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Aurumn 1998

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M A L L E T T at Bourdon House

Autumn 1998

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M A L L E T T at Bourdon House

2 Davies Street London W 1

and at I4 l New Bond Street London W1

M a l l e t t at B o u r d o n H o u s e L t d

2 Davies Street

London W I Y IL J

Tel 0171-629 2444

Fax 0171-499 2670

M a l l e t t & S o n (An t i ques ) L t d

141 New Bond Street

London W I Y OBS

Tel 0171-499 7411

Fax 0171-495 3179

D IRECTORS

Thomas Woodham-Sm i t h

Henry Nevil le

Lanto Synge

The H o n Peter D ixon

Paula H u n t

D IRECTORS

Lanto Synge Managing Director

The H o n Peter D ixon

Paula H u n t

Giles Hu tch inson Smi th

MANAGER OF THE GLASS DEPARTMENT

John Smi th

M A L L E T T P L C

DIRECTORS

Rex Cooper* Chairman

Lanto Synge Chief Executive

The H o n Peter D ixon

Paula H u n t

The H o n Mrs S imon Weinstock*

*Non executive

MANAGER OF THE MALLETT GALLERY

James Harvey

Mal let t Website: h t tp : / /www.mal le t t .co .uk

F^mail: Ant iques@nial let t .co.uk

M A I. I h r r A T B O I- R I) () N H () U S I

Introduction

Mallett at Bourdon House is this year, undergoing a radical programme of building

works. By the beginning of next year, there will be three new showrooms: two

anterooms and one magnificent double cube room measuring forty feet long,

twenty feet wide and a remarkable twenty feet high. This new room will allow the

whole of the Mallett group greater scope to show large scale and important pieces.

It will also afford us a unique exhibition space.

The developments at Bourdon House make us all the more aware of the need to

provide for our clients both unusual and fine quality pieces. This year, our largest

ever catalogue offers work from sources as diverse as Denmark, Bohemia, China

and India. At the same time as offering decorative arts from the four corners of

the world, we are also focusing evermore on the acquisition of stamped French

furniture. Never before has Bourdon House been able to offer so many pieces by

the great names of French cabinet making.

We always feel a tinge of regret that, from our large stock, we can only select a

relatively small number of pieces for our catalogue and are compelled to leave so

much out. The catalogue is never more than a roomful of pieces and we have

sixteen rooms at Bourdon House. So do please visit us to see much more of equal

interest and quality.

Thomas Woodham-Smith Henry Neville

A pair of polished steel commodes A most unusual pair of 1930's polished steel commodes in the Louis XVI taste decorated with gilt stringing

and having octagonal chased brass handles. They have two short drawers and two long drawers and stand on

turned tapering legs terminating in steel castors.

France, circa 1930

H E I G H T : 3 5 IN ( 8 9 C M )

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

D E P T H : 1 9 IN ( 4 8 CM)

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Si A I. I. E T T A T » () U K t) O N

A Georgian III painted settee A late 18 th c e n t u r y G e o r g e III p a i n t e d se t tee , t h e c u r v e d s h a p e d t o p rail c a r v e d w i t h s tyl ised roses w h i c h s w e e p r o u n d

t o t e r m i n a t e in sc ro l led h a n d s u p p o r t s . T h e r e are s h a p e d u p r i g h t s w h i c h are inse t w i t h foliate ca rv ing , all s u p p o r t e d o n

a fluted s e r p e n t i n e f r o n t rail , a n d s t a n d i n g o n c i r cu l a r fluted t a p e r i n g legs.

Eng l i sh , circa 1 7 7 5

H E I G H T : 3 8 I N ( 9 6 C M )

W I D T H : 5 6 IN ( 1 4 3 C M )

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

This settee relates closely to the designs which Chippendale

published in the third edition of The Director'. 1 762. in which for the

first time, several plates of sofa designs are printed. The simplicity

and elegance of line in his new, refined designs were copied closely

by Mayhew & Ince in their 'Universal System' in 1 763.

The scrolled arms with elbow pads and particularly the can/ed

floral cresting to the swept upper rail, are typical of the influence

that the work of Chippendale and John Linnell had on English

furniture manufactured at this time. A further interesting technical

comparison can be drawn between this settee and the work of

those two cabinet makers. On the underside of the frame, notches

are carved at each corner, this enables clamps to fit and secure the

joint during construction. These 'V'notches also facilitated the fixing

of batons during transportation.

10

M A I. I. K I I A I B (> f R I) (

Mars and Athena wall appliques A most unusual pair of early 19th century gilt metal two branch appliques in the form of caryatids, one

representing Mars, the other Athena. In their arms, they hold a spiral branch supporting two candle holders; the

armour and robes of the figures rendered in precise detail.

Probably England, circa 1820

H E I G H T : 2 3 IN (58 C M )

W I D T H : 1 2 I N ( 3 0 C M )

MALLRTT AT BOURDON HOUSK

An early 19th century Sarguemines Tazza A very rare large scale Sarguemines porcelain campagna form vase, in porphyry colour mounted

with gilt metal stars. (Restored)

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

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

D I A M E T E R : 2 2 I N ( 5 6 C M )

In France at the beginning of the 19th century, the

abolition of restrictive guild regulations had created a

climate favourable to entrepreneurs who were willing to

experiment with new manufacturing methods. They all

vied for attention, taking part in the exhibitions specially

created to encourage their activity.

One of the most extraordinary firms to participate

regularly in such exhibitions was the pottery founded in

1 778 by Joseph Fabry at Sarreguemines in Eastern

France. In 1792, he took as his partner Frangois-Paul

Urtzschneider. who was to prove the driving force for

the firm's inventiveness for nearly fifty years.

At the Exposition de I'Industrie in An X (1802),

Urtzschneider won a medal 'pour la perfection qu'il

avail donnee aux poteries communes de sa fabrique'

(for the perfection of the common pottery of his

manufactory).

As related in a report in 1810 by the Minister of

the Interior, a further medal was obtained in 1806 for

'une pate formee de cailloux pulverises avec laquelle

on etablit des vases susceptibles de prendre un beau

poli imitant pour les coleurs et pour la durete, le

porphyre, le granit, le basalte, le jaspe etc' (a paste

made of powdered stone which is formed into vases

which can be polished and which imitate both in colour

and hardness porphyry, granite, basalt, jasper etc).

The high polish was obtained on a lathe.

The samples were noticed by Vivant Denon,

Napoleon's Directeur General des Musees. who

recommended them to the Emperor, and as a result,

from 1810 to 1814, a number of vases and torcheres

were delivered to decorate the Imperial palaces and

gardens. Some, presumably those for interior use,

were to be mounted in gilt-bronze.

It appears that Vivant Denon himself may have had

a hand in their design. A great connoisseur of Antiquity,

he had formed his first collection of antique vases in

the 1 780s, and sold them to Louis XVI. He is renowned

for the account he wrote of his travels to Egypt with

Napoleon. The Emperor was to follow Denon's advice

blindly, aware that he himself had no taste in art

whatsoever

12

V I f #

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

A Molitor card table A fine qua l i ty E m p i r e p e r i o d t w o tier d e m i - l u n e card table by Mol i to r . T h e t o p a n d t he first tier are veneered in dense ly

figured ' aca jou m o u c h e t e ' , each tier h a v i n g a brass roiled edge . T h e w h o l e s t ands o n oc tagona l t a p e r i n g legs w i t h brass

capi tals a n d feet t e r m i n a t i n g in castors. T h e back is finished w i th recessed pane ls b o r d e r e d w i t h del icately carved

m o u l d i n g s . T h e cen t r e back leg pulls o u t t o reveal a d r a w e r for games pieces a n d to p rov ide s u p p o r t for t he t w o tiers.

