mallett 2010 catalogue

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M A L L E T T LONDON • N E W YORK

XCEPTIONAL FURNITUR & WORKS OF ART

141 New Bond Street London W i S zBS

929 Madison Avenue at 74th Street New York 10021

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

Again, last year was a year of change within the art and antiques market.

However, it was also a year of opportunity, as the market itself proved

more robust to the economic uncertainties that surrounded us, than

many other areas of business activity.

In 2009, the Mallett catalogue sold over 70 percent of its contents within

the first month of its publication, which was very encouraging. This

year's selection offers some of the finest from a broad spectrum of the

decorative arts, which is the hallmark of Mallett. You, our clients, demand

from us a combination of the unusual with the exceptional, pieces

sourced with an eye for master craftsmanship and design. We continue

to be offered and to acquire great works of art, even more so now that

our great rival Partridge have closed their doors. Many other of our

London colleagues have closed during the last year just as the world's

leading auction houses have continued fo raise their charges. This has

led past clients and new collectors both to buy and sell works of art with

us, preferring not to be seduced by the gamble of the auction but rather

the private and more secure approach which Mallett can offer them in

these changing times.

Also, we are delighted to be partners in the new forthcoming

replacement for the sad demise of the Grosvenor House Fair. This,

passing of history has enabled us, with our partners, to take a new look

at the business of the art fair and create Masterpiece London. This will

be held in late June and will be a showcase for the best of the best from

around the world, drawing together dealers and collectors driven with

a passion to find and display great works of art, some of which you will

find within the pages of this, our new 2010 catalogue.

Giles Hutchinson Smith

Chief Executive

Above A pair of velvet bell pulls decorated

with painted flowers depicted in

tones of blue and naturalistic floral

colours, each with a finely chased

gilt bronze mount.

England, circa 1860

Height: 108in (274cm)

Width: 7 i n (18cm)

T2I0515


A GEORGE III MAHOGANY CHEST OF DRAWERS

A fine George III mahogany serpentine chest of drawers, the top with well-matched quartered flame veneers, the serpentine front of four graduated drawers with canted corners, carved with lattice-work decoration, the upper, fitted drawer beneath a leather-covered brushing surface, retaining the original gilt metal handles and escutcheons, the whole raised on bracket feet. England, circa 1770

Height: 32in (81.5cm) Width: 42in (io6cm) Depth: 22V4in (57cm)

F 2 j o n o

A FOUR PILLAR IRISH MAHOGANY DINING TABLE

An early 19th century Irish mahogany dining table by Mack, Williams and Cibton, comprising four tilt-top pedestal sections and three matching loose leaves, the rounded rectangular top of finely figured mahogany with a deep reeded edge. The base with four turned columns standing on quadruple splay legs terminating in polished brass feet and castors. Ireland, circa i 8 i o

Height: 28 in (70.5cm) Width: 6oin (1 52cm) Length: iggin (505cm)

Mack, Williams and Gibton of Dublin

The firm of Mack, Williams and Gibton was formed around 1812, but its history can be traced back to 1784 when John Mack established a cabinet making business in Abbey Street, Dublin. In 18oi he was joined by another cabinet-maker Robert Gibton, by 1805 the partnership had been formalised and business was flourishing. In 1806, the firm received the appointment of 'Upholsterers & Cabinet Makers to His Majesty, his Excellency the Lord Lieutenant, and...His Majesty's Board of Works.'

William Gibton succeeded his father Robert after his death in 181 2, while simultaneously

Zachariah Williams (a brother-in-law) joined the business, thus creating the new partnership of Mack, Williams and Gibton. Under this name the firm enjoyed unparalleled success, retaining their Royal Warrant for many years. They supplied and restored furniture for some of the most prestigious country houses and public buildings in Ireland, including Ballynegall, Oakley Park, Dublin Castle and the Chapel Royal.

The firm ceased trading in 1852, however, the excellent condition of this table is largely a testament to Mack, Williams and Gibton's solid construction techniques and quality of materials.

F2J0346

without leaves

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A GEORGE I TWO-TIER 24 LIGHT BRASS CHANDELIER

A very fine George I twenty-four light two-tier brass chandelier, the baluster stem with collared globes supporting twelve candle arms each of sinuous form supporting circular dished drip pans with elegantly shaped candle nozzles. The chandelier with gadrooned cap and base retaining its original swivelled pull handle. England, circa 1720

Height: 4 i i n (104cm) Diameter: 40in (101cm)

A similarly fine example with a gadrooned cap and base still hangs at Chesterfield, Derbyshire made for Geoffrey Heathcote In 1760 and is illustrated in ConnoiseurYear Book ipsS, p.48 fig.i 6. A further twenty light chandelier, almost identical in design and scale, was acquired by Mallett in 1978. (Mallett archive no: FS211)

L2J0211

A COLLECTION OF LATE18THCENTURY FRUITWOODTEA CADDIES

Five late 18th century fruitwood tea caddies including two pears and two apples of fine patina and proportion. Also a melon with finely mottled green staining. All retaining the original lead lining.

England circa 1790-1800

Height range : 4y2in (11.5cm) to GVi'm (i6cm)

Left to right: O2I0559, O2I0572, 02J0371,02I0573, O2I0557


A GEORGE III SILVER TABLE

A sabicu, purple-heart and holly wood silver table with fine pierced gallery and column turned legs with rare cipher angle brackets. Attributed to William Vile and John Cobb. England, circa 1760

Height: 3oin (76cm) Width: 36in (91cm) Depth: 21 in (53cm)

The unusual scrolling and looped angle brackets on thTs table are of identical design to those on a group of secretaire cabinets attributed to the Royal furniture-maker William Vile (c.i 705-1767) which comprise an example offered by

Christie's New York, 21 October 1999, lot 139, The D'Arcy Cabinet sold Sotheby's London, 18 November 1983, lot 60 and the Dudley House cabinet in the Noel Terry collection at Fairfax House, Yorkshire, illustrated in P. Brown, ed.. The Noel Terry Collection of Furniture and Clocks, London 1987, pp. 96-97. These cabinets all exhibit strong similarities with Vile's Royal commissions such as the elaborate fretwork superstructures on 'an exceedingly fine mahogany secretary' supplied by Vile to Queen Charlotte in 1761 at a cost of f71.10.0d, illustrated in P. Macquoid and R. Edwards, The Dictionary of English Furniture, London 1924, 3 vols, vol I, pp. 138-1 39, figs. 39-40.

In addition to its elaborate

fretwork decoration, this table features an exotic combination of timbers as distinct from the vast majority of comparable examples which are found in mahogany. Access to rare and costly veneers was presumably readily available to a leading cabinet maker such as Vile who would have been able to offer his wealthy patrons the option of exclusivity at a price. Indeed, arguably his most celebrated piece of cabinet-work is the jewel cabinet supplied to Queen Charlotte in 1762, which incorporates a host of extravagant materials including amboyna, rosewood, olivewood and ivory and cost the vast sum of £ 1 3 2 ICS.

F2J0205

A M I D 19TH CENTURY PAINTED LIBRARY WHEELBARROW

A charming mid 19th century painted library wheelbarrow decorated on the outside in green with floral ornament. The back inscribed 'T.H. Revell Rainsworth Notts'. The burgundy red interior is now fitted with a polished brass liner. England, circa 1850

Height: i8in (46cm) Width: iSin (46cm) Length: 42in (107cm)

O2J0222


12 AN UNUSUAL 19TH CENTURY BRASS STICK STAND

A rare and unusual William IV Gothic brass stick stand. The supports are fashioned as simulated bamboo and are joined by Gothic trefoil arches. The whole supported on an oak stepped plinth. England, circa 1830

Height: 26in (66cm) Width: zzViin (57cm) Depth: 6in (i6cm)

F2J0262

In the stick stand:

A PATENT TELESCOPE CANE A Regency metamorphic walking stick. The body is made from malacca cane, the handle has a machined brass collar bearing the word PATENT. The handle unscrews to reveal a brass extending telescope. The horn boss unscrews to reveal a compass. England, circa 1820 Length: 44V2\n (113cm)

O2A0495

AN IVORY AND MALACCA CANE A fine early 18th century ivory handled and brass mounted walking cane in malacca, bearing initials 'DN' and dated 1713. England, 1713 Length: 37in (94cm)

O2B0264

L O N D O N M A L L E T T N E W Y O I! K

A GEORGE III ORMOLU-MOUNTED HAREWOOD AND MARQUETRY DEMI-LUNE COMMODE

Crossbanded overall in rosewood, the radially veneered top with burr yew panel at the rear edge enclosed by floral garlands, further inlaid with scrolls of acanthus linked by husks, above a panelled frieze centred by a patera draped with husks, above a pair of doors inlaid with garlands of abundant flowers draped between paterae, enclosing two mahogany fronted drawers, flanked by panels of ribbon tied urns draped with husks, with panelled uprights of husk trails, on short cabriole legs in the French manner with sabots. England, circa 1765

Height: 33in (84.5cm) Width: 55in (139cm) Depth: 22in (56.5cm)

The antique ornament of sacrificial ewers and paterae was introduced in the 1750's for fashionable dressing-room apartments by the Rome-trained architect James Stuart (d. 1788). Such ewers for instance feature on Lady Fetherstonhaugh's 'bonheur du-jour' cabinet, which was executed for Uppark, Sussex around 1770, and has been attributed to the cabinet maker John Cobb (d. 1778) of St. Martin's Lane, who was also famed at the period for his inlaid furniture. The laurel festooned foliage, inlaid in the top, relates to the 'antique' style adopted in the lyyo's by Thomas CTiippendale Junior (d. 1822) and popularised through his pattern book entitled Sketches of Ornament, 1779. Its French fashioned pilasters terminating in trussed legs featured on a commode, with similar patera and festoon ornament, that was designed in 1767 by the Berkeley Square

cabinet maker John Linnell (d. 1796) and crafted by the Paris trained 'inlayer' Christopher Furlohg (H. Hayward & P. Kirkham, William and John Linnell, London 1980, vol. II, figs. 108 and 109).

This commode belongs to a group of this distinctly French form, of which the most closely studied is one which may have been commissioned for the Curzon Street house built by the architect Robert Adam (d. 1792) for the Hon. Henry Frederick Thynne in the early 1770's and which is now in the Lady Lever Art Gallery (L. Wood, op. cit., pp. 135-141, no. 12). Lucy Wood tentatively suggests that the Thynne commode was made by an immigre craftsman, possibly French, because of non-English idiosyncracies in the construction, notably a double thickness top, as if the maker was more used to making commodes with marble tops. The present commode has fewer of these idiosyncracies.

with its top veneered on deal, English drawer construction and horizontally planked back. However, it is stylistically very similar indeed in form and marquetry to Lever, no. 12, and shares the internal arrangement and handles precisely. The third commode in this specific sub-group is one formerly in the collection of Lord Wrottesley. The construction of the Wrottesley commode, detailed in Wood, loc. cit., is very like the present commode, and less French in style than no. 1 2.

F2J0203

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A19TH CENTURY PAINTED TOLE LANTERN

Of hexagonal form, highly decorated with spiral columns, twisted bows, flowers and leaves. Candles supported by three flowers in bloom. Now wired for electricity. England, circa 1850

Height; zy/i'in (60cm) Diameter: i6in (40cm)

L2J0160

A PAIR OF 19TH CENTURY CEYLONESE JARDINIERES

A pair of mid 19th century Sri Lankan ebony jardinieres fashioned as a pair of square tromp I'oeuil wicker baskets lavishly surrounded by deeply carved flowers, leaves and fruit. The whole supported on ebony bun feet. Probably Calle. Ceylon, circa 1860

Height: 11 in (28.5cm) Diameter: 20in (51 cm)

O2J0233

> TWO PAIRS OF PAINTED FAUTEUILS

Painted in white and duck egg blue and extravagantly carved throughout with ribbon carving and foliage. The carving is in high relief and crisply achieved. The chairs have a gadrooned moulding at the top, fluted sides and arms with the front scroll enriched with stylised daisies. Seat rail is bow fronted and the chairs stand on turned fluted and reeded legs enriched with foliate carving above the stops.

The chairs are highly unusual in their richness and density of carving. They are not stamped but in form they closely resemble the work of Jean Baptiste Sene, however

'•'-they also bear close relation in the richness of the carving and the form to the work of Sefert.

Height: 34in (86cm) Width: 24in (61cm) Depth: 25y2in (65cm)

F2J0355

Attributed to Pierre Francois Sefert (1732-1803)

Sefert was a Parisian chair maker who had workshops in the rue Saint-Nicolas. He is best known for his Louis XVI neo classical chair designs although he also produced pieces in the rococo taste well into the late 18th century.

A stamped chair with the same ribbon twist motif and characteristically deep carving is illustrated Kjellberg P. Le Mobilier Frangais du XVIII siecle, p.804

1 7

A WILLIAM IV ROSEWOOD OCCASSIONAL TABLE

An unusual William IV parcel gilt rosewood occasional table. The square top is fitted with a vellum still life of flowers, in the manner of Redoute. The table stands on a rosewood column surmounted by a gilt capital of laurel leaves and supported by a tripod of giltwood C scrolls. The whole standing on a concave sided square plinth terminating in hairy paw feet on castors. England, circa 1830

Height: zgYzin (75cm) Width: 27 in (69cm) Depth: 23 in (58.5cm)

Pierre-Joseph Redoute ( io July 1759 - 20 June 1840), was a Belgian painter and botanist, known for his paintings of roses, lilies and other flowers at Malmaison. Redoute was born in Saint-Hubert, Luxembourg, which is now part of Belgium.

The use of a vellum still life as decoration for a table top is highly unusual. The still life itself was considered precious and this is demonstrated by the fact that the table top when lifted gives the impression of a frame around the picture. This sort of table was often used as an impromptu fire screen and therefore had to look as finished up as down.

N E W Y O R K

A PAIR OF GEORGE I WALNUT VENEERED TEA TABLES

An unusually shallow pair of walnut veneered tea tables with feather banded fold over tops, raised on taper legs with lappet carved knees and pad feet. England, circa 1720

Height: soVz'm (77cm) Width: 3oin (76cm) Depth: n i n (28cm)

An early 18th century walnut card table of comparable form, recorded in the collection at Hampton Court Palace, is illustrated in F.J. Rutherford, The Furnishing of Hampton Court Palace' 1715-1737, Old Furniture, A Magazine of Domestic Ornament, December 1927, p.182.

