring city

feudal states and kingdoms, each governed independently, rather

than by a central national government or court. The resulting cultural

variations between the states manifested themselves through

artistic styles, particularly during the rococo period, when regionally

furniture was markedly different. Parquetry work found favour in the

kingdom of Naples where it flourished, examples from this period

are particularly fine. Characteristically, the heavy parquetry is

centred by a flower head or similar motif and contained within a

rope-twist or chequered border, as can be seen on this pair of

commodes. It is traditional for commodes of this type to have a

marble rather than a wooden top.

Marble was afforded great prestige in ancient Rome but certain

types were more prestigious than others, their use reserved only for

the most significant commission.

One such prized type was Marmor Numidicum, or Giallo

Antico, which occupied an exalted position within Roman society.

Found in ancient Numidia in North Africa, this striking yellow stone

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was quarried and shipped in bulk by the Romans from the 2nd

century BC. This type of marble was so valued that it was

included in some of the most significant monuments of antiquity.

Fluted columns of Giallo Antico held up the celebrated 2nd

century AD temple of Venus at Sicca Veneria; a further eight

adorned the front of the arch of Constantine, erected by the

senate to commemorate his victory over Maxentius in 312 AD.

Furthermore, it is recorded that immediately after the

assassination of Julius Caesar, the people erected a massive

column of neatly twenty feet of Numidian stone on the forum,

upon which was inscribed PARENTI PATRIAE. Such prestigious

associations remained with Giallo Antico throughout its history.

The nature of the can/ing and the finish of these

exceptional marble tops suggest they are original to the

commodes. Thus the status associated with the use of Giallo

Antico, when combined with the very fine quality of the

parquetry, suggests these pieces were a particularly significant

commission.

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MALLETT AT BOURDON HOL'SE

A pier mirror A very unusual Swedish late 18th century giltwood pier

mirror. It is decorated with carved high relief neo-classical

motifs set against a simulated porphyry eglomise background.

T h e pediment is enriched with a boldly carved laurel swag

tied at the apex with a ribbon. At the base of the mirror are

crossed fronds of laurel and oak leaf and around the plate is a

finely carved foliate scroll with a beaded inner edge and square

corner paterae.

A porcelain monkey A large-scale late 19th century Meissen style white

porcelain model of a monkey eating fruit, modelled

in naturalistic detail seated upon a tree s tump which

is enriched with flowers and branches.

Probably Italy, circa 1890

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

Sweden, circa 1780

H E I G H T : 4 9 I N ( I 2 5 C M )

W I D T H : 3 2 IN ( 8 1 . 5 C M ) ^

White porcelain models of animals such as this first appeared in Europe in the 1 730s, when the German Meissen factory produced a number of them at the behest of Augustus the Strong, King of Poland. Inspired by the produce of the Chinese Te-hua porcelain factories (known in the West as Blanc de Chine), the models were commissioned to decorate his Japanese palace at Dresden. In theme they were derived from the lead animals of the Labyrinth at Versailles, which depicted Aesop's fables. Among these, the monkey featured prominently.

51

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B O U R D O N H O U S E

An Italian demi-lune console A Piedmontese demi-lune gilrwood side table. The frieze is enriched with recessed panels of carved foliate scrolls in

high relief, interspaced with boldly carved lion's heads surmounting the legs and a high relief sunflower at the centre.

The table is supported on unusual turned, tapering legs with fluting and foliate carving to the upper section and

acanthus leaves with further fluting towards the base. Each leg terminates in a finely carved laurel leaf motif The table

retains its original striated grey marble top.

In the manner of G.M.Bonzanigo

Italy, circa 1775

H E I G H T : 34I/2 IN ( 8 6 . 5 C M )

W I D T H : 52 IN (132 C M )

D E P T H : 23 IN (58.5 C M )

Giuseppe Maria Bonzanigo was born in Asti in 1740 and died

in Turin in 1820.

Like nnany of the more interesting mal<ers of Italian

furniture, Giuseppe Maria Bonzanigo was primarily a sculptor. In

1773, he settled in Turin where he began working for the court.

In 1 787, Vittorio Amadeo III, acknowledging his 'singular

master', appointed him official woodcarver to the Crown with an

official salary of 200 lire for designing and making two large

screens and an elaborate fire screen. During the next twenty

years, he executed a considerable number of commodes.

screens, cupboards, doors and door surrounds for the Royal

Palaces, namely the Palazzo Reale and Palzzina Stupinigi.

During his long and distinguished career he established a

position for himself as the finest exponent of neo-classicism in

Piedmont, in the field of carving and decoration.

He continued working for the House of Savoy until the

French invasion of Piedmont in 1796. Although he lost his Royal

commissions with the King after the Restoration, his style

remained unchanged during these vicissitudes, although he

made adjustments to his iconography where necessary.

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A L L E T T A T B O U R D O N H O U S E

A curious occasional table A highly unusual Continental occasional table and cabinet. It has a white marble top bordered by a pierced brass

gallery and supported by a frieze of finely carved acanthus leaves. The central section is decorated with high relief

reeding of well-figured mahogany and opens to reveal a bois clair interior with a single shelf The cabinet is

supported on a reeded column that has an elaborately carved scrolling acanthus leaf capital, which supports

further acanthus leaf carving to the base of the cabinet. The whole stands on reeded, turned scroll legs terminating

in brass casters.

Probably Italy, circa 1800

H E I G H T : 3 7 IN ( 9 4 CM)

D I A M E T E R : 1 7 IN (43 CM)

54

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M A L L E T T A T B O U R D O N H O U S E

A view of Paestum A fine large-scale early 19th century perspective view of the temples at Paestum showing two shepherds in the foreground.

French school, circa 1800

U N F R A M E D : 2 7 I N X 4 1 IN ( 6 9 C M X 1 0 4 C M )

H E I G H T : 2 7 I N ( 6 9 C M )

W I D T H : 4 1 IN ( I 0 4 C M )

Paestum was for centuries a city shrouded in mystery. Originally

known as Poseidonia, it was one of the Greek colonies established

by the Achaens from the north-west Peloponnese. Founded from

the infamous city of Sybaris, the earliest settlers are believed to

have arrived around the mid-seventh century B C . Named after the

most important of their gods, the city flourished and became one of

the most significant cities in the gulf of Salerno. Around 400 B C it

fell to a tribe of local barbarians called the Lucanians, who were

defeated by the Romans in 273 B C , whereupon the city was re-

named Paestum.

