Download - 2001 - Mallett - The Nineteenth Century

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M A L L E T T riie Nineteenth Century

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I n l r o d u c l i o n

This year we are proud to be able to offer our cl ients a catalogue which is both a selection

of some of the most important and fine qual ity 19th century pieces Ma l le t t has ever

acquired and which also captures the charm and whimsy of the age. The Jackson and

Graham centre table (page 4) is an exceptional piece of furniture which highlights the

mastery of marquetry achieved during the V ic to r ian era. In tandem we have the Baccarat

occasional table (page 56) which equal ly is a testament to man's t r iumph over mater ia ls.

Neither of these pieces would be possible today: the hours required coupled with the loss

of ski l ls render such creat ions unrepeatable. However the V ic tor ian age was not just about

technical excellence; it was also a period when new creative freedoms were sought. Here

we i l lustrate several works that draw inspirat ion f rom the l iberation init iated by the

Impressionist movement.The 19th century is remembered for its rigidity and discipl ine but

in its arts and crafts the range of media and ideas employed is a lmost unbounded. By

showing tables made of iron and glass in addit ion to the works which revived Renaissance

and medieval designs we hope to be able to give a true taste of the age.

Both at Bourdon House and at Bond Street we continue to show 19th century pieces

alongside the creat ions of other epochs. It has always been the ethos of Ma l l e t t to combine

and connect decorat ive arts in an eclect ic manner. Therefore^ though we celebrate the 19th

century with in these pages and in our showrooms, we aspire to tempt our cl ients to buy

f rom al l eras.

The re-evaluation of the decorat ive arts of the 19th century is part ly driven by the

observation that the greatest creat ions of the age can be acquired for much less than those

of the previous century. There were obvious changes in style, and methods changed as did

materials, however ingenuity and ski l l did not diminish. In this catalogue we hope to

demonstrate the qual i ty of the age and show that many pieces are sti l l undervalued in

compar ison to their antecedents.

We look forward to discussing with you any piece that you may find of interest.

Thomas Woodham-Smi th Henry Nevil le

An exhibition centre table An exceptional mid 19th century, satinwood circular breakfast-table, profusely inlaid with geometric and floral ornament in precious timbers, including rosewood, sycamore, ebony and ivory. The top has a border of multiple cross-bandings and a motif of inlaid marquetry guilloche.The central patera is a floral design surrounded by floral arabesques, which continue into the next bands of ornament which are linked at the outer edge with floral swags. The whole stands on elaborately inlaid, simulated fluted columns with a circular segmented platform stretcher terminating in profusely inlaid scroll feet.Throughout, the marquetry and cabinet-making is of the highest calibre. By Jackson and Graham

•s I n

England, circa 1860

Height: 28in (71cm) Diameter: 50in (127cm)

Clive Edwards, in an art ic le for the Furniture History Society

describes tliis famous firm, Jackson and Graham, thus: " In the

pantheon of Victorian furnishing enterprises, few names are more

important than Jackson and Graham". Charlotte Gere and iVIichaei

Whiteway describe Jackson and Graham in their work ^Nineteenth

Century Design' as "probably the most important High Victor ian

cabinet-making f i rm" . With academe clamouring to lavish praise

of such high degree on this company's head, why is it that almost

no one has heard of them? The truth is that the endeavours of

19th century cabinet-makers are still undervalued.The advent of

the mechanical age and the lush overelaboration of the epoch

combine to render the whole Victorian era as seemingly second

rate. The mistake this idea represents is only now coming to light.

Indeed Jackson and Graham celebrated this same mechanisation.

They delighted in the fact that their machines afforded them the

opportunity to execute a sophistication of marquetry that mere

hand work could never have achieved. It is true that Jackson and

Graham were elaborate in their confections, but the sophistication

contained therein rendered their work superior to all but a few.

The f irm was active between 1836 and 1885. They had

premises in Oxford Street, which gradually expanded until they

control led six buildings on the same street. They were great

exhibitors at fairs and like other cabinet-makers of the age they

employed fashionable designers and architects to enhance their

work. Amongst these, Jackson and Graham employed Dr

Christopher Dresser and Bruce Talbert. However, the longest

and closest affil iate was Owen Jones. He was central to the work

carried out for Al f red Morr ison at 16 Carlton House Terrace

and Fonthill, Wiltshire. Pieces made for Morr ison were shown

at exhibitions around Europe and Owen Jones'sty le defines the

Jackson and Graham look.The f i rm gradually moved into decline

through a mixture of internal strife and external trading conditions,

finally being bought out by their rivals, Collinson & Lock, in 1885.

A f)air of Gothic painted jardinieres A pair of late 19th century Gothic painted metal jardinieres. The pierced sides are enriched with a quatrefoi

terminating in fleur de lys, bordered by a ring. The fleur de lys motif is continued with large-scale finials.

