2003 Mallett at Bourdon House

^ ^ Mi TT

c'y ^mm mrw^

i ' V -

^ * o

j - S '

/!-<• ^ ? f i

7 - '

— rr^-jMrn

"m

,

7 , t

M A L L E T T LONDON • NEW YORK

2 Davies Street London W 1

141 New Bond Street London W 1

929 Madison Avenue New York 10021

m

-r :

m

\ ' ..

M A L L E T T A T B O l ' R D O N H O U S E

Introduction

The Bourdon House catalogue this year is more than a selection of our recent

acquisitions. Within the pages we have the finest collection we have ever exhibited.

From France we have examples of exceptional stamped furniture, in particular, pairs of

bergeres by Jacob and marquises by Sene. There is a fine small-scale secretaire by Bon

Durand which is an expression of the early neo-classical style. From Italy we have a

marvellous example of arte povera work, a bureau bookcase, our first for twenty years.

From the Baltic region we have a pair of glass and gilt bronze chandeliers which are very

rarely found in pairs. Finally, from Sweden we have a magnificent blue glass bordered pier

mirror and a signed centre table from that neo-classical jewel, the palace of Skottorp.

Whilst the finest continental decorative arts are the main focus of Mallett at Bourdon

House, it remains part of our intention to maintain our reputation for whimsical and

unusual pieces. With this in mind we are including amongst other things, a very rare pair

of steel fauteuils attributed to Gaudillot and two library wheelbarrows; the mahogany

example has a provenance from Noseley Hall. We also illustrate a charming bedside

commode from the Hache family workshops in Grenoble, which is veneered with

remarkable parquetry of twigs creating a fantasy version of oyster veneer.

Bourdon House has always been known for objects and in this catalogue we continue that

tradition with the large scale Ravrio ewers and a fine pair of bacchante heads by Marin.

We are also delighted to have acquired a pair of landscapes by Claudot which came from

a private collection in France and have never been on the market before.

To conclude, we hope that the eclectic nature of the Bourdon House style is fully

expressed in this catalogue and we would be delighted to answer to answer any questions

on this collection. We look forward to seeing you in London, but a selection of these

items will be in New York and the staff there will be delighted to help you.

Thomas Woodham-Smith

I . ,

1 , /

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

An arte povera bureau bookcase An important early 18th century Venetian arte povera bureau bookcase, profusely decorated with elaborate decoupage

vignettes on every surface on a cream ground. Each panel is enclosed by running floral and foliate designs. The slope

front has fantasy carriages drawn by various mythical beasts, lions, camels and winged classical Gods and Old Father

Time. It opens to reveal a fitted interior with pigeon holes, small drawers and a fully decorated writing surface with a

central ornamental fountain and elements depicting the training of a war horse, all enclosed by a deep border of golden

heraldic motifs. The three lower drawers are decorated with period carriage scenes and romanticised pastoral landscapes.

This lower section is framed by dense swags of beribboned fruit supported on bracket feet with vases of fruit and

flowers; the upper section has two arched mirrored doors, each surmounted by decorated finials, enclosed by gilt

mouldings and dense arabesque decoration which open to reveal an elaborate interior of drawers and shelving also

richly decorated with contemporary pastoral activities and fantasy scenes of graduated decoration. The upper section,

repeating the pastoral scenes of its interior with farm animals, harvest celebrations and hunting scenes, stands above a

central panel of fantasy carriage scenes and elaborate classical figures, while the lower section, on each side, is decorated

with figures in rich contemporary costumes, dancing and playing musical instruments. The whole surface is in

extraordinary original condition. The decoupage retains good colour and engraved detail. The antique mirror plates are

later replacements.

Italy, circa 1735

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

W I D T H : 4 O I N ( I 0 2 C M )

D E P T H : 2 I ' / 2 I N ( 5 5 C M )

r m ±

3

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

Since as far back as the late 16th century, lacquered objects from

the Far East had been shipped to Europe, in relatively small numbers

at first, though subsequently in constantly increasing quantities to

meet the burgeoning demand. The relative scarcity of lacquered

objects combined with the immense demand meant they

commanded high prices, a fact that drove European craftsmen

to discover the process for themselves or at least a method of

imitating it convincingly.

Lacquer centres appeared throughout Europe with Venice

becoming one of the most significant of all. As early as the mid 17th

century there existed an extremely active trade in Venetian lacquer,

which suggests that it had been going on for some time previously.

As with all lacquer centres during the period, Venice had its own

recipes for the necessary varnish but it seems the favoured type was

that invented by Father Coronelli (1659-1702), the official

cosmographer of the Serenissima, who made globes that he

protected with layers of varnish. Coronelli stated that its main

ingredient was sandarac, known for its durability and hardness,

and this remained one of the chief ingredients of Venetian lacquer

Initially, like elsewhere in Europe, Venetian artisans would imitate

Oriental styles and models in an attempt to give their work the exotic

appearance that was favoured at the time. However, as the 18th

century progressed, Venetian lacquered objects would become less

dependent stylistically on imported Far Eastern models and follow

more closely the general trend of contemporary European fashion.

Arte povera (also lacca povera or lacca contrafatta), particularly

in Venice, developed along side traditional lacquer as what is initially

regarded to have been a cheaper alternative. Surviving examples

today, however, are considered equally as rare and as important as

conventionally lacquered pieces. The technique was not uncommon

K

49 is

B O U R D O N n O L- S E

elsewhere in Italy and Europe but found particular favour in

Venice. The process involves the use of motifs and scenes cut

from prints especially prepared for this purpose by firms of

printers such as Remondini in nearby Bassano. Once applied to

the piece they would be painted and subsequently varnished.

The relative ease of the process attracted a number of

dilettantes as well as professionals, lacquered objects remaining

in vogue throughout the period. It became a fashionable pastime

for young ladies throughout Europe, particularly in France (here

called decoupage. from decouper-

to cut) where it probably became fashionable around 1720. In

1121. Sieur Crepy. fils, advertised engravings done after a

screen painted by Watteau with compositions suitable "aux

decoupures dont les dames font aujourd'hui de si jolies

meubles." However, despite the universal amateur appeal of

Arte Povera, Venice remained the centre of professional

production.

As mentioned above, the 18th century saw the

emancipation of Venetian lacquer-workers from the inherited

chinoiserie style. This affected both the nature of the imagery

as well as the style of the furniture itself. A strong English

influence, for example, can be seen in the making of furniture,

a fact to which this piece is testament; the flat-fronted lower

section and the double-domed canopy with finials imitating

English Queen Anne models. Equally, while some of the interior

scenes on this piece could undeniably be described as

chinoiserie, the decoration is on the whole, far more European,

depicting Watteauesque peasants in landscapes and

Berainesque motifs within scrolling and foliate borders.

Arte Povera work is most commonly found on a red ground

while examples with a white ground are extremely rare.

Amongst the latter the present cabinet, together with another

Venetian cabinet of serpentine form represent the best surviving

recorded examples of furniture in this technique on a white

ground.

C.f. Illustration fig. 152. 'Lacche veneziane settecentesche',

Saul Levy. Gorlich Editore, Milan, 1967.

A pair of Sene marquises An exceptional pair of Louis XVI giltwood marquises having square backs finely carved with beading and a laurel leaf mot i f

T h e arms sweep down to a scroll terminal carved in low relief with acanthus leaf T h e side and front seat rails are carved with

further leaf moulding on the top edge and a ribbon on a recessed panel at the centre. T h e marquises stand on turned tapering

fluted and reeded legs and are surmounted by capitals enriched with a foliate patera.

Each stamped C-SENE.

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 : 2 0 I N ( 5 I C M )

W I D T H : 3 6 1 N ( 9 1 . 5 C M )

D E P T H : 2 3 1 N ( 5 8 . 5 C M )

Ml

•

f' I

Claude I Sene (b. 1724 - d. 1792) Claude Sene was the son of Jean Sene who was the first of a long line of renowned Parisian cabinet-makers. His stamp, SENE LE PERE, appeared from the time when statutes made the stamping of furniture obligatory in 1743. Claude I married Marie-Jeanne Saint Georges and went into partnership with her brother, Jean Etienne Saint Georges. Sene became a maitre in 1743 and in 1747, with Jean Etienne, he took on the workshop of his father, in the rue de Clery. Although they worked out of the same atelier the two cabinetmakers signed their own work. Claude I s signature was very distinguishable, the C being more like a G and the capital N in his cMirnanrto a r i n o a r i n n K a ^ l ^ f n frr\nt C^ . l anAa I nri-irli i n o r l or- imo \tar\i f inc i

carved. It is believed that the celebrated chair-maker Nicolas Hertaut (1721 -1771) often did some carving work for him.

Claude I's examples of seat furniture executed in the neo-classical Louis XVI style are rare as he retired in 1780 when the style was just entering its zenith. His chairs are characterised by their generous but balanced proportions, elegant form and fine, delicately carved decorative elements such as husks, beading, entrelacs, paterae and foliate motifs. The chairs illustrated here are stamped with the characters associated to him; therefore we can be certain these marquises were by him and not by his son Claude II. Examples r\f h i e ar\r»i:ii>r in K ^ i i o a o H o e Ar+o r ^ A o ^ r a t i f o ani-l t K o K^i i o A q


A Chinese export occasional table A rare Chinese export black lacquer tip-top circular occasional table in fine original condition. T h e profusely decorated

top with fantasy Oriental scenes of lake palaces, sampans and rocky islands all with exotic birds and trees. T h e whole is

enclosed by a deep border of entwined chrysanthemum and peony flowers amongst trailing foliage. T h e top rests on a

birdcage support and turned stem with further exotic foliate gilded decoration, which extends onto the triangular base

which in turn terminates in elaborately carved and gilded lion's paw feet.

