Mallett - The Pleasures of Bacchus

M A L L E T T Established 1865 ^

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MALLETT

PLEASURES OF BACCHUS Dining and Drinking

141 N E W B O N D STREET, L O N D O N W1 B O U R D O N H O U S E , 2 DAVIES STREET, L O N D O N W1

M A L L E T T IN B O N D S T R E E T Mallett & Son (Antiques) Ltd 141 New Bond Street London WIS 2BS Telephone: +44 (0)20 7499 7411 Fax: +44 (0)20 7495 3179

MALLETT GALLERY 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

M A L L E T T AT B O U R D O N H O U S E Mallett at Bourdon House Ltd 2 Davies Street London W I K 3DJ Telephone: +44 (0)20 7629 2444 Fax: +44 (0)20 7499 2670

Mallett Website: www.mallettantiques.com Email: [email protected]

Front cover: A George III circular mahogany dining table (see pages 88-89). Frontispiece: The Green Dining Room, 141 New Bond Street. Right: Part of a very fine Worcester porcelain dessert service (see page 68-69). Back cover: A silver gilt 'Hock' label by Paul Storr. London, 1812

http://www.mallettantiques.com

mailto:[email protected]

I N T R O D U C T I O N

Is anything more fun than entertaining, offering hospitahty to friends and relations, enjoying with others a certain lavishness and celebrating with food and wine? Family meals are at the centre of our culture while greater feasts mark success with shared pleasure. This is the theme of our summer exhibition this year.

Fine furnishings in a dining room have an important role at these events and help to set a scene of luxury. Notes in this catalogue refer to the changing habits in dining, eating rituals, and drinking. The great mediaeval pastime of the hunt was followed in the afternoon by a massive household meal. T h e distinction of modern regular meals, breakfast,-lunch and dinner gradually became formalised much later. Each of these may be considered the most important but each can be enjoyed with style.

At root these Bacchanalian pleasures are based on the enjoyment of the riches of food and drink. The way we shape these customs into our houses has always been endlessly fascinating and full of variety. Here we lay out some fine furniture and much else that was made for the grandest hospitality. These objects are still wonderfully appropriate for creating a delightful breakfast room, a lunch party or the ultimate in dining and drinking.

P Lanto Synge Chief Executive

Breakfast Breakfast was a social and informal meal that divided the morning's business.

In most Georgian houses, breakfast normally took place any time between 9am and 11am.

Visitors might call to pay their respects and to drink tea or coffee. Boswell, writing in 1763,

described breakfast as 'a light meal of bread and butter, toast, honey, marmalade, warm rolls,

muffins, spiced bread and small cakes of various kinds, with tea, chocolate or coffee'. Small

mahogany tables were designed for this purpose, but it was not until the late 18th century

that breakfast began to be taken in the specially designed morning or breakfast rooms.

In the 1770's breakfast parties became fashionable. Guests were served cold food and strolled

in the house and garden, conversing and listening to music. The earliest were given at

breakfast time but these gradually crept into the afternoon.

The informality of breakfast strikingly contrasted with the formality of dinner. Francois de la

Rochefoucauld found 'this sudden change in social manners quite astonishing. In the morning

you can behave as you like and it is all extremely comfortable, but in the evening the

standard of politeness is uncomfortably high. Dinner is one of the most wearisome of English

experiences, lasting as it does, for four or five hours'.

A SILVER GILT A N D GLASS

E G G CUP SET

A charming set of eight cut glass pedestal egg cups decorated with barrel cutting and scalloped edge in a silver gilt stand by Henry Chawner, bearing the full hallmarks for 1790/91, together with eight spoons by George Smith and William Fearn, six of the same date and two dated 1794/ 1795.

Overall height: S'A in / 21 cm

ght: 27 gth: 63

A SHERATON OVAL M A H O G A N Y BREAKFAST TABLE

...

A late 18th century Sheraton period small oval breakfast table in finely faded mahogany and of elegant proportions, the top crossbanded with satinwood and rosewood and inlaid with boxwood and ebony stringing, with tilt mechanism raised on a turned pillar on curving splayed quadruped base, the supports ending in brass box castors.

English, circa 1790 Height: 2772 in / 70 cm Length: 5472 i n / 1 3 8 cm Width: 4174 in / 106 cm

A H O N E Y POT AND STAND

A melon shaped glass honey pot with cover and stand heavily cut all over with narrow columns with cross cut diamonds.

English, circa 1820 Height of pot: 572 in / 14 cm Diameter of stand: 6'/i in / 16.5 cm

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A SET OF FRUIT K N I V E S

A set of twenty silver gilt fruit knives with mother of pearl handles bearing the monogram PS.

French, circa 1820

A SET OF SILVER GILT

S P O O N S

A fine set of twelve early 19th century silver gilt hour glass pattern spoons together with two serving spoons ensuite by Eley and Fern with winged spur crest of Sir Richard Johnson Bart, and the engraved motto Non quam non piratus ('never unready').

English, hallmarked 1807

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A PAIR OF C O N D I M E N T

VASES

A superb pair of George II silver gilt vases by Edward Wakelin, for Francis Greville, 1st Earl of Warwick, engraved with his crest.

English, hallmarked 1756 Height: 9'U in / 25 cm

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A SET O F GLASS C U T PLATES

A set of twelve plates with serrated edges decorated to the rims with cross cut d iamonds , the bases decorated in a star pat tern with cross cut d iamonds and deep cutting.

English, circa 1820 Diameter: 7 in / 18 cm

B A C C A R A T T U M B L E R S

A group of glass tumblers by Baccarat of various cut and moulded designs, each with encased enamel flowers on gold foil within a raised field.

French, circa 1840 Height: 374 in / 9.4 cm

The use of gold foil inclusions was developed in France in the 1820s. Gold sheet, which had to be 24 carat otherwise the glass would not adhere to it, was cut to the desired outline and then decorated with coloured enamels and fired. While the tumbler was hot, the enamelled foil was placed on the surface and then covered with a ' pad ' of glass. When annealed and cold these tumblers were then cut.

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A N I R I S H C U T G L A S S B O W L

A deep circular glass bowl with turnover

rim, the rim cut with narrow flutes, the

body with a band of stylised tlowerheads

between two bands of husk ornament, on

an inverted baluster stem above a high

domed foot with faceted rim.

Irish, drai 1790

Height: 1 I in / 28 cm

P R O V E N A N C E :

The collection of the 6th Marquess of Bute

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AN I M P O R T A N T SUITE OF G E O R G E II D I N I N G C H A I R S

An exceptionally rare suite of mid 18th century carved mahogany dining chairs comprising four open armchairs with pierced fretwork backs and sides of 'Chinese' railing and six side chairs with upholstered backs, all the chairs with arched toprails with central foliate cartouche, the frames carved with gadrooned borders, the square legs with similarly gadrooned corners and foliate brackets. All the chairs are upholstered in 18th century needlework, the seats of the four armchairs having floral needlework on a buff ground. The six side chairs are covered with needlework depicting scenes from mythology and Aesop's fables.

English, circa 1755

A R M C H A I R :

Height: 3972 in / 100 cm Width: 25 in / 64 cm Depth: 23 in / 58 cm

SIDE C H A I R :

Height: 39'/z in /100 cm Width: 22 in / 56 cm Depth: 2OV2 in / 52 cm


Kent Gallery Ltd, London Mallett & Son (Antiques) Ltd The Myron C Taylor Collection, sold by Parke-Bernet Galleries Inc, New York, 11-12 November 1960 Private Collection Mallett & Son (Antiques) Ltd, 1964 The collection of the late Sir Emmanuel Kaye CBE

This suite of armchairs and side chairs, probably a unique grouping, must have been conceived as a whole, yet adapted to incorporate an amalgam of contemporary decorative motifs, both the 'Roman' and the 'Chinese', and also fine needlework of the period.