England, circa 1880

Overall height: 20in {51cm)

Square: 13in (33cm)

ml

\r l l i i i t ' M o i U a g i i e 11: l(S7()-l<S,S:)

rhe infcfior oflhc sliulio of

\rtliiir Jose dc Souzd Loiireiro

in Melhoiu'iic

Oil on canvas

Unframed: 30 x 42 in (76.5 x 107cm)

Framed: 42 x 54 in (107 x 137cm)

Provenance: acquired in Aust ra l ia by the last

owner in about 1978

This is an exceptionally rare view of the

interior of an art ist 's house in Austra l ia

at the time of the Aesthetic movement.

Ar thur Montague lived next door to

Ar thur Jose de Souza Loureiro, and

the present picture was executed as a

memento of their friendship.

I wo verre d ea A \erre d'eau' consisting of a tray with a large and a small

decanter, a covered bowl and a glass on a light baluster stem. The

whole suite is made from fine latticino glass swirling out from the

central point. All the elements are decorated with bands known as

'torsades' in emerald green and white thread twisted glass.

St. Louis, France, circa 1850

Diameter of tray: 12in (30.5cm)

Height of decanter: 12in (30.5cm)

A 'verre d'eau' consisting of a lightly cut tray, upon which rests a

large and a small decanter, a covered bowl and a footed tumbler all

decorated with large hexagonal facets. The two stoppers and the

handle of the bowl contain miliefiori bouquets of flowers.

Baccarat, France, circa. 1850

Diameter of tray: l l i n (29.2cm)

Height of decanter: lOin (26.5cm)

10

A i i iomcnl (Voni [\\c sie^e of IVov O ./

A Charles X period, oil on canvas, neo-classical scene, depicting Hector remonstrating with Helen

and Paris. The scene is taken from the story of the siege of Troy.

Signed Boidier and dated 1830

Framed: 30 x 26in (76 x 66cm)

The enthusiasm during the

19th century for history

and in particular ancient

history was unbounded.

The siege of Troy seemed a

very romantic subject to

those living amongst the

first fruits of the Industrial

Revolution. In no other

period of history has this

subject been so fully

explored. Critics and

general observers alike

looked to the stories and

legends of ancient Greece

and Rome for a model for

contemporary life. Here we

see Paris and Helen

languishing, while Paris'

brother Hector, who was

the warrior leader of the

Trojans, has come to

remonstrate with his

brother for not fighting.

As the story was so well

known it was not necessary

to explain the short or

long-term outcomes. The

symbolism here is twofold;

on the one hand we see an

allegory of work versus

idleness and on the other

we are given a fantasy rich

with romance and

glamorous detail. In the

true Victorian spirit we are

being taught a lesson

whilst being aesthetically

entertained.

12

A Renaissance revival side table A Victorian yew wood two-drawer side table in the manner of Richard Bridgens.The top is decorated with a trompe I'oeil parquetry top of diamonds of yew wood creating the impression of stepped cubes. The top is bordered with an ogee moulding. The frieze has two drawers, each unusually canted towards the centre, which is enriched with an armorial cartouche. The drawers have boldly carved scrolling shell handles, which are flanked by pierced relief strapwork. The legs are strongly carved and have a large rectangular capital carved with a recessed panel. The bottom half of the leg is square and tapering and is similarly carved with recessed panels and has a large carved cabochon at the centre. The whole stands on ball feet.

England, circa 1845

Height: 36in (91.5cm) Width: 61in (155cm) Depth: 27in (68.5cm)

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A n ()C(*asi()iial table l)y Jciuiens and Bcl lr idge A rare early V ic tor ian c i rcu lar table by Jennens and Bettr idge. The japanned top is decorated with polychrome exotic birds and

butterfl ies in f lowering branches with gilt leaves on an apple green ground. The underside is stamped 'Jennens and Bettr idge'

surmounted by a crown. The top is supported by a finely cast brass column, the base formed of entwined dolphins, surmounted by

acanthus leaves, standing on a plinth of concave tr iangular form, the top of the co lumn stamped ' J & B 71' .

England, c irca 1840

Height: 30 in {77.5cm)

Diameter: 24 in (63cm)

In the early 19th century Jennens and Bettridge founded a

papier mache factory in Birmingham. They were the

natural successors to the most distinguished of the 18th

century producers, Henry Clay.The German traveller and

scientist, G.C.Lichtenburg, when visiting Birmingham at

the turn of the century, noted that, " a number of sheets of

paper are pasted together and dried; they are then carried

out to a room resembling a little timber yard; cabinet

makers form every art ic le as it is required sawing it out of

paper....with greatest exactness. It is then Japanned and

polished, and this is always done by hand which gives a

more exquisite lustre than by any other means". Jennens

and Bettridge became most famous for introducing new

types of furniture including elaborate tables and chairs

made from papier mache, extending the range of Henry

Clay's range from the limited production of tea trays and

tea wares. Jennens died shortly after the company's

successful display at the Great Exhibit ion of 1851, after

which their products were stamped Bettridge & Co.