S t a m p e d o n t h e c e n t r e b a c k leg, left h a n d side B M O L I T O R .

France , circa 1 8 1 0

P rovenance : Pr ivate Parisian C o l l e c t i o n

T h e tab le is ident ica l in f o r m a n d t i m b e r to o n e f r o m

t h e F o u c a u i t family, o w n e d by t h e f ami ly s ince its

acqu i s i t i on f r o m the ' A e n i s t e ' . It is i l lus t ra ted in

' M o l i t o r ' by Ul r i ch Leben , p la t e N o 118.

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

W I D T H : 4 3 IN ( 1 0 9 C M )

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

Bernard Molitor led a charmed life. Born before the

revolution in the most turbulent of times, he survived the

French revolution, the Terror, the Empire and even the

Restoration without serious loss. At his death, at the then

very senior age of seventy-eight, he left a substantial fortune.

As the lives of the great and famous ebenistes from the 18th

and 19th centuries are examined, it is rare, to say the least,

to find financial stability, let alone the ability to surv/ive political

upheaval. The life and work of Bernard Molitor are

exceptional from this perspective alone, before his prodigious

output is even examined.

Born in Betzdorf in Luxembourg in 1755. Bernard

Molitor trained as a sculptor Tired of the provincial life, quite

young, probably before 1 778, he moved to Paris and almost

immediately his business acumen came to the fore. In 1778.

he is recorded in the 'Petites Affiches' advertising a patent

insect killer Later in 1782, he advertised an ingenious patent

hand warmer fashioned as a small pile of books, this was a

box in mahogany or walnut which had a metal liner that could

be filled with hot coals. However Molitor's output was not

limited to toys. He had a workshop which he leased at the

Arsenal and enjoyed considerable success, but it was not

until 1 787 that he became a 'maitre'.

In 1788. Bernard Molitor made the usual political

marriage that successful cabinet-makers seem always to

make. He married the daughter of the 'charpentier du roi'. It

is perhaps cynical to see this man-iage as entirely motivated

by career as Molitor had already received a royal

commission, but he did soon begin to receive commissions

from the Queen's circle.

The Revolution brought ruin to many and often death at

the guillotine. The ace Molitor held was that his cousin Michel

had been actively involved in the storming of the Bastille, so

with his help Bernard, though interrogated, managed to avoid

arousing serious Revolutionary suspicions. Over the following

decades, he was honoured with commissions from the

Emperor Napoleon, King Jerome of Westphalia and many

private noble collectors, including the Due de Choiseul-

Praslin. Molitor's remarkable survival owes most to the fact

that he managed to create a style which was always both

simple and original. His work was clearly individual as well as

being not too intrusive. Above all other factors. Molitor

achieved success over this extended period because his

work was reliable and of outstanding quality

14

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

A Soldani table bronze A n e x q u i s i t e F l o r e n t i n e sma l l scale b r o n z e o f a n a t h l e t e s t a n d i n g n a k e d , w i t h a n oil e w e r in his h a n d s .

By M a s s i m i l i a n o S o l d a n i .

Italy, circa 1 7 0 0

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

Massimiliano Soldani was born in Florence in 1658 and

died in 1 740 in Montevarchi. He was a pupil of Ciro Ferri

and Ercole Ferrata, he worked for Cosimo III de Medici.

Christine of Sweden and Louis XIV. He was at home with

both secular and religious subjects. His particular mastery

was with the table bronze which required both originality

of design and precision of manufacture.

V J J*

16

A Genoese throne chair A mid 18th century Genoese Italian giltwoocl armchair

with strongly carved foliate decoration, cabriole legs and

scroll over toes. Now upholstered in contemporary

Venetian flame stitch needlework. It is similar to a suite

of chairs in the Palazzo Reale, in Genoa.

Italy, circa 1750

H E I G H T O F B A C K : 4 7 I N ( I I 9 C M )

H E I G H T T O S E A T : I 6 ' / 2 I N C42 C M )

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

T y T ,

A terracotta cat A very unusual large scale Louis Philippe

model of a seated cat, the modelling

achieved in an impressionistic manner and

in high relief.

France, circa 1845

H E I G H T : 33 IN ( 8 4 C M )

i

' H I) ( ) N H O I '

Travies birds An extremely unusual pair oFcut paper pictures depicting partridge and mallard duck in naturalistic

landscapes with rushes and grasses, all in three dimensions. Both in extremely good condition with their

original watercolour and gouache painted surface.

Bv Edouard Travies, (animal painter and lithographer, exhibitor at the Paris Salon between 1831 and 1866).

France, circa 1840

F R A M E D :

2 2 X 2 7 1 N ( 5 6 X 6 9 C M )

19

1 . l A L t - f - T T A T B l ) U R t ) O N H O U S t

A parquetry etagere An unusual early Victorian walnut and parquetry three tiered etagere, the top and drawer frieze decorated with

trompe I'oeil parquetry and having a pierced ornamentally cast brass gallery. Each tier is supported by a fluted

yew wood column with a foliate capital and base. T h e whole is richly mounted with brass work. T h e base plinth

conceals a single drawer.

Attributed to Holland & Sons.

England, circa 1850 / C^^

H E I G H T : 351/2 IN I ^ O C M )

W I D T H : 2 7 V 2 IN ( 7 0 C M )

D E P T H : 1 6 IN (41 C M )

20

An officer s chair A very rare Empire mahogany fauteuil with boldly cast, foliate ormolu mounts and richly inlaid with brass fluting and

mouldings. The sabre back has an octagonal inset cushion, and stands on octagonal columns, which become circular

and tapering below the seat rail. The arms are in the manner of flying buttresses with cube fmials supported by turned

tapering fluted legs with foliate ormolu topie feet.

France, circa 1810

H E I G H T T O B A C K : 4 0 IN ( I 0 2 C M )

H E I G H T TO SEAT: LY'/Z IN (45 CM)

W I D T H : 2 7 IN ( 6 9 C M )

D E P T H : 25 IN ( 6 4 C M )

MP

Gothic furniture by Caron aine A rare Charles X rosewood secretaire abattant, profusely inlaid in boxwood with gothic ornament. The centre

of the fall, the frieze drawer and the base are inlaid with roundels o f stringing in the form o f interlocking

lancet arches. The secretaire is flanked by cluster column pilasters with trompe I'oeil hexagonal capitals and

circular feet. The counter weighted fall opens to reveal a birds eye maple interior with rosewood stringing

having six drawers and two shelves for books, flanked with 'S' scroll pilasters. The fall retains its original gilt

tooled blue leather writing surface. The bottom section opens to two slides and a strong box, all veneered in

partridge wood. The piece retains its original double throw locks and its original white marble top.

France, circa 18.50

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

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

D E P T H : 19 I N ( 4 8 C M )

c.f 'Le Mobilier Fran^ais du X lXeme Siecle Fran^ais' 1795-1889, by Denise Ledoux-Lebard..

Jean Josse Caron aine (1773-1838). His importance

lies not so much in his achieved works, which only

flowered for a brief period between 1831 and 1838.

but in two key and influential events. In 1836 he wrote

to the 'Garde-meuble de la couronne' offering them 'un

bureau de dame a etageres en bois de palisandre de

sa fabrique'. They accepted it and following this, many

other commissions were granted. Caron's style was

highly favoured and in a few short years he furnished

many noble clients with pieces in this distinctive,

delicately inlaid rosewood Gothic furniture, both in

France and abroad. The second key event was the

publication, in 1836. of sixty designs under the title 'le

manual de I'ebeniste'. Many of these are in the Gothic

taste.