The double arched shape of the chair backs, the acanthus crestings and the gadrooned mouldings occur throughout all the chairs. The backs and sides of the armchairs, however, enclose panels of Chinese fretwork. In the backs these are juxtaposed with turned columns. This is an unusual combination, though a similar fret and pillar arrangement does appear on a set of chairs from Fineshade Abbey, Lincolnshire, illustrated in The English Chair by Moss Harris, 1946.

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A N I M P O R T A N T SUITE O F G E O R G E II D I N I N G C H A I R S continued

Chinoiserie forms became highlights of the

fanciful rococo period and yet these fret or

lattice patterns in fact appear as early as

1750, in Wil l iam Halfpenny's Twenty New

Designs of Chinese Lattice, and in 1751 in

Matthias Darly's New Book of Chinese,

Gothic and Modern Chairs. There followed

Thomas Chippendale's hugely influential

Gentleman and Cabinet-Maker's Director

of 1754, with engravings by Matthew

Darly, illustrating 'Chinese Chairs' to be

upholstered in needlework or tapestry

(plates XXI I I-XXV) and a variety of

patterns for 'Frets' and 'Chinese Railing'

(plates CL-CLX). Later designs by Robert

Manwaring and Ince and Mayhew are

also recorded.

The contemporary needlework seat of

each side chair depicts a different scene

from Aesop's Fables, with their moral

connotations echoed on the seat backs,

representing stories taken from either

Ovid's Metamorphoses or Virgil's Aeneid.

One example is the combination of the

Fable of the Fox and the Crow with the

story of Dido and Aeneas:

A Fox once saw a Crow fly off with a piece

of cheese in its beak and settle on a branch

of a tree. The Fox decided he was hungry

and wanted the piece of cheese. He walked

up to the foot of the tree and cried up to

the Crow: 'Good Day, Mistress Crow.

How well you are looking today; how

glossy your feathers are; how bright your

eyes are. I am sure also that your voice is

far superior to that of all other birds; let

me hear one song to prove it and so I can

greet you as Queen of all Birds'. The Crow

lifted up her head and began to caw her

best, but the moment she opened her

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mouth the piece of cheese fell to the ground only to be gobbled up by the Fox. 'That will do,' he said. 'That is all I wanted. In exchange for your cheese I will give you a piece of advice for the future -do not trust flatterers.

The nidden meaning of the fable of the Fox and the Crow depicted in the needlework of the seat is echoed in the story taken from Virgil's Aeneid depicted in the needlework on the chair back. The scene represents the beginning of the love affair between Aeneas and Dido. Aeneas, on his

great journey, arrived at the court of Dido, Queen of Carthage in North Africa. Dido was charmed by Aeneas flattery and soon fell madly in love. Time passed,*until Aeneas realised that he should continue his journey. In the dead of night he crept away and set sail with his entourage, leaving Dido, unaware, in Carthage. When she woke she realised what had happened and immediately killed herself. Aeneas looking back across the sea could see the smoke from the funeral pyre.

In 1932, Myron C Taylor (1874-1959)

succeeded J P Morgan Jr as Chairman of the United States Steel Corporation. He held positions as the Personal Representative of the President to Pope Pius XII and Personal Representative of the President on Special Missions. He was a renowned and varied collector, particularly of early and mid 18th century English and American furniture, porcelain, silver, textiles, rugs, paintings and drawings.

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A S P E C I M E N W O O D L A Z Y S U S A N

An unusual early 19th century revolving i a z y susan' , the circular top veneered with a variety of specimen woods in a radiating pat tern around a central roundel , raised on a turned brass stand.

English, circa 1820 Height: Wh in 116.5 cm Diameter: 24 in / 61 cm

A PAIR O F G E O R G E III K N I F E B O X E S

A pair of George III mahogany knife boxes of serpentine bombe form having boxwood stringing and Sheffield plate escutcheons, each top opening to reveal the interior lid decorated with a marquetry star f ramed by ebony and sycamore stringing, each interior now lined with green baize.

English, circa 1 780 Height: 1472 in / 3 7 cm Width: 9 in / 23 cm Depth: 11 in / 28 cm

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A CHIPPENDALE PER IOD M A H O G A N Y DUMB WAITER

A very fine mid 18th century circular

mahogany three tier d u m b waiter of

exceptional faded colour with intricately

carved and fluted stem raised on

downcurving tripod supports.

English, circa 1760

Height: 47 in / 119 cm

^ a m e t e r : l i ' A in / 65 cm


Mallett 8c Son (Antiques) Ltd, 1936

The collection of M r &; Mrs Eric Mol ler at

Thorncombe Park, Surrey

LITERATURE:

R W Symonds, Furniture Making in 17th

and 18th Century England, 1955, pp 137

& 139, fig 191

Formed during the 1940's and 1950's, the

Mol ler collection was one of the great

20th century collections of English

furniture put together under the guidance

of the furniture historian R W Symonds.

The core of the collection was a group of

outstanding mid 18th century mahogany

pieces of which this d u m b waiter is a

fine example.

A cut glass and silver gilt beehive honey

pot and stand, with hallmarks for the

maker John Emes, London 1803

A set of four cut glass salts.

English, circa 1780

A silver gilt toast rack.

English, hal lmarked 1850

A gilt glass jug.

English, circa 1860

A cut glass magnum carafe.

Anglo-Irish, circa 1810

A silver gilt 'Hock ' label by Paul Storr.

English, hal lmarked 1812

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A powerful Funch Punch became a favourite beverage amongst the EngHsh after the capture of Jamaica from

the Spanish in 1655, The classic recipe for punch consisted of five principle ingredients: spirit,

vv^ater, sugar, lemon juice and spices. There were, naturally, many variations and elaborations

on the theme.

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Throwing a party for his ships' companies in 1699, Commander-in-Chief Sir Edward Kennel

filled a vast, custom-built marble cistern with 80 casks of brandy, nine of water, 25 ,000 limes,

80 pints of lemon juice and 1,300 pounds of Lisbon sugar, nutmeg, biscuits and a 'great cask'

of Malaga. Guests were served the concoction by boys floating on its surface in a rosewood

boat. Almost a century later. Admiral Edward Russell celebrated his victory over the French

at Barfleur with a party for 6 ,000 guests, at which the centrepiece was a punch, presented

and served in identical fashion.

C H A T H A M A R T I L L E R Y P U N C H For One Hundred People (or Ten Admirals)

This recipe, which was kept

jealously secret for years and

was unobtainable to outsiders,

originated with the Chatham

Artillery, Savannah and was served

there for more than 1 0 0 years. It

is described as delicious, seductive,

powerful. This is the punch that

knocked out Admiral Schley when

he visited Savannah in 1 8 9 9 after

the Spanish War. Admiral Cervera's

Spanish shells were harmless to

the brave American admiral, but

Artillery Punch scored a direct hit

which put him out for two days.

1V2 gallons of Catawba Wine

IV2 quarts of Rye Whisky

V2 gallon of St. Croix Rum

Va pint of Benedictine

1 quart of Gin

1 quart of Brandy

IV2 gallons of strong tea

2V2 pounds of brown sugar

Juice of IV2 dozen oranges

Juice of IV2 dozen lemons

A V E R Y L A R G E C A N T O N E S E

P U N C H B O W L

A Cantonese export porcelain punch bowl of massive proportions, richly decorated in famille rose colours with gilded highlights.

Chinese, circa 1850 Diameter: 21 in / 53 cm Height: S'A in / 2 2 cm

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Detail f rom The Reverend G Shovel by Thomas Davidson. Private collection.

T H R E E I V O R Y SPICE M O R T A R S

Three rare late 17th century

Indo-Portuguese turned ivory mortars

with pestles for grinding spices, all with

ring-turned detail, each mortar on a

pedestal base and of aged and mellow tone.