F2J0206

A M I D 18TH CENTURY BIRCH BUREAU BOOKCASE

A very important mid 18th century bureau bookcase in burr birch of exceptional colour and with fine, original patination, having a tall, broken arch pediment with concave moulded cornice, above ogival doors with bevelled mirror plates and with candle slides below, the lower part having ^sloping front enclosing the bureau section, above a row of three short drawers above two short drawers above one long drawer in the base, retaining their original handles, the whole, raised on ogee bracket feet.

The interior of the upper section is elaborately fitted with an arrangement of twelve pigeon holes and eight folio slides, ten small drawers and two bookshelves surrounding a central cupboard with three further drawers and pigeon holes.

The bureau section is fitted with an arrangement often pigeon holes and ten small drawers either side of a cupboard which is flanked by Tuscan pilasters, both pilasters concealing secret sprung compartments. The writing surface has two slides opening to large storage areas, which hide the release for two further secret drawers in the frieze.

Throughout the interior and exterior, the birch veneers are finely figured and embellished with delicate, inlaid tulipwood banding and all veneered on a finely constructed oak carcass. England, circa 1740

Height: i03in (262cm) Width: 56y2in (143.5cm) Depth: 25y2in (65cm)

This magnificent bureau cabinet displays a Roman triumphal-arched pediment after the antique or Palladian style, such as featured in Batty Langley's City and Country Builder's and Worl<man s Treasury of Designs, 1740, pl.CXXl.th

However, its basic pattern, together with lozenged tablet escutcheons and its drawer fitted interior 'prospect' with pilaster-flanked 'tabernacle' compartment, featured in English bureau design executed in the early 1720's when Peter the Great's craftsmen were training in London.

Indeed, its ogival swept door entablature featured as the cornice of an accompanying bureau design which was likewise presented in 1738 as prototypes for the 'cabinets of diverse manner' to be executed in St. Petersburg for Empress Anna lonnovna.

In view of this bureau's ribbon inlay of exotic wood, it is worth noting that Fedor Martynov (fl. 1738-50), when embarking on the manufacture of one of these patterns, requested planks of exotic woods to accompany the burr-walnut (N.I. Guseva, Fedor Martynov, Russian Master Cabinet Mal<er, Furniture History Society Journal, 1994, p. 95, figs. 1 and 2).

While the cabinet's doors are embellished with large brass hinge-plates in the Oriental manner, the drawer partitions of the interior are fretted with whimsical lunar masks. Its London patterned drawer handles feature with richly fretted escutcheons on a related cabinet with closely related scrolling feet, attributed to Christian Linning (d. 1779),

who was elected master cabinet-maker in 1744 in Stockholm (M. Lagerquist, Rokol<onmobler, Stockholm, 1949, figs. 1-3).

It is interesting that, although this piece is too good to be by the celebrated firm of Coxed & Woster, it exhibits a feature that this partnership has almost made its own. That is, the use of field or burr-maple, chemically altered to encourage the wood to resemble tortoise-shell. Although the effect has largely disappeared from this piece, there is still evidence of the treatment having been carried out.

This bureau bookcase undoubtedly draws its inspiration from English design. Whether it was made by an English cabinet maker here or by a cabinet maker trained in England but working abroad is still unclear. What can be said is that the quality is outstanding, which in itself precludes the piece having been made in large parts of Europe and that as further research is carried out the true origin of this piece will be revealed.

Until then, one is left to appreciate it for its more established merits. Highly elaborate interior, carefully selected veneers, very good proportions and wonderful colour. In fact, all the characteristics of a good piece of antique furniture are very clearly evident in this bookcase.

F2J0190

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A SINGLE GEORGE III MAHOGANY OPEN ARMCHAIR

A late i8th century mahogany open armchair, the well shaped oval back splat contained in a fluted frame inlaid with shells superbly carved with Prince of Wales feather motif tied with ribbon and elegant drapery; the elegant arms leading to a serpentine shaped fluted seat rail, inlaid with shells at the top of the front legs; the tapering and turned legs with fluting ending in shaped feet. England, circa 1780

Height: syy^in (95cm) Width: 24in (61cm) Length/depth: 2oin (51cm)

LITERATURE

An identical example is in the collection of the Victoria and Albert Museum and illustrated in their publication titled English Chairs, V&A Museum, 1951, figure 96.

Ralph Edwards, The Dictionary of English Furniture, Volume 1, page 295, figure 222.

F2H0307

AN EARLY 20TH CENTURY LAMP

A highly unusual Edwardian brass and copper table lamp in the form of a lighthouse. The central column supported on a stepped octagonal plinth in turn standing on a wooden base.

England, circa 1900

Height: 29y2in (75cm) Diameter: i2 in (30.5cm)

L2J0368

2 7


A SET OF SIX CAST IRON STOOLS

A set of six Charles X polished iron x-framed stools with pierced saddle seats. The frames are cast as low-relief fronds of acanthus. France, circa 1860

Height: i8 in (45cm) Width: i 5 i n (38cm) Depth: I4in (36cm)

^ A PAIR OF GEORGE III CARVED MAHOGANY CARD TABLES

A superb pair of George III mahogany card tables. The serpentine shaped tops with baise lined interior above a serpentine frieze carved on three sides with chinoiserie blind fret decoration. All supported on elegant carved

cabriole legs decorated with a stylised acanthus leaf with scrolling foliage, terminating in claw and ball feet, retaining an outstanding colour and patina throughout. England, circa 1760

Height: 29in (74cm) Width: 34in (87cm) Depth: i 7 i n (43cm)

PROVENANCE

Sir Henry Sutcliffe-Smith, Ingerthorpe Grange, Harrogate, Yorkshire.

F2J0189

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F2J0357


A LATE 18TH CENTURY BRASS SQUARE LANTERN

A rare large scale four sided brass hanging lantern with four lights, the four arched ogival supports above Regence style female, term figures, which flank floral sprigs on the horizontal and surmount fluted pilasters terminating in floral sabot finials. England, circa 1770

Height: 33in (84cm) Width: ^6v2\r\ (42cm) Depth: i6v'2in {42cm)

L2J0078

A JAPANESE NEEDLEWORK PICTURE OF A POLAR BEAR

A fine silk embroidered picture of a magnificent polar bear finely detailed standing alert on an ice shelf Japan, circa 1880

Unframed height: 22y2in (57cm) Unframed width: 32in (81.5cm)

A fine quality early 20th century Meiji silk naturalistically rendered portrait of the profile a polar bear standing on an ice flow.

The polar bear is one of the most powerful images in art, and this was especially true between the end of the 19th century and the Art Deco period. In the Musee D'Orsay, Francois Pompon's L'Ours Blanc is one of the main attractions, carved lifesize between 1923 and 1933. Even as late as 1951, the furniture maker and designer, Jean Royere had huge success with his 'Ours Polaire' sofa. The polar bear is indiginous to the North Pole

and it is the world's largest carnivore. First properly described in 1774 by Constantine John Phipps to Baron Musgrove, Naval officer and explorer, and an important early detailed source for analysis of the North polar region. The bear has entranced and intrigued ever since.

At the turn of the 20th century, Japan had created a very bouyant market for its export wares and all things polar were in demand. The wildlife of both poles became a source of fascination for Europe and America.

T3A0023

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

A REGENCY ROSEWOOD SPIDER LEG CARD TABLE

A Regency games table in rosewood with cross-banded border inlaid with brass stringing, the rotating folding top with foliate brass mounts opening to reveal a baize card surface, the whole resting on double curved leg supports terminating in foliate sabots and castors. England, circa i 8 i o

Height: 28%in (73cm) Width: 36 in (92cm) Depth: iSviin (45cm)

Although no known maker's name can be associated with this table it incorporates the fine lines and influence of Thomas Sheraton together with the extravagance of the Regency period.

LITERATURE

Regency Furniture, Frances Collard, p.317.

FOR SIMILAR EXAMPLES

The Dictionary of English Furniture, vol. Ill, p.269, fig. 17, from the collection of Victoria, Lady Sackville, now in the V&A Museum.

Furniture in Colour, Lanto Synge, p.64.

F2J0252

35


36 A FRENCH PRISONER-OF-WAR BONE SHIP MODEL OF THE 88-CUN HMSCANOPUS

The three-masted, second rate, eighty gun ship-of-the-line, is flying the White ensign and also the Union flag on a forward mast. She has a figure of a warrior holding a spear and shield as a figurehead and her stern board is decorated in relief with a portrait bust with mermaids on either side. The three masts have standing and running rigging and two strings at the stern for retracting the guns. The model rests on an ornate wood and bone marquetry base with a balustrade and stands within a glass case. France, circa i 8 i o

CASE

Height: 26'/^in (67 cm) Width: 37in (94 cm) Depth: 15in (38.5 cm)

SHIP

Height: 23 in (58cm) Width: 32in (81 cm) Depth:i 1 in (28 cm)

HMS Canopus was an 80-gun French ship-of-the-line called the Franklin until the 1 August 1798, when she was captured by the Rear Admiral Sir Horatio Nelson during the battle of the Nile.

She had a crew of 718, her weight was 2223 tons and her length was 197 feet. She was renamed HMS Canopus and saw action with the British fleet in the major operations against the French between 1798 and 1815. She was used as the flagship of Rear Admiral Sir Thomas Louis, Bart., and was commanded during the campaign by Captain John

Conn, Captain Francis William Austen and later by Captain Thomas George Shortland from 1807 and Captain Charles Inglis from 1809.

Rear Admiral Sir Thomas Louis died on board on the 17 May 1807 during the British action against Turkey in the Straits of the Dardanelles.

During the Napoleonic wars which continued from 1793 until 1815 with only a brief interlude in 1802 at the time of the Peace of Amiens, large numbers of French sailors were taken prisoner. They were held at over thirty prisons in the British Isles, most notoriously

Norman Cross near Huntington and in prison hulks on the south coast. Conditions for the prisoners were appalling, due in part to a dispute between the warring nations as to who was responsible for the maintenance of the prisoners. They had to survive and find a means of paying for necessities, so prison markets grew up in which goods were sold and bartered; these included straw pictures, hair bracelets and chains and famously, models of ships made in both boxwood and bone.

The latter were sought after and often sold for high prices,

and as the market developed some were probably made to commission and perhaps with materials brought into the prisons. Only a few are made to scale, in which case the craftsman must have been supplied with drawings and many, despite being named, bear little resemblance to an actual ship and are often typically French in design. The fact that this model is named HMS Canopus would be accounted for by the fact that she was captured by the popular hero. Admiral Nelson,

03A0051


38 A WILLIAM IV ROSEWOOD WRITING TABLE

A William IV rosewood and gilt writing table. The rectangular rosewood top has rounded corners and is supported on an elaborate scrolling gilt wood base with lyre ends and an elaborate stretcher. The whole standing on brass castors. England, circa 1835

Height: 28y2in {73 cm) Width: 52y2in (1 33 cm) Depth: 27'/2in (70cm)

F2J0215

A PAIR OF MID 19TH CENTURY CEYLONESE OCCASIONAL TABLES

A pair of mid 19th century Ceylonese carved ebony occasional tables, the tops inset with white marble and carved with leaf ornament and pendant balls. The stem is elaborately carved with foliate ornament, supported on a plinth enriched with winged lion heads supported by scrolls. Probably Calle. Ceylon, circa 1840.

Height: 25y2in (65cm) Diameter: 19 in (48cm)

F2J0234

N E W Y O R K

40 A PASTORAL GROS AND PETIT POINT NEEDLEWORK PANEL

Worked in polychrome wools and silks in gros and petit point, depicting figures in mid sixteenth century fashion in a woodland clearing, a moated castle in the distance. France, circa 1585

Height: syin (145cm) Width: 89in (226cm)

There is an interesting recorded group of other large French needlework panels, all worked in the same technique as the presently offered panel, and worked with figures in the French fashion of the mid i6th century.

Edith Appleton Standen, has discussed and illustrated two needlework panels in the Metropolitan Museum collection, attributed to France, circa 1550-1580, one with coat-of-arms of the de Fenis de Prade family from Limoges, both worked in gros and petit point and from known woodcuts by David Kandel dated 1 547 (fl.c.i 538-1 587). The third known panel is in the Jacquemart-Andre Museum, Paris. They depict late classical Greek moralistic subjects from the Tabula Cebetis, translated as the Table of Cebes and panels depict The Garden of False Learning (9ft. x 1 2ft.), The Wayfarer Crowned by Happiness (8ft. X loft.) and the third panel is an interpretation including a figure of Genius and Fortune. The panel of The Garden of False Learning in particular, shows similar figural types and fashion, and incorporation of seated figures and musicians, and both have similar style of landscape and building types.

T2H0558


41

N E W Y O R K

A MAGNIFICENT PAIR OF LOUIS XV GILT-BRONZE THREE-BRANCH WALL LIGHTS

The three scrolling and twisted candle arms rise from a vigorous scrolling backplate decorated with foliate and floral volutes. Each arm with repeated acanthus and foliate scrolling ornament terminates in leafy drip-pans and sculpted nozzles. Attributed to Jacques Caffieri

(1678-1755)

French, circa 1752

MARKS

C.closed crown.R.C.i 21.1 C.closed crown.R.C.121.2 Height: 3iy2in (80cm) Width: 24y2in (62cm) Depth: i5V2in (40cm)

PROVENANCE

Acquired in Paris by Madame Louise-Elisabeth, Madame Infante, duchesse de Parme, circa 1752-53 for the chateau de Colorno, near Parma The chateau de Colorno until circa 1865

By repute purchased by Sir Richard Wallace circa 1870.

This important pair of wall lights, with their vigorous casting and exuberant scrolling foliate branches, are conceived in the sumptuous, organic high Rococo style and exemplify the work of Jacques Caffieri {1678-1755). sculpteur,fondeuret ciseleur du Roi, probably assisted by his elder son, Philippe Caffieri (1714-1774), in their workshop on the rue Princesse.