China, circa 1810

H E I G H T W I T H T O P U P : 4 8 1 N ( I Z 2 C M )

H E I G H T W I T H T O P D O W N : 2 8 1 N ( 7 I C M )

D I A M E T E R : 3 6 1 N ( 9 I . 5 C M )

13


A pair of Swedish stools A Louis XV console table A pair o f Swedish neo-classical late 18th century

giltwood stools having straight sides and serpentine

fronts and backs. T h e seat rails are decorated with a

carved palmette mot i f and each leg is surmounted by a

square panel with a recessed centre enriched with a

foliate patera. Each leg is turned, tapering and fluted and

surmounted by further carved leaf mot i f

Sweden, circa 1795

H E I G H T : I 6 I N ( 4 0 C M )

W I D T H : 1 7 1 N ( 4 2 C M )

D E P T H : I 6 I N ( 4 0 C M )

A fine Louis X V gilrwood console table having a frieze carved

as a continuous interlocking series o f boldly drawn shell-like

scrolls each carved with elaborate fluting and subsidiary

background ornament. T h e scrolls are further carved with a

running chain o f flowers carved to give the impression o f

passing through the scrolls and intertwining the legs and

stretcher. T h e table stands on elaborately scrolling cabriole

legs carved in a similar manner to the frieze and terminating

in a scroll foot. T h e stretcher repeats both the shell-like

scrollwork o f the frieze and the bold interlocking scrolls on

the legs. T h e table retains its original marble top.

France, circa 1755

H E I G H T : 3 3 1 N ( 8 4 C M )

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

D E P T H : 1 9 1 N ( 4 8 . 5 C M )

O n the table are a pair o f Louis X V I terracotta busts.

14


The Chateau de Sully An unusually large scale pair of late 18th century gouaches depicting the Chateau de Sully and its gardens. Each view shows

the estate bathed in twilight with figures working the waterways and promenading along the many paths. A carriage is arriving

at the Chateau and the town can be seen in the distance.

France, circa 1800

F R A M E D : 2 8 1 N X 4 6 1 N ( 7 1 . 5 C M X 1 1 7 C M )

With the assassination of Henry III in 1589, Henry IV became King,

during a period of significant civil unrest in France. The Wars of

Religion (1562-98) were at their height, pitting the Catholic French

establishment against the Protestant Huguenots. The Holy League,

an association of Roman Catholics led by the 3rd due de Guise,

opposed concessions granted to the Huguenots by Henry III, and

so vehemently opposed the coronation of another Protestant King.

Henry's position remained vulnerable until in 1 593 when he

converted to Catholicism and in 1598, he signed the Edict of

Nantes, securing liberty of conscience to Protestants and

sanctioning their public worship throughout the Kingdom, with the

exception of Paris Cthe Catholic clergy Richelieu in particular,

opposed the Edict, which would later be entirely revoked by Louis

XIV). Henry, therefore, extinguished or at least dampened any

significant religious pretext for resistance to his rule, ending a civil

war that had raged throughout France for forty years. In this same

year, the treaty of Vervins saw an end to aggression with Spain.

With peace at home and on his borders, Henry was now free to

focus on the domestic situation in France.

Aided by his loyal ministers, in particular the Huguenot baron de

Rosny (later the due de Sully), Henry set about rebuilding the war-

ravaged French economic infrastructure; building roads and canals,

encouraging agriculture and public works and establishing new

sources of wealth and prosperity. The mainstay of these

improvements, however, lay in the financial restructuring undertaken

by Sully, who in the course of his office turned an impressive

national deficit into surplus through a network of far-reaching

reforms. Sully was by no means popular, hated by most Roman

Catholics because he was a Protestant and by most Protestants

because he was faithful to the king, he enjoyed the friendship and

implicit trust of Henry IV, In a relatively short period he proved

instrumental in dispelling the chaos into which the Wars of Religion

had plunged France and tempered the ruinous court expenditure

that consumed other contemporary European monarchies. However

Sully's political role ceased in May 1610, when a fanatic Catholic

assassin named Ravaillac brought Henry IV's life to an abrupt end.

Having played an essential part in the transformation of France, he

retired from Court the year after Henry's death, having amassed a

considerable personal fortune.

The extent of Sully's achievements while at the court of Henry

IV was considerable to say the least. In 1594, the king had

appointed a finance commission of nine members, to which he

added Sully (then Rosny) in 1596, who at once began transforming

the country's economic situation. So successful were his reforms

that by 1601, he had been appointed sole superintendent of

finances. Besides this, in 1599 he was appointed grand

commissioner of highways and public works, superintendent of

fortifications and grand master of artillery; in 1602 governor of

Mantes and of Jargeau, captain-general of the queen's gens

d'armes and governor of the Bastille; in 1604 governor of Poitou:

and in 1606 duke and peer of Sully ranking next to princes of the

blood. He declined the office of constable because he would not

become a Roman Catholic.

Sully was truly instrumental in Henry IV's construction of a

stable and prosperous France, and was rewarded accordingly.

Perhaps the most impressive monument to his own success is the

chateau of Sully-sur-Loire, a late 14th century fortress on the banks

of the Loire, that he acquired in 1602. Sully made significant

improvements, creating the castle park, enlarging and restoring

the original fortress and reinforcing the dykes to protect the town

against the river's tendency to flood. The chaeau remained in the

family until 1962. when the Departement du Loiret acquired it.

It remains today a magnificent testament to his success.

16

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

17

4

m

m

M A L L E T T A T B O U R D O N U O l ' S E

A pair of bronze busts A pair of cache-pots A pair o f Lou i s Phi l ippe miniature brass busts o f Henr i

IV a n d his Minis ter o f F inance a n d Agriculture, the d u e

de Sully. T h e busts are s u p p o r t e d by gilt bronze a n d gris

St A n n e circular pedestals . Each one bears a p l aque with

the subject ' s n a m e .

France, circa 1 8 5 0

A pair o f Loui s -Phi l ippe Paris porcelain two part cache-

pots . T h e sides o f each are decorated with a frieze o f

l andscape vignettes poss ibly depic t ing views o f an estate;

these are set against a b lack g r o u n d decorated with

raised gilt scrolls a n d vines. T h e cache-pots have gilt

l ion's head faux handles a n d have at both the rim a n d

the foot a parcel gilt reeded m o t i f

H E I G H T : I O I N ( 2 5 C M ) France, circa 1 8 4 0

H E I G H T : 7V2IN ( 1 9 C M )

D I A M E T E R : 7 1 N ( I 8 C M )

BOURDON HOUSE

A Swedish pier mirror A very rare large scale early 18th century Swedish pier mirror mounted profusely in gilt lead. The domed cresting is flanked

by low relief cast vases overflowing with fruit at the apex of the arch. The mirror is surmounted by a crowned cartouche inset

with a cobalt blue glass panel. This element is supported by trumpet bearing maidens in roman garb. The dome and sides

are bordered with engraved and gilt bevelled, blue glass panels with low relief cast gilt lead strapwork.

Attributed to Burchardt Precht

Sweden, circa 1735

H E I G H T : 7 7 1 / 2 1 N ( 1 9 7 C M )

W I D T H : 4 6 1 N ( 1 1 7 C M )

Sweden enjoyed great diplomatic power and prosperity

fol lowing the Unification under Gustav Vasa (1520-1560).

This continued in the 1 7th century with the young Queen

Christina (1632-1654) who was highly educated and a

passionate collector. She increased the country's expenditure

on European works of art by selling crown lands to the

ar is tocracy Later the Regency of Charles XI (1655-1697)

was a period of enrichment for this small sector of society who

avidly patronised art and architecture, following the example of

the German nobility.

Burchardt Precht (1651-1738) was a sculptor and cabinet-

maker f rom Bremen and was educated in Hamburg by his

brother Christian Precht. He went to Stockholm in 1674 to work

at Drot tningholm Palace where he created a Royal bedchamber.

In 1681, he was recommended for the posit ion of royal cabinet-

maker and sculptor by the Royal architect N.Tessin the Younger

He was very influential and played a major part in disseminating

the Swedish baroque style, also known as the Precht style,

which had absorbed French and Italian influences.

The joins in the glass at the borders and between the crest

and the main plate are bevelled or 'd iamonded'. This technique

produced particulariy magical ef fects with the reflections of

candlelight. Border glasses were often of coloured glass and in

this case the blue border glasses themselves are secured by a

lead frame, which is in turn gilded and decorated using fine

beading, egg and dart and foliate mounts. This mirror shows the

typically Swedish style of gilt-lead mounts surrounding engraved

glass. The influence has come directly f rom mirrors at the

courts of Louis XIV at Versailles and of Will iam III at Hampton

Court , where there hangs a mirror similarly bordered in blue

glass and has an engraved crown and cipher of the King on the

pediment.

This form of rectangular plate contained within engraved

glass borders, surmounted by the focal point of an arched

cresting, was a popular mirror design that became a feature of

Swedish baroque mirrors. Gradually the crests became more

integral to the mirrors and often integrated a small mirror plate

f ramed in a decorated gilt metal frame. The use of such an

additional mirror plate would signify the wealth of the owner,

mirrored glass being a great luxury. The cartouche surmounted

by a crown bears strong similarities to that of the mirror

mentioned below, also by Burchardt Precht. Crowns of ten

feature within crests of mirrors and other furniture and can

indicate royal associations or monarchical allegiances. Precht's

signature motif of a pair of baskets of f lowers appears here on

the cresting below the female figures at the base of the arch;

other favoured motifs were a pair of seated putti and a pair of

lions. This mirror has two seated female figures facing opposi te

directions, which is another signature motif.

Illustrated:

C.f . A comparable rare gilt-lead mounted mirror attr ibuted

to Burchardt Precht, Sotheby's sale of Important French &

Continental Furniture and Tapestries. London, Lot 22, 11 June

2003.

Literature:

'Wor ld of Mirrors 1650-1900' , Graham Child, publ. Sotheby's

Publications, London, 1990

'Speglar, Spegelmakare & Fabrikorer I Sverige 1650-1850' ,

Torsten Sylven and Elsebeth Welander-Berggren, publ. Prisma,

Stockholm, 2000.