Three great Doric temples dominate the site. The temple of

Poseidon (still so called despite being known to have been

dedicated to Hera) is thought to date from around 460 B C . It is the

only existing Greek temple with internal colonnades surmounted by

smaller Doric columns. Equally interesting is the southernmost of

the temples, the Basilica which, also dedicated to Hera (the main

divinity of Paestum) dates from around 530 B C . The temple is

particularly unusual in that it has nine columns across the ends and

a row of columns down the middle of the interior. The third of the

principal temples is dedicated to Ceres. Dating from around 510

B C , it has been referred to as one of the most prized examples of

Greek architecture in Italy.

The city was occupied until the latter part of the 9th century

AD, whereupon it was abandoned, suffering the combination of a

malaria epidemic and the ever-present threat of the invading

Saracens, who had recently occupied nearby Agropolis. Throughout

the following centuries, the city remained undisturbed until around

1 750 when the ruins were discovered by archaeologists, an event

which attracted international interest. S cenes depicting Paestum

were thus in great demand, ser^/icing the continuing fascination with

mysterious lost civilisations.

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M A L L E T T A T B O U R D O N H O U S E

A grisaille landscape A fine quality early 19th century grisaille drawing of a traveller passing through a rocky landscape.

Signed and dated, C. Reinhart a Roma, 1807

F R A M E D : 31 IN X 39 IN ( 7 9 C M X 9 9 C M )

Johann Chr ist ian Reinhart was born in Hof, Bavaria in 1761

and died in Rome in 1847. He studied theology initially in

Leipzig, then devoted himself to painting as a student of Adam

Friedrich Oeser (1717-99). often making copies of classical

works, including plaster casts of antique statues. He was greatly

influenced by Claude Lorrain's liber Veritatis' and on his visit to

Dresden, in 1 783, by the Dutch landscape paintings in the

Gemaldegalerie.

In 1785, he returned to Leipzig where he met the German

poet, Friedrich Schiller, who became a close friend and

undoubtedly affected his developing artistic style. He was

painter to the Duke of Sachsen-Meiningen between 1 786 and

1789 for whom he executed above all, landscapes and portraits.

This appointment enabled him to discover at leisure, the

surrounding Thuringian countryside inspiring spontaneous

sketches as he walked. These sketches show that he had

released himself a little f rom academic constraints achieving a

free, painterly style whilst faithfully recording nature, yet his

training meant that he comprehended form and composit ion.

In 1789. he established himself in Rome and was one of

the major protagonists of the German art movement. There, he

was renowned there for eight large landscapes in distemper

painted in 1825 at the Villa Massini and he executed four

paintings of the same type for King Louis of Baviere.

57

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y

i

V

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M A L L E T T A T B O U R D O N H O U S E

A German pier mirror An owl tobacco jar A n unusual early 18th century G e r m a n pier mirror.

T h e cresting is mode l led in the highly individual

m a n n e r o f a pair o f boldly carved r ibbon held curtain

swags, f l anking a stylised c a n o p y s u r m o u n t e d by a five-

po int feathered scroll with a d o m e d car touche at the

centre. T h e sides a n d base o f the mirror are enriched

with alternate low relief a n t h e m i o n and foliate e lements

against a crosshatched g r o u n d .

N o r t h e r n G e r m a n y , circa 1 7 1 0

A n unusua l a n d large scale carved l i m e w o o d Southern

G e r m a n tobacco jar, taking the f o r m o f an owl shown

perched on a rock. T h e owl is carved with fine feather

work , which retains m u c h o f its original burnt work

pat inat ion .

Bavaria, circa 1 8 6 0

HEIGHT: 20 IN (51 CM)

WIDTH: 10 IN (26 CM)

HEIGHT: 63 IN (160 CM)

WIDTH: 34 IN (86 CM)

This magnificent mirror is a remarkable example of the high

standards of carving and design that were produced in

Germany during the first quarter of the eighteenth csntury.

The culmination of the Thirty Years War (1618 - 48) had

brought about a new social order that strengthened the wealth

and fortunes of the German aristocracy, encouraging a more

sophisticated approach to the planning of their homes. After

the Revocation of the Edict of Nantes in 1685, highly skilled

Huguenot Parisian designers and craftsmen were forced into

exile, an act that led to the immediate dissemination of French

taste and style throughout Northern Europe.

In the decorative arts, there has always been a strong

national diversity and within each European State existed a

wealth of regional variety. In Southern Germany, there is an

undeniable link with Italy. Designers in Northern Germany

were influenced by those of neighbouring countries, France

and Holland. Northern designers took a particular interest in

the application of textile designs in their carving, looking to the

work of exiled Parisian designers such as. Daniel Marot (1663-1 752) for inspiration. The combination of plumes with

lambrequins in the canopy of this mirror closely resembles the

form of an early eighteenth century bed valance, examples of

which can be seen in fvlarot's designs for chairs, stools and

pelmets Ccirca 1690 - 1702).

O J

' #

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M A L L E T T A T B O U R D O N H O U S E

An unusual occasional table A highly unusual German mid 18th century occasional table. The scalloped edged top is decorated with Chinese figures

in various poses in an aquatic landscape with central pagoda. The top opens with an oversized, decorated gilt hinge and

is finely painted with rocky gilt landscape, depicting fishing huts on stilts. The shaped main body of the piece and

lower apron are all profiisely enriched with gilt chinoiseries and the legs have elaborate geometric interlacing patterns

framing small chinoiserie vignettes, all in low relief

Germany, circa 1760

H E I G H T : 2 8 IN ( 7 1 C M )

D I A M E T E R : I8 '/2 I N ( 4 7 C M )

German lacquer work was much influenced by

English lacquer designs, particularly from the widely

available publication by Stalker & Parker 'A Treatise

on Japanning' publ. 1688. Elements of the work on

this table, particularly the use of low relief and the

white outlining, suggest that it was made in Berlin,

probably in the second quarter of the eighteenth

century. Stylistic similarities may be drawn with

designs from the workshop of Gerard Dagly.

This city was the centre for many German

lacquer masters throughout the eighteenth century.