He explains his style in the introduction:

Beaucoup de personnes tiennent a se procurer des

meubles confectionnes dans le gout simple et pur qui

est aujourd'hui le gout dominant, mais d'autres

donnent la preference aux meubles fait dans le gout

gothique. II faut le dire, le nombre de ces derniers

augmente dans une proportion telle que le genre

gothique est une des branches principales du

commerce de l ebenisterie.'

In other words. Caron offered gothic style

furniture, but he was aware of the taste for simplicity

and in his work one can see how his forms are simple

even though the ornament is rich. What is more. Caron

can be interpreted as one of the forerunners of the

heavier, more Victorian furniture that was to become

popular by the middle of the century.

22

M A I I. E T T AT B O U R » O N HOUSE

A companion Charles X rosewood commode a vantaux profusely inlaid in boxwood with gothic

ornament, having a single drawer in the frieze inlaid with a roundel of lancet arches. The doors below are

also inlaid with a large oval of finely achieved lancet arches, which open to reveal partridge wood

veneered slides. The commode is flanked by cluster column pilasters with trompe I'oeil hexagonal gothic

arches and circular bases. The commode retains its original locks and white marble top.

By Caron aine

France, circa 1830

H E I G H T : 3 8 ' / 2 I N ( 9 8 C M )

W I D T H : 5 I ' / 2 I N ( 1 3 1 C M )

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

c . f 'Le Mobilier Fran9ais du XlXeme Siecle 1795-1889 by Denise Ledoux-Lebard.'

24

A pair of armchairs from Prague A most unusual pair o f Empire period Bohemian stained fruitwood cove back bergeres, the back supported by

alternate oval and half oval roundels, the circular frame standing on an 'X' frame base terminating in brass castors.

Bohemia, probably Prague, circa 1 8 1 0

H E I G H T O F B A C K : 33 IN ( 8 4 C M )

H E I G H T T O SEAT: I 9 IN (48 C M )

W I D T H : 2 4 ' / 2 I N ( 6 2 C M )

D E P T H : 25 IN ( 6 4 C M )

There is very little furniture that is seen here, in Westenn Europe, that comes

from the erstwhile Eastern Bloc. However, these chairs offer a rare insight into

a previously hidden world. One can see that the form of these chairs derives

from Vienna and Berlin, early Biedermeier, and in turn from French Empire

furniture. However, the actual model is highly original and betokens a style

which is clearly indigenous. The cabinetmaking is very skilled; employing

extremely thick veneers and applying them around the coved back is no mean

achievement. However, one can see that the use of fruitwood as a veneer

timber is indicative of provincial manufacture, where fine mahogany veneers

would not be available. These fine and original chairs, we hope, will be the first

of many pieces to emerge from the Czech Republic, so that our understanding

of this comer of the Austro-Hungarian Empire can be enhanced.

ms

. . . f t

M A L I. K T R A T BOURDON H O U S H

A pair of Louis XV tole flower groups A very rare pair of Louis XV rococo tole polychrome table ornaments, or wall appliques, in the form of

asymetrically formed trees with intricately fashioned, naturalistically painted flowers and leaves. The gilt metal bases

take the form of pierced woven baskets. The interiors lined with silvered metal. (The bases, early 20th century).

France, circa 1755

H E I G H T : 3 9 ' / 2 I N ( I O O C M )

W I D T H : lyViiN c y o c M )

D E P T H : 9 I N ( 2 3 C M )

An Indian ivory charpoy stool An unusual set of mid 19th century ivory

charpoy of traditional form, the ivory having

good colour and craquelure. Now mounted

as a stool covered in red silk velvet.

India, circa 1850

H E I G H T : 131/2 I N ( 3 4 C M )

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

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

28

' XWt V

^

• 4 ^ t

—

M A I- I. K T r A T B O U R D O N M O U S E

A set of four oversized fire irons An exceptional large scale set of four aesthetic movement polished steel fire irons, the tongs having an unusual

stylised foliate ornament and cobra's head pincers. Each piece is profusely decorated with punched ornament .

England, circa 1870

Provenance: Hackwood Park

,30

A pair of Louis XVI vases An exceptional, large scale pair of late Louis XVI pink granite vases, decorated with carved high relief spiralling

ribbed decoration to the bodies, standing on turned circular socles, terminating in a square plinth.

France, circa 1780

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

A lacquer cabinet on stand A rare Chinese export late 17th century coromandel lacquer cabinet. The exterior is decorated in polychrome

with a rocky landscape on a gold ground. The interior is fitted with multiple drawers which are decorated with

further landscape scenes. The door interiors are decorated in large scale with central panels of birds and flowers.

Now standing on a modern Queen Anne style stand.

China, circa 1690

H E I G H T : 30V2 IN ( 7 7 C M )

W I D T H : 3 5 ' / 2 I N ( 9 0 C M )

D E P T H : 2 0 IN (51 CM)

tiy

mm I •Hi' ^ i r

.32

M A I. 1. E T T A T B (> U K 1) O N M () U S F.

A pair of romantic scenes A pair of North Italian oval blue monochrome 'fete champetre' paintings depicting rustic romantic

scenes. Oil on canvas, laid onto board

Italy, circa 1790

F R A M E D : 4 1 X 5 0 I N ( I O 4 X I 2 7 C M )

34

AT B O U R D O N H O U S h

The two images were inspired by engravings

taken from the work of Nicolas Lancret (1690 -

1 743). He was one of the foremost figures in the

style known as ' fete champetre. ' This style was

central to the Rococo. Place elegant, clearly

urban figures in an idealised, bucolic setting, add

to that a romantic subject and much of the

period's artistic preoccupations are succinctly

summarised. The fact that these paintings are

achieved in blue monochrome further removes

the subject f rom reality and lends them a quality

which is reminiscent of Chinese art, where often

very elaborate scenes painted on porcelain are

achieved in only one colour.

35

Male and female bacchante heads A pair oFmid 19th century white marble busts depicting male and female bacchante, their hair braided

with vine branches, both standing on turned waisted socles. After the Antique.

England, circa 1840

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

v

M A I I. h r I A r H <) V R I) C) N M <) V •

A Danish oval etagere A most unusual Danish early 19th century mahogany oval mirrored etagere o f four tiers, each tier decorated with stylish

floral motifs in boxwood, having at its centre the unusual ornament o f a bonnet pierced by an arrow. T h e tiers are supported

by turned columns with boxwood capitals, collars and feet. T h e plinth base is also decorated with floral marquetry.

Denmark , circa 1835

H E I G H T : 6 8 IN ( 1 7 3 C M )

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

D E P T H : 21 IN ( 5 3 C M )

.37

Two large scale vases and covers A v e r y r a r e l a rge s ca l e p a i n t e d t o l e v a s e s i m u l a t i n g f a i e n c e w a r e , t h e o l d g o l d g r o u n d w i t h c r e a m p a n e l s a n d b o r d e r s finely

d e c o r a t e d w i t h f l o w e r i n g p e o n y b r a n c h e s , h a v i n g a d e e p b l u e s c r o l l i n g b o r d e r ; t h e w h o l e in p a r t i c u l a r l y g o o d o r i g i n a l

c o n d i t i o n w i t h g i l d e d finial t o p .