Goan, circa 1680

Height of tallest: 872 in / 22 cm

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A THREE-TIER M A H O G A N Y ETAGERE

A most unusual early 19th century three-

tier mahogany etagere of fine faded colour,

with ring-turned supports and borders and

angle-turned ball finials.

English, circa 1800

Overall height: 30 in / 76 cm

Width: 26 in / 66 cm

Depth: 13 in / 33cm

A SILVER B R A N D Y W A R M E R

A silver gilt patent lemon squeezer by Hukin &: Heath. English, circa 1880

A Charles X opaline spirit barrel. French, circa 1820

A large pair of rummers with the initials jlG. English, circa 1800

A glass rehoboam (six bottle) decanter. English, circa 1770

A superb George III Irish silver brandy warmer of unusually large scale, with turned ebony handle, by Ambrose Boxwell of Dublin.

Irish, hallmarked 1774 Height: 5 in / 13 cm Length (with handle): 16 in / 41 cm

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A G E O R G E III GATE-LEG TABLE

A fine George III oval drop leaf gate-leg

table in richly figured mahogany of very

fine colour, raised on cabriole legs boldly

carved with scrolling acanthus at the knees

and ending in claw and ball feet.

English, circa 1750


Length: (open) 58 in / 147.5 cm


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TWO CUT G L A S S U R N S A N D C O V E R S

Two very large covered cut glass urns of classical proportions, each bowl slightly differently decorated with large cut diamonds and supported on a square cut base and cut pedestal, each lid similarly decorated and surmounted by a cut glass finial.

Probably Liege, c/rc^z 1820 ^ f ^ Height: 21 in / 53 cm

The Dining Room The earliest use of the term 'dining room' is from an inventory at Ham House in 1677 where

the Marble Dining Room occupies a central position on the ground floor of the house. This

pre-eminence given to the eating room immediately behind the great hall broke the tradition

of private family dining being withdraw^n to a private chamber. Early dining rooms would not

have had permanent furniture resting on the centre of the room. Walpole at Houghton dined

off several tables covered with cloths which were brought forward with the chairs from the

surrounding walls. Even Robert Adam, working towards the end of the 18th century at

Saltram, continued this tradition, when he converted the library into a dining room in 1780.

The chairs were still placed around the wall (for this reason the reverse side of the

chair-backs and the legs were often not decorated) and the central table removed when not

in use, in order to reveal the specially woven carpet that reflected the elaborate plasterwork.

As at Kedleston, a side table fitted into a shaped niche continued to be used by Adam

throughout the 1760's and 1770's. This was a development from the medieval cupboard,

which in the 17th century had become a side table, on which the silver and gold plate was

displayed and from which the wine would be served. By the 1760's, the side table had been

transformed into a suite, with a long table flanked by urn-shaped wine coolers, standing on

pedestals, themselves fitted as plate warmers and storage cupboards. This grand suite of

furniture became simplified throughout the 1780's as the side table was replaced by a fitted

sideboard (see page 42) with wine drawers and storage cupboards.

C A R V I N G SETS

A very large carving set with antler handles.

English, circa 1880 Length of knife: 2472 in / 62 cm (above)

A set ot two carving knives and forks with reeded ivory handles by Joseph Rodgers of Sheffield.

English, circa 1880 Length of largest knife: 16 in / 41 cm (below)

A G E O R G E III T H R E E PEDESTAL DINING TABLE

A very fine late 18th century three pillar mahogany dining table with 'D ' shaped ends, each section raised on a turned pillar with quadruped splayed supports, with two additional leaves of later date.

English, circa 1790 Height: 2 8 in / 71 cm Width: 4 9 in / 124 cm Length without leaves: 9 ft / 2 7 4 cm Maximum length with leaves: 12 ft 11 in / 394 cm

»

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A G E O R G E III T H R E E PEDESTAL D I N I N G TABLE continued

' 6 • 11 12 •-•Hf-

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Key

1 A pair of cut glass candelabra by John Blades. (see page 40-41)

2 A pair of silver plate wine coolers.

3 Part of an Empire porcelain service. {see page 52-53)

4 A pair of decanters. English, circa 1810

5 A pair of decanters. English, circa 1810

6 A pair of papier mache coasters. English, circa 1820

7 A silver gilt salver. English, hallmarked 1924

8 A set of 36 rummers. English, circa 1810

9 A set of stained bone handled knives and forks. English, dated 1821

10 A set of 6 Whitefriars finger bowls. English, circa 1870

11 A set of 6 frosted glass plates. English, circa 1820

12 Part of a set of 24 silver plates. {see pages 46-47)

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A G E O R G E III M A H O G A N Y SIDE CABINET

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A George III mahogany side cabinet of

fine quality and colour, the panelled doors

inset with ovals of narrow crossbanding

outlined with ebony stringing, opening to

reveal a central compartment surrounded

by eight drawers.

English, circa 1800


Wid th : 46 in / 117 cm

Depth: 1572 in / 39.5 cm

An unusual pair of Wi l l iam IV Sheffield

plate wine coolers.

English, circa 1830

A collection of early 19th century cut

stemmed drinking glasses including 12

champagne, 12 wine, 10 sherry, 12 port,

7 liqueur.

Liege, circa 1820

A fine cut glass jug.

Irish, circa 1810

A PAIR O F S U P P E R C A N T E R B U R I E S

A pair of large mahogany supper canterburies with pierced carrying handles, the rounded ends for carrying plates and the rectangular ends for cutlery, raised on ring turned tapering legs with brass cup castors.

English, circa 1800 Overall height: 32 in / 81 cm Length: 2772 in / 70 cm Width: 1472 i n / 3 7 cm

A group of coloured glass bottles. English, circa 1850

39

A PA IR O F C A N D E L A B R A BY J O H N B L A D E S

A magnificent pair of large three arm

candelabra by John Blades of Liidgate Hill,

London, with ormolu bases and ormolu

arms, the stems, pans and nozzles

decorated with columns of cross cutting

and pillar cutting and hung with rule

drops below baguette cut drops.

Knglish, circa 1810

Height: 257: in / 64 cm

Width: 16 in / 40.5 cm

Diameter of base: 6 in / 15 cm

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A G E O R G E III S H E R A T O N S I D E B O A R D

A fine late 18th century George III Sheraton mahogany demi-lune sideboard with finely figured top and brass rail above two large drawers and one small drawer in the frieze.

English, circa 1790 Height: 37 in / 94 cm Width: 64 in / 162 cm Depth: 28'A in / 73 cm

A fine set of Edwardian cut glass decanters: four magnum and three single bottle size. English, circa 1910

42

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A R A R E SET OF G E O R G E III M A H O G A N Y DINING CHAIRS continued

A very fine and rare set of ten Chippendale period mahogany dining chairs, consisting of two armchairs and eight single chairs, the backs with shaped top rails, moulded side supports and foliate and ribbon carved pierced splat backs, all on square moulded legs joined by 'H' stretchers, the serpentine seats covered in green silk damask. Together with two new single chairs to make a set of twelve.

English, circa 1760

S I N G L E C H A I R S :

Height: 37 in / 94 cm Width: 22 in / 56 cm Depth of seat: 18 in / 46 cm


Mallett & Son (Antiques) Ltd, 1920 Private Collection, England By descent

The greatest name associated with English chairmaking is undoubtedly Thomas Chippendale (1718-1779) . He immortalised the distinctive elaborate splat back dining chairs and richly carved mahogany furniture. In 1748 , Chippendale came to London from his native Yorkshire and shared premises with Matthias Darly on The Strand. In 1753 , he moved and traded at T h e Sign of the Chair' on St. Martin's Lane. His career has been fully documented in recent years by Christopher Gilbert.