'Mirrors ' , Serge Roche, Germain Courage, Pierre Devinoy, publ.

Rizzoli, New York, 1985

1 A collection of Namur coffee pots A rare collection of late 18th century Namur brown pottery, consisting of six coffee pots, a teapot, two milk jugs and a

sugar bowl. Many of the pieces have silver mounted covers and spouts in boldly modelled foliate designs cast in low relief

Belgium, circa 1775

H E I G H T : M A X I M U M I 4 V I I N ( 2 9 C M )

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

A Charles X red tole chandelier A charming Charles X red tole chandelier, with baluster form stem, decorated with gilt neo-classical ornament

which support the four arms, decorated on the front face with a basket of pomegranates supported by an

elaborate anthemion.

France, circa 1840

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

W I D T H : I 8 I N ( 4 6 C M )

Also available is a three branch chandelier from the same workshop

i f

K,

TwT

24

A pair of parcel-gilt girandoles A pair of North Italian parcel gilt girandoles. The mirrors are framed with boldly

modelled ' C and 'S' scrolls. The apex of the mirror is surmounted by a finely

carved shell whilst the base is enriched with a two branch gilt tole sconce.

Probably Genoa, circa 1780

H E I G H T : 2 6 1 N ( 6 6 C M )

W I D T H : 1 4 1 N ( 3 5 . 5 C M )

..mm

•• .̂ ••ST'. • •

m

A Regence giltwood side table An outs tand ing Regence period gil twood side table having a central bearded mask in the frieze, which is repeated at the

capital of the legs. T h e frieze itself is decorated in low relief with strapwork and a lattice wi th foliate patera at the centre

all set against a cross hatched g round . T h e lattice-work cont inues down the cabriole legs in to the scroll toes. T h e table is

joined by an 'X' f rame stretcher of square cross-section scrolls which are enriched by acanthus leaf carving and recessed

panels of s trap-work and cross-hatching. At the centre of the stretcher is an elongated hexagonal e lement carved wi th

fur ther lattice-work and o rnamen t . T h e table has a replacement period marble top.

Probably South Germany, circa 1730

H E I G H T : 3 2 1 N ( 8 1 C M )

W I D T H : 5 4 1 N ( 1 3 7 C M )

D E P T H : 2 7 1 N ( 6 8 . 5 C M )

xh.

pCTf^fwiS

r/-

-

W I

V " Wit

; R D O N H O U S E

A pair of watercolours by Filippo Giuntotardi A pair of watercolours of waterfalls in rocky landscapes, one with three figures in the foreground and inscribed: viie

generates des casitellos de Tivoloi en i pleins, Filipo Giuntotardi, Viante in Roma, 1794, the other with a knarled tree in the

foreground inscribed: vue de la Cascade de Tivoli en d'.. .plan, Filippo Giuntotardi, Viande in Roma, 1794,

Italy, 1794

F R A M E D : 3 4 1 N X 2 5 1 N ( 8 6 . 5 C M X 6 3 . 5 C M )

28

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

Filippo Giuntotardi was born in Rome in 1768. He was initially a

sculptor and then studied at the Academia di San Luca where he

devoted himself to landscape painting and won the prize for landscape

paintings in 1783, His subject matter was principally drawn from

classical Rome and Tivoli.

Giuntotardi was influenced by the clarity and luminosity of German

neo-classical artists working in Rome such as Joseph Anton Koch.

Among some of his known works are 'Vue du Forum', 1805, painted

for Prince Georges of Mecklembourg; 'Vue de Tivoli': and illustrations

for a work by Dodwell entitled 'Antiquites grecques et pelasgiques'.

. J f e L i ' i I I "I r - f

29

r c T

B e j K ^ B v a H 'W . ^ T ^ W ^

••fc.

••l' • • -

31

I i l ' t i ^ ^ U - I i u -u J J ill . u ' ( i . y I ,

I

i n.

—

J

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

A miniature secretaire by Duranc A very rare secretaire abattant of small scale in the finest grained mahogany. The central door has moulded brass trim and

fielded central panel with ormolu foliate roundels at each corner and opens to reveal a fitted interior with small drawers and

pigeon holes. The two lower doors have similar fielded panels with ormolu fitments and complex ornamental locking

mechanism inside. The sides are more simply designed with a single long fielded panel and ormolu moulded frame. The front

corners with deeply fluted and reeded pilasters are enriched by further ormolu foliate mounts. The whole stands on elegant

tapering legs with ormolu foliate feet.

Stamped B-DURAND

France, circa 1770

H E I G H T : 5 2 1 N ( 1 3 2 C M )

W I D T H : 27I/21N ( 7 0 C M )

D E P T H : 13V21N (34CM)

DEPTH I N C L U D I N G FALL FRONT: 33 IN (84CM)

Bon Durand became a maitre on the 18th

February 1761 and up until the point of the

Revolution he worked in the rue de Charenton,

largely for the marchands-ebenistes

(merchants) such as Pierre Migeon and Denys

Genty. He also produced many mahogany

pieces for the tapestry weavers such as

Bonnemain and the Presle brothers. His stamp

(B DURAND) can be found in a number of fine

collections throughout France on both Louis

XV and Louis XVI furniture. In a number of

cases, he appears to have worked with the

ebeniste P Gamier A commode with similar

fielded panels and strong reeded pilaster

corners, having ormolu enrichments, stamped

by both Gamier and Durand is in the Gripsholm

Palace, Sweden. His use of the finest veneers

can also be seen in a commode at the Chateau

of Montgeoffroy

33


A mahogany hall bench An Italian trumeau A fine quality William IV mahogany hall bench, having

a panelled seat and scroll ends mounted with a roundel

patera. The bench stands on unusual tapering legs carved

on the front face with a rolled moulding marking out an

internal panel. The foot and the capital are concave sided.

England circa 1830

H E I G H T : I 8 I N ( 4 6 C M )

W I D T H : 4 8 1 N ( I 2 2 C M )

D E P T H : 1 4 V 2 I N ( 3 7 C M )

A Ligurian late 18th century parcel-gilt pier mirror, the

upper section framing a grisaille painting of a reclining

baccante. The top and base of the mirror are enriched

with finely carved high relief gilt alternate paterae and

sheaf mot i f . The sides are decorated with a recessed

panel carved with delicately wrought arabesques of neo

classical ornament. The panel between the grisaille and

the mirror plate is carved with a frieze of enclosed

anthemia. The mirror plate is original.

Northern Italy, circa 1790

H E I G H T : 8 5 1 N ( 2 1 5 C M )

W I D T H : 4 2 1 N ( 1 0 7 C M )

34

I H ^ v

36


A lacquer table cabinet An unusual early 18th century Antwerp lacquer table cabinet having a concave-sided pediment decorated with gilt

swags against a background and containing a single drawer in the front frieze. The doors and sides are bordered with

brass edges and are decorated with Chinese groups depicting parades with elephants. The doors open to reveal a red

lacquer interior with a multiplicity of drawers, each decorated with gilt animals.

Low Countries, circa 1730

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

W I D T H : 2 2 1 N ( 5 6 C M )

D E P T H : 1 3 1 N ( 3 3 C M )

Table cabinets, so called as they stood on tables rather than stands, came into fashion in the 16th century. Early examples are decorated with panels of marquetry and the production of them was dominated by Huguenot craftsmen trained in Amsterdam and The Hague. As the 17th century progressed, marquetry decoration became increasingly elaborate both in style and in the materials used, oyster veneering and seaweed marquetry giving way to Boulle work on a tortoiseshell ground. By the late 17th century however, lacquer had become the preferred medium, European craftsmen having developed their own process of Japanning in response to the cost and demand of Oriental imports.

One of the principal centres in the production of lacquer table cabinets during this period was Antwerp, whose craftsmen produced some of the finest surviving examples. One of the defining features of Antwerp table cabinets is their shape, in particular the shape of their tops. While predominantly such cabinets would have been of a simple square box form, examples from Antwerp invariably had a domed top such as this one, within which a draw would be concealed. Comparable examples also produced in Antwerp during this period can be found in the Rijksmuseum in Amsterdam and the Schloss Charlottenburg in Berlin.

37

BOURDON HOUSE

A harbour view An outstanding Louis XVI period harbour view depicting figures in the foreground gathered

around a fountain with a ship at harbour with elaborate rigging beside a rusticated lighthouse.

Oil on canvas.

Signed lower right, Jean-Baptiste Claudot

France, circa 1785

U N F R A M E D : 4 8 IN X 55'/2IN ( 1 2 2 C M x 1 4 2 C M )

For a description of J B Claudot see page 87.

38

A pair of Regence appliques A pair of gilt bronze two branch wall appliques applied with acanthus leaf and gadrooned ornament, each with a pierced serpentine and acanthus-leaf-shaped backplate with two foliate, scrolled and spiralling asymmetrical candle arms, the upper sconce having a neo-classical drip pan with foliate ornament the lower with more rococo ornament and a sunflower drip pan.

France, circa 1730

H E I G H T : 191N ( 4 8 . 5 C M ) W I D T H : I I ' / 2 I N ( 2 9 C M ) D E P T H : 8 IN ( 2 0 C M )

An identical pair of bronze ornnolu wall lights are in the

collections du Mobilier national in Paris, CC/f. illust.

'Encyclopedie du luminaire'. Tome V. XVIIIeme si^cle,

Paris. 1934. pi, 182, fig. 4).

A Roman side table A highly unusual Roman giltwood and marble

side table. The frieze has marble inset plaques

at the centre and is bordered with finely carved

acanthus leaves. The table stands on square

tapering legs similarly decorated with foliate

carving and inset marble. The legs are mounted

on each face at the capital with carved dog's

heads. The table has a replacement rouge

marble top.