These wall lights are of particularly grand scale and were acquired by Louis XV's eldest daughter, Madame Louise-Elisabeth, Madame Infante, Duchess of Parma (1727-1759) during her stay in Paris from September 1752-1753 for the chateau de Colorno, near Parma (the marks 'C R' mean Casa Real (Royal Household). Casa Real Colorno was the summer palace of the Dukes of Parma). Louise-Elisabeth, married to Don Philippe of Spain in 1739, was allotted the Duchy of Parma by the Treaty of Aix-la-Chapelle in 1748. After her marriage, Louise-Elisabeth made three trips back to France, during which time she acquired furniture and objects for her Palazzo Colorno. During this second trip, she stayed in Paris for nearly a year, and returned to Colorno with orders for furniture and clothing totaling 200,000 livres. An entry in the Marquis d'Argenson's diary noted that she was leaving with 'une grande quantite de chariots charges de toutes sorte et nippe que le roi lui donne' (Robert Wenley, French Bronzes in the Wallace Collection, London 2002, p. 1316).

This pair of wall lights is part of an original set of four. They

appear in an unpublished inventory of Colorno carried out in 1811: 'no. S08quatre bras de bronze dore a trios lumieres hauter 80 par 62 de large prises, estimation TOO francs'[Robert Wenley, French Bronzes in the Wallace Collection, London 2002, F84 (266), pp. 1317-1320). The other pair of wall lights were purchased by the French State for the Louvre at Christie's in 1993. The inventory marks found on these wall lights (C.926.3.CR and C.926.4.CR) correspond with the chandelier in the Wallace collection, marked C.927.CR. The sequence of consecutive inventory marks indicates that the chandelier and wall lights remained in the same room. They were listed in both the 1811 and 1856 inventories for the palace and were probably removed from the palace in 1862, to the Carda Mobili in Turin.

The chandelier, which is now in the Wallace collection along with a related chandelier, are both stamped 'CAFFIERI A. PARIS', and were sold in Turin after 1862, finding their way to Paris by November 1871, Antiquaire Stein at 18 Boulevard du Temple, Paris. It is not clear when the present wall lights left Colorno, but there is a letter from an agent to Sir Richard Wallace recommending that the two chandeliers and wall lights would make a perfect ensemble. It is interesting to note that a pair of wall lights signed Caffieri was inherited by Lady Wallace by Sir John Murray Scott and were not included in the sale of Wallace's collection at Christie's in 191 3.

COMPARABLES

A pair of related gilt bronze two-branch wall lights, marked 'C R' surmounted by a crown followed by an inventory number '823', can be found in the Louvre, a gift of the Duchesse de Richelieu in 1971 (D. Alcouffe et. Al., Gilt Bronzes in the Louvre, Paris, 2004, pp. 54-5 cat. 19). They are also attributed to Caffieri, and the vigorous casting and scrolling of the branches, drip-pans and nozzles on the pair are remarkably similar to the present pair. A further related set of four gilt bronze three-branch wall lights attributed to Jacques Caffieri can be found in the J. Paul Getty Museum, Los Angeles (Bremer-David, C. Decorative Arts, An Illustrated Summary Catalogue of the Collections of the J. Paul Cetty Museum, 1993, no. 168, pp. 102-103). Two of the set of four also bear the stamp 'C R' with a crown and inventory numbers 'C.56i .r and 'C.562.2). A further pair stamped 'C R' with three candle-arms belong to the Musee National du Chateau de Versailles (926) as well as various gilt bronze objects now belonging to the collections of the Quirinal Palace in Rome (D. Alcouffe et al., Gilt Bronzes in the Louvre, Paris, 2004, pp. 55).

L2J0274

43

Ik

I.


A GEORGE III SILVER CHOCOLATE POT

A fine George III silver chocolate pot of bellied form on circular base and with beaded borders, engraved with a coat-of-arms, the ivory handle with shell motif mount and scroll end. Hallmarks for Hester Bateman, London, 1775/76

Height: 12 in (30.5cm)

Hester Bateman (1709-1794) was particularly noted for her domestic silverware of elegant form and simplicity. In 1761, she took over her deceased husband's silversmith business and registered her makers mark at the Goldsmith's Hall. Until 1774, little is known of Hester Bateman's work, largely because

the shop was busy with work commissioned by other silversmiths. Thereafter, her shop became well known and successful, specializing in tableware, such as spoons, sugar bowls, salt cellars, and teapots. Energetic and shrewd in business, she also possessed exceptional skill and taste. Working wittrgraceful, refined shapes, she characteristically used restrained decoration, most often in the form of beaded edges. In addition to domestic silver, she executed some larger presentation pieces. After her retirement in 1790, the business was continued by other members of the family who, for a time, also produced outstanding silver.

O2C0111

^ A MAGNIFICENT PAIR OF MAHOGANY GAINSBOROUGH ARMCHAIRS

The square padded backs with arm rests on sloping supports carved with acanthus and bell flower, standing on four boldly carved cabriole legs, the knees further enriched with scrolling acanthus and bell flower decoration, terminating in ball and claw feet. England, circa 1750

Height: jS in {96cm) Width: 3iy2in (80cm) Depth: 3oin (77cm)

PROVENANCE

The Duke of Westminster

These chairs may have resided at their London seat, Grosvenor House which was demolished in 1926.

47

F2J0168

AN OVAL FEATHER PICTURE ON WATERCOLOUR

A late 18th century feather picture depicting a French partridge, a kingfisher, a dove and a song thrush against a charming landscape in watercolour, heightened with gouache. France, circa 1790

Height: 19 in (47.5cm) Width: 22y2in (57.5cm)

P2J0208


5 1

A PAIR OF RECENCY GILTWOOD TORCHERES

Each boldly fluted and carved at the base with acanthus leaves, standing on a tripod plinth terminating in scroll feet. England, circa 1820

Height: 46y2in ( n S c m ) Diameter of base: 18 in {46cm) Diameter of top: l o i n (25cm)

F2J0219

A PAIR OF WILLIAM IV OAK SIDE CHAIRS

The unusually shaped backs have a single reeded flute to the top edge and terminate in a scroll laurel leaf The front rail is carved with oak leaves with foliate paterae at the sides and centre. The chairs stand on octagonal tapering reeded legs at the front and canted square sabre legs at the back. England, circa 1835

Height: 32in (81cm) Width: l y i n (43cm) Depth: ig'/zin (50cm)

F2J0224


A FINE VICTORIAN WRITING TABLE

A fine mid Victorian calamander, ebonised, purple-heart and sycamore banded ivory inlaid marquetry writing table attributed to Holland and Sons, applied with gilt bronze mounts, the rectangular top with D-shaped projecting ends, inset with the original gilt tooled brown and green leather top, the banding inlaid with^ ivory strapwork and flower-heads with a lotus and bead cast border, above a pair of frieze drawers flanked by gilt bronze paterae with a similar opposing arrangement with simulated drawer fronts, on turned and tapering moulded fluted legs headed by bands of running leaf and berry marquetry, with a flattened H-stretcher, on toupie feet. England, circa 1860

Height: 29 in (74cm) Width: 44in (i 1 2cm) Depth: 23in (58.5cm)

This writing table is typical of the high quality work produced in the Louis XVI style by Holland and Sons in the 1860s and 1870s.

Holland and Sons rose from their origins in the early 19th century to become, by the middle years of the century, a rival to Gillow and one of the greatest English furniture producers. Recorded as early as 1815, as Taprell and Holland, by 1843 under the auspices of William Holland, a relative of the Regency architect Henry Holland, they formed a business alliance with Thomas Dowbiggin of 23 Mount Street, who had made the state throne for Victoria's Coronation. They also worked successfully as undertakers and were responsible for the Duke of Wellington's funeral. Under William Holland the firm became cabinetmakers and upholsterers to the Queen, their first commission being for Osborne House in 1845, supplying furniture in the

Queen's favoured Louis XVI style. They continued to supply furniture for Osborne until 1869 but gained further commissions for Windsor Castle, Balmoral and Marlborough House. Holland also worked for many leading institutions including the Reform and Athenaeum Clubs, the British Museum and the Royal Academy. Along with Cillows they shared the commission for the new Houses of Parliament. They participated in many of the important International Exhibitions including London in 1862, Vienna in 1873 and Paris in 1867 and 1872. Holland's labelled day books are now housed in the National Archive of Art and Design in London and present a virtual 'who's who' of 19th century society.

F3A0105

53


55

A GEORGE III MAHOGANY BUREAU BOOKCASE

Having a scrolled pediment flanking a plinth inlaid with a marquetry tazza, the glazed cabinet retains its original glass and gothic astragals, the frieze drawer and cabinet below are inlaid with finely wrought marquetry scallop shells at the corners of each panel, which have re-entrant corners. The drawer opens to reveal a secretaire with pigeon holes and drawers in harewood. The cabinet below opens to reveal two further drawers and slides. England, circa 1775

> VAL ST LAMBERT

from left to right: Three 10 sided cut glass vases of flared conical form with bands of cobalt blue, red and aquamarine casing each standing on a stepped foot, Belgium, circa 1925

Height: I4in (36 cm) Diameter; 6in (15.5 cm)

O3A0079

A matched pair of heavy orange cased cut glass vases, each cut to clear with a bold chevron pattern around the top and base with a band of deeply cut lozenges in the centre. One retaining the original label. Belgium, circa 1925

Height: 9in (23 cm) Diameter: 6 in( i5 .5cm)

O3A0095

Height: i02yjin (260cm) Width: 49%in {1 26cm) Depth: 23in (59cm)

F2Joi69


58 A GEORGE III MAHOGANY STOOL

A fine George III mahogany stool; the large rectangular seat supported at each corner on finely carved cabriole legs with stylised shells above acanthus leaf carving on the knee and ears terminating in a scrolled foot. England, circa 1775

Height: i 6 i n (41cm) Width: 24in (6icm) Depth: 19 in {49cm)

F2J0307

A SET OF TWELVE PANELS DEPICTING HAWKS

A set of twelve late 19th century Japanese watercolour portraits of native indigenous hawks, each shown in a different position resting on a ceremonial perch with elaborately decorated banners and knotted ropes. Each with a collectors stamp. Japan, circa 1880

Height: ss'/ain (141cm) Width: 28in (72cm)

By tradition, hawks were given annually to the Emperor from the regions of Japan; the knotted ropes signify, in a lost code, the region in Japan from whence the hawks derive.

F2J0151


A RECENCY MARBLE TOPPED TABLE

The top inlaid with 142 specimens of marble standing on an extremely fine rosewood base, the central column with carved acanthus leaves and beaded carving to a three splay platform base each platform with carved scrolling acanthus leaves terminating in gilt brass paw feet.

England, circa 1820

Height: 30in (76cm) Diameter; 31 in (79cm)

> A PAIR OF RECENCY WALL LICHTS

A pair of Regency four light glass wall lights, the four rope twist arms supporting moulded pans, together with the central rope twist emanating from silvered back plates fronted by Prince of Wales feathers, dressed with festoons and pear drop pendants. England, circa 1820

Height: 22 in (56cm) Width: 26y2in (67cm) Depth: l o i n (25cm)

6 3

PROVENANCE

The Burt Heaton collection Athlone, County Westmeath, Ireland

F3A0033

L2J0327

''I - T vv


A PAIR OF ITALIAN 1970's BRASS AND STEEL COLUMN LAMPS

The stepped plinth supports a multi-faceted column with a band of steel at the capital and at the centre. Italy, circa 1975

Height: 30 in {77cm) Width: 7V'2in (19cm) Depth: x/ixn (19cm)

L2J0149

A BARREL TEA CADDY

A rare late 18th century fruitwood tea caddy in the form of a barrel, the recessed top fitted with a tap above th« bulbous body with turned bands, the interior retaining almost all of the original lead lining. England, circa 1790

Height: 4W\n {11.5cm) Diameter: 4 in (10cm)

O2J0370

> A PAIR OF TERRACOTTA RECUMBENT LIONS

These two lions, one sleeping, the other vigilant, are modelled after the famous lions at the base of the monumental tomb of Clement XIII in Saint Peter's Basilica in Rome, made by Antonio Canova, who worked on it from 1783 to 1792.

The Manifattura Siciliana Terrecotte Vella commenced business in 1893 in the town of Caltagirone in Sicily, under the direction of Enrico Vella. Vella had been experimenting with artistic terracotta for ten years, before founding the factory, which specialized in architectural elements. Some of the best examples may be seen in the eastern part of Sicily, particularly in the cities of Caltarigone, Catania and Francofonte.

His work was highly acclaimed in Sicily, winning several awards. Production at the factory ranged from the eclectic neo-renaissance style to a "modern" style of

decoration, absorbing the art nouveau, or nuovo stile, which came from the north. The manufactory also produced classical architectural decorative elements, of which the Canova lions with Mallett are an excellent example.

In the Caltarigone region, Enrico Vella was responsible for the facades of Casa Saleri delle Magnolie, Villa Cusmano and the Villa Libertini. He also worked for the Villino Longo in Catania, and the Palazzo Signorelli in Castelvetrano where very good examples of his work can be seen.

The success of the manufactory went on into the 20th century with awards granted at the Biennale di Venezia in 1932 and the next year at the Triennale di Arte Decorativa di Milano. Italy, circa 1890

Height: i 6 i n (41cm) Width: I 5 i n (38cm) Depth: 39y2in (100cm)

O2J0091

67


A RECENCY PENWORK COLLECTOR'S CABINET

A rare and unusual Regency penwork collector's cabinet profusely decorated on the front and sides with chinoiserie, flowers, birds and insects and on the top with geometric designs in grisaille; the doors opening to reveal an interior of graduated drawers each decorated with different bands of repeating classical motifs. England, circa 1820

Height: syin {145cm) Width: 28in (71cm) Depth: I 4 i n (35.5cm)

• PAIR OF GEORGE III MAHOGANY WINDOW SEATS

Of transitional form with square tapering fluted and reeded legs and scroll arm supports. Now upholstered in silk.