The use of white heightening can be seen not only

on lacquer furniture but also on Berlin decorated

earthenware and porcelain vases at this period. The

particularly authentic architectural details, such as

the fishing huts on the inside lid and also the

complex patterning down each leg, reflect the

academic interest in the Orient that Dagly pursued

under the patronage of Elector Frederick III.

Cf. 'Lacquerof the West ' , Hans Huth, publ.1971.

plates 169, 186.

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M A L L E T T A T B O U R D O N H O U S E

A Russian mahogany bookcase A mid 19th century Russian mahogany two door glazed bookcase. It has a stepped pediment with a brass

moulded edge and brass fluted decoration to the central frieze, above which is a recessed triangular panel

bordered with a shaped brass moulding. The doors have well figured mahogany fran.es with central glazed

panels and elaborate, boldly modelled brass astragals. The interior has four shelves with a brass moulding on

each leading edge and are enclosed by doors having canted corners mounted with brass flutes, surmounted

and supported by brass square paterae. The sides are also inset with panels, bordered by brass lines. The whole

stands on a plinth, inlaid at the centre front with a brass diamond, which is supported on square tapering legs

terminating in brass sabots.

Russia, circa 1840

H E I G H T : 8 2 I N ( 2 0 8 C M )

W I D T H : 5 6 I N ( I 4 2 . 5 C M )

D E P T H : 1 6 I N ( 4 1 C M )

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> : ;

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m

. ' 1 ( /

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BOURDON tlOUSE

A Baltic chandelier A six branch Baltic chandelier. The ring supports six gilt metal candle arms, whose drip pans have been stamped and chased

in a leaf pattern and hung with square drops with prisms below. Above the ring is a waterfall of square drops surmounted by

a coronet made of graduated circular drops and horizontal rule drops, above these are eight palm fronds, also made of

horizontal rule drops. The coronet is hung with columns of drops with prisms below. Beneath the ring are four concentric

circles with prism drops with one square drop above. The finial is a large and hollow pear shaped drop, decorated with flute

cutting. The whole chandelier is constructed with good quality slightly grey soda glass, which is characteristic of all

chandeliers of this period and geographical location.

Possibly Sweden, circa 1810

H E I G H T : 4 FT ( 1 2 2 CM)

D I A M E T E R : 3 0 IN ( 7 6 CM)

Sweden at this period had a thriving glass industry with eleven glass

houses in production, most of which were capable of producing

chandeliers. Russia, particularly around St. Petersburg, had several

good glass houses. There were also glass houses in or near the

Hanseatic ports. As the skilled glass workers were itinerant, styles

were rapidly transferred from one country to another making exact

attributions nearly impossible. ^

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. - I

N i •It-i?! ci'ti' ft'"

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B O U R D O N H O U S E

A pair of coved back armchairs A pair of Regency mahogany coved back armchairs. T h e back rail has scroll terminals and supports under the main rail,

each element carved in fine detailing with stylised neo-classical motifs. T h e chairs stand on turned reeded legs at the front

and sabre legs at the back. Each terminates in a brass caster. N o w upholstered in green suede.

Each stamped G I L L O W S .

England, circa 1820

C f An extending dining table s tamped Gillows, illustrated page 74 .

B A C K H E I G H T : 31 IN ( 7 9 CM)

SEAT H E I G H T : 18 IN ( 4 6 CM)

W I D T H : 23 IN (58.5 C M )

D E P T H : 22 IN (56 CM)

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A group of ivory tempietti An unusual fine ivory rose engine

lathe turned tempietto having multiple

tiers ot finely wrought ornament. T h e

whole supported on pierced fluted

columns in turn standing on a stepped

circular plinth. T h e bot tom tier is

carved to simulate block work.

England, circa 1810

H E I G H T : 1 7 IN (43 CM)

A very unusual early 19th century

ivory rose engine lathe turned double

box. The upper lid ornamentally

turned and stained in a profuse

fashion. The upper box is supported

on three fluted columns to the cover*''

of the lower box and is enriched with

four finials, each turned in a different

manner. The whole is profusely

decorated and supported on bun feet.

England, circa 1810

H E I G H T : 13 IN (33 C M )

i

An early 19th century ivory example

of rose engine lathe turning, fashioned

as a column of turnings both pierced

and ornamental with a small scale

balcony at the summit and a tempietto

at the base, supported by spiral turned

columns.

England, circa 1810

H E I G H T : 9 I N (23 CM)

liie^i Il lo - , \

g U U U i O ^

k

m r ^ i ^ s Y o D i i J ' ' ' ^ ' : '

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A finely turned early 19th century

ivory tempietto having a dome

fashioned from eight flying supports

with a cupola above, supported on

eight fluted columns, in turn standing

on a circular stepped plinth. The

whole surrounded by a finely wrought

ivory fence on an ebony stepped stand.

An early 19th century ivory rose

engine lathe turned tempietto, having

a reeded cupola supported on four

tapering fluted columns terminating in

a circular plinth, decorated throughout

with multiple ornamental turning.

England, circa 1810

An early 19th century outstanding

ivory example of rose engine lathe

turning exhibiting a multiplicity of

ornamental pierced elements and

decorative turnings, loosely designed

as a Moorish tower.

England, circa 1810

England, circa 1810 H E I G H T : 8 IN ( z o C M ) H E I G H T : I5'/2 IN (39 C M )

H E I G H T : II IN (28 C M )

m i l l i n n

"5-1!

^'iiiji

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A mahogany hall bench A good quality Regency mahogany hall bench. The ends have a turned arm rest with fluting and turned collars at each end. The

arm rests are supported on stylised foliate supports. The seat has a central panel of flame mahogany with a reeded outer edge.

Below the seat on all sides are demi-lune turned elements with ball finials. The seat stands on turned tapering reeded legs.

In the manner o f George Bullock ^

England, circa 1810

A R M REST H E I G H T : JVA I N ( 1 8 . 5 C M )

SEAT H E I G H T : 20 I N (5I C M )

L E N G T H : 4 2 I N ( I 0 7 C M )

D E P T H : 1 8 I N ( 4 6 C M ) " "

,'f""

V

'm

George Bullock (1782/83-1818), though forgotten for

many years, was one of the most significant cabinet-

makers of the late Regency period. After a successful

career as a sculptor and furniture designer in Liverpool,

he moved to London in1814 and established his

furniture workshop in London at 4 Tenterden Street,

Hanover Square. His highly original designs, drawing on

contemporary Greek Revival and Empire styles, many of

which were published in Ackerman's 'Repository of

Arts', attracted such distinguished patrons as Sir Walter

Scott and Matthew R. Boulton. Unsurprisingly these

sources of inspiration were acclaimed and propagated

by numerous contemporary furniture makers. His most

famous commission came in 1815 when the British

govennment ordered a suite of furnishings for the exiled

Emperor Napoleon on St. Helena. Bullock stood apart

from amongst contemporary cabinetmakers through his

use of native woods in the construction of his furniture,

while simultaneously acknowledging the fashion for

more exotic woods such as rosewood and ebony.