Italy, circa 1785

H E I G H T : 3 9 1 N (99CM)

L E N G T H : 7 0 1 N ( 1 7 8 C M )

DEPTH: 3 3 1 N (84CM)

Comparisons for this extraordinary table are hard to find, however, a marble inlaid centre table is illustrated in the catalogue of the exhibition 'Fasto Romano' which was held in Rome in 1991. The table is described as being illustrated or possibly designed by the architect Charles Percier whilst he was in Rome for the palazzo Borghese. Though not identical it does combine the panels of marble with finely carved borders and some figurative carving. Percier is known to have designed other tables along similar lines also for the Palazzo Borghese. The research indicates that this table formed part of a suite of four tables, which were commissioned directly for the palazzo. They represent a unique expression of the Borghese taste for rich materials used in furnishing and employing a style which, whilst being neo-classical, includes strong residual baroque qualities.

it I • i

It I ^ 111 lil '-i p. ?

' f . 75 is

iRl

f • I •

UK I 5! I /!•

t cf if i. S ^

IJI

J

k

'X'-r

I! 42


A black japanned side cabinet A n o u t s t a n d i n g N o r t h G e r m a n black j apanned s ide cabinet . Each face is profusely decorated with elaborate chinoiserie

vignettes. T h e top depicts an imperial lion h u n t and a fishing expedi t ion, all set within an idealised landscape . T h e left-

h a n d side a n d d o o r illustrate figures a r o u n d houses a n d temples a n d the r ight-hand s ide a n d d o o r illustrate boa t ing

parties. A recurrent m o t i f is the flying d ragon shown twice with a rider a n d once on its own. Several o f the figures bear

fictional C h i n e s e characters. T h e doors open to reveal shelves.

G e r m a n y , circa 1840

H E I G H T : 3 7 1 N ( 9 4 C M )

W I D T H : 4 9 1 N ( 1 2 4 . 5 C M )

D E P T H : 21 IN <53.5CM)

The origins of the technique known as 'japanning' stem from the luxury import of Chinese and Japanese lacquer from the 16th century onwards. The English enthusiasm for oriental art and culture was lit with the founding and success of the East India Company in 1600. Lacquer represented the ultimate in sophisticated interior decoration. As a consequence of the prestige attached to imported lacquer the costs of cabinets were prohibitive. Such was the impact of lacquer that there sprang a school of craftsmen who attempted to imitate these Japanese and Chinese imported wares.

The essential ingredient of true lacquer is the resin of the rhus vernicifera tree, however. European craftsmen had to be resourceful and so developed imitations. These techniques often involved coating a ground in at least two applications of varnish composed of gum-lac, seed-lac or shell-lac. These substances derived from various preparations of a resin deposited by the insect 'coccus lacca' on twigs of trees. The resin would be dissolved in an alcoholic spirit. Numerous coats of this imitation lacquer would be applied to the surface and various colours were used mainly black, dark green and red (being an English favourite). Decorations would be outlined in gold size and built up with a composition made of gum arabic and sawdust; then coloured, polished and gilded with metal dust. The whole surface would then be burnished. The quality of the finished surface is difficult to tell from true lacquer although the chinoiserie decorations are different. Japanned wares were greatly sought after by European clients and there was a strong trade with Spain and Portugal.

Thomas Howard, Earl of Arundel wrote to his wife regarding the purchase of a quilt which "will serve ye bedde of Jappan exceedinge well'; such coining of terms and the vague geographical comprehension of the time resulted in the term 'japanning' being adopted for the industry as a whole. However it was not until after the 1650's that these imports really arrived in considerable quantities in Europe.

After a slight waning of popularity in the early 18th century there was a revival to coincide with the emerging romantic spirit of the age, stimulated by books on travel to the Orient that appeared. The designs became quite extravagant and wild and by 1 765 the mania for it was on the wane again but did not disappear and re-surged towards the end of the century, being made fashionable again by the dining room of the Prince of Wales at Carlton House, described and illustrated in Sheraton's Drawing Book (1793).

By the nineteenth century, large lacquer screens were being used as grand furnishing items to divide rooms in great English houses. These screens directly inspire the decoration on this side cabinet. Chinoiserie became an increasingly popular motif in English decorative arts. Famously Thomas Chippendale used Chinese motifs as a decorative device in all aspects of his seat and cabinet furniture. This side cabinet demonstrates the enduring appeal of chinoiserie as a form of decoration. Cabinetmakers were still captivated by the exoticness of imported lacquer throughout the nineteenth century and even today the taste for the oriental remains.

43


A pair of Directoire miniature globes A highly unusual pair o f Directoire gilt bronze a n d grey

St A n n e marble stylised miniature g lobes . T h e g lobes are

s u p p o r t e d on a c o l u m n o f marb le with a gilt bronze

beaded rim a n d base together with swags o f chain.


H E I G H T : I I IN ( i S C M )

B A S E : 3V31N S Q U A R E <8 . 5CM)

A pair of steel fauteuils A pair o f Loui s -Phi l ippe steel fauteuils with gi lded

do lph in m o u n t s to the back s u p p o r t s a n d foliate

paterae to the a rm terminals . T h e back is cons tructed as

a c o l o n n a d e jo ined by ball finials. T h e seat is caned a n d

the legs at the back are o f sabre f o r m whilst the f ront

legs are straight. All are jo ined by s u p p o r t i n g rails.

At tr ibuted to G a u d i l l o t Freres et Roy, Besancon .

N o w having suede swab cushions .


B A C K H E I G H T : 34I/2IN ( 8 8 C M )

S E A T H E I G H T : l 8 ' / 2 I N < 4 7 C M )

W I D T H : 2 2 ! / 2 I N ( 5 7 C M )

D E P T H : I 9 ' / 2 I N ( 5 0 C M )

44

With the exception of rocking-chairs, seat furniture for interior use was seldom made from iron. However, a small number of firms such as Gaudillot Freres & Roy. founded in Besangon in 1829. rolled tubes in iron for railings and balustrades and later applied the technique to furniture construction. Such furniture was ideally suited to the interior for its lightness - the tubes required two-thirds less material than solid iron. Indeed, the 'Tischler und Drechslerzeitung'

said of such a chair which Gaudillot Freres showed at the Industrial Exhibition of 1845. "it combines great lightness with unusual durability and is just as at home in the drawing-room in winter as in the garden in summer, when you may exchange the upholstered seat with one from woven rushes."

A closely related chair was illustrated in the 'Beds and Garden Furniture' catalogue from Gaudillot Freres & Roy. Besancon. c.1845

A white marble garden seat A very finely carved white statuary marble garden seat. The delicately veined top has a bevelled edge with foliate

chevrons supported on two pedestals, each having elaborately scrolled foliate carving.

England, circa 1820

h e i g h t : 201N (51CM)

L E N G T H : 7I !/2IN (182CM)

D E P T H : I 8 I N (46CM)

i . 1

• r " i

The Skottorp centre table An outstanding large-scale early 19th century Swedish parcel-gilt centre table. The top frieze being carved as a concave

moulding mounted with foliate paterae carved in high relief. The frieze is supported by a central column carved with

spiral fluting and supported on a circular plinth carved with acanthus leaf. The four corners of the table are mounted with

plinths in faux grey marble enriched with gilt laurel wreaths and having couched open winged sphinxes in gilrwood which

support the table by stylised basket-work column elements,. The table stands on a concave sided faux marble plinth.

Signed G Bylander

Provenance: Skottorp, Sweden

Sweden, circa 1820

H E I G H T : 3 4 1 N ( 8 6 . 5 C M )

W I D T H : 58 IN ( 1 4 7 . 5 C M )

D E P T H : 2 8 IN ( 7 1 C M )

I W i

iff/OfJfJ'AJ'Mj'j'

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

Pehr Gustaf Bylander (d. 1852) was a mirror-maker in Gothenburg active between 1810 to 1852. He supplied Empire mirrors and pier tables of superb quality to many houses in southern and western Sweden, including Skottorp and almost certainly Sperlingsholm.

Skottorp Skottorp in Sweden is a 1 7th century mansion bought in 1813 by the Commercial Councillor Peter Moller from the original family. He had made his fortune through astute deals exploiting the Napoleonic blockades. He commissioned Carl Fredrick Sundvall to remodel the house and he transformed it into what is now considered the home of some of Sweden's most interesting and well-preserved Empire interiors. Carl Frederik Sundvall CI 754-1831) was one of Sweden's most prominent Neo-classical architects. He travelled extensively, visiting and studying in France, England and Italy in the 1 780's and became Court Intendant in 1792. Probably his most famous work was at Haga for the crown but the Skottorp rooms are considered the purest expression of his Etruscan style. The Bylander table, though finished on all sides, appears to have always been used as a side table and was supplied for the Anteroom. This room was designed and executed by Sundvall in the Etruscan taste. Fortunately the room survives and was photographed with the table in situ by Fritz von der Schulenburg. It is not documented but it is very likely that Sundvall played an important part in the design as well as the positioning of the table, as the sphinx motif appears in the room design as well as on the table.

'Neo-classicism in the North', Haken Groth and Fritz von der Schulenburg, publ. Thames & Hudson, London, 1990

49

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

A pair of silkwork pictures A most unusual mid 19th century large-scale pair of Chinese Export landscapes. Each depicts figures set within a bucolic

setting with pavilions. The whole is achieved in painted silk at different levels of relief In one there are two groups, the nearest

shows a figure reading a document with others looking on, in the background two females are bowing before a potentate and

his entourage. Behind them are ducks playing in the water and a stormy sky above. In the other work a more domestic

atmosphere is evident with the foreground showing figures talking across a rusticated wall and in the background girls passing

the time looking out of the window. In this scene we also have a stormy sky.

China, circa 1850

F R A M E D : 3 9 1 N X 4 9 1 N ( 9 9 C M X 1 2 4 C M )

50

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

51

- £-v. ••

ilT . w w i v r r j'

.•^YZ

52


A console desserte by Petit A good quality Louis XVI mahogany console desserte, having a single drawer in the frieze which is brass-mounted and

veneered in acajou mouchete. Inset brass rectangular panels at the top of the legs flank the drawer and that pattern is

repeated at the sides. T h e console stands on brass fluted turned legs with brass capitals and feet. The lower tier is inset

with marble and the frame is strung with multiple lines of ebony. There is a mirrored back. T h e whole stands on

tapering topie feet with brass collars and sabots.