Therefore this table pre-dates the 1851 Great Exhibit ion.

14

Iwo unusual Victorian music stools A charming late 19th century brass music stool having a

carry ing handle and four scrol l legs terminat ing in cap feet.

The seat is upholstered in green silk velvet with brass buttons.

England, c i rca 1870

Height: 23 in (58 .5cm)

Width of seat: 12 in (31cm)

Depth of seat: 12in (32cm)

A Lou i s XV-s ty l e wa lnut music stool , the seat carved in the

shape of a sca l lop shell w i th a scro l l end. The seat is

supported by three cabr io le legs, which terminate in c law

feet and are jo ined by an unusual shaped t r ipod pl inth base

France, c i rca 1870

Height: 23 in (58 .5cm)

Width: 15in (38cm)

Depth: 18in {46cm)

An Aiish'iari inal iogany jardiniere

A most unusual, eacly 19th century mahogany jardiniere. The top is decorated with a frieze of simulated stone-work

and has a modern brass liner and is supported by a turned baluster stem with foliate carving. The central column

stands on a moulded and shaped lower plinth with four animalistic feet with acanthus leaf carving at each knee.

Austria, circa 1825

Height: 30in (77cm)

Diameter: 27in (69cm)

17

A pair of architectural bedside cal)iiiets

A pair of German early 19th century side cabinets decorated to simulate tooled leather. The tops are stepped and

have a triangular pediment below the top, which is supported by giltwood columns flanking a concave door above a

single drawer. The whole is supported on block feet.

Germany, circa 1820

Height: 31in (79cm)

Width: 28in (71cm)

Depth: 16in (41cm)

18

A hackgamiiioii table

A Wi l l i am IV maliogany backgammon table, in the Frencin style,

having a removable top with a card playing surface on the

reverse. When removed it reveals a tooled leather polychrome

backgammon well, bordered with ivory sockets for markers and

having boxwood stringing. The sides have two concealed drawers

for playing pieces. The table stands on turned, co lumn legs with

a double baluster capi ta l and a turned foot.


Height: 29 in (73cm)

Width: 43 in (109cm)

Depth: 23 in (58cm)

19

A. set of six Gillows chairs

A set of six mid 19th century Ar t s and Crafts mahogany side chairs, having chamfered edges and a scrol led serrated

top rail, decorated throughout with ornamental ebony dowels. The chairs have co lumnar front legs and sabred back

legs, joined by a form turned stretcher. Each chair stamped several times ^Gillows' and bearing the model number

3971 and each back rail signed by the craftsman in pencil.

In the manner of J P Seddon


Height of back: 34 in (86 .5cm)

Height of seat: 16in (41cm)

Width: I S i n (47cm)

Depth: 18in (47cm)

The design for this set of six chairs is drawn from a model chair exhibited by

Seddon & Co in the 1862 International Exhibit ion in London. The Medieval

Court at the Exhibit ion, at which Seddon displayed a number of designs, was set

up as a showcase by the Ecclesiological Society to extend the aesthetics of the

new Gothic designs from church architecture to domestic usage. Always using

domestic timbers, Seddon simplified the more arcane and elaborate Gothic ideas

of his contemporaries such as Burges.The strength and elegance of J P

Seddon's chairs stem from his family background, being the son of one of the

most successful 18th-century furniture manufacturers. The Clerical Journal at

that time wrote that "we are bold to say that ... we have achieved ... works of

which posterity wil l recognise as one of the great works of the art ist 's mind and

hand ... which may go out of fashion but which wil l, nevertheless, be treasured

by our descendants". The success of Seddon's elegant simplicity in adapting

architectural detail for everyday use resulted in the popularity, not only for his

firm, but also for his Gil lows work and his pottery designs for Minton.

20

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21

A l l H rn|)ir*e lal)lc A highly unusual early 19th century F lorent ine c i r cu la r sa t inwood centre table. The table has a narrow fr ieze and stands on

boldly model led scrol l legs wh ich in turn stand on a concave sided t r iangu lar pl inth terminat ing in pad feet. Each element is

bordered w i th mahogany cross-banding w i th a double border of boxwood and k ingwood str inging. The table has a most unusual

scag l io la top, wh i ch has a f inely d rawn oak leaf border in shades of ye l low and brown. The centre has a car touche dep ic t ing a

bucol ic landscape w i th f igures f ishing in the foreground. The car touche is bordered w i th a f rame of s imulated beads w i th

t rompe I ' o e i l shadows.