England, circa 1770

Height: 25in (63cm) Width: 47 in (1 20cm) Depth: i6 in (40cm)

F2J0260

7 1

F2J0150

' A ' -


A PAIR OF GEORGE III MAHOGANY ARMCHAIRS

A remarkable pair of George III mahogany armchairs in the manner of Edward Newman (i 692-1758), the pierced back splat decorated with very finely carved Chinese and Gothic ornament, enriched throughout with foliate decoration in high relief set against a part punched ground. The outward scrolling arms above an upholstered seat supported at the front on elegantly shaped cabriole legs, terminating with richly carved scrolled toes. England, circa 1755

Height: 37in (94cm) Width: 27y2in (70cm) Depth: 26in (66cm)

The highly carved ornamentation and use of elm for the seat rails has similarities in detail to the rare Master's chair at Temple Newsam House, attributed to Edward Newman (see plate 71 - Furniture at Temple Newsam House and Lotherton Hall, p 87 vol 1). The detail of the flowers climbing the uprights of the scrolled arms alongside the stylised rocaille decoration on the seat rails on an unpunched ground, are part of this signature work. All these chairs have the unusual and rare use of elm rails rather than the more common beech or oak. The knurl feet are first seen on a design in Thomas Chippendale's Director 1754. plate X5.

Evidence suggests that these chairs have been upholstered three previous times in their history always with girth webbing. There are traces of the first upholstery using square headed tacks and nails, the use of which was abandoned at the turn of the 19th century for the more favoured circular form.

The advent of the rococo brought a relaxation of the strictly formal Palladian styles that had governed the design of English furniture. In turn, craftsmen and designers in England turned to the relative flamboyance of the Gothic and exotic flavour of chinoiserie. Elements of rococo chinoiserie are epitomised in this pair of armchairs with the pagoda-like back rail, supporting the pierced splat with crisply carved scrolling acanthus decoration. The taste for chinoiserie was not in itself new, previously the style had relied on glamorous surface decoration such as japanning and lacquer work. However, the progression developed in the use of Chinese features being incorporated as structural design elements.

Comparative examples: A pairof armchairs in the manner of William Vile and John Cobb of a similar design in the leg and arm supports were part of a collection of H. L. Joel in 1977 and later Childwick Berry, Hertfordshire in 1978.

F2J0254

75


A PAIR OF ITALIAN PARCEL GILT SIDE TABLES

A pair of cream and blue painted, parcel gilt side tables with pink mottled marble tops within white borders; above egg and dart friezes, the aprons centred by urns and stylised swan cornucopia, the square tapered panelled legs witi* carved bellflowers and headed by medallion motifs. Italy, circa 1780

Height: 34V2\n (88cm) Width: 57in (144cm) Length: 27in (69cm)

F2J0086

A GEORGE III TELESCOPIC SILVER TOASTING FORK FOR THE THOMAS WEEKS MUSEUM

A rare and unusual sterling silver extending telescopic toasting fork with silver stamp of George Cowels, London, 1802; extending by four sections and ending in a trident fork. The handle engraved "BAT WEEKS'S R' MUSEUM-Tichbourne St-1038'.

England, 1802

Length closed: 9 in (22.5cm) Length fully extended: 25in (63cm)

Thomas Weeks was the proprietor of a celebrated 'museum' at 3 and 4Tichborne Street, an emporium where customers could order models seen on exhibition. He may have masterminded the design of many of his stock of objects de luxe and automata, but they were made in the workshops of leading craftsmen nearby. Only three of 'Weeks silver toast forks' with four segments are known, this fork is the earliest known example pre dating the opening of the museum in 1803.

O2I0269

79

PAIR OF VENETIAN GIRANDOLES

A rare pair of mid 18th century Venetian giltwood girandoles each surmounted by a stylised anthemian cresting supported by scrolls, each in turn enriched with foliate carving and subsidiary scrolls. The mirror plates are original and are framed by a shaped moulding. The girandoles retain their original gilt tole candlearms. Italy, circa 1760

Height: 38 in (96cm) Width: 23y2in (60cm)

F2J0124

M A L L E T T N E W V O R K

A GEORGE II MAHOGANY IRISH SILVER TABLE

The moulded dished top above a frieze centred by a scallop shell with scrolling acanthus leaves; the sides centred by a carved sunflower, the background having cross hatching and punching raised on cabriole legs with carved acanthus leaf terminating in bold scroll toes. The whole having a fine patina. Ireland, circa 1740

Height: 28in (72cm) Width: 34in (87cm) Depth: 21 in (54cm)

PROVENANCE

Private Collection, Northern Ireland.

F3A0034

8 3

AN EDWARDIAN SILVER GILT TORTOISE BELL

A charming early 20th century tortoise bell, the shell of silver gilt, with hallmarks for Birmingham, 1908, stamped Grey & Co. England, 1908

Height: 2 in (5cm) Width: 3 in (8cm) Length: 6in (14.5cm)

O2J0057

FOUR CHINESE EXPORT BLACK LACQUER SIDE CHAIRS

A highly unusual set of four George II lacquer side chairs, the shaped back with scrolled top rail framing a shield back splat with animalia crest on graciously curved front legs, terminating in scrolled feet. The black lacquer ground decorated throughout with gilt highlights, the seats upholstered in yellow silk. Canton, circa 1735

Height: 39in (99cm) Seat Height: i8 in (46cm) Width: 23y2in (60cm) Depth: 23V'2in (60cm)

These chairs with their tropical hardwood seat rails are of a type seen in a number of important English collections, most notably a single side chair at Beningborough Hall, The National Trust. The animalia crest is as yet unrecognised and is more likely to have been adopted from exotic Chinese fauna by the owner in the early 18th century. The seat rails retain their original Chinese calligraphy in ink, inscribed by the cabinet maker or workshop.

Another pair formally in the collection of the Earl of Warwick, Warwick Castle, 1730, see Star Pieces: The Enduring Beauty of Spectacular Furniture, David Linley, 2009, p.95.

F2J0318

84

srfsesssa:^ asfeiii


86 A GEORGE III MAHOGANY COMMODE

The top drawer with two divisions and originally with a long slide and a smaller slide or mirror, with circular blue-bordered paper label inscribed T, Leeds City Art Galleries Exhibition label on reverse England, circa 1762

Height: 34in (86.5cm) Width: 49'/4in (125.5cm) Length/depth: 24in (61.5cm)

PROVENANCE

Bought from W. Waddingham, Harrogate, in the 1950's, and by descent. Exhibited Leeds, Temple Newsam House, Thomas Chippendale (1718-1779) A Festival of Britain Exhibition, 8 June to 15 July 1951, no. 66, pp. 26-27, illustrated, (attributed to Thomas Chippendale). London, Christie's and Manchester, The Whitworth Art Gallery, Treasures of the North, 13 January to 9 April 2000, no. 97, p.i32.

Wright and Elwick With its exaggerated bombe form, characteristic carved embellishments and distinctive handles, this commode is closely related to the documented oeuvre of the celebrated Wakefield firm, Messrs. Wright and Elwick. Both subscribers to Chippendale's Director, Richard Wright and Edward Elwick are first recorded in Wakefield, Yorkshire, in 1748, although Wright had undoubtedly worked in London at 'ye Greatest Tapestry Manufactory in England for Upwards of Twenty Years' beforehand (C. Gilbert, Wright and Elwick of Wakefield, Furniture History, 1976, pp. 34-50). Extensively, but by no means exclusively, patronised by the Yorkshire nobility and often engaged alongside the architect John Carr of York (1723-1807), they counted the Marquess of Rockingham of Wentworth Woodhouse amongst their principal patrons.

The clear derivation of this commode's design from Chippendale's 1762 pattern suggests few firm clues to authorship. It is well known that Chippendale's patterns were widely imitated, more or less as soon as they were published and for the years immediately following whilst the rococo, French or 'Modern' style remained fashionable. However, it is suggested here that this commode is by the Wakefield cabinet-making firm of Wright and Elwick. Few contemporary firms of Chippendale's have contrived to imitate Director patterns so closely, whilst incorporating their own particular idiosyncrasies. Similarities with pieces by Wright and Elwick include the boldly carved gadrooned edge, the unusual handle-pattern, the reliance on a Director pattern and the idiosyncratic feet.

Chippendale's Design The 'commode-table' for

a bedroom apartment window-pier has an elegant 'cupid-bow' serpentined top with columnar corners and hollowed centre corresponding to Thomas Chippendale's 1762 'French' patterned commode engraved in the 3rd edition of his Centleman and Cabinet-maker's Director, 1762 (pi. 67 left side). The Chippendale pattern for a three-drawer 'Commode Table' shows it raised on tall stand-like feet wrapped by Roman acanthus; and appears alongside an alternate design for one with canted and 'antique' sarcophagus-scrolled pilasters. Chippendale's adjoining engraving also featured two 'Commode Tables' with alternate schemes (ibid., pi. 67a). That on the right has ram hooves on one side; while the alternate scheme had water-scalloped enrichments and volute-scrolled feet as featured on the present commode. Likewise the companion 'commode table' has the moulded edge of its top


enriched with foliage or reed-gadroons. The present commode's apron is enriched with reed-gadroons and wave-scrolled lambrequins; while the reeds banding the drawers are enriched with triple pearl clusters. Chippendale adopted the same fagade for the base of a 'commode clothes- press' supplied by his St. Martin's Lane firm, and invoiced in 1766 for Nostell Priory, Yorkshire (C. Gilbert, The Life and Work of Thomas Chippendale, London, 1978, vol. II, fig. 245).

W a d d i n g h a m o f H a r r o g a t e

The family of furniture dealers established in Harrogate, Yorkshire, like that of its rivals in the same town Charles Lumb, flourished in the middle years of the 20th century and coincidentally handled not only this commode but also another, spectacular commode attributed to Wright and Elwick: one of the 'Raynham' commode pattern - sold by French and Company.

F2J0226

8 7


90 A PAIR OF FLAMBEAU WALL LIGHTS BY OSLER

A pair of flambeau wall lights, originally for paraffin, designed in the 'Arts and Crafts' style. The ormolu brackets are decorated with bevelled mirrors, supporting cut glass lights in the form of torcheres, the tapered bodies supporting a bulbous head with finial. The finials of later date Stamped F&C Osier, Birmingham England, circa 1880

Height: 22 in (56cm) Depth: yin {18.5cm)

Osier originally made traditional chandeliers, but they enthusiastically embraced the Arts and Crafts movement. They had their own glass works and their own metal workshops, which led to integrated designs which no other manufacturer could match. The harmonious design of these wall lights is testament to this common understanding and approach.

L2J0237

U '


A REGENCY DRUM TABLE

A rare and unusual Regency mahogany patent drum table. The frieze has four drawers each separated by a blank drawer and inlaid with ebony stringing and scrolls now having brass handles with lions heads. The centre of the table is inlaid with ebony anthemia and reveals a rising satinwood cylindrical secret drawer section with four drawers on each side with a diamond of mahogany bordered in satinwood separating the drawer sections. The table stands on a reeded column and four scrolled reeded legs terminating in brass castors. England, circa 1810

Height; 28in (71cm) Diameter: 48 in (122.5cm)

Drum tables gained popularity at the end of the eighteenth century when they were introduced as library writing tables. The deep circular top is traditionally covered with a tooled leather writing surface with drawers or shelves positioned around the sides. The particular design exhibited in the present drum table is very rare, the sprung mechanism that holds the central drawers has few precedents on a table of this size. A Pembroke table in the permanent collection of the

V&A and its similar counterpart illustrated in Mallett's Masterpieces ofNeo-Classicism both have a hidden sprung loaded well drawer in satinwood and inlay.

LITERATURE

Edwards, R. The Dictionary of English FurnitureVo\umes 1-3. The Antique Collectors' Club, Woodbridge, 1983. Mallett. The Age of Matthew Boulton: Masterpieces ofNeo-Classicism. London, 2000.

F2J0372

91


A WILLIAM IV ROSEWOOD CENTRE TABLE WITH ROULETTE WHEEL

A William IV rosewood circular table, the gadrooned top of finely figured rosewood revealing a roulette wheel with rich floral decoration in parti and contra parti, ebony and ivory, surrounded by bands of red and black ivory panels with a compartment for gaming pieces, the wheel turned by a gilt handle, all supported on a reeded column with gadrooned base above a triangular shaped jjlinth resting on circular turned feet. England, circa 1835

Height: 33 in (83cm) Diameter: 39y2in (100cm)

PROVENANCE

Mary, Marchioness of Ailsa, Cassillis House.

Cassillis House was the main seat of the Kennedy clan occupied from the mid 14th century. The 12th Earl became the Marquis of Ailsa during the reign of William IV and remodelled the house when this table may have been acquired. His grandfather. Captain Archibald Kennedy was the greatest property owner in New York but his neutrality during the American war of Independence lead to half of his estate in New York being confiscated.

F2J0188

> AN IMPORTANT LOUIS XIV SILK AND WOOL NEEDLEPOINT RUG

A very finely worked 17th century silk and wool rug with millefiore ground of elaborate flowers and foliage, with brown background and two narrow borders banded with yellow lining and broad border between, having stylized elaborate bows and crowned urns at each corner, with stylised baskets at the center. All in exceptional original condition. France, circa 1690

Width: 174in (442cm) Length: i 2 4 i n (315cm)

T2J0267

95


96


97


AN EMPIRE PERIOD LEAD MOUNTED FAUTEUIL

A very unusual early 19th century stained mahogany fauteuil of generous proportions having a scroll back of coved outline and with reeded scroll arms enriched with gilt lead acanthus leaf foliate paterae and terminating in recumbant Hons. The seat rails are decorated with a foliate vitruvian scroll also in gilt lead. The fauteuil stands on sabre legs which are reeded at the front and terminate in lacquered brass paw feet. The back rail bears the initial C.H.C and the numerical code 1185.

Scandinavia, circa 1825

Height: 35'/iin (90cm) Width; 30in (76cm) Depth: 31 in (79cm)

F2C0544

A MUSEUM SAMPLE OF ITALIAN COAL

A most unusual and very large piece of prehistoric sculpted coal mounted in a simulated pine display case bearing the inscription 'carbo lignis 300 million d'annees', the case has a brass label entitled 'Ribolla Montecatini'. The coal itself bears comparison to the tradition of philosophers rocks in China. Italy, circa 1860

Height: 73 in (185cm) Width: 33'/2in (85cm) Depth: 27in (69cm)

O2J0172

101


A M I D 18TH CENTURY SWEDISH PARCEL GILT PIER MIRROR

A magnificent mid i8th century Swedish parcel gilt pier mirror, the pierced strapwork cresting embellished with a carved laurel leaf crown tied with ribbons and further adorned with swags, tassles and carved acanthus leaf decoration, retaining the original mirror plates with borders decorated in relief with further laurel leaf moulding, the base similarly adorned.