Further his designs for details smaller details such as

the inlay often included native flora, as well as the

standard classical motifs.

Cf. An occasional table attributed to George Bullock,

page 72.

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A black japanned fall front blanket chest A very rare late 18th century black japanned fall front blanket chest. T h e top, the front and the sides are decorated with

elaborate gilt chinoiserie landscapes bordered with foliate scrolls. T h e whole is supported on its original pierced black

chinoiserie stand. T h e fall front opens to reveal a red painted interior with two shelves.

England, circa 1770

HEIGHT: 41 IN (104 CM)

W I D T H : 53 IN (I35 CM)

DEPTH: 25 IN (63 CM)

This is a rare example of a blanket chest with a fall front, rather

than hinged top. This enables the chest to be used as a

decorative surface for the display of objects, whilst at the same

time having an accessible storage compartment.

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A Regency occasional table An unusual late Regency mahogany circular occasional table. The top has a reeded edge above a finely wrought, ornamental

frieze in brass and ebony. The central stem is richly carved with boldly incised lotus and laurel leaf motifs, supported on a ring

of ebony. The whole stands on a square plinth with elaborately turned finials and feet.

In the manner of George Bullock

England, circa 1820

H E I G H T : 2 9 IN ( 7 4 CM)

D I A M E T E R OF TOP: 2 4 IN (6L CM)

Cf. A mahogany hall bench, in the

manner of George Bullock, illustrated page 70.

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B O U R D O N H O U S E

An extending dining table by Gillows A fine quality Regency mahogany extending dining table having ' D ' ends which are constructed so they may stand alone as

side tables. There are five extra leaves including one narrow leaf, which allows the table to be used as a breakfast table. For full

extension, the end-frame pulls out and bolts together at the centre. T h e table stands on finely carved, boldly reeded baluster

legs terminating in large-scale brass castors. Throughout , the mahogany is o f the finest quality. O n e leaf a later replacement.

S tamped G I L L O W S .

England, circa 1820

H E I G H T : 29^/2 IN (75 C M )

L E N G T H FULLY E X T E N D E D : I 5 6 IN ( 3 9 7 C M )

L E N G T H C L O S E D : 52 IN (I32 C M )

W I D T H : 6 8 IN (173 CM) JI

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This versatile dining table has a number of varied forms. As a fully

extended dining table it could seat fourteen people and yet when

folded away it can be put against the wall as a pair of side tables.

If a breakfast table is required, a special small leaf has been made so

that it can form a perfect square. The legs are inset a foot along the

sides so guests will not have to suffer the discomfort of being

seated next to a leg. The under-frame is constructed extravagantly,

being entirely of mahogany which renders the table rigid and very

strong. This means that the top is absolutely flat and that the table

can easily be moved on its casters. All in all, every aspect of design

and construction has been planned, which makes this table the acme

of its type.

The firm of Gillows has come out from the shadows in the last

two decades. Thanks to numerous articles and Lindsay Boynton's

book of Gillows' designs, we now appreciate the vast scale of their

production and their long and distinguished history.

The family firm was established in Lancaster as early as the

1730s. Throughout the eigTlleenth century, a succession of Robert

and Richard Gillows worked for and controlled the firm. Their

success really began in 1769, when they opened their first London

If

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office. Noble commissions came and in 1800, Richard Gillows took

out a patent for an extending dining table which further enhanced

the firm's reputation. The history of Gillows is exceptionally

complete, as nearly all the order books and salesman's archives ^till

exist. We know that the practice of stamping GILLOWS.

LANCASTER started in around 1780 and continued until 1817.

Today, it is difficult to comprehend the range of Gillows' business at

this time. They traded not only in finished furniture, but also in

timber from the West Indies along with sugar and spirits from the

same region. They undertook architectural joinery and fitted out

entire buildings, providing wall papers, fixtures and fittings. Their

salesmen toured the country with books of illustrations lavishly

coloured to tempt buyers. Gilllows even pioneered 'flat-packing' in

order to offer their clients a reduced price. There was no corner of

the furniture trade they did not thoroughly exploit. Between 1 780

and 1830, they were the furniture trade, leading in price, fashion and

even work practices.

1.1' •

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B O U R D O N H O U S E

A large scale planter A very large scale stoneware planter decorated to

simulate a tree trunk. There are four carrying handles

disguised as branches and an elaborate serpentine rim

fashioned to simulate interwoven branches. T h e planter

is supported on a small stoneware plinth again fashioned

to simulate a tree trunk.

England, circa 1870

A japanned table An exceptional mid 19th century t ip-top black

j apanned circular occasional table. T h e top is decorated

with a border o f floral gilt vignettes f ramed with lattice

panels, the centre depicts figures within a bucol ic

landscape. T h e table stands on a tapering co lumn and a

shaped circular plinth decorated with a similar border

to the top and with birds and flowers in three colours

o f gold. T h e whole is suppor ted on three scroll feet.

H E I G H T : 3 7 IN <94 C M )

D I A M E T E R : 4 2 IN ( 1 0 7 C M )

England, circa 1870

Attributed to Jennens & Bettridge

H E I G H T : 2 9 IN ( 7 4 CM)

D I A M E T E R : 20'/2 IN (52 C M )

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Underside of top

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A T B O U R D O N H O U S E

A crewelwork pane A large panel o f 17th century crewelwork embroidery, perhaps part o f hangings for a great bed, o f large

curl ing leaf des ign worked in blue wool s on a h o m e s p u n g r o u n d .