Italy, c i r ca 1820


Diameter: 34 in (86 .5cm)

22

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A pair of rnirrored bedside cabinets A pair of contemporary faceted mirrored glass bedside tables in the Moorish taste, having two small drawers in the frieze with a further long drawer below, constructed employing late 19th century engraved glass panels.

England, modern

Height: 30in (76cm) Width: 26in (67cm) Depth: 13in {33cm)

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A |)air of hloodslone iinis A pair of early 19th century bloodstone neo-classical vases in Etruscan style with high right-angle arms.

The bodies of the vases are engraved with two lines near the top.

Baltic, circa 1810

Height: lO in (25cm)


25

A (^liarles X ( jot l i i r soCa Uihle A rare Charles X rosewood Gothic sofa table, the top having a scrolling border of stylised foliate ornament framing an elaborate Gothic cartouche. The table has two drawers in the frieze decorated with Gothic marquetry and lined with bois citronnier, and stands on square legs decorated on each face with a recessed Gothic arch and with rosewood and boxwood cluster columns at the edges. An octagonal plinth foot supports the legs. The table has a shaped stretcher inlaid in boxwood with Gothic ornament. The design attributed to Caron I'Aine.

France, circa 1830

Height: 30in (77.5cm) Width: 52in (133cm) Depth: 23in (59cm)

The importance of Jean Josse Caron I'Aine (1773-1838), lies not so much in his achieved works, which only flowered for a brief period between 1831 and 1838, but in two key aspects of his career. The first was the influence he exerted on contemporary taste following 1836, when he wrote to the 'Garde-meuble de la couronne' offering *un bureau de dame a etageres en bois de palisandre de sa fabrique'.They accepted it and, following this, many further commissions were granted. Caron's style became favoured and in a few short years he furnished many noble clients with distinctive, delicately inlaid rosewood Gothic furniture, both in France and abroad. The second key event was the publication, in 1836, of 60 designs under the title 'Le Manuel 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 I'ebenisterie'.

In other words, though Caron offered Gothic-style furniture, he was aware of the taste for furniture that exhibited simplicity even though the ornament could be rich. Caron was a precursor and disseminator of the Gothic style but his forms always retain Empire lines.

27

A pair of Kni|)ire gilt bronze vases

A pair of Empire gilt bronze vases, the handles decorated with foliate ornament with sunflower paterae at the

end of the scroll. The bodies are enriched with an ornamental punched decoration. Both vases stand on square

block plinths, with a putto rifleman and Eros in a circular vignette.

France, circa 1810

Height: l l i n (28cm)

28

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\ pair of Charles X fauteuils A pair of Charles X rosewood fauteuils having a domed top rail and unusual scrolling bombe sides with a bowed

front rail.The armrests are supported on scroll supports above stylised cabriole legs with a scroll toe.The back legs

are sabred. Each element is bordered with delicately inlaid boxwood stringing which follows the outline and

terminates in a delicately drawn scroll.

France, circa 1825

Height of back: 38in (96.5cm)

Height of seat: 15in OScm)

Width: 23in (58.5cm)

Depth: 20in (51cm)

•i

A (Char les X w r i t i n g la l ) l c by L e s a g e

A fine qua l i ty Char les X sma l l wr i t ing table in rosewood w i th boxwood str ing ing having an unusual ba lus t raded

ga l lery in rosewood w i th boxwood ba lus te rs .The table has a single drawer in the fr ieze, wh ich opens to reveal a

pol ished mahogany inter ior and a removable wr i t i ng tray. The fr ieze is supported by boxwood scro l l e lements and

stands on twin co lumns, in turn standing on scro l l feet in la id w i th boxwood str ing ing and having a boxwood pad foot.

The table has an e laborate ly turned st retcher w i th a finely carved roundel at each end.

Bear ing an ind is t inct s tamp for the Ma r chand , Lesage

France, c i r ca 1 8 2 5

Height: 31 in ( 79 cm)

W id th : 28 in {72 .5cm)

Depth: 17 in ( 4 4 c m )

Antoine Nicolas Lesage ( 1 7 84 - 1841 ) was one of the most

important Par is merchants. Though frequently recorded as a

cabinet-maker, the clerk of the Royal 'Garde-meuble ' , Veytard,

noted in 1823 that he was a dealer, not a maker. Lesage started

and directed a shop for furniture and objets d 'a r t at 2

Boulevard des Ital iens f rom 1812 to 1821 . A t that date, he

also became d i rector of another shop ca l led the 'Un ion des

A r t s ' at 2 rue Grange-Bate l iere. These shops offered cl ients a

remarkab le range of products and services f rom furniture and

objects to a complete upholstery and decorat ing service. He

counted the Duchesse de Berry, who bought for the Chateau de

Rosny, amongst his c l ients. Sadly, his business fa i led in 1 839

and he died two years later in 1841 . F rom his bankruptcy

papers, it is c lear that he made a great deal of his stock, and

that he also commiss ioned pieces f r om many of the finest

craf tsmen of his day, for example the bronzier, Remond, and the

cabinet-maker, Jeanse lme.