Stamped N ' P E T I T

France, circa 1790

H E I G H T : 341N ( 8 6 . 5 C M )

W I D T H : 51 IN ( 1 2 9 . 5 C M )

D E P T H : 17I/2IN ( 4 4 . 5 C M )

Nicolas Petit (b. 1 7 3 2 - d . 1791)

Nicolas Petit ran a worl<shop in the faubourg Saint-Antoine.

He was a prolific cabinetmaker and exploited the changing

tastes to produce furniture of different styles from rococo, to

transitional and through to neo-classical. He was forward-

thinking and took it upon himself to research widely the

contemporary trends, as such, it is hard to define his

personal style. His career really took off in September 1 763

when he became a maitre.

At this t ime the rococo style was still much in favour and

Petit produced borne commodes and secretaires with

cabriole legs, corner cupboards and bureau plats in this style.

He was experimental and often used marquetry with the

popular rococo motifs and various veneers. He produced

some refined pieces in the transitional style of ten deploying

parquetry. Equally as the transitional style evolved into the

stricter and more restrained neo-classical style he adapted

and, soon after 1765, was producing cabinet furniture with

straight lines and classical details, frequently using mahogany

veneer that was often embellished with carefully rendered

borders of Greek key pattern and other neo-classical motifs.

53

A pair of terracotta vases An unusual large-scale pair of early 19th century terracotta vases. The rims decorated with an egg and dart

motif with wide fluting below. The bodies are spirally fluted and hung with large-scale floral swags. The

handles are reeded and have male and female heads as supports. The bases are also fluted with an unusual

cabled lower border. The whole is supported on a square integral plinth.

France, circa 1830

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

D I A M E T E R : 28 I N ( T O C M )

f j J

m

A tole chandelier A very unusual Charles X six branch

tole chandelier having a corona with

six stylised laurel leaves. The sides are

cream painted with a turquoise double

anthemion in three panels. The main

body of the chandelier has the same

motif in reverse and has an upper

pierced scroll border. Each arm and

shade is painted with a song-bird

perched on a branch against a cream

background.

France, circa 1835

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

D I A M E T E R : 2 8 IN ( 7 1 C M )


A pair of Russian candlesticks A rare pair o f early 19th century ormolu candlesticks with finely turned and crisply cast ornament, the tapering stem headed

by three boldly modelled ram's head masks and ending in claw feet, supported on a circular base with anthemion and rosette

border cast in low relief

Russia, circa 1810

H E I G H T : I 4 I N (35CM)

56

M A L L E T T B O I' R t) «> N H O I' S E

overleaf

A pair of bergeres stamped G. Jacob A magnificent pair o f Louis XVI gilrwood bergeres of unusually generous proportions. T h e back rail and seat rails

are carved with a guilloche in high relief The arms have scroll terminals and are supported by fluted further scrolls

terminating in acanthus leafs. The bergeres stand on turned tapering reeded and fluted legs surmounted at the front

by carved paterae set into a recessed panel.

Each chair stamped G J A C O B

France circa 1775

HEIGHT OF BACK: 39 1N (99CM)

HEIGHT OF SEAT: 2 0 I N (5ICM)

DEPTH: 25 1N (63 .5CM)

WIDTH: 28 1N (7 1CM)

Georges Jacob Cb. Cheny (Yonne) 1739. d. Paris 1814)

Jacob was one of the most renowned and prolific 18th century

French chair makers. He founded a dynasty of cabinet-makers

spanning three generations between 1765 and 1847. His work

spans the Louis XV period through to the Consulat. The orphaned

son of a Burgundian farm worker, he went to Paris at the age of

sixteen and became apprenticed to Jean-Baptiste Lerouge in 1756.

Jacob continued his six years apprenticeship with Lerouge's widow

and it was in this apprenticeship that he formed compagnonnages

with Boucault. Forget and above all. Louis Delanois. with whom he

remained particularly close, becoming godfather to his second son.

Jacob was appointed a maitre menuisier on 4th September 1765

and set up in business in the rue de Bourbon. In 1767 he married

Jeanne-Germaine Loyer. with whom he had five children of which

two became joiners. In time he moved to the rue du Clery where he

stayed until 1775, one street away from Delanois's workshop in the

rue du Petit Carreau. He finally moved to the rue de Meslay in

1 775, from where some of his finest work was issued and his

business prospered. From 1781 he held various offices in the

Corporation des menuisiers-ebenistes, becoming syndic-adjoint

(1788) then syndic (1 789).

Thanks to his friendship with the republican sympathiser and

neo-classical painter Jacques-Louis David, he survived the

Revolutionary years, both financially and personally, with relative

impunity; his previous royal and aristocratic patronage making him a

prime suspect of the Comite de salut public. In 1 791, the Le

Chapelier law, which removed the guild system, helped him diversify

his workshop allowing him to include cabinet-making and mounting

bronzes; within five years he had four flourishing workshops. He

sold his shop and stock and rented his workshops to his sons.

Georges II (1768-1803) and Frangois Honore-Georges (1770-1841)

who worked under the name of 'Jacob Freres'. However, when

Georges II died in 1803 his father returned to the business going

into a nine year partnership with his surviving son under the name of

'Jacob-Desmalter et Cie'. The business expanded and the furniture

fed an illustrious clientele. Unfortunately under Frangois, the

business went bankrupt in 1813 and this affected his father

financially, leaving him to die an infamous and impecunious death.

At the time of the production of this pair of chairs Jacob's

prolific workshop was solely making seat furniture and some

console tables. A few years later the quality of his work and his

reputation secured the patronage of the Crown with the furnishing

of the apartments of the compte d'Artois at the Palais du Temple

and the Pavillion de Bagatelle. In 1784. the new Intendant general

des Meubles de la Couronne. Thierry de Ville d'Avray. and the new

Finance Minister, Calonne. decided on a new renovation policy for

the royal residences, which made Georges Jacob one of the chair-

makers by appointment to the Crown. Jacob would sometimes work

individually, sometimes in competition or in association with the

chair-makers Boulard and frequently. Sene. He provided seat

furniture, designed by Hubert Robert, for the Garde-Meuble and the

Menus-Plaisirs for the chateaux of Versailles, Petit-Trianon,

Fontainbleu, Saint-Cloud and Rambouillet. In addition he had several

important private clients. Over his long career he was quick to

embrace the latest tastes and his inspiration and sources were

diverse, for example the chairs he made from Jacques-Louis David's

designs in the 'neo-antique' in 1784. Within specific styles his talent

enabled him to develop a personal style which revealed itself in

generous, yet strictly balanced proportions, careful carving and

exquisite decoration over the whole frame. These traits are clearly

evident in the examples illustrated here.

57

i h Jh IT

rmw'/t

59

m.

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

A Swedish console table A fine quality Swedish early 19th century gilrwood side table having an inset white marble top supported by a giltwood

frieze carved with laurel leaf and having recessed panels inset with eglomise vignettes. These are black and gold and depict

repeating motifs of crossed flaming torches and crossed quivers. Above the legs are panels with smoking atheniennes and

at the centre there are facing sphinxes. T h e legs are turned and tapering and carved with low relief laurel above a band of

key pattern. T h e legs are carved with spiral flutes, which terminate in attenuated laurel leaf above a baluster foot. The

whole stands on a stepped rectangular ebonised plinth.

Sweden, circa 1810

H E I G H T : 3 2 1 N ( 8 1 . 5 C M )

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

D E P T H : 2 0 1 N ( 5 1 C M )

Sweden suffered politically and culturally f rom the Napoleonic

wars. King Gustaf IV was deposed and exiled. Napoleon and Tsar

Alexander I sett led the peace and eventually after succession

complications, in 1810, Jean-Baptiste Bernadotte. a marshal to

Napoleon and Prince of Ponte Con/o, was elected Crown Prince

Carl Johan. His enthusiastic character and widespread popularity

re-kindled interest in French culture after his arrival in Sweden. As

a result the French Empire style infiltrated Sweden and f lowed

naturally out of the late Gustavian style. Various designs and

materials were used, the strongest influences being late Louis XVI

and Directoire furniture and to a lesser extent, English Regency

furniture. The excavations at Pompeii and Herculaneum revealed

wonderful inspiration for furniture design such as console tables

and torcheres, where the lines are strict and stark and the motifs

are drawn directly f rom Greek and Roman antiquity, such as the

fabulously detailed gi l twood frieze on the table illustrated. Such

tables as this one would often sit below a pier mirror such as the

late Gustavian example on page 79.

For a similar console see the illustration of the Hall at

Elghammar Sweden; 'Neo-classicism in the North ' , H. Groth, p.

172. General Curt von Stedl ingk (1746-1837), Swedish

Ambassador under Gustaf III, in St Petersburg, bought the

Palladian inspired house at Elghammar in 1804. He became a

count in 1809 shortly after taking up residence.

60 - J

J. . ; . .

61


A pair of serpentine vases A pair of Northern European serpentine early 19th

century neo-classical vases and covers. The backs of the

vases are mounted with square handles and supported

on a turned foot and stand on a square plinth.

Baltic, circa 1810

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

A Regence revival vase and cover An outstanding large scale Regence revival gilt bronze

mounted onyx vase and cover. The vase is flanked by

exotic winged beast scroll handles that are surmounted by

bearded male busts. The gallery is pierced and enriched

with applied paterae and low relief engraved ornament.

The cover has an elaborately cast foliate and berry finial.

The whole is supported by four boldly modelled claw feet

that stand on a concave sided plinth.