E n g l a n d , circa 1 6 8 0

Bear ing a mid-twent ieth century typed label that reads: " O l d Engl i sh Kail leaf embro idery worked by the

daughters o f R ichard A m p h l e t t o f Kent before 1 6 8 1 : f r amed by J o h n A m p h l e t t o f C l i ent , seventh in descent

f rom Richard Amphle t t , in 1 9 0 5 . "

FRAMED: 80V2 IN X 4 9 IN (204 CM X 125 CM)

Crewelwork is embroidery worked with

loosely twisted yarn, called crewel. This type

of embroidery dates to ancient Egypt and

there are notable examples of it throughout

history. Crewelwork was popular in England

from the sixteenth century onwards and was

made mainly for bed hangings or curtains in

the late seventeenth century in England, in

America by the early eighteenth century and

across Europe. It was around 1750 that

richer fabrics such as velvet, silk and

brocade superseded crewelwork. This

development corresponded with the

evolving fashion in furniture.

Patterns were executed in coloured

wools on white or neutral linen grounds and

were worked in designs of flowering trees,

set in schematically delineated landscapes,

or bold floral designs with exotic birds that

were derived from imported Indian printed

and painted cottons.

Later designs progressed with less

tightly packed patterns, floral and foliate

motifs became slimmer and more elongated

and more spaciously arranged. Flower

motifs tended to be both of English or Indian

origins; various leaf motifs were stylised

with more slender, long, meandering tendrils

and stems. This panel illustrates well the

early stages of this stylistic development,

the interlinking foliage creating a complex

and elegant natural pattern.

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A Regency dining table An exceptional William IV, amboyna, circular extending dining table having an inlaid large-scale star at the centre and a border

of ebony. The frieze is interspersed with extending leaf supports in ebony having brass handles with star backs. Six additional

leaves can be bolted to the outer edge of the table and locked in position. The outer leaves are also finished with an ebony outer

rim. The table stands on four boldly modelled turned legs with ebonised collars which terminate in over-scale brass castors.

England, circa 1820

H E I G H T : iS'A IN ( 7 2 C M )

D I A M E T E R C L O S E D : 54 IN (1)7 CM)

D I A M E T E R E X T E N D E D : 7 2 IN (183 CM)

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Amboyna was first used in England during the eariy

eighteenth century; there is a dressing and writing table of

inlaid anriboyna at the Victoria & Albert Museum that dates

from the Queen Anne period. However, it became

particularly fashionable at the turn of the nineteenth

century and is most closely associated with furniture from

the Sheraton and Regency periods. The Amboyna tree is

native to the East Indies, West of New Guinea, and in

particular to the island of Seram (also called Seran and

Serang and formeriy spelt 'Ceram') from where its

exceedingly beautiful and highly ornamental burls were

once shipped to Europe. (Dutch Trading posts were

opened in the early seventeenth century and the island

came under nominal Dutch control circa 1650). The

ordinary trunkwood from this tree was not commercially

popular and so the more valuable buris are simply termed

amboyna wood.

m 80 J

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4 iif*T

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A Suite of Anglo-Indian Furniture A rare and finely carved suite of mid 19th century Anglo-Indian ivory chairs, consisting of two armchairs and a two

seater settee. Each is carved throughout with gilt foliate scrolls in low relief within recessed panels. The backs have

upholstered central panels, flanked above and below with a rail of turned balusters. Each has a scroll arm supported by

a smaller scroll. The chairs have elaborately decorated seat rails and stand at the front on turned tapering legs, carved

with raised collars and foliate ornament in gilt, terminating in claw feet. Sabre legs support the chair at the back.

India, circa 1860

M;. "i'.i

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B O U R D O N H O U S E

SETTEE

HEIGHT OF BACK: 39 IN (99 CM)

HEIGHT OF SEAT: I9 IN (48 CM)

WIDTH: 4 3 IN ( 109 CM)

DEPTH: 19 IN (48 CM)

CHAIRS

HEIGHT OF BACK: 39 IN (99 CM)

HEIGHT OF SEAT: I9 IN (48 CM)

WIDTH: 21 IN (53 CM)

DEPTH: 19 IN (48 CM)

This remarkable suite of ivory furniture clearly follows a European

model with shaped rails and back splats. It is entirely veneered in

ivory on an Indian hardwood carcass with turned ivory finials

resembling the shaped 'onion' domes so prevalent in Mughal

architecture.

The ornament on the veneered ivory panels has been delicately

carved forming inter-locking flowering vines and spiralling

arabesques. This raised decoration has then been highlighted with

gold leaf to create a rich and opulent effect; so popular with Indian

princes in the nineteenth century. Unusually the Indian artisans have

even taken the care to veneer the undersides of the seat rails,

decorating these panels with additional carved floral designs.

Stylistically this suite is very interesting. Broadly speaking,

ivory furniture made in India falls into two distinct groups. The first

are pieces that have been entirely veneered in ivory and then

subsequently engraved in black lac, commonly associated with the

port of Vizagapatam. The other group includes pieces which have

been constructed from Indian hardwoods and then inlaid skilfully

with ivory.

This suite was clearly a specific commission, most probably

ordered directly by an Indian Prince from the workshops at

Murshidabad. Murshidabad in North-Eastern India was a well known

centre of ivory manufacture. Its craftsmen produced sumptuous

pieces of furniture and whole suites would be ordered by the

nawabs to entertain visiting European dignitaries in their palaces.

There is a table in the Victoria & Albert Museum of similar

decoration with raised and carved ivory ornament of interlocking

flowering vines. These raised surfaces have been gilded in the same

fashion as the Mallett ivory suite.

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A pair of ivory models of barges A pair of Northern Indian mid 19th century ivory models of ceremonial barges each showing a crew of seated oarsmen in front

of a tented pavilion having a figure within. Each stern is enriched with the carved stylised representation of the eagle god

Garuda and has at the prow the elephant head of the god Ganesha. Each barge stands on an integral ivory plinth.

India, circa 1870

LENGTH: I3'/2 IN (34 CM)

These two barges have as their stern and prow images of Indian

deities both of whom where auspicious to travel. The eagle god

Garuda was the vehicle of the lord Vishnu and therefore has long been

associated with travel. The elephant god Ganesha serves a dual

purpose; he was legendarily reliable and he was a great remover of

obstacles. Both these aspects are clearly appropriate to safe and

trouble free travel.