D r e s d e n , circa 1 7 2 0

H E I G H T : 3 9 IN (IOOCM)

M A X I M U M D I A M E T E R : I 9 ' / 2 I N { 5 0 C M )

These two massive vases both

come from Germany. They

represent a moment in history

when the taste for chinoiserie

pieces was for the enormous,

which the export trade was not

able to satisfy. Moreover, in both

Berlin and Dresden the taste was

more inclined towards European

efforts than it was for actual

Chinese pieces. The influence of

the elector of Saxony. Augustus

the Strong (1670 -1733), can be

clearly felt. His palaces have

myriad examples of European

chinoiserie expressed in all the

forms of the decorative arts.

h.%

A

An exceptional large scale mid 18th

century Berlin pottery vase and cover

decorated in the Chinese export manner

with gilt and bronze chinoiserie dragons,

pheasants and chrysanthemums; the

cover surmounted by a gilt lion.

Berlin, circa 1760

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

M A X I M U M D I A M E T E R : 22V2IN ( 5 7 C M )

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

An Empire mahogany side table An Empire mahogany demi-lune console table, the recessed frieze mounted at the front and sides with

oval gadrooned paterae carved in high relief The three scroll legs are surmounted by carved, overlapping

leaf ornament in the antique manner, and are reeded down to a triangular platform. The legs continue in

animal form and terminate in claw feet. The back legs are shaped to allow the table to stand flush with

the wall and accommodate a skirting rail. The table retains its original verde antico marble top.

In the manner of JACOB FRERES

France, circa 1810

H E I G H T : 35 IN ( 8 9 C M )

W I D T H : 38 I N ( 9 7 C M )

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

J a c o b Freres was the stamp used by the vast Jacob cabinet making empire

be tween 1796 and 1803. The name, however, is equally applicable to the syle of

their unstamped furniture during the Directoire and Consulat periods. The style

manifests the early form of many of those e lements which w e recognise now as

typically Empire; to whit animal legs, heavy reeding reminiscent of the bound fasces

and other classical revivals. H o w e v e r there is still a severi ty and simplicity which

was a reaction to the perceived decadence of the end of the Louis XVI period.

40

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

A metamorphic back bergere A ve ry rare a n d u n u s u a l W i l l i a m I V m a h o g a n y b e r g e r e h a v i n g a b o l d l y r e e d e d t o p rail a n d a f l u t e d scrol l

s ide rail. T h e a r m is s u p p o r t e d b y a t u r n e d c o l u m n s t a n d i n g o n a seat rail c a r v e d w i t h a recessed p a n e l a n d

s q u a r e p a t e r a e . T h e t u r n e d f r o n t legs t e r m i n a t e in brass cas to r s a n d t h e b a c k legs are o f sab re f o r m . T h e c h a i r

has a n u n u s u a l f e a t u r e : w h e n a brass b u t t o n in t h e c e n t r e o f t h e b a c k is p re s sed t h e w h o l e o f t h e b a c k rises

u p t o c r ea t e a h i g h b a c k e d be rge re , o r p o r t e r ' s cha i r .

E n g l a n d , circa 1 8 3 0

H E I G H T O F B A C K : 3 8 I N ( 9 7 C M )

S E A T H E I G H T : 1 8 I N ( 4 6 C M )

M A X I M U M H E I G H T : 5 2 I N ( I 3 2 C M )

W I D T H : 2 7 I N ( 6 9 C M )

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

The rooms of many 18th century houses were under-

heated and draughty, with doors and windows which

were seldom sealed as well as of today. Much

furniture was designed to protect the user from

discomfort. Four poster beds with heavy curtains and

wing chairs with their high backs well illustrate this

tradition.

This gentleman's reading chair has a unique lifting

back supported on a brass ratchet; this is an amalgam

of the classic library chair and a hall porter's chair

which was made with wings and an arched top. They

were always upholstered in leather to comfort the

men servants on duty as openers of doors to the

private rooms of the master of the house.

This chair can sit in any room as a gentleman's

chair yet easily be converted to become a warm

winter reading chair by pushing the brass button in the

middle of the curved back. It is the only example of

such a metamorphic chair that we have ever seen.

42

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

43

M A I- I. K T 1 A T B O U R I) I) N H O U S E

A mid 18th century lead bust of Bacchus An exceptional English mid 18th century lead bust of Bacchus cast in fine detail.

Probably from the workshops of John Cheere.

The design taken from the Bacchus by Baccio Bandinelli. (1493-1560)

England, circa 1760

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

W I D T H : 2 4 IN (61 C M )

D E P T H : 1 2 IN <31 C M )

In the Hermitage in St Petersburg, there is an almost identical

bust in white marble attributed to Bandinelli, the famous rival of

Michelangelo whose Hercules and Cacus flanks the door to the

Palazzo Vecchio in Florence with Michelangelo's David. In

Lawrence Weaver's work 'English Leadwork. Its Art and History',

there is a lead bust of Bacchus atop a term at Castle Hill, North

Devon. The suggestion is that there is either an antique model

that was copied by both Bandinelli and Cheere's workshops or

that someone on the Grand Tour saw such a head and had it

copied directly.

44

•a.'. •-1.

S*:^ -

I k j

I\\/

M A I t. K I T A T B O U R C> O N H O U S E

The roe deer A roe deer in a stylised landscape. Bear ing a dedica tory inscript ion to the Margrave o f Baden Baden .

S igned a n d dated 1738 H e n . Lihl

Oi l on Canvas .

Germany , circa 1738

F R A M E D : 3 7 x 31 IN ( 9 4 x 7 9 C M )

Heinrich Lihl (1690 -1756) was very much a local painter, his work was mostly

commissioned for the churches in his area. However, his greatest work was the series

of game subjects painted for the Margrave, of which this is one of the finest examples.

46

A pair of Louis XV ormolu candlesticks An exceptional pair of Louis XV rococo gilt bronze candlesticks having early neo-classical revival decorative

elements, bearing the ' C couronne poingon.

France, circa 1745

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

J

A M K T T A t B <) U R |} <

Six Louis XVI fauteuils An exceptional set of three pairs of Louis XVI giltwood fauteuils, every element richly carved with neo-classical

ornament. The backs have a guilloche pattern interspaced by acanthus leaves. The arms are similarly decorated and are

supported by fluted baluster columns decorated with acanthus. The seat rail is of breakfront form, the central panel

carved with acanthus and flanked with further guilloche carving. The front legs being turned and tapering and carved

with foliate ornament.

One pair stamped GEORGES JACOB.

France, circa 1780

Provenance: from the collection of Comtesse Diane de Castellane

H E I G H T OF B A C K : 3 4 IN ( 8 7 C M )

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

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

D E P T H : 1 7 IN ( 4 3 C M )

G e o r g e s J a c o b ( 1 7 3 9 - 1 8 1 4 ) was the f irst in one of

France's mos t i l lustr ious famil ies of cabinet -makers.

From the moment in 1765 when he received his

maitr ise' the family w e r e at the fore f ront of Parisian

cabinet making for nearly one hundred years. He is

famous for the furn i ture he suppl ied to the painter,

David, which can be seen in the portra i t of Madame

Recamier He became noted for the high quality of his

carving, managing to create chairs, as in these chairs,

of seemingly unfeasible complex i ty and in t r i cacy W i th

these chairs in particular, the jo in be tween the armres t

and the seat rail is tu rned sl ightly ou twards . This is

very sophis t ica ted cabinet making. His fame res ts on

his reputat ion as an innova to r He was one of the first

to use mahogany for chair furni ture in France, an

avowed ly anglophi le gesture . He w a s also one of the

first to plane the unders ide of the f rame, to l ighten the

const ruc t ion . His career carr ied on until the year

before his death. Though he is jus t ly renowned for his

w o r k during the ancien regime, it is perhaps his

Napoleonic commiss ions that are best remembered

today.