France, circa 1860

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

W I D T H : 1 7 1 N ( 4 3 . 5 C M )

62

.1 R D O N n O i : S E

An Hache bedside commode A n u n u s u a l L o u i s X V I m a h o g a n y a n d p a r q u e t r y F r e n c h p r o v i n c i a l b e d s i d e c o m m o d e h a v i n g t h r e e d r a w e r s flanked b y fluted

p i l as te r s . T h e w h o l e s t a n d s o n t u r n e d t a p e r i n g legs t e r m i n a t i n g in b ras s s a b o t s . T h e t o p , t h e s ides a n d t h e d r a w e r s a re e a c h i n l a i d

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

A t t r i b u t e d t o t h e H a c h e w o r k s h o p , G r e n o b l e

F r a n c e , circa 1 7 8 5

H E I G H T : 27I/21N ( 7 0 C M )

W I D T H : I8 IN (46CM)

DEPTH: I3'/2IN (34 .5CM)

La famille Hache

Christophe Andre Hache (LaGrange), (b.

April 1748, d. June 1831) and Jean-

Frangois Cb. January 1 730, d. August 1 796)

were sons of Pierre Hache (b. December

1703, d. June 1 776) and grandsons of

Thomas (b. November 1664, d. May 1747)

who both received the brevet de Garde et

Ebeniste du due d'Orleans; Pierre was the

first of the line to use the stamp HACHE A

GRENOBLE.

Christophe Andre completed his

apprenticeship with his brother and then

went into partnership, taking on his

workshop in 1788. It is difficult to

differentiate the work of the brothers from

the other but it is likely that both used the

stamp HACHE FILS A GRENOBLE. Jean-

Frangois produced much in the transitional

style but generally his work tended to be

lighter in feel to that of his father. A lot of

Christophe's work was executed in the pure

neo-classical Louis XVI style with a little

executed by Jean-Frangois in the latter

phase of his career

Like many provincials cabinet-makers

the Haches worked both as ebenistes and

menuisiers. Being provincial also meant a

predilection for indigenous woods such as

walnut, sycamore, poplar, lime, maple,

laburnum and fruitwoods, particularly liking

to use burr woods such as ash, maple,

mulberry and walnut. The look of the Hache

workshops is evident in our commode

where walnut is inlaid with a veneer of

sinuous geometric shapes in wood of a

different species.

6 4

A pair of Empire white marble vases A large-scale pair of Kmpire white marble vases of campagna form with a gadrooncd ornament around the hasc

France circa 1810

H E I G H T : 3 3 1 N ( 8 4 C M )

D I A M E T E R : 2 8 1 N ( 7 1 C M )

MALLETT AT BOURDON HOUSE

A Thomas Cole mantel clock An excep t iona l V i c t o r i a n gil t b r o n z e d e a d bea t e s c a p e m e n t m a n t e l c lock by T h o m a s C o l e . T h e hexagona l dial is m o u n t e d o n t o

t he f r o n t o f a t r i p o d d o m e d t e m p i e t t o c o n s t r u c t e d f r o m finely eng raved gilt b r o n z e s q u a r e c o l u m n s w h i c h jo in to s u p p o r t t h e d r ive

w e i g h t a n d a f u r t h e r p ie rced c u p o l a o f six e l e m e n t s w h i c h house s t he p e n d u l u m tha t s h o w s t he c lock is u p r i g h t . T h e base o f t he

c lock has a t h e r m o m e t e r a n d a b a r o m e t e r b o t h o f w h i c h are eng raved silver p la te in k e e p i n g w i t h t h e m a i n dial . T h e b a r o m e t e r

bears t he n a m e C F H a n c o c k w h o was t he or ig ina l retailer. T h r o u g h o u t t he piece, t he e n g r a v i n g is o f t he finest qual i ty .

T h e m o v e m e n t bears t he re fe rence N o 1 7 5 3 / 5 7

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

H E I G H T 21 IN ( 5 3 . 5 C M )

D E P T H 1 0 IN ( 2 5 . 5 C M )

( T h e r e is t he or ig ina l glass d o m e a n d base p la te n o t s h o w n . )

Thomas Cole was born in 1800 at Nether Stowey in Somerset. The son

of a clockmaker, both he and his older brother James Ferguson Cole

would go on to achieve renown in this same field, though for the most

part independently of each other In 1823. Thomas joined his older

brother in partnership at 3 New Bond Street where they worked

together as chronometer, watch and clockmakers. A carriage clock from

this period, signed by both of them and dated 1825, can be found in the

British Museum, though few other collaborations such as this survive as

in 1829 the brothers chose to go their separate ways. Little is known of

Thomas after this time until 1838 when he appears as a watchmaker at

1 1 Upper King Street, Bloomsbury. In 1841 he was married to Charlotte

Boulding, some 20 years his junior and by 1845 they had settled in

Clerkenwell, an area popular with watch and clockmakers, where he

now referred to himself as a "designer and maker of ornamental

clocks". In 1861 he was elected to the Royal Society of Arts, as well as

being admitted to the British Horological Institute.

He showed at the International Exhibition in London of 1862 where

he was awarded a medal for "excellence of taste and design", the jury

offering nothing but praise for his work: "Mr Thomas Cole's exhibition

(U.K.3236) was exclusively devoted to this department and nothing

could exceed the beauty of design and good taste of the varied models

and general excellence of workmanship. The foreign visitors seem all of

them to have accorded him the palm and were anxious buyers of his

beautiful works". Despite his unparalleled success, this would be the

last of his large-scale international appearances, as on the 3rd January

1864 he died from typhoid fever

It is estimated that Cole produced somewhere in the region of 1600

clocks during his lifetime, approximately 1400 of these being numbered.

The numbering sequence seems to have started at 500 in around 1846.

and ended with his death in 1864 at a figure no higher than 1900. Each

clock was numbered consecutively throughout the sequence, and

certain styles were allotted a separate numbering system to run

concurrently with the aforementioned series numbers. However in spite

of their apparent popularity, only around 75 of Cole's numbered clocks

are believed to have been Tripods, the remainder falling into the

categories of Strut clocks and Carriage or Mantel clocks.

Literature: 'Thomas Cole & Victorian Clockmaking', J B Hawkins.

Sydney, 1975.

66

cfM

n

67


An Empire trie trac table A fine quality flame veneered mahogany Empire trie trac table having a removable writing tabletop with inset

brass corners and baize card playing service on the reverse. T h e trie trac recess is fashioned in the traditional

manner with stained ivory points against an ebonised ground. Each side has one false drawer and one drawer for

playing pieces. T h e table stands on square tapering legs terminating in brass castors. T h e table retains its original

removable candle stands and is equipped with marker flags, dice, shakers and a b a c k g a m m o n set.

France, circa 1810

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

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

D E P T H : 2 2 1 N ( 5 6 C M )

68

Three pairs of leather fire buckets Three pairs of early 19th century painted leather fire buckets, one pair painted blue, two pairs painted red, all bearing

in polychrome the Royal arms.

England, circ.i 1830

H E I G H T : I I IN ( Z S C M )

M A U L E T T B O U R D O N !I O i: S E

A pair of Swedish candlesticks A pair of Empire period Swedish white marble and

metal candlesticks. Each takes the form of an attenuated

gilt bronze vase, mounted upon a fluted marble column

supported by gryphons. They stand on a tripod plinth,

which in turn rests upon a circular plinth with a gilt

beaded border, which terminates in gilt bun feet also

with a band of beading.

Sweden, circa 1790

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

D I A M E T E R OF B A S E : 6 ' /4LN ( l 6 c M )

An Empire centre table An outstanding Empire centre table having a grey

marble top bordered in finely chased gilt bronze.

The top is supported on a triangular stem inlaid with

brass flutes and ebony stringing. This is supported

on three scroll legs each with ebony stringing and

terminat ing in unusual castors that echo the line of

stringing with a chevron on the front face.

By Bernard Moli tor

France, circa 1810

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

D I A M E T E R : 3 7 1 N ( 9 4 C M )

72

• o s f ^ '.-fcf


overleaf

A pair of Baltic chandeliers A pair of eight-armed waterfall chandeliers with fine gilt bronze mounts decorated with three circles of flashed ruby

glass. There are four tiers and each is mounted with pendant drops, the lowest tier and the second from the top has

a red glass panel. The upper tier has gilt bronze arms that scroll outward and support further pendant elements.

The base tier has eight palmettes which are interspaced by out-scrolling arms mounted with drops. The palmettes

support the column candle arms that have pierced star shaped drip pans and socles with machined ornament.

Attributed to Dresdner Spiegelmanufaktur

Saxony, circa 1850

H E I G H T : 3 9 1 N ( 9 9 C M )

W I D T H : 3 3 1 N ( 8 4 C M )

Chandeliers of this type were made in Saint Petersburg and also

all around the Baltic, Russia, Sweden, Denmark and Germany,

stretching as far south as Berlin and Dresden, The Fioyal palaces

of Saint Petersburg contain many examples of chandeliers with

blue, green and red glass, somet imes flat, as in these chandeliers,

and somet imes shaped in an urn form.

Chandeliers of this form are not easy to attr ibute to a

particular country, the metalwork is not usually signed and the

glass components were made by outside manufacturers, of ten

f rom another country such as Bohemia. However, in this instance

an illustration still exists ( 'Journal des LIuxus und der Moden ' ,

December 1797, page 630, plate 36), of a chandelier by 'Dresdner

Spiegelmanufaktur ' , which still survives in the Li ibeck Behnhaus

Gartenenzimmer, Museum fur Kunst und Kulturgeschichte der

Hansestadt Lubeck, in Germany. This chandelier has so many

similar features that it is unlikely that it was made by a different

manufacturer

Literature: 'Kronleuchter ' , mit Behang aus Bergkristall und Glas

sowie Glasarmkronleuchter bis 1810, Klappenbach. Publ.

Akademie Verlag, Berlin, 2001.