A R M C H A I R S :

Height: 38 in / 96 .5 cm Width: 24V4 in / 63 cm Depth of seat: 2 0 in / 51 cm

In 1753 , Chippendale published advertisements for his work The Gentleman and Cabinet Maker's Director: 'being a new Book of Designs of Household Furniture in the Gothic, Chinese and Modern Taste, as improved by the politest and most able Artists . . . ' (Public Advertiser, 7th June, 1753) . The Director was the largest pattern book ever devoted solely to furniture designs. It

44

encompassed all branches of the business, giving measurements, full instructions for the finish and even the intended location of individual pieces. Published in April 1754, it became available immediately in London, York and Edinburgh.

Three hundred and eight subscribed to the publication, ranging from the nobility to craftsmen. The 160 plates were finely engraved, amongst others, by Matthias Darly and J S Muller. It sold out rapidly and a second edition, with the same plates and a few minor alterations, was issued in 1755 followed by third in 1763. Many of the original designs for the Director survive (mainly in the collections of the Victoria and Albert Museum and the Metropolitan Museum of Art, New York). Other cabinet makers seized on Chippendale's success and produced their own publications. Ince and Mayhew, already-fashionable cabinetmakers, responded with their

Universal System for Household Furniture in 1762. Thomas Sheraton was always to maintain that although it was 'a work of merit in its day' it was however 'much inferior to Chippendale's'. Chippendale's superior influence had been confirmed.

The uniform chara;ter of Chippendale's carved dining chair frames allow one to envisage the prototypes which patrons were shown. Subscribers were encouraged to peruse the Director, to choose a model and to adapt it with specific features and embellishments of their choice. They were encouraged to order either a standard, refined or de luxe version depending on the elaboration of decoration. It is for this reason that very few surviving examples of furniture relate identically and directly to the chairs that were depicted in the Director. Often, a single design would offer different choices of leg, seat rail and back splat for the client to choose from.

Chippendale was, naturally, careful never to repeat exactly the same decorative permutation. His mahogany dining-room chairs of the 1760s, fashionable hall chairs and library chairs all conform to a basic design-type.

In the same way, this set of chairs combine features from several different designs to create an individual design based on a basic template. Close comparisons can be made with Plate XIII of the Director and those purchased by the Winn Family for Nostell Priory, Yorkshire. Similar pierced backs, foliate carvings, fluted side columns and squared legs joined by 'H' stretchers can be found in both examples.

The exceptional quality of the present set of chairs does suggest the highest level of craftsmanship and execution.

45

A SET O F SILVER P L A T E S M A D E F O R G E O R G E III

A magnificent set of twenty-four silver plates made by an unidentified Hanover maker in the French manner, the shaped borders with fluted edge and shell motifs, bearing the cypher of George III, the reverse of each hallmarked with the maker's mark ED and inscribed with the weight 14 Lotig, and a further serial number.

German, circa 1790 Diameter: IOV2 in / 26.5 cm

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T H R E E C U T GLASS I R I S H D I S H E S A N D C O V E R S

An extremely rare set of three large cut glass oval serving dishes and domed covers with mushroom finials.

A PAIR O F EAMILLE R O S E S E R V I N G PLATES

Irish, circa 1810

Overall length: 1374 in / 34.9 cm


By repute, from the collection of Count John McCormack, a famour Irish tenor, Moore Abbey, Co. Kildare

An unusual pair of late 18th century Qianlong famille rose oval serving plates, the central panel depicting Chinese ladies carrying flowers accompanied by a deer in an exotic landscape with cranes.

Chinese, circa 1780 Height: 14 in / 36 cm Width: 18 i n / 4 6 cm

48

A PAIR OF O R M O L U A N D CUT GLASS C A N D L E S T I C K S

A rare pair of late 18th century ormolu

mounted cut glass candlesticks, each with

ormolu domes below a cut glass ovoid

stems having Vandyke pans and nozzles

dressed with chains of pear shaped drops

with large glass finials, above dark green

octagonal glass pilasters ending in circular

fluted ormolu bases.

English, circa 1790

Height: 15 i n /38 cm

Width: 6 in / 15 cm

, f l

49

A R U S S I A N D I N I N G T A B L E

A highly unusual D-ended early 19th century extending dining table veneered throughout in highly figured birch. Extended, the table has two sabre legs which descend to support the ends. Closed, with one leaf, the table is supported by four scroll legs with bronzed foliate capitals and similarly bronzed ram's heads at the base.

Probably Russian, circa 1 8 2 0 Height: 29'/: in / 75 cm Width: 4 7 in / 104 cm M a x i m u m Length: 11 ft 3 in / 3 4 3 cm

A remarkable very large scale pair of ormolu ship's candlesticks. Baltic, circa 1 7 8 0

A superb serpentine and ormolu mounted tripod athenienne. Swedish, circa 1 7 9 0

Part of an Empire porcelain dessert service. {see pages .S2-53)

i ' ' j i . i : /

A N E M P I R E P O R C E L A I N D E S S E R T S E R V I C E

A fine quali ty Empire porcelain dessert service by Dihl and G u e r h a r d decora ted wi th gilt stylised floral o r n a m e n t on a whi te g r o u n d consist ing of 4 frui t baskets , 2 large compot ie r s with t rays, 2 small compot ie rs , 2 dessert bowls, 2 f rui t coolers and 18 plates, each bear ing the maker ' s s t amp in red or impressed initial.

French, circa 1810

52

•li'p.-

v f -

54 J -

A R A R E SET OF M A H O G A N Y D I N I N G C H A I R S

A set of 18 William IV mahogany

armchairs in the manner of Gillows, with

curved tablet crest rail and single reeded

horizontal splat, the reeded surround

echoed in the downswept arm rails, with

turned supports, supported on turned and

reeded tapering legs, the seats upholstered

in yellow silk damask.

English, circa 1840


Width: I V h in_/ 54.5 cm

Depth: 1972 in/49.5 cm


Liverpool Marine Office

Daniel Defoe commented in the early

1720's that Lancaster had 'little to

recommend it but a decayed Castle, and a

more decayed Port (with) little or no trade,

and few People'. Within fifty years the

situation had changed dramatically. This

sudden growth was due to Lancaster's

geographically advantageous position in

relation to Liverpool. Infrastructure and

accessibility had been dramatically

developed here in conjunction with the

expansion and development of sea routes

to the Americas with which trade had ^

become of staple importance to the growth

of the economy.

Gillows of Lancaster, and subsequently

London, took advantage of this new

market to become one of the greatest

cabinet-making firms of the late 18th a n d *

19th centuries. The firm was founded in

thel730's by Robert Gillow the elder

(1704-1772). In his 1807 Account of

Lancaster Clarke points out that 'the town

has long been famous for the great

quantities of mahogany furniture which

has been made in it for home-use and

exportation. Mr Gillow's extensive

warerooms, stored with every article of

useful and ornamental mahogany furniture

are well worth the attention of strangers,

as they are said to be best stocked of any

in this line out of the metropolis'.

The firm's furniture of the Regency period,

which the present chairs epitomise, is

typified by sober 'Grecian' forms and

loosely influenced by the designs of

Sheraton and Hope, yet interpreted more

sculpturally. This use of high quality

mahogany is also typical of the firm

whose Lancaster premises were adjacent

to the port of Liverpool into which most

mahogany from the Americas was

imported. It was from the Cuba that

Gillows was to source the high quality

mahogany that has given renown to its

name; their robust style and fine figured

mahogany of the early 19th century being

particularly appraised by connoisseurs and

scholars today.

The new C,"ust<)ni House, I.iverpool.

55

1 A RARE SET OF M A H O G A N Y D I N I N G C H A I R S continued

The firm was well patronised by the aristocracy and gentry with clients including the Earls of Derby, Lauderdale and Shaftesbury. The Dukes of Atholl and Hamilton also commissioned pieces for Blair Castle and Hamilton Palace respectively. On the other side of the spectrum, Gillows was also commissioned by administrative and governmental institutions to provided suites of furniture, including long sets of chairs, for board rooms and offices.