48

) U R I X ) N H O U S E

A large scale seascape by Vernet A large scale seascape with moun ta ins in the background. There is a ship at ha rbour and figures fishing

in the foreground. In a con tempora ry carved gil twood frame.

Studio of Joseph Vernet.

Oil on canvas.

France, circa 1760

F R A M E D : 53 x 7 2 1 N (135 x 1 8 3 C M )

Joseph Vernet was born in Avignon on the 14th August 1714. and died on the 4th December 1789. Apprenticed in Avignon, he was influenced by the works of Claude Lorrain. Gaspard Dughet and Salvator Rosa all of whose works could have been seen in local private collections. In 1 734, he was sponsored by the Marquis de Caumont to travel to Italy. In the early 18th century, Avignon was a papal territory which meant that Vernet had many contacts with Churchmen when he arrived in Rome. He soon settled into the already well established French artistic community, which catered to the voracious appetite of the Grand Tour visitors. That market required images of the surviving antiquities and views of Italy cast in the manner they were used to. In 1750, for example, a 'seaport sunset' (in the collection of the Duke of Buccleuch) was commissioned to be painted expressly in the manner of Claude. Vernet quickly became the dominant figure in the Roman artistic community and was elected to the Accademia de S. Luca.

In 1 746, three years later, he gained the reputation he deserved in France. He became an 'Agree' (approved) by the 'Academie Royale' in Paris, allowing him to exhibit at the Salon and in 1753, he became a 'regu' (received) which meant he was a full member

Vernet's fame was well established by the mid 18th century and no international collection was complete without one of his works. In particular, many Russian noblemen bought his work. Hence the version of this canvas that is now in the Hermitage. After 1753, Vernet returned to Paris and started his greatest commission for the French crown, painting the seaports, a series which was originally intended, perhaps, to encompass over twenty-four works, but which was never completed. The work of Joseph Vernet has never been out of fashion and as one travels the worid, his distinctive works appear to be ubiquitous, representing the taste of the late 18th century's greatest collectors.

50

4 A [. I- K T T A T H U IJ R D O N H <) II S I

detail

53

^ A I. I. E T T A T B O U R D O N H O U S K M A L I , t; -I' T A T B O U R D O N H C) U S E

M A 1 L T T A 1 H O i: H I) O N H O U S J

eascape by Vernet tains in the background . T h e r e is a ship at harbour a n d figures fishing

jrary carved g i l rwood frame.

: m )

on the 14th )ecember 1789. jenced by the )ughet and Quid have been 1 734, he was lent to travel to non was a papal ad many arrived in Rome. >11 established itered to the ur visitors. That iving antiquities 3r they were =aport sunset' ccleuch) was 3sly in the >ecame the :ic community de S. Luca.

In 1746, three years later, he gained the reputation he deserved in France. He became an 'Agree' (approved) by the 'Academie Royale' in Paris, allowing him to exhibit at the Salon and in 1753, he became a 'regu' (received) which meant he was a full member

'Vernet's fame was well established by the mid 18th century and no international collection was complete without one of his works. In particular many Russian noblemen bought his work. Hence the version of this canvas that is now in the Hermitage. After 1 753, Vernet returned to Paris and started his greatest commission for the French crown, painting the seaports, a series which was originally intended, perhaps, to encompass over twenty-four works, but which was never completed. The work of Joseph Vernet has never been out of fashion and as one travels the world, his distinctive works appear to be ubiquitous, representing the taste of the late 18th century's greatest collectors.

50 51 52

M A 1. L t; r I A r h ( i u R n o N M t ) U S E

Madame Vigee Le Brun by Foucou A most unusual white marble late 18th century portrait bust of Madame Vigee Le Brun.

Signed FOUCOU, I an

France, circa 1790

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

J e a n - J o s e p h Foucou (1739-1815) was e lected to the

'Academie de St. Luc' in 1785. He exhibi ted there at

the Annual Salon be tween 1779 and 1812. His

part icular s t rength was in his con temporary portrait

busts, many of which are now in inst i tut ions around

France and Europe.

Mar ie Louise Elizabeth V igee Le Brun, CI 755-

1842), was the daughter of a portrai t ist and pro fessor

at 'The Academie de St Luc' . She also received advice

f rom Jean Bapt is te Greuze and Joseph Vernet . She

was very highly regarded f rom a young age and was

made a member of the Academie in 1 774 at the tender

age of eighteen. She became a favour i te of Mar ie

An to ine t te and painted her many t imes. This favoured

posi t ion made her very vulnerable during the revolut ion

and so, judiciously, she set of f for an extended tour of

Italy in 1 789. She vis i ted all the major central European

capitals, receiving commiss ions and social acceptance

wherever she went . Her fame was great ly enhanced by

her personal celebr i ty and good looks. She finally

returned to Paris in 1802, only leaving once more in

her life when she v is i ted London for three years.

Towards the end of her life, her reputat ion and skill

sadly diminished. Even today, she is a romant ic f igure

l inked inextr icably wi th the last years of the 'ancien

regime' .

54

i t * -J JO

-

A pair of Bow porcelain lions A rare pair of m id 18th century whi te Bow porcelain models of couchant lions, after an an t ique model .

England, circa 1755

L E N G T H : II IN ( 2 8 C M )

H E I G H T : 5 % IN ( I 5 C M )

Bow porcelain was made between 1750 and the early

1770's at Stratford-le-Bow in East London. Thomas

Frye took out a patent in 1748 and the factory became

quite a considerable enterprise with sales exceeding

£10,000 per year during the mid 1750's. After one of

the partners died in 1762, the business declined and

went bankrupt the following year The factory was

purchased by William Duesbury who closed the works

in 1775 and removed the moulds to Derby.

During the 1750s, Bow produced some of the

best English porcelain and were particularly admired for

their well-modelled figures. The soft paste porcelain,

which used bone ash, was of variable quality but at It's

best is of an ivory-like texture having a creamy tone

with bright flecks, as with this pair of lions. The figures

were chiefly drawn from Meissen models, but were

produced with a naive charm combining often

incongruous elements. Here, the pair of lions illustrated

lie with crossed paws, making them appear more

docile than a pair of domestic cats.

Although much later production was highly

decorated, the modelling can always best be seen in

the clear white porcelain, because the soft-paste

porcelain did not take well to later transfer printing and

the prints often appear blurred. Coloured pieces by

Bow are always distinctive, often displaying vivid

colours in bold dissonance. The white, undecorated

wares, such as these lions, are very rare, as the use of

colour or transfer designs predominated. Other models

of lions are known to have been produced by the

factory but very few examples of this size and in such

good condition survive.

\ \

M A L 1. H R T AT B O U K D O N H O V S T.

Paris porcelain vases A fine quality pair of Empire Paris porcelain parcel gilt baluster vases of lapis blue ground, which have

scroll handles in the form of stylised trumpeters. The bodies are decorated with fantastical landscapes and

fine quality etched gilt decoration, and bear a cherubic vignette.

Paris, circa 1810

H E I G H T : 1 3 IN (33 C M )

58

M A I. I. H T T A T B (> II R IJ O N H C) I! S M

A fine pair of parcel gilt Empire Paris porcelain vases of translucent dark blue ground, having foliate scroll

handles in matt and burnished gilt, decorated both front and back with rustic landscapes, bordered with fine

etched gilt decoration.

Paris, circa 1810

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

59

• v . , m t i t .

mm W

• w

I..