30

Paul (]esar J I el leu us,-)!) - l ! ) 2 7 )

As a chronic ler of the *Belle Epoque' Paul Cesar Helleu has no equal .Though he worked extensively in oils and pastels, he is chiefly

remembered as the master of the drypolnt portra i t . His delicate, a lmost minimal ist technique seems to capture the spir it of the age

perfectly. Under the patronage of the Marqu is de Montesquieu and the guidance of J J Tissot, Helleu succeeded in drawing the nobil ity of

Europe, as well as some of the many distinguished Amer icans who travel led to Europe during this t ime.

Ma l le t t have over the years established a tradit ion of exhibit ing Hel leu's work and last year we mounted an exhibit ion that covered

al l aspects of his career. In this catalogue we are i l lustrat ing just three drypolnts but we continue actively to market his complete oeuvre.

These works cover three strains of his output. In 'Les Lionnes' we see a series of gir l 's heads. The t it le refers to the mane of hair

that each head depicts. This is a very personal study and the subject bears some paral le l with the drawings he made of his own daughter.

The work entit led 'Madame Cheruit ' is one of his public subjects, a commiss ion probably, of a society figure. F inal ly there is the portra i t

o f ' M a d a m e Letel l ier ' ; this is both a private and a public subject. She was one of the great beauties of the age and was to be seen at al l

the important events of the season. She was also one of Hel leu's most favoured subjects and many portra i ts of her are recorded.

Ar.v Lionncs

Drypoint

Signed, c i rca 1900

Framed size: 22 x 21 in (56 x 53 .5cm)

32

Mdddntc ('licruil: clv<^(uilc du nKUilcdii dcJoun'urc

Drypoint with watercolour highlights

Signed, circa 1900

Framed size: 30 x 21in (76 x 53.5cm)

33

Mdddluc Lclcllicr

Drypoint with watercolour highlights

Signed, circa 1900

Framed size: 30 x 21in (76 x 53.5cm)

34

A [)air ofC^olhic g i l l l)r()ri/(^ vas(\s A pair of Charles X gilt bronze miniature campagna form vases supported by verde antico pedestal bases.

The vases are enriched with low relief decoration of vine leaves and an interlocking motif of Gothic arches

France, circa 1825

Heiaht: Sin (20cm)

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A Loiiis-Plulip})e mahogany coniniode A mahogany commode with four drawers, the top drawer being disguised within the flared frieze which supports the

fossil marble top. The lower drawers are flanked by a stylised, fluted pilaster having a scroll bracket at the top with

a demi-lune roundel carved with stylised acanthus below. The commode stands on large scale demi-lune roundel feet

with square block feet at the back.Throughout, the commode is veneered in richly figured flame mahogany.

France, circa 1835

Height: 39in (99cm)

Width: 50in (128.5cm)

Depth: 24in (61cm)

36

A tole chandelier A charming Chai-les X six-branch tole chandelier having a corona with six stylised laurel leaves. The sides are cream painted with a turquoise double anthemion in three panels. The main body of the chandelier has the same motif in reverse and has an upper pierced scroll border. Each arm and shade is painted with a songbird perched on a branch against a cream background.

France, circa 1835

Maximum height: 30in (76cm) Diameter: 28in (71cm)

37

A s|)(HMiiien mcirl)[e

(xx'asioiiaJ table

A very unusual octagonal occasional table. The outer border Is of grey

marble with a ring of blue marble enclosing an unusual serrated pattern

of overlapping bands of exotic stones. This in turn is bordered w/ith a

ring of black marble enclosing a band of alternating yellow and red

marble fleurs de lys. In the very centre of the top there is a rouge royal

star having at its centre a circle of malachite. The table stands on an

octagonal stand with a marble capital, central collar and foot. The whole

is supported on a triangular concave stepped plinth mounted on castors.

England, circa 1830

Height; 29in ( 7 5 c m )

Top diameter: 19in ( 4 9 . 5 c m )

A group of

l)rass doorstops

(clockwise from the left)

A brass doorstop with bell-shaped base and

scrolled handle


Height: 13in (33cm)

An unusual Will iam IV brass doorstop in the form

of a profile of a seated dog, its head turned, on a

rectangular plinth with a fluted border.