Top r ight Detail of single tier of a chandelier with blue glass,

Dresdner Spiegelmanufactur, 1797, il lustrated page 102,

Kronleuchter Kathe Klappenbach, publ. Akakedmie Verlag, Berlin,

2001 Left Chandel ier Kurfurst l ich-Sachsische Spiegelfabrik,

Dresden. (Journal des Luxus und der Moden. Dezember 1 797).

i l lustrated page p.74. Klappenbach Right Chandel ier Dresdner.

Speigelmanufaktur 1 797. (Lubeck, Behnhaus, Gar tenzimmer

Museum fur Kunst und Kutturgeschichte der Hansestaat Lubeck),

il lustrated page p.49, Klappenbach

75

m i i i f f t

' t^ i

A ^ mmA

ifen

pwi'/^ TO, M MtSj^

i

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

A Swedish pier mirror A rare late 18th century Gustavian parcel gilt pier mirror. The cresting of the mirror takes the form of an open winged

eagle flanked by floral swags. This is supported by the bold neo-classical moulding at the top of the mirror which has a

panel of eglomise illustrating, in gilt on a black ground, Achilles dragging the body of Hector, with his wife weeping at

the side. Below this panel is a gilt framed double mirror plate. The whole terminates in gadrooned gilt bun feet.

Sweden, circa 1790

H E I G H T : 8 5 1 N ( 2 I 6 C M )

W I D T H : 3 8 1 N ( 9 7 C M )

Story of Achilles

Achilles's character in Greek mythology is one of power,

arrogance and cruelty. He was the son of the mortal King of

Phthia and the sea-nymph Thetis and was fated, either to die

ingloriously in old age or as was the case, to join the Greeks'

expedition to Troy and die a young hero's death. Consequently he

became the classical idol of Alexander the Great. Achilles was

one of the main Greek heros in the Iliad, in which the dominant

themes are his anger with Agamemnon and his pugnacious

encounter with Hector, son of the Trojan king Priam.

Achilles had killed the father and brothers of Hector's first

wife. Andromache. In turn. Hector roused Achilles fearsome

wrath by killing his friend Patroclus as he defended the Greeks'

ships in the port of Troy. Achilles sought revenge and launched

an attack on the Trojans, confronting Hector and pursuing him

around the city. He succeeded in killing his rival and defiling the

body he dragged it around Patroclus's tomb. Only after the

intervention of his mother Thetis, did he concede to hand over

the body to Priam,

78

Mh.,

»


A Nepalese bronze vase A fine and rare late 17th century Nepalese bronze vase

decorated with lotus patterns and having a boar's head

with an elaborate mane and a head dress of sculls. The

head itself is both flanked and surmounted by snakes.

T h e snakes represent Kundilini, and the boar, an

incarnation of Shiva.

A Regency lantern A Regency brass hexagonal lantern having an unusual

canopy of finely chased 'S' scroll elements of foliate

character and with open anthemia at the centre of the

scroll. Each face is framed by pilasters with capitals of

lion's heads surmounted by anthemia and terminates in

turned feet with machined decoration.

Nepal, circa 1680 England, circa 1810

H E I G H T : 1 9 1 N (48 .5CM) H E I G H T : 2 5 1 N (63 .5CM)

W I D T H : 1 5 1 N (38CM)

Shiva is one of the principal Hindu deities, worshiped as the destroyer and restorer of worlds and as the most essential goodness. Shiva's mam attributes are the snakes which show he is beyond the power of death and poison and also represent Kundilini energy. Kundilini energy is the dormant spiritual energy that lies at the base of the spine until activated through the practise of yoga and channelled up through the chakras in the process of spiritual perfection.

80

>

, . / ' - • • A i

N

l i ' ^ l '

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

A Cousineau harp A rare Louis XVI painted and gilded harp. T h e sound

board retains its original neo-classical idealised landscapes

with architectural and river views. The blue ground of the

main frame is enriched with finely carved giltwood details.

Stamped Cousineau.

France, circa 1780

H E I G H T : 6 5 1 N ( 1 6 5 C M )

W I D T H : 1 8 I N ( 4 6 C M )

D E P T H : 3 3 I N < 8 4 C M )

Pedal harps such as this became a fashionable addition to

European court life in the latter part of the eighteenth

century. These instruments were particularly popular in

Paris, where luthiers (stringed-instrument makers) such as

Cousineau were soon being commissioned to make them.

Surviving examples from this period are usually exquisite

works of art and were sumptuously adorned with the

ornaments of the age.

Georges Cousineau (1733-1 799) was one of the most

important pedal harp makers in Paris. He was joined by his

son Jacques Georges (1760-1824) in 1775 and together

they perfected an improved mechanism using a system of

bequilles (crutch-ended levers) on either side of each string

for raising and lowering the pitch. This system of bequilles

revolutionised harp construction, replacing the old 'crochet'

mechanism which, while achieving the same transposition,

moved the strings out of alignment, thus dulling the tone

and sometimes producing a rough buzzing sound.

Cousineau's mechanisms solved this problem and they

were so fine that he generally left them openly visible,

behind a glass panel along the right side of the neck for all

to see.

Marie Antoinette, who was perhaps the greatest

devotee of the pedal harp and responsible for its place at

the centre of court life, commissioned an instrument from

Cousineau de Paris in 1 780 which is now in the Victoria

and Albert Museum. She chose to make Cousineau

'Luthierde la Reine' and this label is visible on the upper

end of the soundboard on this harp. Another notable

Cousineau pedal harp was made for the Empress

Josephine in 1807 and may be seen at the former royal

residence of Malmaison, outside Paris.

85


A pair of landscapes A pair o f romantic landscapes both depicting idealised twilight scenes. In one, figures dance in a circle beside a tree with

musicians in the background and children feeding a dog ; behind them is a s imple tent with buildings beyond. T h e other depicts

temple ruins with figures making supplication to a statue o f Apollo; in the distance figures can be seen around a fountain.

Signed lower left, Jean-Baptiste C laudot

France, circa 1785

F R A M E D : 4 7 ' / 2 I N X 5 O I N < I 2 2 C M X 1 2 8 C M )

86

M A L L E T T AT B t) T R 0 O N H O I' S E

Jean-Baptiste Claudot (b.1733 • d. l805) studied under Jean

Girardet and Charles Joly whilst working under their direction

on the chateau de Malgrande; and also on the salle de la

Comedie in Nancy. He went to Paris in 1766 to finish his

studies and joined the studio of Joseph Vernet with whom he

became friends and stayed until 1 769 when he left for Nancy.

These three years in Paris were incredibly important for

Claudot who was influenced by Vernet's Italianate landscapes

and marine paintings with their wonderful rendering of early

evening light. Although he painted religious subjects and still-

lives it was for his landscape painting that he earned renown in

his lifetime and after.

87

M A L L E T T A T B O U R D O N H O t ' S E

A pair of Louis XVI fauteuils A pair of Louis XVI parcel-gilt fauteuils. T h e backs are coved and of a tapering rectangular form, the top rail is of

serpentine oudine and the apex is carved with a boldly carved gadrooned border. T h e side rails and seat rails are carved

with recessed panels with gilt edges. T h e arms sweep out f rom the side rails, have upholstered arm pads and terminate

in hexagonal capitals. T h e arm support is a tapering fluted column and is in turn supported by a horizontally fluted

plinth. T h e fauteuils stand on turned tapering fluted legs terminating in ovoid topie feet.

Attributed to Claude Sene II

France circa 1785

H E I G H T OF B A C K : 3 6 I N ( 9 2 C M )

H E I G H T OF SEAT: I 6 I N ( 4 I C M )

W I D T H : 2 3 I N ( 5 5 9 C M )

D E P T H 2 1 IN ( 5 4 C M )

Claude II Sene Cle Jeune ' ) was the younges t son o f C laude I

and brother of the famous Jean-Bapt is te. He became a maitre

menuisier in 1743, w o r k e d in the Faubourg Saint Denis,

declared himself insolvent in 1783 and by 1784 was re-

establ ished in the rue de Clery. He w o r k e d for a number of

pr ivate cl ients and also temporar i ly under took commiss ions

for the Garde-Meuble but these ceased wi th the Revolut ion.

He left s o m e beautiful examples o f 'Louis XVI' chairs, typically

wel l des igned and exquisi tely carved in the vein of the w o r k of

Jean-Bapt is te .


Zeus and Hera A pair of Louis XVI bronze models of Zeus and Hera.

Each is depicted with their traditional attributes and stands

on a plinth of rouge griotte marble.

France, circa 1785

H E I G H T : I 6 I N ( 4 0 . 5 C M )

A large scale pair of Empire ewers A large-scale pair of Empire bronze and gilt ewers.

T h e bodies are enriched with a bacchic mask and

anthemion motif around the neck. The handles are

fashioned as an 'S' scroll with acanthus leaf in the

middle, an eagle's head at the top and a scroll at the

base, supported by a further bacchic head mask.

T h e whole rests upon a rouge griotte block plinth.

After a design by Andre-Antoine Ravrio (1759-1814)

France, circa 1810

H E I G H T : 2 1 IN ( 5 3 C M )

B A S E : 4 I N (LOCM) S Q U A R E

90

A pair of Regency wall lights An unusual pair of Regency two branch parcel gilt eagle wall lights. T h e eagles are

carved with open wings and face each other and are perched on giltwood scroll

capitals supported by three giltwood spears. T h e arms are scrolling and enriched

with high relief foliate ornament, they terminate in brass, machined socles.

England, circa 1810

H E I G H T : 4 1 I N ( 1 0 4 C M )

W I D T H : 1 6 I N < 4 I C M )

'ti I ' ''' t '

I I I

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

The Borghese vase A fine qua l i t y late 18th cen tu ry bronze mode l of the Borghese vase. It is rendered in h igh rel ief and

reta ins a good pa t ina . T h e vase is mode l l ed after the an t ique . It s tands on its or ig ina l wh i t e marb l e p l in th .