Sweden, circa 1760

> Height: 88y2in (225cm)

Width: 32in (80.5cm)

F2J0081

A GERMAN HARDSTONE TANKARD

A hardstone silver mounted tankard with a rock crystal handle and spa foam top. Germany, circa 1900

Height: 6in (15cm) Width: 4in (i icm)

O3A0010

t> A FINE PAIR OF ORMOLU CHENETS

A fine pair of Empire ormolu chenets, each in the form of a striding lion with curly mane, the right foreleg resting upon a sphere, standing on a rectangular plinth decorated with martial trophies and leaf-cast paw feet. Attributed to Claude Calle. France, circa 1805

Height: lyin (42.5cm) Width: i5y2in (39.5cm) Depth: 5in (1 2cm)

This distinct pair of ormolu chenets belong to a group of comparative pieces supplied by Claude Calle. One set of chenets were supplied by Galle in 1809 to Napoleon's Salon in the Grand Trianon at Versailles.

Two other versions are known, one pair with identical rectangular plinths were until recently in the Corcoran Gallery of Art, Washington. Another pair of rectangular Chenets were provided by Ravrio in 1808 for the salon de I'appartment de prince in the Palais de Fontainebleau. This pair is decorated on the front with a pair of confronted lions which bear strong similarities to the lions on the present pair. They are shown with curly manes, raised right paw and with their tails held upright, they flank an oval tazza all of which is after a design for chenets of a different model which appear in the catalogue of an unidentified bronzier conserved in the Musee des Arts Decoratifs in Paris, see J.P. Samoyault, Pendules et bronzes d'ameublement entres sous le Premier Empire, Paris, 1989, no. 23i,p.236.

F2J0065

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A LATE 18TH CENTURY COADE STONE VASE

In the neoclassical taste with satyr masks to the sides and roundels to the body, standing on its original plinth. Stamped 'Coade' Lambeth 1792 England, 1792

Height: 75in (191cm) Width of base: 21 in (54cm) Depth of base: 21 in (54cm)

Coade stone is a compound of clay, flint, sand and silica invented by Mrs Eleonore Coade, 1708-1796, as an artificial stone that not onl * was an alternative to natural stone and marble, but was also resistant to frost. It took a highly skilled craftsman to produce this material as its production was extremely complex. Its popularity was, in its comparison to natural stone, having a warmth of colour and being unaffected by weather and moss. It is mostly identified by impression marks 'COADE' and in very rare cases, both signed and dated.

O2J0344

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A PAIR OF GERMAN IRON TORCHERES

A rare pair of Berlin cast iron neoclassical torcheres after the Antique. Each has a dished capital enriched with low relief classical motif of anthemions and an egg and dart border to the top edge, above a fluted column and terminating in a tripod of animal feet spaced with open anthemion and classical scrolls. In the style of Karl Friedrich Schinkel

Germany,circa 1 8 i o

Height: 6iv'2in (i 56cm) Diameter: l o i n (25cm)

O2J0175

A PAIR OF REGENCY CORNUCOPIA

The trumpet element cut with facets and flutes supported on bases modelled as stylised rams heads enriched with foliate decoration, each standing on stepped plinths of Sienna and Carrera marble. England, circa i8oo

Height: yviin (19cm) Width: sin {13cm) Depth: 4in (9.5cm)

O2J0223

A PAIR OF LOUIS XIV NEEDLEPOINT OVAL PANELS

A pair of Louis XIV needlework oval panels depicting Diana with nymphs and Europa. France, circa 1700

Height: 25y2in (64.5cm) Width: 22y2in (57cm)

This pair of petit point finely worked panels have many decorative elements in common in addition to their choice of mythological imagery. The story of Diana the goddess of hunting and chastity both derive from Ovid's Metamorphoses and is ultimately a tale of voyeurism as Diana is shielded by her nymphs from the lechery of an onlooking satyr. The Abduction of Europa by Zeus is a myth that originally derives from the Iliad (the 9th century b.c recounting of the sack of Troy.) However, depictions of Europa and the bull became one of the most popular images in decorative arts.

T2J0125

109


112 A SET OF TWELVE GEORGE III CARVED MAHOGANY ARMCHAIRS

A rare and important set of twelve late i8th century Hepplewhite period carved mahogany armchairs. The moulded oval back with pearl carving having three slats with oval sunflower paterae. The outswept moulded arms with scroll ends and acanthus leaf decoration on downswept supports. The serpentine shaped seat with fluted frieze upholstered in yellow silk damask material; on four channelled tapering legs terminating in spade feet. English, circa 1780

Height: 37 in (94.5cm) Width: 24y2in (62.5cm) Depth: 22in (56cm)

LITERATURE

R. Edwards, The Dictionary of English Furniture Veil, London, 1954, pp.291, a similar chair. L. Hinckley, Hepplewhite -Sheraton and Regency Furniture, New York, 1987, p.58, a similar chair.

S.E. Stuart, Gillows of Lancaster and London 1730-1840 Vol I, London, 2008, p.272-274

A TABLE CROQUET SET

A charming late 19th century miniature croquet set, with eight mallets and balls raised on a box for storage. Germany, circa 1890

ILLUSTRATED

C. Gilbert, Furniture at Temple Newsam House and Lotherton Hall, London, 1978, Vol. I, pp. 93, an identical chair.

F3A0060

Height: 22 in (55cm) Width: i 7 i n (43cm) Depth: Sin (21cm)

O2J0092


A GEORGE III COMMODE ATTRIBUTED TO PIERRE LANGLOIS

With two doors above an apron decorated with chinoiserie fishing scenes, sides and top also with chinoiseries within quatrefoil pattern borders, the interior with three drawers; with its original bronze mounts in the corners, feet and edge of the top. Redecorated. England, circa 1765

Height: 34in (86cm) Width: 38 in (97cm) Depth: 23y2in {60cm)

F2H0411

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Pierre Langlois (fl London, 1759-81) developed a distinctive style that was markedly French in character and he enjoyed particular success at a time when war with France placed a limit on the importation of French furniture and other luxury goods into England. The use of lacquer, the gilt metal work and the elegant bombe shape are all influences from Langlois' French origins. A commode of similar design is in the Victoria & Albert museum {Museum nr W.6i:i to 8-1931).

A LATE LOUIS XVI TERRACOTTA FIGURE OF DIANA

A fine Louis XVI life-size terracotta figure of the goddess Diana. She is depicted in robes with a quiver at her waist and a bow in her hand above her seated hound. In Roman religion Diana is goddess of the moon, forests, animals, and women in childbirth. She was probably originally a forest goddess and a special patroness of women. She was identified with the Creek Artemis, and at her temple on the Aventine in Rome she was honoured as the virgin goddess. France, circa 1780

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Height: 6 i in (155cm) Height including pedestal (not shown): looin (254cm)

O2J0079

THE MACHAULT D'ARNOUVILLE VASES PRESENTED AS A GIFT BY LOUIS XV

An extremely rare Sevres fond violet garniture of three ormolu mounted vases. Each egg-shaped vase in two sections, rests on a tall, splayed foot. Recorded in the Sevres day book as commissioned as a gift, possibly by the King, Louis XV, for Marchault d'Arnouville. Made of soft-paste porcelain. France, circa 1768

Centre vase: Height with ormolu 12in (31cm) Side vases: Height with ormolu 11 in {28cm)

The vase heights are all similar, the centre vase stands on a more elaborate ormolu base. The ormolu mounts attributed to Jean-Claude Duplessis (d.

1774)

The Sevres Factory excelled in the novelty of their designs and extraordinary challenges. To this day Sevres is celebrated for its quality and unequal ground colours and its technical excellence allied to a particular flamboyance. The Sevres vases always caught the public eye and received the most publicity and thus became the vanguard for establishing the latest style in fashion. 1762 saw the introduction of the first vases at Sevres which were unequivocally classical, the vase ferre being one of the earliest. With the evolution of Neo- classicism, vase shapes were constantly simplified based upon Antique models to ultimately evolve into forms such as the prized egg-shaped vases. The name 'oeuf appears in the documents referring to a variety of egg-shaped vases produced at Sevres in the 18th century though the shape under discussion may be interpreted as the most classical.

Other examples of garniture de trois vases oeuf montes en bronze include the garniture with a cobalt blue ground and gold striations and mounts attributed to Pierre Gouthiere (1732-1812/14) purchased by the Empress Maria Feodorovna for the State Bedroom at the Pavlosvk Palace, near St. Petersburg. Another garniture decorated between 1775-6 by Louis-Francois Lecot (1741/2-1800/3) with chinoiserie scenes was purchased by Marie Antoinette and is now at Versailles.

The extraordinary aspect about these vases is their unusual and brilliant purple or violet ground. The Vincennes factory appears to have

produced an earlier purple 119 colour copying from Meissen, but this colour was very grey, similar to the pair of pots pourri vases at the Musee Ceramique at Sevres. The colour of the vases under discussion is a different purple based upon a formula produced by Jean-Jacques Bailly at Sevres. It is fascinating to observe a reference to the formula for a new fond violet introduced on

the 24 September 1767 in Jean-Jacques Bailly's handwritten Manuscript de Bailly, 1785. Furthermore, under the paragraph headed Violet No. 1 du Septembre 1767 it is of particular interest to note that Bailly specifically refers to 'on fait les petits oeufs qui est tres beau.' This colour was largely experimental due to the enormous difficulty involved in its production, resulting from the fact that the

formula contained alkaline. The drawback with alkaline is because it contains oxide which liquefies as it is subjected to heat, causing the colour to run or bleed and becomes washed

out when fired. Alternatively, the ground might turn black if applied too thickly. Furthermore, this ground had a tendency to craze. It would appear that this fond violet

was so troublesome to produce that it soon became obsolete so apart from the two garnitures of three vases created in 1768 as gifts for Henry Leonard Jean-Baptise Bertin and Machault

d'Arnouville, listed in the Sales Inventories for December that year and two small cylindrical

vases now in the Musee Ceramique at Sevres, no other wares of this amazing ground colour appear to have been

continued on page 122

1

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122 produced or survive.

The deep and pulsating colour of the fond violet is the first aspect that is the most striking and eye-catching and the Machault d'Arnouville garniture of vases are further enhanced and offset by ormolu mounts of exemplary quality, and as such may surely be attributed to Jean-Claude Duplessis (d. 1744). It is interesting to consider that Duplessis would have been working on the ormolu mounts for the celebrated Bureau du Roi for Louis XV, at the same time, now at Versailles. These fond violet vases would have been regarded as an amazing and staggering prize in their time. In retrospect, today, we can view them as being all the more remarkable for their technical and aesthetic excellence, regal taste and breathtaking refinement.

Jean-Baptiste Machault d'Arnouville (Paris 13 December 1701-12 July, 1794) came from a privileged and a political background, his father was a Counseiller d'Etat and Lieutenant General de Police. He was described by his contemporaries as being 'proud, aloof, with a strong character and dignity', all these characteristics can be seen in his portrait belonging to the Comte de la Panouse, Chateau de Thory. Machault was a distinguished statesman and financier, until his fall from grace in 1757. He held numerous political appointments such as president au Grand Conseil in 1738, Controleur General des Finances from 1745 to 1754, Grand Tresorier- Commandeur des Ordes du Roi from 1747 to 1754, Minister d'Etat in 1749 and Garde des Sceaux de France in 1750 as well as Ministre de la Marine. In his capacity as Controleur General des Finances

Machault recognized the need to bring in radical reform of fiscal policy, with the backing of the King he decided to levy a tax called le vingtiem, a form of income tax of five percent, to be paid by all classes including the clergy. He also asked for a declaration of property. The clergy, richer than any other section of the community, did not care for the prospect of paying tax and still less for that of declaration of their revenues, instigated an uprising, in the light of which Louis XV capitulated upon this financial reform.

Machault's main contribution however, was a protege of Madame de Pompadour and also as Minister of Finance, when he became her willing accomplice in encouraging Louis XV to take an interest in the Sevres factory, initially investing in 25% of the capital stock in 1752, and granting the title Manufacture Royale de Porcelain de France to the factory in 1753. The King finally purchased the concern outright in 1756 and moved the factory to its new premises at Sevres.

Machault d'Arnouville was a favourite of both Louis XV and Madame de Pompadour. He found himself in an awkward position when Louis XV was stabbed by Robert-Francois Damiens and it was believed the King would die in February 1757. Machault was given the tricky task of advising Madame de Pompadour that she would have to move out of the King's apartment as his mistress so that the Monarch could be given Absolution.

The King recovered from his wounds. Machault was subsequently detested by Madame de Pompadour, who arranged for his dismissal. However, he continued to hold a very special place in the King's

affections as was evidenced by the monarch's intimation 'Monsieur de Machault, although certain of your probity and the honesty of your motives, circumstances oblige me to ask you for my seals and for your resignation as Ministre de la Marine. You can rely upon my protection and friendship. You can ask favours for your children at any time at all. You had better stay at Arnouville for the present. You will keep your salary and honour'. Despite the fact that Machault was ousted from Court circles, he continued to hold a very special place in the King's affections.

He was nearly recalled to office by Louis XVI, however, was passed over, and died in prison during the Revolution.

Machault came into a large inheritance upon the death of his mother in 1721, when the fortunes of the family were valued at 792,000 livres, which was a substantial sum for the period, and included property at the Hotel de la rue du Grand-Chantier {actually 61, rue des Archives) and the Chateau d'Arnouville. Machault inherited the land in the Seine-et-Oise in 1750 and commissioned the architect Contant d'Ibry to build the Chateau d'Arnouville-les-Gonesse. The Marquis d'Argenson in a letter dated 7 August, 1751 wrote 'Cependant il (Machault) fait des depenses folles a son chateau d'Arnouville-les-Gonesse, il y a abattu le village et fait devant sa maison une place publique grande comme la place Vendome' emphasizing the enormous expense and scale of the project. After Machault's disgrace the work was interrupted and the chateau only partly completed.