> 'I--

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• ft::-. ^

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MALLETT AT BOURDON HOL'SE

A Chinese mirror painting An exceptional 18th century Chinese export mirror painting of an

urban landscape with a river running through the centre with figures set

in varying poses. The houses are of varied architecture, some bearing

calligraphy inscriptions. The garden is depicted with a tree at the centre

and a wall with a variety of unusual pots with flowers.

China, circa 1770

F R A M E D : 2 7 IN X 35 I N ( 6 9 C M X 8 9 CM)

Mirror painting, or reverse glass painting,

is thought to have been imported to

China from Europe in the early eighteenth

century by a Jesuit missionary called

Guiseppe Castigl ione. The technique

involves painting on the back of glass

panels in oil and. of course, in reverse.

W h e n decorat ing mirrors the artist would

first trace the outline of the proposed

scene onto the back of the mirror plate,

before carefully removing the mercury and

tin mirror backing to clear a space for the

painting.

In England during the eighteenth

century, Chinese glass paintings were in

great demand. The earliest examples,

dating f rom around 1 750 onwards, were

generally landscapes, in both the Chinese

or western taste, with mirror backing. Of

these, the most popular in England were

those depicting native Chinese

landscapes wi th f igures. Such works were

commonly placed in elaborate

Chippendale frames to serve as mantel

glasses or pier mirrors. By the 1 780s it

had become fashionable to copy English

and European engravings and. as the

nineteenth century progressed, subjects

became simpler, the art ists tending to

focus on single f igures.

Interestingly, the glass used for such

pieces was. on the whole, imported f rom

England, in spite of China's long history of

glassmaking. Ancient China saw glass

used as a subst i tute for jade and as a

material for making decorat ive objects.

More recently, in 1696 the Emperor

Kangxi established a glass workshop

within the Forbidden City but while this

produced a large number of ritual utensils

and ornaments, it produced no flat glass.

A contemporary observer notes how their

ef for ts too of ten resulted in a product that

was 'thin and britt le' by compar ison to its

' thick and crystal-l ike' western

counterpart . As a result, significant

amounts of w indow and mirrored glass

were imported into China.

The scene depicted shows a typical

Jiang Nan o r 'water- town '. of the type

found along certain s t retches of the

eastern coast of China, particularly in the

Yangtze River delta. Towns such as

Zhouzhuang and Wuhzen still attract large

numbers of tourists, an interest which, as

this piece suggests, has existed for some

time. All things Oriental, particularly

generic landscapes or townscapes with

f igures fascinated Western audiences

during this period, offer ing a rare insight

into the myster ious wor ld of the East. As

can be seen here. Chinese gardens

dif fered greatly f rom European examples,

disciplined arrangements of rocks, plants,

water and architecture replacing the

rolling green spaces favoured in the

West . Daoist ideals of disengaging f rom

worldly concerns gave a rationale for

gardens as environments in which an

individual could escape the of ten harsh

realities of contemporary life through

quiet contemplat ion. Characterist ical ly any

plants there were in such a garden,

particularly within an urban sett ing, would

be planted individually in pots to assist

this practice.

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M A L L E T T A T B O U R D O N H O U S E

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B O U R D O N H O U S E

A pair of Kangxi chargers A fine pair of famille verte Kangxi period large scale chargers,

decorated with multiple borders of geometric decoration inset

with vignettes of foliate ornament, each having at the centre an

elaborate bouquet and vase.

China, circa 1700

D I A M E T E R : 1 5 I N <38 C M )

These chargers were made at a time when the European interest in

Oriental wares had reached its climax. Although the Chinese had traded

in porcelain with Europe since the sixteenth century, they were inundated

with vast demands from European countries during the 1700s. To the

Europeans, porcelain was an object of curiosity and fascination, being so

utterly different from their more cumbersome earthenwares.

By the turn of the eighteenth century, the English and Dutch had

cornered the Chinese porcelain market, hence the large quantities of

famille verte wares in England today. This was the most popular

porcelain export ware after blue and white and its name refers to the

polychrome palette of translucent greens, reds, yellows, blues and

purple enamels, applied over the glaze. The favoured subjects of early

eighteenth century famille verte porcelain were a fenced rock garden and

petal-shaped reserves that contained examples from the entire repertoire

of Oriental wares. These included landscapes, the hundred antiques (the

various shapes of Chinese vases), the eight precious objects, the eight

Buddhist emblems and as on these chargers, floral vignettes.This palette

remained popular until the 1730s when it was superseded by the famille

rose palette. It would undergo a revival in the nineteenth century

although the finest pieces are all associated with the reign of Kangxi.

A pair of Chinese oi paintings A pair of early 19th century Chinese export genre views, each

illustrating an interior lit from either a window or an open

door. Both interiors have on the wall a scroll landscape painting

flanked by panels of calligraphy on a red ground. In the

foreground of one is a group of merchants counting coins and

in the other a bird merchant demonstrating his wares.

China, circa 1820

U N F R A M E D : 2 0 I N X 2 5 I N (5 1 C M X 6 3 . 5 C M )

H E I G H T : 2 0 I N (5 1 C M )

W I D T H : 2 5 I N ( 6 3 . 5 C M )

The figures in each of these scenes appear to be merchants,

shown here possibly in the midst of a wager or simply trading.

In the first over a pair of birds and the second a more conventional

table-game. In both, their activities are dramatically lit by shafts of

bright sunlight, though from opposite sides, suggesting the works

were certainly a pair intended to be hung together.

Though gambling was prohibited in China it was never the

less fairly widespread, particularly throughout the coastal regions

lined with the foreign concessions of Shanghai. Hong Kong.

Canton and of course Macao. Due in no small part to Western

influences, gambling was rife in these areas (becoming legal in

Macao in the mid 1800s) to the extent that it was recorded in

such paintings in the same way as any other generic scene.

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A Chinese family A fine a n d r a r e e a r l y 1 9 t h c e n t u r y C h i n e s e f a m i l y g r o u p

d e p i c t e d s e a t e d u p o n a b a l c o n y w i t h a n a q u a t i c

c i t y s c a p e b e h i n d a n d v a r i o u s d o m e s t i c o b j e c t s i n t h e

f o r e g r o u n d . T h e f a t h e r is s h o w n i n c o u r t i e r ' s c o s t u m e

w e a r i n g t h e t r a d i t i o n a l b a m b o o h a t s h o w i n g h i s r a n k ,

t h e c h i l d is s h o w n w i t h a b i r d o n h i s a r m a n d t h e

m o t h e r , s t a n d i n g b e t w e e n t h e m , h o l d s a n o p i u m p i p e .