Height: 13in (33cm)

An unusual Victorian allegorical brass doorstop

depicting a lion fighting a snake beneath a palm

tree. The whole supported on a cast-iron plinth.


Height: 17in (43cm)

An early 19th century heavy brass doorstop with

semi-circular stepped base and pierced shaft and

handle.


Height: 15in (39.5cm)

A pair of late 19th century brass doorstops in the

form of Hippocampi, each having an articulated

bridle. They stand on shaped plinths.

England, circa 1880

Height: l l i n (28cm)

38

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39

A very large scale mahogany dining table An outstanding Wil l iam iV circular mahogany dining table. The top Is constructed from butterfly panels of finely figured mahogany having a rounded outer moulding. Below there is a shallow cross-banded frieze. The table stands on a solid mahogany turned stem of massive proportions supported on a concave-sided tr ipod plinth with scroll feet.

England, circa 1830

Height: 29in (74cm) Diameter: 84in (213.5cm)

A 19lli century i)()X(Mr (*ani])aign cliair

An early 19th century, mahogany folding campaign chair, with turned, fluted and tapered front legs and splayed back legs,

mounted on brass castors .The chair retains all its brass fitt ings and is now upholstered with vel lum green leather.


Height of back: 37 in (95cm)

Height of seat: 17 in (43cm)

Width: 25 in (63 .5cm)

Depth: 22 in (56cm)

42

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43

Two ]9l l i ro i i l i i ry c^agores A fine quality Victorian two-tiered etagere. Each face is veneered in

amboyna witPi ebony cross-banding and bordered with boxwood and

ebony stringing. Each tier has a single drawer with turned ebony

handles. The top is supported by four inlaid amboyna columns,

mounted in lacquered brass with a brass gallery on three sides.

The whole stands on turned, tapering, circular legs.

In the manner of Holland & Sons.

England, circa 1870

Height: 36in (91cm)

Width: 26in (66cm)

Depth: 15in (39.5cm)

A Regency burr walnut four-tier etagere. The top has a single

drawer which is lined with mahogany and each tier is supported

by finely carved, reeded columns with turned capitals and feet.

The whole is standing on turned bun feet.

England, circa 1815


Width: 19in (48cm)

Depth: 15in (38cm)

44

A papier-inaclie lal)lc A V ic tor ian papier-mache c i rcu lar occasional table. The top is decorated with a

finely painted f loral vignette bordered with an elaborate gilt and polychrome

scrol l . The stem, base and tapered foot are s imi lar ly enriched with elaborate

flowing, gilded f loral ornament.

At t r ibuted to Jennens and Bettr idge. See footnote to page 14.



Diameter: 26 in (67 .5cm)

45

rustic suite

A most unusual suite of mid 19th century North Italian grotto furniture, consisting of eight armchairs, two centre tables and

two settees. The entire suite is carved in natural ist ic detail and in high relief to simulate the effect of gnarled twigs and tree

trunks. The chairs and the settee have a serpentine back rail and very stylised cabriole legs. The settees have the unusual extra

feature that the apexes of the backs are carved with a scroll of twigs, giving the stylised semblance of a handle.The centre

tables are of tr ipod form and are further carved with a motif of trai l ing ivy throughout the base. They retain their original

scagl iola verde antico tops and have a shallow frieze carved with trai l ing ivy.

Italy, c i rca 1840

Two centre tal)les

Tables height: 28 in (71cm)

Diameter: 43 in (109cm)

4in (61cm)

6in (91 .5cm) / 1 fh

M, If

A p a i r o f sol Ices Height of seat: 19 in (49cm)

Height of back: 47 in (119 .5cm)

Width: 64 in (162 .5cm)

Depth: 36 in (91 .5cm)

The design influences on this suite of

furniture extend bacl< through the

aesthetic philosophers of the 18th

century to the poets of classical Rome.

In the writings of both Horace and Ovid

the virtue of grottoes, as man-made

natural wilderness within formal gardens,

are frequently extolled. This unnatural or

constructed disorder became a major

tenet of 18th century landscape theory

contrasting the formality of neo-

classicism with the natural spectacle of

the sublime. Famous grottoes were

lavishly designed using natural elements,

often housing fountains with classical

sculpture, throughout Europe.

Architects, such as Claude Ledoux

( 1 7 3 6 - 1806), introduced theories on

the origins of architectural elements

deriving from natural forms. The arch

was often drawn as a tree with multiple

bent boughs. Such theories were

reproduced in the decorative arts and

even engraved and enamelled on glass,

for instance by the Beilby family in

Newcastle. Throughout the Rococo

period in Europe, during the middle

years of the 18th century, this inspiration

from natural elements was continuously

redefined. Furniture designs f rom this

period by Chippendale as well as by

Darly and Manwaring, often suggest the

natural shape and form of the original

timber, sprouting as twigs and boughs

interlaced to become chair backs and

legs. This grotto suite is an exceptional

example of the revival of this rococo

aesthetic, extending the tradition of

naturalised furniture and man controll ing

nature, by reconstructing a natural twig

and branch rustic look from skilfully

carved solid timber, and then having it

richly gilded. This paradox, as with the

grottoes of classical Rome, was intended

both to stimulate and amuse the

enquiring minds of leisured and wealthy

Italian patrons.