Italy, circa 1 7 8 0

H E I G H T : 1 5 1 N ( 3 8 C M )

WM-

WM

This vase is model led af ter one of

the most famous classical Athenian

vases f rom the second half of the

1 st century A D : namely the

Borghese Vase. In 1807 Napoleon

Bonapar te purchased it f rom the

family and by 1811 it w a s on

display in the M u s e e Napoleon,

now the Louvre. The o ther great

vase f rom antiquity is the so-cal led

Medic i Vase that is now in the

Uffizi Gallery.

Either individually or in pairs

these two vases inspired the

art ists cater ing for the grand

tour is ts and in part icular Thomire is

noted for fabricat ing in gilt bronze a

f ine pair of the Borghese vases.

The vases can be seen in a number

of scales and media and are o f ten

i l lustrated in paint ings and

waterco lours f rom the 18th and

19th centur ies. Notab ly this vase is

model led direct ly f rom the original

and predates the later more

numerous paired examples.

Literature: 'Taste and the Ant ique ' ,

Francis Haskell & Nicholas Penny,

publ. Yale Un ivers i ty 1981

93


A set of six Cardinal Fesch chairs A set of six Italian neo-classical giltwood side chairs with richly carved domed backs depicting a pair of carved griffins

above stylised serpentine floral carving on a punched ground supported by fluted pilasters with a running husk motif

beneath, standing on leonine paw legs to the front supporting a fluted seat rail.

The design attributed to D or L Santi

Italy, circa 1810

H E I G H T : 40I/2IN ( I 0 3 C M )

W I D T H : 2 2 I N (56CM)

DEPTH OF SEAT: I 8 I N (46CM)

This set of chairs form part of a long and connplex history that

unites Italy. Britain and France. Two designs exist for these

chairs, identical but for one small detail, which is that the cresting

is either domed or triangular The design was published in

Modeles des Meubles. 1812, pi XLI no 6 by Dioniso and/ or

Lorenzo Santi. Examples of these chairs exist in collections in

Europe and America. There is a settee in the Dulwich Picture

Gallery, there is a part suite at Malmaison and there is an

armchair in a private collection in New York. The genesis of

these two sets is unclear. However, it is known that Cardinal

Fesch. Napoleon's uncle, owned two long sets, one of each type

of cresting. It is possible that he commissioned them from Santi.

The chairs were sold as Lots 444 and 445 in the Fesch Sale in

Paris in 1816. A suite with arched backs can be seen around the

walls in a gouache of the ballroom of the Villa Demidoff in 1842.

Literature: Lucy Wood. 'Furniture History Society Journal' 2002.

94

' . V l a M H H i i B i i ^ i M ^

i l i i

Mf rmKrt\. Il«».« «»'l«|->iri

M A L L E T T A T B O I' R D O N H O I' S E

A pair of terracotta Bacchantes A rare pair o f late 18th century terracotta busts o f

Bacchantes . Each is shown with her head turned a n d

smil ing. T h e i r hair is rendered in a free m a n n e r as

lull o f ringlets a n d b o u n d by a gar land o f flowers.

T h e y now s tand on a pair o f per iod fluted brocatel le

marble c o l u m n pedestals .

By Jo seph-Char le s M a r i n ( 1 7 5 9 - 1 8 3 4 )

T h e r ight-hand bust bear ing the date 1786 .

France 1 7 8 6

H E I G H T : 1 5 1 N ( 3 8 C M )

A f igure with identical rendering o f the head is in

Paris at the Petit Palais m u s e u m .

overleaf

A pair of Neapolitan mirrors An unusua l pair o f m i d 18th century Ne apo l i t an Lacca

M e c c a t a pier mirrors . T h e frames have finely carved

scrol l ing detail with high relief floral a n d rocaille shell

carving to the cresting a n d lower apron . Each mirror

retains its original mirror plate a n d its original lacquers.

Southern Italy, circa 1 7 5 0

H E I G H T : 4 7 1 N ( 1 1 9 C M )

W I D T H : 2 5 ' / 2 I N ( 6 5 C M )

Joseph-Charles Marin was born in Paris in 1759. He enjoyed a highly successful career as a sculptor, working mostly for private clients and exhibiting at the Paris salon between 1791 and 1833. In 1801 Marin won the Prix de Rome and in 1805 he was made a professor at the Academie de France in Rome.

Marin is particularly remembered for his terracotta busts and statuettes and his work is often compared with that of his master Clodion CI 738-1814). However, Marin's sculpture is not simply an imitation of Clodion's work. While he shared Clodion's predilection for erotic Rococo female figures, his sculpture shows a marked interest in realism and variety of texture which can be seen in his rendering of the hair on these busts.

97

J:-' • i i -

% !H

K -

(

&

t , AV-x . .. • -

m

f

J '

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

Two library wheelbarrows An outstanding, large-scale Victorian mahogany brass

mounted library wheelbarrow. The sides and front are

enriched with incised scrolls and carved foliate panels.

Each element is of curvaceous outline and the wheel in

particularly is enriched with ornamentally carved spokes.

An unusual Victorian painted library wheelbarrow.

Each element is decorated with fine red lines against a

dark blue ground, the sides bear a gilt ' C monogram.

England, circa 1870.

England, circa 1870

H E I G H T : 2 2 I N (56CM)

W I D T H : 2 4 1 N (6 1CM)

L E N G T H : 5 6 1 N ( 1 4 3 C M )

H E I G H T : I 4 I N (35 .5CM)

WIDTH 3 7 I N (94CM)

DEPTH I 4 I N (35 .5CM)

Provenance: Noseley Hall, Leicestershire

Noseley Hall occupies a commanding position overlooking the famous rolling Leicestershire grasslands, just north east of Market Harborough. Built by Sir Arthur Hazlerigg in 1 729, the house remains the private home of the Hazlerigg family who have lived on the site since 1419. The family can be traced as far back as the 13th century, when Simon de Hesilrige was Valectus to Edward I. The Noseley estate came into the family through the marriage of Thomas of Fawdon and Isabel Heron in the late 13th, early 14th century. Perhaps the most famous member of the family was Sir Arthur Hazlerigg, who was one of the five members of Parliament that led the Parliamentary rebellion against King Charles I in 1642. It is alleged that Cromwell prepared for the Battle of Naseby at Noseley, and the Chapel, which still stands in the grounds, was said to have made an excellent stable for his horses. At the Restoration Sir Arthur was committed to the Tower, where he eventually died.

Viewable in the wheelbarrows are fine leather bound volumes available from Mallett.

100

mM

/ I rr^^''

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

A Directoire bureau plat A Venetian chandelier A Directoire brass m o u n t e d m a h o g a n y bureau plat . T h e top

is leathered and is bordered with a brass edge a n d two lines

o f s tr inging. T h e frieze has three drawers each having recessed

panels edged in brass , the drawers are spaced with rectangular

s t rung panels and the whole frieze is s u p p o r t e d by a brass

m o u n t . T h e bureau s tands on turned taper ing legs m o u n t e d

with fine brass flutes and terminat ing in brass topie feet.


H E I G H T : 31 IN ( 7 9 C M )

W I D T H : 6 4 1 N (163CM)

D E P T H : 291N ( 7 4 C M )

A large scale 1950 ' s Venetian blue glass mul t ip le tiered

chandelier. T h e top tier o f a rms has four branches

and the lower tier eight. Each o f the tiers o f arms is

interspaced by a n d has a row o f scrolls a n d drops above

and below. T h e glass is both f luted and spiral led to

enhance the chandelier's theatricality.

Venice, circa 1 9 5 5

H E I G H T : 561N (142CM)

D I A M E T E R : 4 2 1 N ( l o y c M )

102

c

f ( t

A 103

MALICE T l I ,ON HON • NEW YORK

Mallett at Bourdon House Ltd 2 Davies Street

London W 1 K 3 D J

Telephone: + 4 4 (0)20 7 6 2 9 2 4 4 4

Fax: + 4 4 (0 )20 7 4 9 9 2 6 7 0

T h o m a s Woodham-Smi th Managing Director

Henry Neville Director

Felicity Jarrett Associate Director

Annabel D'Arcy

Fiona Barker

Nick Kilner

T i m o t h y Langston

Mallett & Son (Antiques) Ltd and Mallett Gallery 141 N e w B o n d Street

L o n d o n W I S 2 B S

Telephone: + 4 4 (0)20 7 4 9 9 7 4 1 1

Fax: + 4 4 (0 )20 7 4 9 5 3 1 7 9

LantO Synge Chief Executive

Giles Hutchinson Smith Managing Director

T h e H o n Peter Dixon Director

Paula H u n t Director

John Smith Associate Director

Richard Cave Associate Director

Jeremy Garf ield-Davies Associate Director

MALLETT INC 9 2 9 Madi son Avenue

N e w York

N Y 10021

Telephone: + 1 2 1 2 2 4 9 8 7 8 3

Fax: + 1 2 1 2 2 4 9 8 7 8 4

Henry Neville President

J ames Harvey Vice President

Tarquin Bilgen

Charles Mack innon

Ainslie Marchant

MALLETT PLC D I R E C T O R S

G e o r g e M a g a n * Chairman

LantO S y n g e Chief Executive

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

Paula H u n t

Gi les H u t c h i n s o n S m i t h

T h o m a s W o o d h a m - S m i t h

H e n r y Nevi l le

T h e H o n M r s S i m o n W e i n s t o c k *

S i m o n de Z o e t e *

* N o n e x e c u t i v e

VISIT O U R W E B S I T E www.mallettantiques.com

Email: [email protected]

Copyr ight All rights reserved. N o part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers.

Terms and condi t ions All business transactions are subject to our standard terms and conditions of sale, copies of which are available on request.

© Mallett 8, Son (Antiques) Ltd 2003 Designed by Sinclair Communications Printed in England by Balding t Mansell

http://www.mallettantiques.com

mailto:[email protected]

• - i i i i H >, • -

. M A O . E T T I.ONDON-NKVS YORK

2003 Mallett at Bourdon House

Documents

Transcript of 2003 Mallett at Bourdon House