On the death of Machault's father, who was described as 'homme integre et capable, magistrat depuis les pieds,

jusqu'a la tete' he inherited in 1750 some very significant pieces of furniture, which included console tables with porphyry tops, Chinese lacquer cabinets, tapestries and many pieces of porcelain, and he became one of the foremost collectors of his day, as his inventories attest. For example, for his library in his Parisian Hotel Machault chose the ebeniste B.V.R.B.to produce between 1745 and 1749 a superb mineral specimen cabinet, which is referred to in his inventory of 21 February 1794. Two armoires with Chinese lacquer accompanied this cabinet. While Machault commissioned furniture from the contemporary ebenistes, he also had a great taste for Andre-Charles Boulle of whom his father was a patron. The lacquer armoire, now exhibited at Versailles, is regarded as one of the most celebrated pieces from Machault's collection. Highlights from the Machault's collection, such as the bronze group of The Rape of Helen signed by Susini and dated 1627 now in the collection of the J. Paul Getty Museum, Los Angeles.

As the Sales Inventories at Sevres confirm the gift of the garniture of vases to Machault d'Arnouville in December 1768, one would assume they were displayed together,with his celebrated collection at the Chateau d'Arnouville in the Seine-et-Oise, where he retired after his fall from grace. We lose track of the garniture of vases after his death until their recent re-discovery.

O2J0277

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

123


24 PEACOCK AND HEN IN A WOODED LANDSCAPE

A peacock and hen in a wooded landscape with shoreline, surrounded by a variety of ducks and birds. Attributed to Melchior de Hondecoeter (1636-1695). Dutch, circa 1670

Framed height: 66y2in (169cm) Framed width; Si'/zin (207cm)

PROVENANCE

Count Bobrinsky, London. Count Bobrinsky was the direct descendent of the offspring of Catherine The Great and Prince Orloff.

A natural draughtsman with an eye for the smallest detail, Melchior De Hondecoeter trained under his father, Gysbert, and was heavily influenced by the works of his uncle, Jan Baptist Weenix.

He seldom departed from depicting wildfowl, poultry and more exotic species of birds in landscape and farmyard scenes and excelled at capturing the movement of birds in full action. Even in his own lifetime, he was hailed as the master of Dutch bird painting.

His inclusion of ruins and other architectural features in many canvases gives them a classical Italianate feel, which must have appealed to the collectors of the day. His works were enormously popular in late 17th century Holland and Europe, and can be seen today in the Rijksmuseum, Amsterdam; Pitti Palace, Florence; National Gallery, London; Die Alte Pinakothek, Munich; Louvre, Paris; The Metropolitan, New York and also collections in Antwerp, Boston and Cardiff

P3A0041


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AVERY FINE GEORGE III BREAKFRONT BOOKCASE

A very fine George III breakfront bookcase of large proportions in faded mahogany, the cupboard fronts having flame figured veneers panelled within crossbanded borders of satinwood; the bookcase is surmounted by a deep moulded cornice and frieze of Creek key pattern; it is formed of three sections, each with two glazed doors retaining their original glass within curved and oval astragals, carved at the top with a palmetto motif and at the base with scrolling acanthus leaves, the end sections of the bookcase being of slightly bowed form; the lower section has a central secretaire drawer fitted with a satinwood interior of small drawers, pigeon holes and a small central cupboard, the cupboards below fitted with wide sliding shelves; the cupboards to either side are fitted with four drawers and those at the end with shelves. England, circa 1795

Height: 109 in (277cm) Width: 1 56in (396cm) Depth: zzy^in (57cm)

PROVENANCE

Formerly in the collection of Mr Christian Allhusen at Elswick Hall, Newcastle; thence by descent.

The strong influence of Thomas Sheraton on the design of this bookcase is evident in his drawing for A library Bookcase, dated 1794, in the Cabinet Maker and Upholsterer's Drawing Bool<. See Comparative image.

Mr Christian Allhusen (b.i 806-d.1890) was a merchant, chemist and industrialist from an already wealthy German family who came to England in 1825. He commenced business as a corn merchant, beingjoined by Mr. H. W. F. Bolckow, who afterwards became one of the founders of Middlesbrough. Mr. Allhusen had also acquired a considerable connection as a ship and insurance broker; but from both these industries he subsequently retired, and purchased the Chemical works established by Charles Attwood in the 1830's. The site was located at South Shore in Newcastle upon Tyne and specialised in the production of Caustic Soda. The company traded under the name "Allhusens" and at its height, the plant covered an area of almost 200 acres. In 1872, the company was incorporated into the Newcastle Chemical Works.

Elswick Hall was the site of a previous Priory, but the original Neo Greek building, which is now demolished, was completed in 1803 for John Hodgson by John Stokoe (1756-1836). The Hodgsons fortune was based on the 17th and 18th century coal trade which was supplied toTyneside and everything that depended on it. John Hodgson sat as High Sherriff of Northumberland in 1849. He was recorded as John Hodgson-Hinde of Elswick and also represented Newcastle as a member of Parliament.

It is possible that this bookcase was part of the original commission for the building and furnishing of Elswick Hall, and then remained at the property with the various purchasers in the 19th century. Although this is speculation, the bookcase is of such a scale that it would be hard to imagine it not having been designed for a house of this size as part of the original

drawings and designs. The original date of publication in Sheraton's Cabinet Maimer and Upholsterer's Drawing Book in 1794 puts this bookcase as current fashionable taste at the turn of the century and was certainly worthy of this grand building project at Elswick.

F2J0107

1 2 7

A T . 1 B K A K Y B O O K C A S K .

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AN EARLY 19TH CENTURY CHINESE EXPORT LACQUER CIRCULAR TABLE

An early 19th century Chinese lacquer tripod table profusely decorated with gilt chinoiserie decoration, the revolving top depicting Chinese courtiers in boats and palaces set amidst water gardens anfl enclosed by a border of flowers and birds, supported on a bird-cage and turned baluster column, resting on an elaborately carved tripod base ending in dragon's head feet.

China, circa 1820

Height: 30in (75.5cm) Diameter: 36in (91.5cm)

F2J0082

A PAIR OF ANGLO INDIAN DAY BEDS

A pair of Anglo-Indian ebony day beds, the upper section with a balustraded back and arched balustrades to the sides surrounding a caned seat supported on baluster turned legs. Now with cushions upholstered in a tobacco coloured silk. Anglo-Indian, circa 1850

Height: 21 in (52.5cm) Width: 24in (61cm) Depth: 6oin (153cm)

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131


134 A WALKING STAG IN BRONZE BY CHRISTOPHE FRATIN

A mid 19th century bronze model of a 'Walking Stag with a Fox Peeping out from Below' by Christophe Fratin (French, 1800-1864). This bronze, signed by the artist, inscribed by the foundry 'Coalbrookedale Company' and cold stamped '15' has a medium brown patina and dark brown undertones. England, circa 1860

Height: 22 in {55cm) Length: 23 in (57cm)

ILLUSTRATED

Pierre Kjellberg. Bronzes of the 19th Century. Atglen, PA: Schiffer Publishing, 1994. p. 325.

Christophe Fratin (1801-1864) was one of the most inventive sculptors from the group of artists know as Les Animaliers. He is as well known for his humorous models of bears and monkeys as he is for his domestic animals. His work is generally small in scale, 'cabinet' works being popular at this time. The present example is one of the largest works he created, yet it still retains all of the attention to

detail for which Les Animaliers were known. Futhermore, with Fratin's penchant for humour in his sculpture, note here the Fox slyly peering out of its warren beneath the hind legs of the stag.

O3A0109

AFINEREGENCE GILTWOOD PIER MIRROR

A fine quality French Regence giltwood pier mirror, the cresting is enriched with carved scrolls, foliate ornament and flanking dragons, the lower section has a mirrored border mounted with giltwood scrolls and shells. France, circa 1730

Height: 51 in (130cm) Width: 3iy2in (80cm)

F2I0390

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A PAIR OF SEVRES BISCUIT PORCELAIN CROUPS

A pair of Sevres porcelain groups. Le Triomphe de Bacchus and L'Amour porte par les bacchantes. On gilt bronze bases. France, circa 1780

Height: lO'/zin (27cm) Diameter of base: 6in (16cm)

Biscuit was introduced at the Vincennes-Sevres porcelain factory in France in 1751. The word 'biscuit' in French literally means 'twice cooked' and describes unglazed white porcelain with a smooth surface and hence was ideal for the purpose of simulating finely polished marble. It could also be mass-produced in moulds, consequently it was especially suitable for smaller works of art such as statuettes after the antique.

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 1752 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 himself 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.

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AN IRISH MAHOGANY TABLE

A very fine mid 18th century Irish mahogany side table retaining its original richly burnished surface patina. The rectangular top above an aproned frieze centred with a carved shell, proud of a stylised shoreline. Supported on four gently curved legs, the knees with highly carved stylised lions heads surrounded with foliate and acanthus decoration supported on hairy paw feet. Ireland, circa 1760

Height: 29'/2in (75cm) Depth: 45in (11 5cm) Width: 25in (63cm)

This table is unusual and is part of a small group of tables that have very bold lions masks adorning the top of the legs. The large majority of Irish tables of this period use the lions head motif as the centre of the leading frieze, a similar table can be seen in R. W. Symonds The Present State of Old English Furniture, London 1921. fig. 112.

F2J0158

N E W Y O R K

MO A PAIR OF LARGE ROCOCO CARVED GILTWOOD GIRANDOLES

A pair of period Chippendale carved giltwood girandoles of large size, retaining their original mirror plates, the borders formed of elaborately entwined foliate and ' C scrolls, with leafy branches, urns of flowers and icicles, each with two curving candle arms. In the manner of Thomas Johnson England, circa 1760

Height: 56in (142cm) Width: igViin (75cm)

F2H0485

Thomas Johnson was an English furniture designer and carver active in London during the mid 18th century. He was apprenticed to his first cousin Mr Robert Johnson, a carver and gilder, from 1737 until 1744 when he then went on to work for James Whittle, one of the leading carvers of mid-i 8th century England. During this period he met the famed carver Matthias Lock who would later prove to be a highly influential figure in Johnson's aesthetic development. In September

1755 he published his first small book entitled Twelve Girandoles' featuring designs for eight plates it proved to be a commercial success and subsequently led to a more ambitious publication between

1756 and 1757 e n t i t l e d N e w Book of Ornaments. This book featured fifty two sheets of designs for girandoles, brackets, table frames, candle stands, clock-cases, and other ornaments in the Chinese, Gothic, and rural taste. His designs were marked by a bold use of Rococo, chinoiserie and rustic motifs, incorporating rocaille and animalia. In 1761

he published another edition entitled One Hundred and Fifty New Designs.

In 1763 Mortimer's Universal Director referred to him as a 'Carver, Teacher of Drawing and Modelling and Author of a Book of Designs for Chimneypieces and other ornaments and of several other pieces'. He issued a trade card (London, BM, Heal Col.) inscribed 'Thos. Johnson Drawing Master at ye Golden Boy in Charlotte Street Bloomsbury London'. His last surviving work is a single sheet dated August 1775 from an otherwise lost collection, illustrating a series of mirrors in the Neo-classical style. He is last recorded in the Grafton Street rent-books for 1778.

PROVENANCE

No bills relating to Johnson's work as a carver have been traced. It has been suggested that he was employed as a specialist sub-contractor by George Cole (1747 - 74) who in 1761 supplied mirrors to Paul Methuen at Corsham Court, Wilts.

A pair of pier-glasses and

an overmantel mirror from Newburgh Priory, N. Yorks (on loan to Leeds, Temple Newsam House), are based on Johnson's published designs.

Four pier-glasses and three console-tables for the 2nd Duke of Atholl at Dunkeld House, Tayside (1761), and Blair Castle, Tayside (1763), fall into the same category.

A set of four Rococo dolphin torcheres and a pair of girandoles from Hagley Hall, Worcs (Leeds, Temple Newsam House; London, V&A; Philadelphia, PA, Mus. A.) follow Johnson's designs and could have been carved by him.

LITERATURE

A unique copy of Johnson's autobiography has been found in the Library of Freemasonry in London. Interpreted by Jacob Simon: Thomas Johnson's 'The Life of the Author". (London: Oblong Creative Ltd, 2003.) Hayward, H. Thomas Johnson and the English Rococo. (London, Alec Tiranti, 1964.)

Comparative drawing from Thomas

Johnson's Twelve Cirandoles, 1755.


A PAIR OF 18TH CENTURY GIRANDOLES

A pair of mid 18tli century South German rococo polyclirome girandoles, each carved with high relief scrolls forming a pierced canopy at the top. The whole is surmounted by a polychrome foliate scroll and further enriched with entwining branches, leaves, flowers and buds. Germany, circa 1740

Height: 44in (11 2cm) Width: ly in (43cm)

This pair of South German girandoles with their rich expressive rococo carving are distinctive of a group of pieces associated with the oeuvre of a group of carvers, designers and gilders working in the i76o's in and around Munich, and in particular at the Schloss

Nymphenburg. Throughout the period white ground polychrome furniture and decorations found favour. The Emperor Maximillian III was Prince-elector and Duke of Bavaria from 1745-1777, and it is under his guidance and artistic philosophy that this taste found fruition. He founded the Nymphenburg porcelian factory, he was the patron of Francois de Cuvillies, the father of the rococo style, and he had a minor influence over Mozart, but it is the porcelain which is the influence. The white porcelain which, harked back to Chinese blanc de chine, stylistically washed over into all forms of decorative arts and with the illustrated girandoles we can clearly see the echoes of the Emperor's first passion.