The present chairs are known to have been supplied, possibly by Gillows, to the Liverpool Marine Office during the 19th century.

56

n

I

A P A I R O F D E C A N T E R

T R O L L E Y S

A pair of early 19th century black lacquer double trolley coasters, retaining all their original brass fittings.

English, circa 1810 Length: 11'A in (30cm)

57

Dessert Dinners were brought to a climax with the dessert course, which was easily the most

expensive element of a formal meal and could only be afforded by the wealthy.

Once the glasses had been changed and the tablecloth removed, as La Rochefoucauld

comments, the table would then be laden with 'elegant china baskets' of fresh, candied and

preserved fruit, 'sweetmeat glasses' of dry and wet sweetmeats, 'confits and licorice in fine

porcelain or crystal vases' with 'small glasses and china plates of olives and niits, and

mountains of sparkling jellies, creams, ices and syllabubs'.

It was general practice for desserts to be ordered from outside caterers and confectioners.

Many had moved to England from the continent and set up shop in London and the more

fashionable provincial towns including Bath and York. The confectioner could also supply the

'decorative furniture' on which to display these highly desirable and expensive delicacies, if

not already covered by the household inventory. Glass pyramid tazzas (see page 63) and

sweetmeat dishes became fashionably essential. In 1719, Lady Baillie commented on how at

one party there was: 'in the middle of the table a Pirimide, sillibubs and orange cream in the

lower part, above it, sweetmeats dry and wet'. Exquisite porcelain services were

commissioned from manufacturers, both from England (see page 68) and abroad (see page

52): a multitude of small scale dessert plates would be accompanied by ensuite dishes, bowls,

tazza and fruit coolers all beautifully decorated with floral motifs.

The dessert was always supplemented by sweet wines in decanters which were placed in front

of the head of the household. These were passed from right to left or pushed around the table

on decanter trolleys (see page 57). The servants would leave the room, the women would

then withdraw to discuss gossip and scandal while the men would remain behind, drinking

and smoking before joining the women some time later. This, in turn, would be followed by

gambling and further drinking.

ONE OF A SET OF

COALPORT PLATES

A set of six early 19th century Coalport porcelain fruit plates finely decorated by Baxter.

English, circa 1800 Diameter: 8'A in / 21 cm

m

. ¥ •

Detail from A Still Life of Fruit on a Ledge with CI Goldfish Bowl ( 1 8 7 6 ) by J D I I I I

Wgjnwright. Private collection.

gj -v w

'Br •MM'r

A G E O R G E III M A H O G A N Y C I R C U L A R D I N I N G TABLE continued

Key

1 A 4 tier tazza pyramid with patty pans. English, circa 1760

2 Part of a 9 piece suite of Regency cut glass dishes and comports. English, circa 1820

3 A set of 6 Coalport porcelain plates decorated by Baxter.

4 Two 18th century brass sugar casters. French, circa 1740

7 A 14 piece set of silver gilt ice cream spoons. (see page 14)

8 A 24 piece set of silver and green stained bone dessert knives and forks. English, hallmarked London, 1907

9 A cut glass cream jug. English, circa 1780

5 A set of 6 small engraved wine glasses. English, circa 1780

6 A set of 12 Regency cut glass plates. (see page / 6)

62

A J k Z Z k P Y R A M I D

A five tier tazza pyramid with patty pans ensuite, the tazzas turned with bobbin stems.

English, circa 1735 Height: 24 in / 64 cm

A VERY R A R E C I R C U L A R JUPE PATENT DINING TABLE

64

A William IV circular extending mahogany dining table by Johnstone Jupe &C Co of rare small scale, the swivel action top formed of eight triangular segments with expanding mechanism to insert eight additional sections, all with brass tips, raised on a turned pillar with stylised lotus leaf carving supported by a platform base with concave sides on reeded feet with brass castors.

Underneath the table top is a central circular brass hub inscribed Jupe's Patent. The surrounding timber stamped Johnstone jupe & Co, New Bond Street, London and the serial number 9675. The curved steel arms of the captan action stamped Patent. The base with a trade label in ivory inscribed Jupe's Patent, Johnstone Jupe & Co, New Bond Street, London with royal coat of arms. With original wooden cabinet for the additional leaves.

English, circa 1835-1840 Height: 2972 in / 74 cm Diameter: (unextended) 42'h in / 108 cm Diameter: (extended with eight loose leaves) 60'h in / 153 cm

L I T E R A T U R E :

Christopher Gilbert, Pictorial Dictionary of Marked London Furniture, 1700-1840, 1996, pp 283-285 . E Aslin, 19th Century English Furniture, 1962, p 15 F Collard, Regency Furniture, 1985, p 24

Robert Jupe, upholder of 47 Welbeck Street, Cavendish Square, London, patented the design for a circular expanding dining table with a segmented top in 1835. The specification states: 'An improved expanding table so constructed that the sections composing its surface may be caused to diverge from a common centre and that the spaces caused thereby may be filled up by inserting leaves or filling pieces. The table, when expanded, forms usually a round but it may be arranged to form an oval or an oblong.' The first tables were made between 1835 and 1840 by John Johnstone of New Bond Street subsequently becoming Johnstone & Jeanes after 1842. Hence, our table, with the label 'Johnstone & Jupe' must have been an early example and made prior to 1842. The tables were usually supplied with a cabinet for the loose leaves.

65

.

V / ^ - v

[•i

A G E O R G E III B R E A K F R O N T B O O K C A S E

A George III mahogany breakfront bookcase the scrolled broken pediment with foliate terminals centred by a fluted pedestal and flanked by husk-trailed yellow acanthus, the dentilled panelled frieze inlaid with simulated flutes, above a pair of gothic-glazed doors with ogival arches and engraved acanthus sprays to the angles surmounted by rosette paterae, flanked by two similar doors, each enclosing a silk lined interior with adjustable shelves, the moulded base with two further central doors with raised cut-cornered panel, enclosing three slides, flanked to each side by two similar drawers each enclosing four drawers with lacquered brass drop handles, on a moulded plinth.


Private collection, England Mallett &C Son (Antiques) Ltd, 1954 Private collection of Cecil Millar, ex-President of BADA, England

L I T E R A T U R E : ^

Connoisseur, April 1955 E Joy, Country Life Book of English Furniture, London, 1969, p 62, fig 80

Messrs A Hepplewhite & Co published bookcase patterns including this tripartate arched glazing, in their Cabinet-Maker and Upholsterer's Guide, 1788, pi 40.

See overleaf for porcelain dessert service

English, circa 1770 Height: 107 in / 272 cm Width: 100 in / 254 cm Depth: 23 in / 58.5 cm

O P A L I N E F I N G E R B O W L S

A set of seven opaline glass finger bowls with gilt rims.

French, circa 1850

67

A W O R C E S T E R D E S S E R T S E R V I C E

An extremely fine early 19th century Chamberlain's Worcester porcelain dessert service comprising: 2 7 side plates, 10 scalloped dishes, 2 small saucepots, 2 large fruit coolers and a dolphin tazza, (see page 5). Each piece is painted with a variety of flowers within a deep blue ground, richly gilded with foliate patterns, the centres of the dishes and bodies of the fruit coolers decorated with a rare gilded pattern of miniature brickwork. The tazza is raised on four gilded dolphin supports and the coolers have pierced galleries and dolphin finials.

English, circa 1820

The original Worcester porcelain factory was founded in 1751. Robert Chamberlain had been the first apprentice at the Worcester works and apparently was in charge of the ornamental part of their production and the embellishing of the ware 'for many years'. When the old Worcester factory was sold in 1783 to Thomas Flight. Chamberlain left and set up his own enamelling establishment.

decorating for the Caughley, Coalport and, probably, New Hall factories. He soon had his own factory and business developed rapidly.