T h e p a i n t i n g is r e n d e r e d i n a m a n n e r h i g h l y i n f l u e n c e d

b y E u r o p e a n s t y l e .

C h i n a , circa 1 8 2 0

F R A M E D : 2 4 IN X 2 9 IN ( 6 1 C M X 7 4 C M )

H E I G H T : 2 4 IN ( 6 1 CM)

W I D T H : 2 9 IN ( 7 4 CM)

Besides port scenes, ship paintings and portraits. Chinese

painters working for the export market produced a large

body of genre paintings, satisfying the growing fascination

amongst Western patrons with the East. Generally

depicting figures within landscapes, gardens or domest ic

settings, such works offered the contemporary v iewer a

rare glimpse into a wor ld shrouded in mystery, to which

access, was for the most part, denied to outsiders.

As Carl Crossman. notes in his book. T h e China

Trade":"[ . . .with) little opportunity to observe the Chinese at

home, other than on the rare visits to the Honam estates

of some of the wealthy hong merchants, western traders

obviously enjoyed having a fragment of the Chinese way of

life permanently recorded in the paintings they purchased

to take to the W e s t . "

This work is clearly a portrait of one such wealthy

hong merchant, shown seated in the company of his wife

and child. The quality of their clothes and surroundings and,

indeed, of the painting itself suggests both a significant

sit ter and patron. The intimacy of paintings such as this

made them particularly popular

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A pair of Japanese table screens A pair of Japanese six-fold, gold ground early 19th

century table screens, each depicting exotic songbirds

held within diverse cages. Each panel is surmounted by

a trompe I'oeil of a rolled up screen and retains its

original silk border and framing.

Japan, circa 1820

H E I G H T : 2 5 IN (63 CM)

W I D T H : 6 7 I N ( 1 7 0 CM)

Japanese folding screens, or Byobu, played a significant

part in the otherwise minimal Japanese interior. Such

screens are generally constructed of paper mounted over

a light wood skeleton, usually of two or six panels, and

almost always produced in pairs. They would frequently be

embell ished with gold leaf, a feature some suggest may

have been an at tempt to reflect light in dimly lit interiors.

Very early examples tend to depict panoramic

landscapes and classical literary subjects, but during the

Edo period (1603 - 1867) the emphasis changed. The

focus of the artists moved to the people themselves, to

individuals and their pastimes. Solid gold grounds became

popular, against which there are no indicators such as

landscape or architecture to define the context. This fine

pair certainly conform to this later type, still lifes, wi thout

the pictorial context specific to western types.

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A burr olivewood dining table A 20th century burr olivewood veneered extending dining table by Paul Evans (1931-1987), decorated throughout with

asymmetrically arranged square and rectangular sections. The plinth support is composed of alternating vertical rectangular

sections of veneered olivewood and chrome. The table has two additional central leaves.

America, circa 1970

H E I G H T : 29V4 IN ( 7 4 CM)

W I D T H : 4 4 IN ( I I I CM)

L E N G T H C L O S E D : 8 4 IN (2I3 .5 CM)

L E N G T H FULLY E X T E N D E D : I I 4 IN ( 2 8 9 . 5 CM)

1

-.0

§ 0 .

- M m :

. -t;

- . - - ' A X

a 1

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Paul Evans was bom in Newtown, Pennsylvannia in 1931 and studied sculpture and metalwork at the Philadelphia Textile Institute and at the School for American Grafters at the Rochester Institute of Technology. In 1952, he was awarded the prestigious Booth Scholarship to attend Cranbrook Academy of Art in Bloomfield Hills, Michigan. In 1957, Evans exhibited at the Museum of Contemporary Crafts in New York and started exhibiting at a Manhattan gallery called America House.

Evans's extensive training in metalwork and sculpture resulted in unique designs of furniture primarily made from steel, bronze and wood. In 1964, Evans met the president of 'Directional', a national furniture manufacturer and became the firm's designer leading to the opening of his own studio in Plumsteadville, Pennsylvannia. This table is a part of Evans's final line for Directional called 'Cityscape'. He juxtaposes square and rectangular burr veneers in a patchwork design, creating a visual metaphor where the veneer represents nature with the design and form representing the New York skyline. Evans stopped working for Directional in the late 1970s but continued with his own workshop and designs until his death in 1987.

95 Wr

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An Art Deco gaming table An Art D e c o circular g a m i n g table. T h e top, the frieze a n d each face o f the base has f l ame veneered panels o f rosewood.

T h e r e are four drawers in the frieze, which is s u p p o r t e d by four c o l u m n s o f smal l drawers. At the top o f each, there is a

small sl ide for drinks or candlest icks a n d the top drawer is d iv ided to hold two packs o f cards. Each drawer has a nickel

plated ball handle . T h e table s tands on inset b lock feet.

Each top drawer bears a fire brand for the maker P.P.

France, circa 1 9 2 5

H E I G H T : 2 9 IN ( 7 4 C M )

D I A M E T E R : 3I!/2 IN (80 C M )

Art Deco, like its predecessor Art Nouveau, was essentially a

surface art, placing great emptiasis on ornamentation. Shaped

also by the radical influences of Cubist painting, Bauhaus

architecture and the influx of tribal art from Africa and South

America, objects took on the sleek, streamlined appearance that

is so familiar today. With the emphasis on ornamentation came a

fascination with exotic and valuable materials.

Highly figured woods were particularly popular, flame

veneers of rosewood here used to great effect, particularly on

the top where four matching veneers are combined to create a

striking geometric pattern. Such manipulation of natural materials

for decorative effect was typical of the period.

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A glass standard amp

An Italian mid 20th century bronze and blue

aventurine glass standard lamp taking the form

of a stylised Grecian bow supported on circular

domed plinth. Each of the attenuated conical

elements of the bow and the domed foot are in

glass and framed in bronze.