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A NOVELTY CARVING SET IN THE SHAPE OF A FISH

An amusing novelty carving set in the form of a fish, the body profusely carved with stylised scales and fins and inlaid with mother of pearl eyes. The sprung brass clasp opening to reveal a carving knife and fork. Anglo-Indian, circa 1900

Length: 6V2m (42.5cm)

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[ N E W Y O R K

A REGENCY ROSEWOOD GAMES TABLE

An extremely fine early 19th century rosewood games table with brass inlay throughout, the finely figured top with a pierced brass gallery to either side of the central sliding section that opens to reveal a chess-board on the reverse side and a sunken interior for backgammon. Each long side with a deep short drawer and a dummy drawer in the frieze. The end supports joined by a carved stretcher and ending in a scrolled base and brass box castors. England, circa 1820

Height: 28 in (72cm) Width: 41 in (104cm) Depth: 23y2in (60cm)

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> THREE PAIRS OF LAMPS

Outside A pair of 19th century Japanese polychrome porcelain vases decorated with alternating vertical bands of flowering chrysanthemum, water lily and geometric motifs against a dark blue ground, now mounted as lamps with silk shades. Japan, circa 1860

Height of vase: 1 sV in (39cm) Height including shade: 26in (66cm)

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Middle A pair of mid-igth century opaline glass baluster vases decorated with a large band of naturalistically painted flowers, flanked by smaller bands of turquoise blue with gilt highlights. France, circa 1840

Height of vase: I4y2in (37cm) Height including shade: 25y2in (65cm)

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Inside A pair of early 19th century octagonal Japanese polychrome porcelain vases with raised decoration. Now mounted as lamps with bowed silk shades. Japan, circa i 830

Height of vase: i 4 i n (36cm) Height including shade: 25y2in (65cm)

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A QUEEN ANNE WALNUT WING CHAIR

A rare early 18th century Queen Anne walnut wing chair, the back with outward scrolling shoulder and arm supports with an elegant bowed front rail, the whole covered in contemporary floral needlework, the dark brown ground with peonies, chrysanthemums and roses all supported on shaped cabriole legs terminating in pad feet. England, circa 1710

Height: 45in (11 5cm) Width: z-jVim (70cm) Depth: 31 in (79cm)

A GEORGE III SERVING TABLE

The finely figured top above a fluted frieze with a carved central urn with draped swags raised on four fluted legs. England, circa 1790

Height: 36in (91cm) Width: 68in (173cm) Depth: 22'/2in (57cm)

Designed in the neo-classical taste, this elegant table may be compared with a pair of tables commissioned from Thomas Chippendale the younger by Ninian Home for Paxton House, Berwickshire between 1789 and 1791.

Of semi-elliptical form, the mahogany tops of these tables are inlaid with a fan pattern above a cross-banded frieze, the turned legs appearing to be identical to one sold in Sotheby's New York on i 8 October 2006, lot 271 and similar to those on this table.

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AN EMPIRE TRIG TRAC TABLE

An Empire mahogany trie trac table, the removable top retaining its original tooled leather with baize on the reverse. The interior is the traditional stained and polished ivory set w^ithin an ebony frame. This is flanked by highly figured flame mahogany and the same timber is used on the sides and drawer fronts. The table stands on finely_|urned reeded legs terminating in brass castors. France,circa i 8 i o

Height: 29in (74cm) Width: 45'/^in (115cm) Depth: 22in (56cm)

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A PAIR OF MID 19TH CENTURY ARMCHAIRS

A pair of mid 19th century William IV oak library armchairs with scrolled backs and ballustrade arm supports on turned front legs, supported on spoked wheel castors covered in tobacco suede. England, circa 1845

Height: 38in (97cm) Width: 36in {92cm) Depth: 27in (69cm)

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• A GEORGE III IRISH HUNT TABLE

A very fine mid 18th century mahogany oval hunt table, the top in richly figured mahogany of magnificent colour, raised on eight square legs. Ireland, circa 1780

Height: 28in (72cm) Width: 55'/.in (141cm) Length: 92in (234cm)

PROVENANCE

The Tyrell family, Edenderry, County Offaly.

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A GEORGE III CARVED GILTWOOD GIRANDOLE

A magnificent George III carved giltwood girandole mirror with triple candle arms, the cartouche-shaped moulded frame with elegantly carved foliate scrollwork, supporting a spray of leafy fronds surmounted by a shell motif, the base similarly carved with festoons and drops of husks, the scrolled candle arms having drip-pans and nozzles in cast and chased gilt mstal. The design in the manner of William France. England, circa 1765

Height: 59in (150cm) Width: 34in (86cm)

In the gallery of Aske Hall, the Yorkshire estate purchased by Sir Lawrence Dundas Bt (1712-1781) in 1763 and the present seat of the 4th Marquess of Zetland, hang a pair of girandole mirrors of practically the same design as the present mirror. It is known that Sir Lawrence Dundas believed in the employment of more than one cabinet-maker to help him furnish his various houses and Robert Adam probably helped him to make his choice. Amongst the small number of eminent 18th century craftsmen, who were busy working on houses such as 19 Arlington Street, Sir Lawrence Dundas's London house and his equally important country house at Moore Park, was the highly successful partnership of John Bradburn and William France.

John Bradburn (d. 1781) had a carving shop in Hemmings Yard in St Martin's Lane from

1758. He and his partner, William France (d. 1774) had been working for the cabinet-maker partnership of William Vile and John Cobb for Anthony Chute at The Vyne, Hampshire, before both were employed by the Royal household at Buckingham Palace. William France was joined by John Bradburn on work invoiced to Sir Lawrence Dundas soon after July 1764.

It is interesting to note that the entry in France's June 1764 accounts to Sir Lawrence which states: "For 2 elegant carved Girandoles with a large plate of glass, and 3 lights in each to shew the glass, festoons and drops of husks falling from Different parts all gilt in burnished gold at £28 6s £56 12s." In his article Some Rococo Cabinet-Makers and Sir Lawrence Dundas, Apollo, September 1967, Anthony Coleridge states of these mirrors that William France's

invoice seems to correspond in every detail to the pair of mirrors now in the Gallery at Aske and it would therefore be reasonable to suppose that these are the ones supplied by France.

This being the case, the mirror here described is of such a similar design, differing only minutely in a few unimportant details, to suggest that this mirror also emanates from the workshop of William France.

Another pair are recorded in France and Bradburn's joint account of 21 December 1764 with a charge of £97 12s. These magnificent girandoles, photographed hanging in the ground-floor front parlour of 19 Arlington Street in Country Life, 17 September 1921, pp.350-355, fig.7, were sold by Mallett in 2003.

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A VENINI CHANDELIER

A hand forged blue glass chandelier made by Venini, the stem bearing four tiers of attenuated stylised leaves of graduated length. The lower tier with leaves and out swept branches terminating in electrified bell-shaped drops. Stamped/VENINI 2069'. Italy, circa 1925

A LATE 19TH CENTURY JAPANESE MOTHER OF PEARL PHEASANT

A late 19th century model of a golden pheasant entirely veneered with irredescent mother of pearl applied as feathers. The pheasant with its head turned back and standing on naturalistic gilt bronze feet. Japan, circa 1895.

157

Height: 94y2in (240cm) Width: 59in (i 50cm)

Height: lOin (26cm) Depth: 23 in (59cm)

The Venini Factory was founded in Murano in 1921; a collaboration between antique dealer Giacomo Cappellin and Paolo Venini, a Milan based lawyer though from a family with a long tradition of glass-making. The partnership divided in 1925 and V.S.M. Venini & C. was created. The company enjoyed increasing acclaim throughout the ensuing decades.

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A QUEEN ANNE WALNUT CHEST OF DRAWERS

A Queen Anne walnut chest of drawers, the top quarter veneered with burr walnut and feather banding, the moulded cornice above two short and three long drawers with bookmatched veneers and brass drop handles, the whole raised on bun feet. England, circa 1710

Height: 31 in {79cm) Width: 27y2in (70cm) Depth: 2oin (51cm)

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A PAIR OF WINE COOLERS

A pair of copper and brass wine coolers having at the centre a brass cover which removes to reveal a receiver for ice or warm water.

Stamped, London, SS BOSTON. England, circa 1900

Height: 9in (23cm) Diameter: 12 in (30cm)

The SS Boston was a luxury steam driven cruise liner that voyaged between England and the USA. It's heyday was in the first decades of the 20th century when well to do travellers used it to cross the Atlantic ocean at great speed and luxury.

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A PAIR OF 18TH CENTURY CHINESE BLACK AND GOLD LACQUER SCREENS

A magnificent pair of late 18th century Chinese three-fold screens decorated in black and gold lacquer of the finest quality, depicting lake landscapes with rocky outcrops, trees and bamboos, with numerous figures in pavilions, on terraces and in boats festooned with lanterns, and others engaged in traditional pursuits, all within an elaborate border of fiery dragons and an outer border of scrolls. The reverse side of each panel is more simply decorated with flowering branches, with birds, butterflies and other insects. China, circa 1790

Height: 83in (21 icm) Width: 24in (60.5cm)

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A FINE GEORGE II CARVED GILTWOOD PIER MIRROR

A mid-18th century carved giltwood pier mirror, the rectangular mirror plate is set within a giltwood frame edged with ' C scrolls, foliage and pendant flowers, the sides with small pavilions on a rockwork base with floral, scrolling and icicle motifs. The pediment is centred by a finely carved pavilion with architectural columns and spires on rockwork, the apron similarly ornamented with 'C scrolls and a central cartouche enclosing a spray of flowers and rockwork with waterfalls. England, circa 1755

Height: 6 i in (155cm) Width: 32in (80.5cm)

As the 18th century progressed, the Classical Palladian style gradually gave way to more eclectic tastes, resulting in the lighter, more playful rococo style. A more relaxed social climate and exotic interpretations of the Far East, compounded by the revocation of the Edict of Nantes and hence the influx of French craftsmen into England, were catalysts in this process.

This mirror is a fine example of the English rococo style. Incorporating elements of chinoiserie, naturalistic, organic motifs and the distinctive rocaille ornament, it displays an exuberance and frivolity

characteristic of the time. Designs similar to this

mirror can be seen in the drawings of Matthias Lock (1710-1765), an outstanding English carver and designer who was one of the earliest craftsmen to introduce these playful designs. He published 4 New Drawing Book of Ornament in 1740 and Six Sconce's in 1744, bridging the gap between the robust Palladian designs of Kent and the whimsical fantasy of Thomas Johnson. Lock was recorded at two London addresses: Castle Street in Long Acre in 1746 and at Tottenham Court Road in 1752. It is believed that he was engaged by Chippendale for certain drawings and wood carving. Between 1740 and 1765, he published numerous books of designs for furniture, including mirrors and girandoles, at all times reflecting the most current fashions of the period.

LITERATURE

H. Schiffer, The Mirror Book, Shiffer Publishing Ltd., Pennsylvania, 1993. C. Child, World Mirrors: 7 650-1900, Sotheby's Publications, 1990.

S. Roche, Mirror's, Rizzoli International Publications, New York, 1985.

E. White, Pictorial Dictionary of British 18th Century Furniture Design, Antique Collectors' Club, Suffolk, 1996, pp. 331-335.

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A PAIR OF GEORGE II WALNUT OPEN ARMCHAIRS

A pair of George II walnut open armchairs with shaped solid back splat and out scrolling arms, with needlework drop-in seats, the legs headed by the Astley family crest of feathers and a ducal coronet, standing on carved paw feet.

England, circa 1730

Height: 40in (102cm) Width: 33in (84cm) Depth: 25y2in (65cm)

PROVENANCE

Supplied to either Sir Phillip Astley, 2nd Bt. (d. 1739) or Sir Jacob Astley, 3rd Bt. (1760) for Melton Constable, Norfolk. Thence by descent at Melton Constable with the Barons Hastings, until sold with the house in 1948.

These heraldic 'parlour' or banqueting chairs, designed in the George II 'antique' manner, have serpentined legs terminating in bacchic lion paws. They display ermine banded and acanthus wrapped cartouches with ostrich plumes and ducal coronets in celebration of the Astiey family's chivalric achievements. The pair of chairs is part of a set that is thought to have been ordered by Sir Phillip Astley, 2nd Baronet (d.1739) or his son Sir Jacob Astley, 3rd Baronet (d.i 760), and which was inherited by descent with the Barons Hastings of Melton Constable, Norfolk. Sir Jacob, the 3rd Baronet, had married an heiress of the ancient Barony of Hastings, which had fallen into abeyance. In 1817, his great grandson, Jacob Astley succeeded in resurrecting the peerage in 1841 when he became the 16th Baron Hastings.

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A 19TH CENTURY SOUTH INDIAN CARD TABLE

Inlaid throughout with delicate floral trails of tombac, the hinged folding top enclosing a green baize-lined surface with foliate spandrels, the table also features a waved apron, and stands on detachable cabriole legs with corresponding inlay and feet.

Attributed to C.PXavier. India, circa 1850

Height: 3oin (77cm) Width: -^gViin (100cm) Depth: 2oy2in (52cm)

A rotating top opens to reveal a circular playing surface surrounded by foliate brass inlay with the frieze, cabriole legs and top all similarly decorated. The table has an exceptional feature of being able to unscrew the legs which can then be packed away in a compartment below the top. Even with the legs removed, the table can nonetheless be used as the joint is approximately four inches down the leg; thus seated Indian floor players could still be accommodated.

This attractive card table has two known similar equivalents, one which sold

through Mallett in the early nineties, and the other through Christie's London sale room on the 6 July 1995. The latter bore an inscription 'C.P.Xavier, Allepey', probably relating to a Christian born cabinet-maker from Allepey, today Alappuzha in Kerala, and to whom we can attribute the other two examples.

The unusual shape and decoration of these tables results from an overlap of influences between the European typology of the card table and the Indian use of tombac inlay. The strong curve of the cabriole legs is evocative

of Portuguese examples from the 18th century, however, the rarity lies in this table having the curved feet on platforms of Indian manufacture.

Tombac, also known as Dutch brass, is of Javanese origin and is an alloy of copper and zinc.

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A PAIR OF RECENCY PERIOD MAHOGANY HALL CHAIRS

A pair of mahogany hall chairs with saddle seats. The back takes the form of a cartouche supported on columns with eagles heads and inlaid with brass stringing. The chairs stand on turned tapering legs at the_^ front and square sabre legs at the back.

England, circa 1810

Height: 36in (91cm) Width: i 6 i n (41cm) Depth: ^6V2\r\ (42cm)

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A SPECIMEN WOOD KALEIDOSCOPE

A highly unusual Italian mid 19th century parquetry kaleidoscope. Fashioned as a nine sided tapering conical figure in a variety of contrasting light and dark precious timbers with applied geometric ornament, surmounted by a mother of pearl dot and having a heart halfway down each face. The eyehole is protected by a boxwood finial. Italy, circa 1840

Height: I 4 i n (35cm) Diameter: sviin (14cm)

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A MAHOGANY REGENCY PARCEL GILT DRUM TABLE

A most unusual mahogany Regency parcel-gilt revolving drum table. Each drawer in the frieze has satinwood cross-banding and original lion's head handles. The base is of triangular concave sided form with gilt-fluting at the points and a raised gilt-wood key pattern stringing on the faces. The table stands on a gilt-wood gadrooned plinth supported by boldly mottled gilt claw feet on casters.