To begin with, their production was not dissimilar to that of the original firm, albeit with a difference in the actual glaze. They soon came into competition with Flight and Barr's Worcester factory, especially for the most prestigious orders. George III and Queen Charlotte visited their premises at 33 High Street in 1788. In 1802, Lord Nelson and Lady Hamilton commissioned a service bearing the Nelson arms and insignia and, in 1807, the Prince Regent came to the works. In that year he ordered: 'A complete set of superb vases to be painted with historical subjects'. The Prince commissioned a further service in 1811 in the 'Japan' pattern. At his time Chamberlain invented a new type of porcelain which he called 'Regent Body', no doubt in recognition of his royal patron. This porcelain was 'a special mixture, very hard and durable, having little or no lead in its composition . . . all colours look better on the glaze of this body than any other'. It was expensive

and therefore reserved for commissions of the highest importance.

This enterprising firm prospered to the extent that premises were opened in London in 1814 in Piccadilly. In 1816 they moved to 155 New Bond Street. Still in fierce competition for royal patronage with the new Worcester firm of Flight and Barr, Chamberlain secured further orders from the crown for large services both in 1816 and 1820 when George IV came to the throne.

This particular service is decorated with one of the popular and most decorative designs, the 'French Sprig', depicting individual flowers, but here they are contained within a most unusual pattern of miniature brickwork. With its richness of decoration and quality of painting and gilding, it has all the attributes expected of a great Chamberlain creation.

68

Picnics Never much acclaimed for their culinary prowess, the English have always been renowned for

their picnics.

Smoked salmon, lobster, strawberries and cream washed down with Pimm's or champagne;

picnics evoke memories of the perfect English summer's day and the subject has attracted

painters, poets and writers throughout history. Picnics fill the social calender of the summer

months: the Fourth of June at Eton College, Lords, Wimbledon and Henley..Regatta to name

but a few.

The idea of mutual sharing and collaboration was fundamental to the original significafice of

the picnic. In the 1854 edition of Webster's Unabridged Dictionary, a 'picnic' is defined as

'an entertainment to which each person contributed some dish or article for the general

table'. The term 'picnic' was first used around 1740 and was a derivation of the French verb

piquer which translates as 'to pick at food'. The notion of eating outdoors probably had its

origins in the hunt feasts of the Middle Ages, where a meal of pies, cooked meats and sweet

tarts took place in a forest clearing before the start of the hunt.

In London during the early 19th century. The Picnic Society was formed by a group of society

people. These picnics were taken very seriously indeed. The fashion for excursions from the

city into the country created a need for meals eaten outdoors. Popular activities such as

sketching or collecting rare fungi, butterflies and flowers were a perfect excuse for

extravagant picnics. Queen Victoria and Prince Albert's fondness for picnics is described in

the Queen's Leaves from the Journal of our Life in the Highlands, from 1848 to 1861.

A TRAVELLING D E C A N T E R SET

A set of four octagonal dark green decanter Curaco, Kerch Wasser and Eau de Vie, bottles, the narrow sides decorated with a strands of fruiting vines, the wide sides with a trellis decoration. Each bottle with an individual gilt label: Maraschino,

together with a mahogany carrying case.

English, circa 1800 Height of bottles: 9 in / 23 cm

A H O R N JUG A N D SIX BEAKERS

An unusual silver gilt and horn jug, bearing

the maker's mark of Percy Holland &i

George Gibson with the retail marking of

Henry Robinson &c Wells, High St.

Shrewsbury on the base, together with a set

of six silver gilt mounted horn beakers of

graduated size, each decorated with a

shield and bearing the maker's mark of

Frederick Charles Austin &C Co.

English, the jug hallmarked 1879, the

beakers hallmarked 1907

Height of jug: 11'A in / 29 cm

I S

A F R E N C H TRAVELLING CASE

An exceptional early 19th century travelling case in burr elm with brass mounts and corners, fitted with many accessories including a silver chocolate pot with ebony handle, a knife, a silver fork and spoon, seafood picks and a corkscrew.

French, circa 1825 Height: 5 in / 12.5 cm Width: 874 in / 22 cm ^ ^ Length: IS'A in / 35 cm

f ^ i

A R O S E W O O D BUTLER'S TRAY ON STAND

An excep t iona l 1 9 th c e n t u r y highly figured r o s e w o o d oval but le r ' s t r ay of large size wi th b rass ca r ry ing h a n d l e s o n its or ig ina l fo ld ing s t and wi th X - f r a m e a n d t u r n e d s t retcher .

Engl ish , circa 1830 Overa l l he ight : 2 8 in / 71 cm M a x i m u m W i d t h : 49'/i in / 1 2 6 cm M a x i m u m D e p t h : 3 5 in / 8 9 c m

75

Tea In the 18th century, the drinking of tea took London by storm. Tea had already been used ii China for many thousands of years initially for medicinal purposes and subsequently as a beverage. In the 16th century, the Portuguese established their trading post at Macao and soon adopted the local custom of drinking tea. In 1662, Charles II of England married the Portuguese princess Catherine of Braganza who probably introduced tea to ,the English Court. With royal patronage, the popularity of tea rose dramatically and English trade routes with China were soon established. Within a couple of decades the humble leaf of Camellia sinensis had become the most commercially important item of trade in the history of England.

The heavy tax levied by successive governments on tea imports made the commodity incredibly expensive. Understandably tea was always kept safely under lock and key in exquisitely constructed tea-caddies (see page 80, page 83). The quality of these pieces reflect today the value placed then on the tea they contained. The grandest pieces housed three separate compartments: one for green (unfermented) tea, one for black (fermented) tea or bohea and the central compartment was used for mixing the two to individual requirements of taste.

By 1784, thirteen million pounds of tea were being consumed annually. Extortionate taxes encouraged smuggling and it was believed that almost two thirds of the tea drunk in the 1780's had been imported illegally. Prime Minister William Pitt the Younger reduced the tax substantially which put an end to smuggling and increased the amounts of tea consumed to the extent that despite dramatically reduced taxes more money was raised through increased demand.

In the home, tea-drinking was a typically feminine and domestic activity. The ritual, with the aid of the tea-table, tea-caddies, specially designed porcelain from China and beautiful silverware, commended it particularly to women of leisure and provided a fashionable and charming occasion for social contact.

A C H I N E S E T E A P O T

One of a pair of small famille noire teapots Chinese, circa 1740 decorated with pink peonies. Height: 5 in / 12.5 cm

A G E O R G E III S I L V E R C O F F E E P O T

An extremely fine George III silver coffee po t wi th an ivory hand le by Hes ter Ba teman, London .

English, ha l lmarked 1775-76 Height : 12 in / 30 .5 cm

re

78

A MOTHER-OF-PEARL AND SILVER TEA CADDY

A rare mid 18th century silver mounted mother-of-pearl casket, finely carved throughout with flowers and leaves, with pierced silver carrying handle, hinges and lock escutcheon and raised on silver claw and ball feet, containing three rococo chinoiserie repousse silver tea caddies with lids, the interior retaining its original red velvet lining, with the hallmarks of S Herbert & Co, London.

English, hallmarked 1760-1. Height: 7 in / 18 cm Width: l l ' / 4 i n / 3 0 c m Depth: G'h in / 16.5 cm


Masterpieces of English Furniture: The Gerstenfeld Collection, London, 1998, p 251 for a related example

80

A M A H O G A N Y PIE CRUST T R I P O D TABLE

A fine mid 18th century small mahogany

circular tripod table with piecrust top.

English, circa 1760


Diameter: I V h in / 57 cm

Tripod tables were made for holding tea

and coffee equipage. Wil l iam hice and John

Mayhew illustrated designs for 'Tea Kettle

Stands' in their The Universal System of

Household Furniture, 1762, as did

Chippendale in The Gentleman and

Cabinet Makers Director, London, 3rd ed.,

1762, p LV.