The glass attributed to Venini

Italy, circa 1950

H E I G H T ( I N C L U D I N G S H A D E ) : 7 6 I N ( I 9 3 C M )

The pale blue glass, with its appearance of aventurine

caused by inclusion of small particles of copper, is

typical of the glass produced by Venini and other

Murano glass makers of this period. Paolo Venini, a

Milanese lawyer, arrived in Venice in 1921 where he

formed a partnership with Giacomo Cappellin, a

Venetian antique dealer Together they founded a

glassworks, Cappellin Venini & C. that would

revolutionise Venetian glass design. Until then Venice

had been immune to outside design influences. Both

the Arts and Crafts movement and the Art Nouveau

era had passed by without any perceptible change in

the designs emanating from the island of Murano in

Venice. Cappellin-Venini produced simple shapes in

clear or pale transparent colours, in sharp contrast to

the over-decorated tourist-trade output that was the

signature of much Murano glass at the time. After

four years the partnership split and Venini formed his

own company, Vetri Soffiati Muranesi Venini & C.

By extending invitations to artists and architects

to work with their craftsmen (such as Fulvio Bianconi,

Gio Ponti and Toni Zuccheri), Venetian glass

production was transformed, and developed a new

shape, look, and expression. Creating designs for

limited rather than mass production, Venini took

advantage of Murano's historic tradition of small

barely mechanised factories where all manufacturing

processes were still performed by hand.

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An Art Deco standard lamp A r a r e A r t D e c o s t a n d a r d l a m p in s t a i n e d s h a g r e e n

a n d p a l m w o o d t a k i n g t h e f o r m o f a c o l u m n w i t h a

s h a g r e e n c a p i t a l , flanked b y a s y m m e t r i c t a p e r i n g

s h a g r e e n p a n e l s . T h e w h o l e is s u p p o r t e d o n a s q u a r e

p l a t f o r m e n r i c h e d w i t h t r i a n g u l a r p a n e l s

o f p a l m w o o d a n d s h a g r e e n .

F r a n c e , circa

H E I G H T ( INCLUDING SHADE): 8 6 IN ( 2 1 8 . 5 CM)

overleaf

A pair of Italian commodes A p a i r o f I t a l i a n m a h o g a n y ea r ly 2 0 t h c e n t u r y A r t D e c o

p e r i o d c o m m o d e s . E a c h h a s a fall f r o n t , d e c o r a t e d w i t h

s t r i p s o f p o l i s h e d b r a s s b e t w e e n p a n e l s o f finely f i g u r e d

m a h o g a n y . E a c h c o m m o d e is m o u n t e d a t t h e f r o n t w i t h

a h a n d l e o f a s ty l i s ed c a b l e m o t i f T h e y a r e s u p p o r t e d

o n ' X ' f r a m e legs t e r m i n a t i n g in l a c q u e r e d b r a s s f ee t .

T h e d e s i g n a t t r i b u t e d t o G i o P o n t i .

h a l y , circa 1 9 3 5

H E I G H T : 3 7 IN (94 CM)

W I D T H : 4 0 IN ( 1 0 2 CM)

DEPTH: 1 9 IN (48 CM)

Shagreen underwent something of a renaissance during

the art-deco period. Originally it became popular in

Europe during the eighteenth century, being used to

cover small objects such as caskets or prestigious

scientific instruments. Due to the expense and relative

scarcity of the material it was rarely used for anything

larger, until around 1925. The Art Deco style placed

great emphasis on surface decoration employing a

myriad of exotic materials, as is the case here. An

uplighter decked in a combination of shagreen and

palmwood is an essay in extravagance, representative

of the style and period.

The term shagreen is derived from a combination

of the Turkish saghh (the croup of an animal) and the

French word chagrin (on account of the rasping nature

of the leather). A type of untanned leather, it was

originally obtained, in Persia and Turkey, from the hides

of asses, horses and camels. When still soft, seeds

were pressed into the surface and shaken out when

dried, leaving small indentations behind. However, the

term also refers to the treated skin of sharks and ray-

fish. ground flat to create a similar granulated pattern,

as first used by the Japanese. The shagreen used on

this standard lamp appears to be either sharks or ray-

fish skin.

Gio Ponti lived a long and very fruitful life Cfrom 1891-1979).

Having studied architecture in his hometown of Milan, he went

on to receive a number of significant commissions, including

most importantly his renowned Pirelli tower. Regarded by many

as the godfather of modern Italian design, his achievements

extend way beyond architecture, having also been a celebrated

designer, painter and poet, as well as founder and editor of

two very significant design magazines, particularly Domus

which, founded in 1928, is still in print today

In furniture design, as elsewhere, Ponti was prolific. As a

result, certain characteristic features can be identified in his

works. He had a propensity for modifying or experimenting

with traditional themes. One aspect of this is his ability to

reduce seemingly the visual weight of an object, to make a

substantial piece of furniture appear light. This was achieved in

much of his work through the use of tapered legs, thick at the

top and narrowing to a much thinner and daintier foot, as can

be seen in many of his tables from around the forties, such as

the Rosalinda'. He experimented with this motif further, first

curving the legs, as illustrated in Lisa Licitra Ponti's book on

Gio Ponti, publ. Rizzoli, 1996, USA, then crossing them to

form an X frame, as is the case with this pair of commodes,

the result is something of a contradiction. A visibly heavy and

substantial piece of furniture supported on legs which, though

wide at the top, descend to a delicate plie. This playful

abandonment of the traditional rules is characteristic of Ponti's

distinctive style.

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M A L L E T T A T B O U R D O N H O U S E

Forthcoming Events

2002

1 8 - 2 4 October The International Fine Art and Antique Dealers Show

The Seventh Regiment Armory, New York, USA

23 - 27 October The San Francisco Fall Antiques Show

Festival Pavilion, San Francisco, USA

2 0 0 3

1 6 - 2 6 January The Winter Antiques Show

The Seventh Regiment Armory, Neiv York, USA

30 January - 9 February Palm Beach International Fine Art and Antiques Fair

West Palm Beach, Florida, USA

1 3 - 2 3 March TEFAF Maastricht Fair

Maastricht, The Netherlands

10 - 17 June The Grosvenor House Art and Antiques Fair

Grosvenor House Hotel, London, UK

13 - 16 June The International Ceramics Fair

Park Lane Hotel London, UK

1 7 - 2 3 October The International Fine Art and Antique Dealers Show

The Seventh Regiment Armory, New York, USA

© Mallett & Son (Antiques) Ltd 2002 Designed by Sinclair Communications Cover illustration by Charles Millar Printed in England by Balding + Mansell

Terms and conditions of sale All business transacted is subject to our standard terms and conditions of sale, copies of which are available on request.

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