J,- ^

A pair of Piedmontese wall lights A highly unusual pair of North Italian parcel gilt three branch wall appliques,

in the form of winged caryatids flanking a neo-classical vase draped with a

floral swag. The candle arms are carved with laurel leaf drip pans and socles;

each applique is surmounted by a double tier of carved laurel with a floral spray

issuing forth and a scroU/and swag below.

Probably Piedrmmt, Italy, circa 1775

HEIGHTy^OIN (76 CM)

WIDT^ I4IN (36CM) f j

depth : 10 IN (25CM)3

SKVT

m I i

i

ir

y- • -

M A 1 I t I I A I H () I ' K I) C) N H I) I- S t

A pair of Tula miniature candlesticks A fine quality small scale pair of Tula cut and polished steel candlesticks, in the form of a vase mounted

on a fiiceted column standing on a scrolled plinth. Every element is worked in minute detail with a

diamond pattern, even the collars and the rims, of the drip pans bearing delicate cutting and polishing.

Russia, circa 1800

H E I G H T : 6 ' / 2 I N ( I / C M )

Tula, south of M o s c o w , was famous fo r the skill

o f i ts Imperial a rmourers . The mas te r metal

w o r k e r s o f ten c rea ted fantasy deco ra ted

furn i ture and ob jec ts for the soph is t ica ted

nobi l i ty of S t Petersburg and M o s c o w . In the last

quar te r of the 1 8th century, c i ty newspapers

heralded the arrival of these master c ra f t smen

sell ing their special ist p roduc ts , both as

e laborate g i f ts and funct ional furni ture. Bo th the

Hermi tage and Pavlovsk Palace have remarkable

co l lec t ions of domes t i c ob jec ts made f rom Tula

steel . Foot s too ls and candelabra, pin cush ions

and mirrors, even a parasol appear in the

Pavlovsk inventory of 1 788.

6.3

I. L K I A T B O U R D O N H () U S t

A pair of Chinese export oils A pair of Chinese export 'fete champetre' paintings after Lancret. O n e showing the gift of a caged dove,

the other a shepherd and shepherdess playing music. They retain their original giltwood frames and glass.

Oil on canvas.

China, circa 1780

F R A M E D : I 6 X 2 1 IN (4 1 x 5 3 C M )

64

M A t- I- K I 1

Examples of reverse glass paintings exist of these subjects. Two were sold at Christie's in New York in October 1985. However, works in oil are exceptionally rare. The palette, with its bright colours and smooth finish suggests that the painter may well have been used to working on glass. In fact, these have been mistaken for paintings on glass.

The fete champetre subject with its derivation from engravings after Nicolas

Lancret (1690-1 743) is something of a mystery. As can be seen from the Italian monochrome paintings in this catalogue, these images were very pervasive.

The survival of this pair of paintings, which retain both their original frames and glass, is extraordinary. It is often a cause of much marvelling that such small and delicate things can survive untouched and so complete for two hundred years.

65

H O U R I) <) N H <) I' ^ K

A mahogany games table A r e m a r k a b l e e a r l y 1 9 r h c e n t u r y m a h o g a n y g a m e s t a b l e b y J e a n - J o s e p h C h a p u i s , h a v i n g t h r e e l e v e l s , t h e t o p

b e i n g finely figured m a h o g a n y . B e l o w is a c a r d p l a y i n g s u r f a c e a n d b e l o w t h a t a m a r q u e t r y c h e s s b o a r d ; a

t r i g g e r b e n e a t h t h e fi-ame r e l e a s e s a b a c k g a m m o n b o x . B e s i d e t h e c h e s s b o a r d a r e t w o d i s g u i s e d t a m b o u r

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

S t a m p e d s i x t i m e s C H A P U I S .

B e l g i u m , circa 1 8 2 0

H E I G H T : 3 2 I N (81 C M )

W I D T H : 33 IN ( 8 4 C M )

D E P T H : \6V2\N ( 4 2 C M )

J e a n - J o s e p h Chapu i s was w i thout doubt one of Belgian

cabinet-making's mos t i l lustr ious sons. B o m in 1765. he

died just short of a hundred years later in 1 864. A t the

t ime of wri t ing, not much is really known of his life and

works . However, in the last couple of years his fame has

been rediscovered. He lived in Brussels and there

exerc ised a great deal of inf luence. In 1806, he is

recorded as going to Chateau Laeken, where wi th o ther

Belgian exper ts he checked over and valued furni ture

coming f rom Paris for the Chateau. Unsurphsingly, his

valuat ions we re signif icantly lower than the prices paid by

the government in Paris. This a f forded him the oppor tun i ty

of supplying p ieces himself. Chapuis ' mos t prolific per iod

was the first three decades of the 19th century and by

1831. he had more or less ceased to be act ive.

His w o r k is character ised by t remendous playfulness

and innovation. He was inf luenced by the w o r k of the

Roentgen family, as this games table clearly

demonst ra tes . Mechan isms and cabinet-making surpr ises

were very dear to his heart and he exper imented wi th

lamination. Mal let t at Bourdon House had a cent re table in

1987 which had sabre legs each cons t ruc ted f rom layers

of w o o d - over f i f teen in each case. Chapuis mani fested

his pride by f requent ly s tamping his w o r k on every

m e m b e r It is to be hoped that in the next few years this

remarkable cabinet-maker, the Belgian Roentgen, will

receive the recogni t ion he deserves.

66

A Regence commode A late Regence walnut two drawer commode mounted in elaborate Rococo gilt-bronze. The drawers are

cross-banded with broad panels of walnut, retaining its original languedoc marble top.

France, circa 1730

H E I G H T : 33 IN ( 8 4 C M )

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

D E P T H : 2 0 IN (51 C M )

ivc sa

i r W^-

- '

fk

M A I . 1. K T I A T B O l t R O d N il () U S ^

Ivory mortar and pestle A very rare early 18th century large scale Netherlandish turned ivory mortar and pestle.

Low Countries, circa 1720

H E I G H T I N C L U D I N G P E S T L E : I 4 V 2 I N ( 3 7 C M )

69

Two examples of the console desserte A n Empire mahogany brass inlaid console desserte having a pierced brass gallery, a single drawer in the

frieze and fluted mahogany column supports. T h e lower tier stands on brass mounted mahogany topie feet.

Each face is enriched with brass mouldings and borders of pierced geometric pattern marquetry.

Stamped E. Levasseur

France, circa 1810

HEIGHT: 33 3/4IN ( 8 6 C M )

WIDTH: 32 1/2 IN (82CM)

DEPTH: 1 4 1 N (35CM)

JSIVw '-'' ^

i y

- 1 :

Etienne Levasseur (1721-1798), maitre in 1767, Is described by Alexandre

Pradere in 'French Furniture Makers' as 'one of the nnost important 6b6nistes

of his tinne.' Trained by one of the sons of the great Andr6-Charies Boulle, he

became one of the most prestigious workers for the powerful marchand-

merciers. He is most famous for his work restoring and creating boulle

marquetry furniture and for the luxurious mahogany, marquetry and lacquer

furniture which often employed very valuable Japanese lacaoer.

s^'.^C-tU. LJ.IM - • • •••• '

A I B <) I' R l> I

A particularly fine mahogany console desserte retaining its original marble top enclosed by a pierced brass gallery.

The single drawer beneath, with its original hardware, is framed by a single brass line with ebony stringing and is

flanked by elaborate cut brass panels on an ebony ground, with a Greek key pattern border similarly worked beneath.

The whole is supported by swollen tapering brass circular fluted mahogany columns and square pilasters behind,

with a lower shelf of similar richly veined marble, all standing on turned brass mounted topie feet.

In the manner of B. MOLITOR.