A G E O R G E I S ILVER TEA

KETTLE A N D STAND

H itT

A rare George I silver tea kettle on its

original stand with burner, with an ivory

handle and engraved with the arms of

the 9th Earl of Haddington and Maria

Macclesfield by Samuel Lea, London.

English, hallmarked 1716

Height: 1 5 7 2 i n / 3 9 c m

Length: 11 in / 28 cm

The 9th Earl of Haddington held the

positions of Lord Lieutenant of Ireland and

1st Lord of the Admiralty. He was created

Baron Melrose of Tyninghame in 1827.


Arthur G Grimwade, London Goldsmiths

1697- 1837, p 577

(see also page 79)

A C H I N E S E E X P O R T P O R C E L A I N C H O C O L A T E P O T

A rare 18th century Qianlong export

porcelain chocolate pot with high domed

cover with gilt metal hinge, decorated with

peonies and leaves in grisaille heightened

with green and gold, on matching oval

plate, the design following a European

silver form.

Chinese, circa 1750


F R U I T W O O D TEA CADDIES

A selection of late 1 8th century turned

fruitwood tea caddies, three in

the form of apples and two in the form

of pears.

English, circa 1790

Height of tallest: 6V4 in / 17 cm

82

F R U I T W O O D T E A C A D D I E S

83

A G E O R G K I I I P E M B R O K E TABLE

A fine late 18th century George 111

Sheraton oval pembroke table veneered in

a highl\ unusual knotted burr wa lnu t with

a single drawer in the frieze with silver ring

pull handles.

English, circa 1790


Wid th : 39V. in / 101 cm

Depth: 30'A in / 78 cm

A 19th century porcelain tea service

consisting of ten cups and saucers, a

teapot, two jugs and a slop bowl and a pair

o f campagna vases (not shown). English,

signed C M Weede, 8th November 1834.

w

r ^ csj

A very unusual mid 19th century circular tripod tea table profusely inlaid throughout with exceptional marquetry decoration depicting genre scenes of the Italian campagna in the manner of Pinelli, divided by floral gardens, the swivel stem carved with acanthus and bellflowers, on tripod feet with scroll toes. Possibly from the workshops of Luigi and Angiolo Falcini.

Italian, circa 1840 Height: 29 in / 74 cm Diameter: 34 in / 87 cm

Literature for related tables: S Chiarugi, Botteghe di Mobilieri in Toscana 1780-1900, Florence, 1994

85

Etiquette of Dining An invitation to a formal dinner covered more than one meal and would last throughout the

afternoon and evening. The guests would assemble in the drawing room before entering the

dining room in strict order of social precedence with the ladies entering the dining room first

and seating themselves around their hostess at her end of the table and the men would follow.

Men and women did not really sit alternately around the table until late in the 18th century.

Even in 1788 it was described as 'a new promiscuous mode of seating^.

In the dining room the table would be covered by a long white cloth of the finest linen.

During the reign of Queen Anne it would still have been perfectly acceptable to eat with your

hands, although within a few years forks were widely acceptable and one did not need to

share them with other diners, as during the previous century.

During the Georgian period, as in the 17th century, dinner was divided into two courses,

followed by dessert. All the dishes would be laid on the table in a formal arrangement, like

an elaborate buffet today. The first course of a dinner would comprise a variety of boiled

meat and fish with pies and accompanying vegetables. The two soups, one at each end of

the table, would be replaced by two highly elaborate roast dishes. These could be discussed

as conversation pieces before being carved while the rest of the first course was cleared.

The second course would comprise mostly roast dishes and perhaps lighter game birds,

interspersed by the occasional fruit pie or custard. At the centre of these dishes the dessert

course would be introduced by an elaborate confectionery dish. Many of the recipe books

published during the 18th century gave detailed illustrated diagrams showing how each

course should be presented. Even a small informal party would have 'a roast leg of lamb,

with spinach chopped fine, the stuffing with flour and raisins, the sirloin of beef and

a turkey poult'.

B A S T I N G S P O O N S

M a x i m u m length: 1672 in / 42 cm

Detail from The Kitchens at Brighton Piwilion, reproduced courtesy of The Mary Kvans Picture Library.

A G E O R G E III C I R C U L A R M A H O G A N Y D I N I N G T A B L E

A very fine late 18th century George III circular mahogany dining table of exceptional size with a finely figured tilt top with reeded edge of superb colour and patina supported on four down-swept reeded legs.

English, circa 1795 Height: 2772 in / 70 cm Diameter: 71 in / 180.5 cm

r , r ?

88

t f '

89

A G E O R G E III C I R C U L A R M A H O G A N Y D I N I N G T A B L E continued

1

4

' if-- ^^

7

Key

1 A cut glass bowl. Irish, circa 1800

2 Part of a set of 24 silver gilt underplates. Austrian, modern

3 A pair of ormolu ships candlesticks. Baltic, circa 1780

4 A pair of ormolu wine coolers. (see pages 92-93}

5 A set of agate handled knives and forks. English, circa 1850

6 A set of mother of pearl handled knives and forks. French, circa 1820

7 A set of 8 gold porcelain plates by Nast of Paris. French, circa 1820

8 A set of 12 rummers. English, circa 1810

9 A pair of gilt glass decanters and 10 matching wine glasses. English, circa 1800

90

A PAIR OF MATTHEW BOULTON WINE COOLERS

An important and rare pair of ormolu circular wine coolers, the top rim with guilloche and bead border above a reeded body with a lower band of Vitruvian scrolls and very finely chased acanthus base, raised on turned socles, with reeded acanthus cast handles at either side rising from bacchanalian satyr's masks with vine leaf headdress.

English, circa Mil Height: 9 in / 23 cm Overall width: lO'A in / 26 cm


Nicholas Goodison, Ormolu The Work of Matthew Boulton, 1974, p 137, pi 63 Boulton 8c Fothergili, Pattern Book I, p 177, fig n.

Matthew Boulton, keen to establish himself as the leading manufacturer of ormolu in England, turned to France for inspiration. In 1769, Boulton's friend Thomas Pownall suggested that the first objects he should consider making should be ice pails; after he had consulted craftsmen 'who copy or invent new modes of luxury, and who have

lived amongst the French'. Boulton seems to have taken this advice as early as 1772 when three designs for ice pails were sent to the Duke of Ancaster, at Grimsthorpe Castle. The Duke subsequently ordered three large pails and a small pair ensuite for the considerable price of £ 7 2 , 9s. The company's record books confirm that the model, with its classical references of acanthus leaves, Vitruvian scrolled borders and satyr mask handles, was clearly popular. Further orders were placed by the Earl of Asburnham in 1776, the Countess of Derby in 1778 and the Earl of Beauchamp in 1794 amongst others.

Design from Boulton & Fothergill's Pattern Rook I,

reproduced courtesy o f Birmingham City Archives.

92

A F R E N C H P R O V I N C I A L DRAW LEAF TABLE

A most rare mid 17th century French provincial draw leaf centre table in solid walnut of magnificent colour, raised on seven column legs supported on a double cruciform moulded base.

French, circa 1640 Height closed: 3072 in / 77 cm Length closed: 48'A in / 123 cm Width: 29 in / 74 cm Length fully extended: 90'A in / 231 cm

A similar French table with column supports is in the Metropolitan Museum of Art, New York and is illustrated in Highlights of the Untermeyer Collection, The Metropolitan Museum of Art, 1977, p 102. The simplicity of the decoration, the slender proportions of the supports and the acorn pendants of both tables suggest a provincial French craftsman. Elements such

as the central arcade and turned pendants also occur in designs for tables in Dutch pattern books of this period. Examples can be seen in Paul Vredeman de Vries, Verscheyden Schrynwerck, Amsterdam, 1630 and S Jervis, Printed Furniture Designs before 1650, London, 1974, pi 352. The tables of Dutch origin tend to be more heavily proportioned and elaborately decorated.