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A ])air oC Jacobean

revival hall chairs

A pair of 19th century high back hall chairs in the Jacobean

manner, the narrow backs pierced in a strap-work and scrol l

design, on part ly turned legs joined by pierced and turned

stretchers, painted off-white with traces of red.



Width: 16in (42cm)

Depth of seat: 16in (41cm)

A set of martial

ire-irons

A late 19th century, unusual set of f ire- irons in the form of

styl ised bayonets with brass and steel mounted wooden handles.


Length of shovel: 27 in (69cm)

51

A Diitcli lllriipire ])erio(l side lal)le A Dutch Empire-period mahogany side table having a single drawer in the frieze decorated with a recessed panel bordered with brass

moulding. The drawer can only be opened by a secret locking mechanism beneath. The front legs are modelled as caryatids with gilt

bronze heads and feet. The heads are in turn surmounted by an ebony panel inset with a marquetry brass vase issuing flowers. Below

the heads is a triangular panel inlaid with a brass swag on an ebony ground. The table stands on a mahogany platform on bun feet.

The back is mirrored and is flanked by brass strung pilasters. The table retains its original mottled grey marble top.

Low Countries, circa 1815


Width: 37in (94cm)

Depth: 18in (46cm)

52

1w() (^asl-ir'on s l \ck s t ands A fine mid 19th century cast-iron stick stand which combines early

floral elements and stylised foliage with fruit and abstract curved lines.

Stamped Falk i rk , with its original design number and patent.



Width: 21 in (53.5cm)

Depth: 11 in {28cm)

A late 19th century Coalbrookdale polished cast-iron stick stand

having stylised foliate ornament at the sides and a similarly stylised

egg-and-dart motif on the base. The top having four rings for canes

with a central open space for larger umbrellas.

Stamped Coalbrookdale and bearing the design registration diamond

together with the model reference number.



Width: 24in (61cm)

Depth: 6in (15cm)

The combination of Arum Lily

below and flowers of Morning

Glory above, unified by

scroll ing strapwork, reflect the

designs of Dr Christopher

Dresser, during the middle

years of the 19th century.

Two "Gothic' hall tables

manufactured by the

Coalbrookdale Company

around 1869 reveal a similar

combination of English

botanical detail with more

abstract naturalistic

decoration, inspired by the

il luminated borders of medieval

manuscripts.

At this time Dresser

described himself not as a

designer, but rather as a

Professor of Botany. He held

three academic positions in

Botany in London, as well as a

doctorate from the University

of Jena. The application of his

botanical studies to ornament,

he expressed not only in his

lectures, but also in a number

of books and essays published

during the 1860s. The most

influential of these was 'The

Ar t of Decorative Design'

published in 1862. Here

ornament is treated like a

science, reducing designs to an

elementary condition, building

each element upon another, so

that the eye can take pleasure

in making out form after form

and shape after shape.

53

A pail* o fX icioiMan (ool-slools A pair of Victorian foot-stools upholstered in deep-

buttoned silk velvet and supported by elaborately cast

baroque revival lacquered brass scroll feet.

England, circa 1870

Height: 9in (23cm)

Width: 15in (38cm)

Depth: 12in (30.5cm)

A \)'c\\v oC (^larel A pair of Edwardian cut-glass claret jugs. The bodies are cut with a

boldly modelled spiral pattern. The handle and spout are fashioned in

the neo-classical style in silver plate and have hinged lids that bear an

indistinct maker's mark and model number.

England, circa 1910

Height: Sin (20cm)

54

1\v() pairs o f

inar(|iicli;\ side

cfiairs

Two most unusual pairs of Victorian

marquetry bentwood chairs having scrolled

backs and arms with an elaborately shaped

splat, standing on cabriole legs at the front

and with sabre legs at the back. The whole

is richly inlaid with floral marquetry, having

highlights in engraved mother-of-pearl, with

deep-buttoned silk velvet upholstered seats.

England, circa 1870

Height of back: 32in (81cm)

Height of seat: 15in (38cm)

Depth of seat: IB in (45.5cm)

Width of seat: 20in (52cm)

55

A Baccarat glass gucriclon

A cut-glass centre table, with a circular top cut on the underside and with a scalloped border, supported

by a baluster-shaped diamond-cut stem in four sections, on cut and moulded foliate scrolled legs.