France, circa 1820

H E I G H T : 3 5 IN ( 8 9 C M )

W I D T H : 5 2 ' / 2 I N ( 1 3 4 C M )

D E P T H : 1 8 V 2 1 N ( 4 7 C M )

71

.1 A I I- F- T T A T B O I ' R I) O N H <> I ' S I-

An inlaid marble surtout de table An outstanding early 19th century Italian marble surtout de table in six sections having 'D ' ends. The decoration

takes the form of alternate circular and geometric sections of agates and semi-precious stones. T h e centre decorated

with vases and ewers fashioned in the same manner. At the centre there is an octagonal panel of lapis lazuli. T h e outer

edge is enriched with gilt metal lions heads alternating with agate panels. T h e whole stands on gilt metal paw feet.

In the manner of Giacomo Raffaelli.

Italy, circa 1810

L E N G T H : 1 0 5 I N ( 2 6 7 C M )

W I D T H : IJ'AIN C/OCM)

W " W

M A L t. I- I T AT B O ir R D () N H O U S K

mrtout de table narble sur tout de table in six sect ions having ' D ' ends. T h e decora t ion

m e t r i c sect ions o f agates and semi-prec ious s tones . T h e centre decora ted

manner . At the centre there is an oc tagonal panel o f lapis lazuli. T h e o u t e r

a l ternat ing with agate panels . T h e w h o l e stands on gilt metal paw feet.

M A L L h T T A l' B O U R D O N H O U N K M A [. I. h J r AT f! O Lt It I) tJ N H O U

Alvar Gonzalez-Palacios in his work Tempio del Gusto' illustrates a number of these

elaborate lapidary works. It appears that this work was a particularly Italian speciality

Several designers and craftsmen, amongst them Luigi Valadier and Francesco Righetti,

made them. By far the most sophisticated and prolific amongst these artisans was

Giacomo Raffaelli. He had workshops in Rome, Florence and St Petersburg, the most

usual ultimate destination for many of these magnificent pieces.

72 73 74

M A I. [. E T r A T B () LI R [5 O N H O U S E

A pair of opaline vases A pair of Napoleon III opaline baluster vases having fine quality gilding on the rim and the foot.

The bodies are decorated with birds and insects perched on fruit bushes.

France, circa 1865

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

76

A Louis XVI side table A fine quality Louis XVI giltwood demi-lune side table retaining its original gilding. The frieze is carved with laurel leaves, standing on four turned tapering legs having laurel leaf capitals, reeded and fluted with foliate ornament at the base. The legs are joined by a scrolled double stretcher, carved with a guilloche motif and having at its centre a profusely carved neo-classical vase. Retaining its original brocatelle marble top.

France, circa 1780

H E I G H T : 341/2 I N ( 8 8 C M )

W I D T H : 51 I N ( 1 3 0 C M )

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

I li;

A

\ L L h T T A T B O U R D O N H O U S K

A pair of giltwood footstools A pair o f Lou i s X V I g i l rwood foots tools , the frieze decorated with a pattern o f

gui l loche with a floral patera at the corners, s t and ing on turned taper ing f luted legs.

In the m a n n e r o f J ean- Jacques Pothier.

France, circa 1 7 8 0

HEIGHT: 7 IN (L8 CM)

WIDTH: II IN (28CM)

DEPTH: 9 IN (23 CM)

Though unsigned, these miniature footstools bear all the distinguishing

characteristics of the hand of the master, Jean-Jacques Pothier (maltre

1 750). He is renowned for the precise and elegant nature of his carving

and in particular for the relief mouldings. Mallett at Bourdon House has

a set of four chairs, which are stamped and have the same exquisitely

worked guilloche carving.

78

m

A pair of Neapolitan bedside cabinets An unusual pair of Southern Italian mahogany bedside cabinets of cylindrical form. The tops are sixteen-sided

with a recessed grey fossil marble top. The bases are circular and similarly faceted to the top with demi-lune

raised ornament around the edge.

Italy, circa 1860

H E I G H T : 3 4 IN ( 8 6 C M )

D I A M E T E R : I 6 ' / 2 I N ( 4 2 CM)

VJ A I. L K T T A T B O U R D O N H O U S K

A Louis XIV marquetry cartonnier A Louis XIV marquetry cartonnier having eight drawers and a central compartment. The drawer fronts, the

top, the sides and the back are all richly inlaid with cornucopia and other floral ornament. The drawers have

ivory fmials and the piece stands on ivory bun feet.

France, circa 1690

H E I G H T : 8 ' /3 IN (21 CM)

W I D T H : 4 5 % IN ( I I 6 C M )

MAXIMUM D E P T H 9 IN ( 2 2 C M )

The marquetry is comparable to the outstanding boulle marquetry

cabinet which is now in the Louvre in Paris. Andre Charles Boulle

was as famous for his wood marquetry as he was for the brass and

tortoiseshell work that bears his name.

80

A pair of Shoolbred stools A m a t c h e d pair o f late 19 th c e n t u r y aesthet ic m o v e m e n t m a h o g a n y b a c k s tools , m o u n t e d in brass wi th b o l d g a d r o o n e d paterae

at each e n d . T h e a r m s have brass a n t h e m i a at the h e a d a n d the f o o t a n d the b a c k has a p ierced brass gallery. O n e s tool bears

the D e s i g n Reg i s t ra t ion D i a m o n d twice, the o ther o n c e a n d the maker ' s m a r k J s . S H O O L B R E D & C O .

E n g l a n d , circa 1 8 7 0

H E I G H T O F B A C K : 25 IN ( 6 4 C M )

H E I G H T O F SEAT: I 7 IN (43 C M )

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

D E P T H : 13 IN ( 3 3 C M )

In the second half of the 19th century, James

Shoolbred and Co were one of the top three

manufacturers and retailers in the centre of London's

fumiture world which was then Tottenham Court Road.

Their rivals were John Maple, who did not make

fumiture but bought it in, and Heals, which still exists

today. Shoolbred's began, in a small way, as linen

drapers but slowly developed into being one of

London's first great department stores. It was not until

1870 that their business extended to cabinet making.

Shoolbred were among the Royal appointees in the

1880's; at this time they were making fine quality

fumiture in nearly all the fashionable tastes of the time.

The firm's catalogue remained more or less unchanged

for over twenty years, revealing both the success of

the formula and a certain conservatism.

\ I. 1 K T T A T B O U R D O N M O U S F.

A Chinese export ivory mirror A very rare Chinese export late 18th century oval ivory mirror, the raised central section decorated in fine detail

with linking panels of geometric designs and floral ornament , all carved in relief against a hatched ground; the

panels are flanked by a border of key pattern also carved in relief.

China, circa 1790

H E I G H T : 2 5 IN ( 6 4 C M )

W I D T H : 2 2 IN <56 C M )

83

M A I. L k r r A T H «) l- R I) (> N H O V S K

A pair of shellwork landscapes An extraordinary pair of diorama, entirely fashioned from elements of the sea, depicting port side scenes with

neo-classical buildings, ships, gardens and figures. The intricate detail with which these are fashioned defies

description. The brickwork of the buildings is constructed from both miniature shells and individual fish scales;

even the sky conforms to the integrity of the concept, being made from painted sand.

Genoa or Naples, circa 1780

F R A M E D : 2 9 X 3 6 I N ( 7 4 X 9 2 C M )

84

M A I. I. 1-. I I" A 1 H () I' R I) () N H () I' S I

85

H O U R I) <) N l< () U .S K

A pair of Louis XV fauteuils A fine and rare pair of Louis XV giltwood fauteuils having serpentine backs and seats, profusely carved with

intertwined 'S' and ' C scrolls of foliate form. The top rail and seat rail are carved in high relief with a rose and

a sunflower respectively. T h e chairs stand on cabriole legs with scroll toes.