On the table is a group of early 18th century drinking glasses.

95

AN A R M O R I A L C E L L A R E T T E

A George III mahogany cellarette of square form inlaid on the top with the coat-of-arms of the Coopers Company and on the front the armorial shield of William Tatlock, Master of Chatham Dock, with carrying handles at the sides and raised on tapering legs.

English, dated 1802 Height: 23 in / 58.5 cm Width: 1772 in / 44 cm Depth: 16 in / 41 cm

C H A M P A G N E GLASSES

A set of six 'rock crystal' champagne glasses by Thomas Webb & Son.

Stourbridge, circa 1890 Height: A'U in / 12 cm

96

\ M A H O G A N Y WINE COOLER

A fine late 18th century George III oval

mahogany wine cooler with carrying

handles and brass straps, supported on

square tapering legs with brass castors.

English, circa 1780



Depth: 19 in / 48 cm

M y

Wines and Spirits In polite society the consumption of alcoholic drinks has always been governed by etiquette.

Even today, having a drink before 'the sun has passed over the yard-arm' might raise an

eyebrow. Things were no different in the 18th century.

In the dining room, the drink would be kept on side tables and if thirsty a guest would

request a servant to pass him a drink. The servant would pass a full glass of the required

drink and once emptied the glass would be passed back to the servant usually without

touching the table at any stage. This was a universal custom throughout Europe.

The glasses were small for a good reason: one did not drink alone but invited a neighbour to

a toast, the two glasses were filled, raised in salute, and then emptied. Not to do so would

be an insult to the subject of the toast. After twenty such toasts even small glasses would be

enough to inebriate the drinker. Indeed, by the dessert course, the behaviour of the male

diners could become rather raucous. At this stage the ladies would retire, often to drink tea

and cordials (liqueurs). Meanwhile the men continued foasting and drinking. Sometimes a

guest would slump incapable under the table, whereupon his servant would loosen his

necktie; this would not be considered an insult to the host, but a compliment to his generosity.

It was politics, particularly the exploits of Napoleon Bonaparte at the end of the 18th and

beginning of the 19th centuries, rather than geography which determined what drink was

available to the English. France provided, as today, champagne, claret and Burgundy. The

Methuen Treaty of 1703 ensured the free entry of Portuguese wines into England. The

Mediterranean islands were also popular producers of wine with their warm climates and

easy access by sea.

The social history of England is intimately bound up with food and drink. In war and at

peace, in times of famine or plenty, the availability of good beef and good drink has enabled

the Englishman to face the future with equanimity.

A G L A S S D R I N K I N G H O R N

A 16th century low countries glass drinking Belgian, circa 1590 horn with trailed decoration, hanging Length: 1 VU in / 30 cm loops and traces of original gilding to rim and finial.

Detail f rom Still Life with Drinking Vessels by Pieter Claesz (1597/8-1660), reproduced courtesy of The National Gallery Picture Library.

A S E T O F F O U R W I N E G L A S S E S

A set of four tall wine glasses on folded

feet engraved with a coat of arms and the

motto Comaedt van Beynhem.

Silesian, circa 1740

Height: 774 in / 1 8.7 cm

101

'J-^tf-X*

A PAIR OF M A H O G A N Y B O T T L E CARRIERS

An extremely fine pair of mahogany brass bound bottle carriers or wine coolers with hinged compartments with brass edged openings and brass carrying handles.

English, circa 1800 Height: IOV2 in / 26 .5 cm Width: 13 in / 33V2 cm Depth: 8V2 in / 22 cm

T W O ' J O L L Y BOAT'

COASTERS

Two very similar early 19th century silver plated double wine coasters in the form of a clinker built dingy, one with original leather casters, engraved with a crest and inscribed JOLLY BOAT on the stern, the other also inscribed on the stern THE JOLLY BOAT

English, circa 1820 Length: I2V2 in / 32 cm Width: 574 in / 14.5 cm

102

B A L U S T E R G L A S S E S

A light baluster wine glass with triple

anniilated knop on folded foot.

English, circa 1720

Height: 77: in / 19 cm

A light baluster wine glass with a bell

shaped bowl on a tall knopped hollow

stem and folded foot.

English, circa 1730

Height: 7'/4 in / 19.5 cm

A mammoth baluster goblet with round

funnel bowl over an inverted baluster stem

with large tear, on a folded foot.

English, circa 1710


A SUITE OF PETAL M O U L D E D R U M M E R S

A suite of forty-eight petal moulded r u m m e r s in four dif ferent sizes sui table for a table of twelve places.

English, circa 1800 Height of largest r ummer : AV* in / 12 cm

104

A L I Q U E U R D E C A N T E R

A liqueur server with eight compar tments surrounding a central compar tment with dark green stoppers, all covered by a cut glass lid.

Bohemian, circa 1850 Height: IS 'h in / 36 cm

A G R O U P OF G L A S S E S BY P E R R I N G E D D E S & CO

A rare set of ten cut glasses engraved with a crest of an eagle comprising four sherry glasses and six port glasses.

The original service, from which these glasses were inspired, was commissioned by the Liverpool Corporat ion and made by Perrin Geddes &c Co . of Warrington for a large banquet on the 18 September 1806 attended by the Prince of Wales (later George IV). The Prince was so impressed by the set that he commissioned a second and larger service engraved with his own crest (now in the Royal collection at Windsor).

English, circa 1810

L I T K R A T U R E : Charles R Ha jdamach , British Glass 1800-1914, 1 9 8 1 , p p 3 9 - 4 1

106

A PAIR O F R O C K C R Y S T A L D E C A N T E R S

A rare pair of cut and engraved decanters in the 'rock crystal' style, decorated with fish swimming amidst seaweed, the original stoppers similarly engraved according to pattern 3 0 2 9 5 (January 1907) in the Webb pattern book. Signed on the base Wehh.

English, 1907 i Height: 137: i n / 3 4 . 3 cm

1'KC)VKNANC:K:

Formerly in the A Waugh Collection Mallett & Son (Antiques) Ltd, 1994 Private C^ollection, Australia

Kxhibited in English Rock Crystiil CiLiss IS7S-I9Z.\ Oudlev Art (lallerv, 1976

i ! '

107

A C O L L E C T I O N O F W I N E L A B E L S

An extremely rare collection of twenty-one Hermitage

old Sheffield plate wine labels, inscribed Amonti lado

as follows: Sack Vin de Saint Vallery

Old Paxarete Rhenish

Claret Bucellos

Amestross or Strabos Wine Champaine / Constantia Flora

/

Xylite Hermitage White Burgondy

Tenedos Vin de Province

Vins de Laqrimas Hungarian Takay or St George

Sherry

Alba English, circci 1 7 9 0

White Claret Framed: 16'A in x 1 ' "A in / 41 cm x 4 4 cm

A .

M A L L E T T PLC

D I R E C T O R S

George Magan* Chairman Lanto Synge Chief Executive The Hon Peter Dixon Paula Hunt Giles Hutchinson Smith Thomas Woodham-Smith Henry Neville Rex Cooper* The Hon Mrs Simon Weinstock" Simon de Zoete''

MAI .LETT Visit our website

www.mallettantiques.com Email: [email protected]

*Non-executive

M A L L E T T & SON (ANTIQUES) LTD

141 New Bond Street London WIS 2BS Telephone: +44 (0)20 7499 7411 Fax: +44 (0)20 7495 3179

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

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

Tarquin Bilgen Charles Mackinnon Ainslie Marchant

M A L L E T T AT B O U R D O N HOUSE LTD

2 Davies Street London WIK 3DJ Telephone: +44 (0)20 7629 2444 Fax: +44 (0)20 7499 2670

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Mallett - The Pleasures of Bacchus

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