England, circa 1815

Height: 3oin {76cm) Diameter: 42in (io6cm)

A PAIR OF MID 19TH CENTURY GLASS WALL LIGHTS

A pair of highly unusual large scale mid 19th century cut glass wall appliques, each of seven branches of varying height supported by lavishly cut scroll arms. The main stem taking the form of a stylised fountain. Probably Baccarat. France, circa 1840

Height: 36'/2in (93cm) Width: 22'/2in (57cm) Depth: i 6 i n (40cm)

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174 A REGENCY BREAKFRONT BOOKCASE

A fine and elegant ebony inlaid mahogany breakfront bookcase, the upper section fitted with glazed doors opening to adjustable shelves; the lower section fitted to the centre with a secretaire drawer opening to a leather-lined writing surface before an arrangement of small drawers and pigeonholes above a pair of cupboard doors opening to adjustable shelves flanked to either side by a frieze drawer above a cupboard door opening to adjustable shelves; the carcass with a partial paper label and two full paper labels inscribed in ink "Thomas Brown Esq. I Uppingham I Rutlandshire I per N. W. R. I to Rugby from thence I to the Rockingham I Station 5th of June 1858" in the manner of Marsh and Tatham. England, circa 1815

Height: n o y j i n (281cm)

Width: 104in (264cm)

Depth: 22y2in (57cm)

The superb quality of this secretaire-bookcase cabinet indicates the work of a cabinet maker of distinction, with it simple elegance of design, finely figured mahogany, abundant use of ebony and fine brass mounts. There is a drawing, circa 1800, by Henry Holland for a wardrobe and another of a bookcase for Woburn Abbey, both of which are worth comparison. Both drawings feature elongated upper panels and square lower panels, 'panelled' uprights and plinth bases; see Peter Ward-Jackson, English Furniture Designs of the 18th century, London, 1984, pis. 300-301. Interestingly, Henry Holland collaborated with the London firm of Marsh and Tatham on a number of commissions, notably at Southill Park in Bedfordshire and also at Woburn, where they supplied the 6th Duke of Bedford with 'Cabinet and Upholstery Work'. Thomas Tatham's brother, Charles Heathcote Tatham, worked as an architect in Holland's office.

Related bookcases made by Marsh and Tatham for the Prince of Wales, later George IV, at Carlton House share the same panelled uprights and stepped plinth, one with ebony inlay; see H. Roberts, For the King's Pleasure: The Furnishing and Decoration of George IV's Apartments at Windsor Castle, London, 2001, p. 31 2, fig. 379, P-333. fig-414, P-4o6, fig. 481).

A library table from Castle Howard attributed to Marsh and Tatham had similar ebony inlay and the handles to the drawers are smaller but almost identical to those of the present bookcase. The Castle Howard archives have records

of payments to Tatham & Co., although dates and greater details do not exist. The 5th Earl of Carlisle is known to have encouraged C H Tatham on his travels in Italy and was a subscriber to his Ornamental Architecture in Rome, 1799. Tatham published The Gallery at Castle Howard in Yorkshire, London, 1811, and there is an album of his designs at Castle Howard.

The glazing bars to the doors are similar to a design by Thomas Sheraton, Appendix to The Cabinet-Maker and Upholsterer's Drawing Book,

1793. pl-27. fig. 1-The lion-headed drawer

pulls are possibly derived from a design for 'Antique Vases in dark oriental Marbles from the Collection in the Museum of the Vatican' by C. H. Tatham in Etchings representing the best examples of Ancient Ornamental Architecture; drawn from the originals in Rome, and other parts of Italy, during the years 1794,1795, and 1796,1798. Ancient Egyptian basalt figures of lionesses at the base of the steps leading to the Piazza del Campidoglio in Rome (see Watkin and Hewat-Jaboor, Thomas Hope Regency Designer, New Haven: Yale University Press, 2008, exh. cat., pp. 392-395. fig- 76-1) could also be the source for the lioness mask. Thomas Hope used the lionesses as models for the ends to a pair of settees in the Egyptian Room, Duchess Street, Hope, Household Furniture and Interior Decoration, pi. VIII, and for a pair of ornaments on the mantle-piece in the same room, pi. XLVI

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[ N E W Y O R K

A REGENCY BRASS GOTHIC LANTERN

A Regency hexagonal Gothic brass lantern. Each face Is surmounted by a Gothic ogee arch and flanked by stylized spires. The supporting columns are fashioned as a cluster of three with capitols cast as feathers. The lantern has a period smoke cowl and is wired for electricity. ^

England, circa 1810

Height: 32in (81cm) Width: i2%in (32cm) Depth: I2y2in (32cm)

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A LARGE ROUND REGENCY TABLE

An impressive early 19th century Regency circular dining table of large scale. The finely figured top with four semi-elliptical additional leaves decorated with foliate ebony marquetry, attached with numbered pull out supports all above a four column base on turned feet joined by a shaped plinth, with further floral carving and motifs. England, circa 1820

Height: 28y2in (72cm) Diameter fully extended: 9iy2in (232cm) Diameter without leaves: 6oy2in (i 52cm)

This unique table has no known comparisons. Circular dining tables became popular at the end of the Regency period as dining became more formal with a greater sense of sociability and theatre. Varying styles of circular table continued to develop through the 19th century, with ever

more complex ways for increasing and decreasing scale. This table enhances both the elegance of its full scale with the unusual marquetry and the ability to seat twelve or more persons around it.

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180 AN IRISH MID 18TH CENTURY TEA TABLE

A very rare mahogany Irish tea table of rectangular form having a dished top, a shaped frieze centred on a scallop shell on each of the long sides and gentle cabriole legs carved with acanthus on the knee and terminating in chamfered pad feet.

Ireland, circa 1740

Height: 28in (72cm) Width: 31 in (79cm) Depth: 2oin (51cm)

A BRASS HALL LANTERN

A late 18th century square brass hall lantern, the glazed panels surmounted by anthemia at each corner and stylised scrolling acanthus at the base. The lantern retains its original glass cowl. England, circa 1800

Height: 26y2in (68cm) Width: 1 21/2 in (32cm) Depth: 12y2in (32cm)

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182 A REGENCY HUNT OR WINE TABLE

A Regency mahogany 'hunt' or wine table attributed to Cillows of Lancaster, of traditional 'horse-shoe' form retaining its original rolling double coaster fitment with original lacquered brass mounts, mahogany leaf and curtain rail. The surface of the table top of fine, faded colour with small extension flaps at either side, raised on turned and reeded legs ending in large brass cup castors. England, circa i 810

Height: 28in (71cm) Width: 70in (170cm) Depth: 35 in (89cm)

In the late 18th and early 19th centuries, at a time when 'intoxication was expected, as a matter of course, to conclude the evening's entertainment', it comes as no surprise that a great deal of thought went into providing furniture designed specifically for the purpose and to make such indulgence as comfortable and effortless as possible.

There evolved a form of 'horse-shoe' shaped table that was intended to stand in front of the fireplace. This would accommodate a group of gentlemen for after dinner drinking, where they could carouse in warmth and comfort, away from the company of the ladies. Such tables are traditionally known as 'hunt'

tables. By this time eating habits had changed considerably and meals became more orderly. Appropriate wines accompanying each course were served at the dining table rather than the earlier habit of being saved largely for post-prandial quaffing by the men alone. It is likely, however, that such tables were still used by the fire in the late afternoons in winter by huntsmen returning from the chase where they could relax and discuss the day's sport.

The celebrated firm of Gillow published between 1791 and 1793 versions of designs for the 'horse-shoe' table which they termed a 'Sociable Table'. The original drawings survive in the Cillow archive in the Westminster City Archives Centre. Gillow's was established in Lancaster as early as the 1730's but their success really began in 1769, when they opened their first London office. The present table is a fine example of a hunt table from the early 19th century. It incorporates a mechanism of brass rods and rollers to guide two coasters around the table. At the rear is a brass rail for a curtain to screen the drinkers from the glare of the flames. There are also hinged extensions at each end to increase the capacity of the table if required.

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> A PAIR OF REGENCY SIDE CABINETS

A pair of Regency rosewood side cabinets with grisaille penwork composite tops depicting neo classical scenes, the frieze with a long drawer, above a door with brass grilles, lined with yellow silk, enclosing a single adjustable shelf, flanked at the corners by quarter columns, raised on turned topie feet. England, circa i 8 i o

Height: 35in (89cm) Width: 3TV2\n (80cm) Depth: i 6 i n (41.5cm)

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This fine pair of rosewood cabinets, owing something to the designs of Thomas Hope epitomise the taste for Greco-Egyptian neo classicism with motifs resembling sculpture on the tops. Figure compositions such as these with highly complex arrangements were almost certainly only taken on by the most skilled professional penwork artists. The present cabinets, not only show the artists skill in the fine and well drawn floral border consisting of blooming flowers and twisting foliage details, but each also a parade of graceful dancers on one cabinet and a classical military scene on the other. Perhaps a reference to war and peace.

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[ N E W Y O R K

A SET OF SIXTEEN GLASS DECANTERS

A collection of sixteen Bohemian glass decanters of small size, the bulb shaped bases cut with lozenge pattern with their original stoppers. These unusual small decanters were made for water for each place setting while dining, Bohemia, circa 1840

Height: l o i n (25cm) Width: s in (13cm)

PROVENANCE

The Royal House of Wittelsbach. The Wittelsbach family were the ruling dynasty of Bavaria from 1180-1918, providing two Holy Roman Emperors and a medieval German king. These decanters were almost certainly in the collection of Ludwig I, King of Bavaria from 1786-1868 Wittelsbacher Palace, Munich.

O3A0116

A PAIR OF GEORGE II OVAL WALNUT STOOLS

A pair of rare George II oval walnut stools. The 18th century needlework upholstered seats supported on shaped cabriole legs with boldly carved acanthus decorations on the knee, terminating in claw and ball feet.

England, circa 1745

Height: I 7 i n (43cm) Width: 21 in (54cm) Depth: i 7 i n (44cm)

F2J0305

187

M A L L E T T L O N D O N • N E W Y O B K

MALLETT PLC DIRECTORS

The Lord Daresbury* Chairman Giles Hutchinson Smith Chief Executive Michael Smyth-Osbourne Financial Director James Heneage* Henry Neville Thomas Woodham-Smith

*Non executive

MALLETT INC 929 Madison Avenue at 74th Street New York N.Y. 10021

Telephone ooi 212 249 8783 Fax 001 21 2 249 8784

Henry Neville President Joao Magalhaes Nuala Mellett Ana Gutierrez-Folch

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

Giles Hutchinson Smith Chief Executive Thomas W o o d h a m - S m i t h Managing Director Michael Smyth-Osbourne Financial Director Richard Cave Director Felicity Jarrett Director N i c h o l a s W e l l s Associate Director

Justin Evershed-Martin

Meta Telephone +44 (0)20 7495 5375 Fax+44 (0)20 7495 3197 Email: [email protected] www.madebymeta.com

Eleonore Halluitte Production Manager

"Tenny Walkinshaw Sales

JAMES HARVEY BRITISH ART 15 Langton Street London SWiooJL Telephone/Fax +44 (0)20 7352 0015 Email: [email protected] www.jamesharveybritishart.com

James Harvey Director

VISIT OUR WEBSITE

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Copyright All rights reserved. No 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 conditions All business transactions are subject to our standard

terms and conditions of sale, copies of which are available on request.

© Mallett & Son (Antiques) Ltd 2010 Designed by Sinclair Communications Printed in England by Butler, Tanner and Dennis

mailto:[email protected]

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Hatfields is one of the wortd's longest established restoration firms. It has a history which dates back to 1834 when the original Hatfield family established the business. Initially founded to produce fine miniature frames, the company expanded to include fumiture workshops and quickly established its reputation as the leading firm in its field, restoring and conserving fumiture and works of art for Royalty, private and museum collections throughout the worid. In the 1930s the company proudly noted on its letterhead that it had wan-ants from Queen Victoria, The Prince of Wales, King Edward VII, Queen Alexandra and King George V.

The high standards of the time have been maintained and Hatfields is proud to have restored outstanding pieces for institutions such as The Getty Museum in California, and the Badminton Cabinet, now in the Liechtenstein Museum in Vienna. Hatfields are equally proud of their record in restoring all types of pieces needing repair and of their capacity to produce fine works to commission.

In 2007 Hatfields took over premises in London on Clapham High Street. Scholars House is a fine late 18th century building from which the company is developing a range of services that will offer clients a complete 'one stop shop' for all their restoration needs.

ESTABLISHED 1834

HATFIELDS Hatfields Restoration Scholars House 49 Clapham High Street London SW4 7TL

Telephone 020 7622 8169 Fax 020 7622 2009 [email protected] wvwv.hatfieldsrestoration.com


JAMES HARVEY BRITISH ART A MALLETT COMPANY

ABRAHAM PETHER (1756-1812) "A view near Stroud in Sussex" - view taken from the hill on the London road near Petersfield,

with travellers and their donkey resting by a milestone "LXV Miles from London" Oil painting on canvas, 28 x 36 inches,

contained in a fine original Georgian carved and gilded frame (35 x 43 ins framed) Signed and dated 1788.

EXHIBITED

Royal Academy 1788, number 422 as "A view near Stroud in Sussex"

PROVENANCE

Private Collection, Devon

The view is taken from the old London Road (subsequently the A3 trunk Road). Stroud is a small village 1 '/2 miles to

the west of Petersfield in Hampshire, and on the Hampshire and West Sussex border

Abraham Pether was born at Chichester where he was a pupil of George Smith, one of the three brother landscapists

of that town in the mid-18th century. He derived much of his early style from Smith, whose influence is discernible until

the late 1790's, but he also progressed his art by a careful observation of the romanticism of Richard Wilson RA..

15 Langton Street, Chelsea, London SWIO OJL

E: [email protected] I W: jamesharveybritishart.com I T: +44 (0)20 7352 0015 All business transacted is subject to our standard terms and conditions of sale, copies of which are available on request

Registered office is 141 N e w Bond Street London W I S 2BS


Made to Order Pieces of Contemporary Design

Commissioned by Mallett

141 New Bond Street London WIS 2BS

020 7495 5375 [email protected]

www.madebymifeta.com


http://www.madebymifeta.com

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mallett 2010 catalogue

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Transcript of mallett 2010 catalogue