France, circa 1750

H E I G H T O F B A C K : 3 2 I N ( 8 1 C M )

H E I G H T T O S E A T : I 6 I N ( 4 I C M )

W I D T H : 2 3 I N < 5 8 C M )

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

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A Louis XV bureau de dame A Louis XV bureau de dame, the fall front opening to reveal an interior filled with four serpentine drawers and pigeon

holes. The three lower drawers stand above elegant tapering cabriole legs. The whole is mounted with finely cast brass

mounts of elegant foliate design and scrolling cartouches. The finely cut veneers of purple heart and tulipwood are laid in

quarter patterns and have a rich patina.

France, circa 1750

H E I G H T : 38 IN ( 9 7 C M )

W I D T H : 3 9 V 2 I N ( l O O C M )

D E P T H : 1 9 V 2 I N ( 5 0 CM)

—

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i I r

V iJfr'ii? «

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m

Two pairs of cloisonne vases A good pair of late 18th century Qianlong cloisonne and gilt m m l C h i n a c vaaes decoraMd with deer in a stylised landscape with cranes flying above.

China, circa 1780

H E I G H T : I 2 ' / 2 I N ( 3 2 C M )

mi

fe

sr

A most unusual pair of late 18th century Qianlong cloisonne square tapering baluster form vases on

stands, each facet decorated with polychrome Taotie masks.

China, circa 1780

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

m mm

W^it

- y s k X'

M

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

A Languedoc bolection fire surround A good early 18th century Languedoc marble bolection mould fire surround, very similar to the one in

the State Bedroom at the Duke of Lauderdale's Ham House in London.

France, circa 1730

O V E R A L L H E I G H T : 5 0 IN ( I 2 7 C M )

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

O V E R A L L W I D T H : 6 5 IN ( 1 6 5 C M )

I N T E R I O R W I D T H : 4 5 I N ( I I 4 C M )

This chimney piece with its deep bolection moulding is made from the

Languedoc marble, found in the South of France and which has been

much prized since antiquity. It is identical to a fire surround in the State

bedroom at the Duke of Lauderdale's Ham House in London. Though we

date this fireplace to the first third of the 18th century, it is possibly earlier

The Ham House fire surround dates from 1720-30 hence our dating, but

the form is older and there is a possibility that the Ham House example is

an 18th century adaption of an older piece.

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r J

> 1 i I

• ^

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

A Russian bureau plat A m o s t unusual late 18th century m a h o g a n y bureau plat, the top enriched with two panels o f e b o n y

f ramed by brass str inging. T h e frieze is o f breakfront fo rm and the sides have panels o f b lue t inted

glass. T h e central drawer is f r amed , as are the side panels , with bright burni shed gilt metal m o u l d i n g s .

T h e table s tands on square taper ing legs, each facet inlaid with an inset panel o f r ibbed gilt metal

terminat ing in square gilt metal topie feet. T h e r e are two cyrillic labels beneath , o n e inscribed in ink

a n d which translated into the R o m a n a lphabet reads the fol lowing: 'Malyennkay ' , 'Garbaya ' ,

'Gros t innaya ' m e a n i n g : Little D r a w i n g R o o m , the other '61 P.

Probably Russia , circa 1 7 9 0

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

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

D E P T H : I / V I I N ( 7 0 C M )

Provenance: By repute from the family Graf van Moyland who

set up the J. Bosch Foundation near Dusseldorf (also called

the Foundation van Moyland). The previous owner was a

French nobleman who purchased it from 'The Chef de Cabinet'

of von Ribentrop who in turn bought it from the Gulbenkian

Foundation in Lisbon. Calouste Gulbenkian organised the sale

of works of art for the Bolsheviks after the Revolution.

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1 A !- I. K ! I A T H O U R I ) O N M O S h

93

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

A Louis XVI parquetry writing table A m o s t unusual Louis X V I parquetry writ ing table, the top decorated with tu l ipwood floral paterae, f r amed

by a scroll in amaranth with b o x w o o d a n d ebony s t rung borders , the frieze and sides s imilarly decorated.

T h e top slides back to reveal a leathered writ ing surface a n d ink wells. T h e legs are square a n d tapering,

with purpleheart inset panels. T h e whole is m o u n t e d in lacquered brass a n d terminat ing in topie feet.

In the m a n n e r o f Jean-Francoi s Leleu. (c . f Le Mobi l ier Francais du X V I I I Siecle by Pierre Kjel lberg.)

France, circa 1 7 6 0

H E I G H T : 2 7 ' / 2 I N ( 7 0 C M )

W I D T H : 31 IN ( 7 9 C M )

D E P T H : I8 '/2IN ( 4 7 C M )

Leleu Jean-Fran?ois, (1729-1807, maltre 1764)

was one of the most highly regarded cabinet makers

of the Louis XVI period and his work was mainly

commissioned by nobility. However, only one late

work appears to be for the Crown. He trained and

worked with both Jean-Frangois Oeben and Jean-

Henri Riesener However, he famously fell out with

Riesener, a feud which ended in Riesener lodging

official complaints against him. This may well have

prejudiced his chances with the 'garde-meuble du

Roi'. However, he did achieve considerable success

with work for the Prince of Conde for whom he

supplied a great deal.

The intricate, interlocking, geometric, parquetry

designs that are seen in this table can often be

seen in the work of Leleu. It is typical of his oeuvre,

as is the metamorphic nature of the piece, which

owes a creative debt to the master Oeben. Though

unsigned, these constituents and the lavish use of

tulip all coalesce to suggest strongly Leleu as the

ultimate author of this writing table.

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

95

M A 1, I. K I I A T B () U K D () N H t> U S K

96

H O 11 R I) O N

A pair of Neapolitan watercolours Two Neapolitan early 19th century gouaches of the Bay of Naples, each bearing an inscription:

'Napoli da Mergellina', which shows N^sttvius in the distance, and 'Napoli dal Mare', which

shows fishing boats and vessels^-tilme harbour. Both in a fine state of conservation.

Signed G SCOPPA a I^d^OLI

Italy, circa

f r a m e d : 2 0 X 28 I N (51 X 7 1 CM)

A set of large scale carpet weights A set of four large scale Indian mid 19th century white marble carpet weights of

particularly good colour and in fine condition.

India, circa 1860

h e i g h t : 13 I N (33 CM)

s q u a r e : 1 0 i n (25 CM)

0 71X) •

These weights might appear

straightforward in function. One would

assume that they were placed at the

corners of a carpet to hold it in place in

high winds, or if there were a large group

of people moving around it. However, this

would not be correct. The weights were

used to create symbolic doorways. Placed

in front and behind the carpet, at the

outer edge, a doorway space apart,

access onto the carpet was only allowed

via these stylish portals. Thereby

rendering the carpet a private space, the

property of whoever controlled it. These

overscale examples must have belonged

to someone in possession of a very large

carpet and, therefore, someone

important.

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

A Charles X mahogany collectors cabinet A very large scale Empire flame veneered mahogany glazed collectors cabinet. T h e pediment disguises a

secret drawer and the three panel glazed doors open to reveal the drawer section which is divided into four,

eleven-drawer compartments. Each side is veneered with a single dramatic panel of flame veneer.

France, circa 1810

H E I G H T : 8 0 IN ( 2 0 3 C M )

W I D T H : 5 0 IN ( I 2 7 C M )

D E P T H : 1 9 IN ( 4 8 C M )

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T

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