France, c irca 1880

Height: 35in (92cm)


This table was made by Baccarat around

1880, at a time when Baccarat was

developing their Indian market through

their showrooms in Bombay. The Indian

Maharajahs demanded, and could pay for,

the highest standards of workmanship.

The sharpness and quality of the cutting

of this table requires so much time from

the craftsmen as to be completely

uneconomical today.

Baccarat's craftsmen were inspired by

the natural arrangements of flower petals

and seeds in the design for the decorative

cutting of this table top. The double spiral

arrangement, one clockwise, one counter-

clockwise, is nature's most effective way

of arranging seeds, as can be found in the

sunflower. Although common throughout

nature this phenomenon was only

explained in the 13th century by the

Italian mathematician Fibonacci. He

devised a table with consecutive numbers,

for both spirals, where each following

number is the sum of the previous two.

This arrangement was based on the

golden mean and is here employed in the

lozenges on this table top, whose shape is

directly related to the rhombic form of

sunflower seeds.

56

•^mm^' mi y^mmii^f wlii m

Gaston Latoiiclie I<sr)4-I!)l3

llvo J Inures in a park

Oil on canvas

Signed and inscribed 'a IVlonsleur Feui l lard'

Unframed: 23 x 23in / 58.5 x 58cm

Framed: 31 x 30in / 78.8 x 77.5cm

Gaston Latouche was a painter, printmal<er and

sculptor. He was born in St Cloud in 1854 and died in

Paris in 1913. Determined from childhood to be an

artist, his passion was encouraged and supported by

his parents. During his career as a self taught artist,

Latouche was a leading member of the society of

Beaux-Arts. In 1900 he received the Legion d'Honneur

and carried out several official commissions of large-

scale decorative schemes. In 1917 he illustrated an

edition of poems by de Regnier.

This charming painting is most likely to represent

the park of St Cloud, outside Paris. Latouche painted a

small amount of works 'en plein air ' in St Cloud, often

including figures in the composition, sometimes in

fancy dress. His work is greatly influenced by the

Impressionists, and the light filtering through the

leaves creating a dappled effect reflects this.

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58

\ terracotta lion

An heroic scale French mid 19th century terracotta model of a seated

lion, his head slightly turned.The modell ing is achieved in a bold and

impressionist ic manner. The whole stands on an integral square plinth.


Base: 19in (48cm) square ^ f l


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A pair of small oak Gotliic lal)les

A pair of mid 19th century smal l square occasional tables in oak, with a pierced quatrefoil frieze and spiral carved

supports surmounted by scrol l capi ta ls and with a weighted shelf below, on short turned legs with square Gothic feet.

England, c irca 1 8 5 0

Height: 30 in ( 7 7 . 5 c m )

Width: 12 X 12jn ( 3 0 . 5 x 3 0 . 5 c m )

61

A William IV mahogany writing table A Wil l iam IV mahogany writ ing table having two short and one long drawer in the frieze on each side. I t stands on turned tapering legs carved with a stylised lotus leaf surmounted by a ball capital carved with cabochons. At the top of the leg is a rectangular block plinth mounted with carved elements in high relief. The whole is standing on large-scale brass casters.

England, circa 1830

Width: 60in (152cm) •..-sS'-^.'

Depth: 42in C107cm) . '

' V

1

63

A pair of opaline vases A pair of Charles X opaline baluster-form vases decorated with naturalistically painted wild roses, having a gilded lip and foot.

Now mounted as lamps.

The vases, France, circa 1825

Height including shade: 33in (84cm)

64

A pair* o f (jolli'u^ candlosl icks A very unusual pair of Wil l iam IV Gothic bronze candlesticks having castellated socles and drip pans,

supported on a hexagonal stem, in turn supported on a triangular Gothic base. The whole supported by

a further triangular Gothic arch foot with a small-scale circular tower at each corner.

England, circa 1830

Height: 13in {33cm)

65

A L()uis-Pliili|)|)e Scares ])()ixx^laiii centrepiece A very rare Louis-Phi l ippe Sevres porcelain centrepiece, having gilt

enrichments. The main bowl has an egg-and-dart motif border with

lion's masks in high relief on three sides.The base of the bowl is cast

with elaborate attenuated gadrooning. Each of the three legs has a

stylised acanthus capital with a trident issuing forth, the centre flanked

by griffins. The front face of each leg has a recessed panel decorated in

gilt with birds perched on vine leaves intertwining in a stylised

guilloche pattern. The sides of the legs are fluted and they terminate in

c law feet. The central supporting column has a capital of lotus leaves

above a boldly spiral l ing baluster-form support.The whole stands on a

tr ipod concave stepped plinth with rolled mouldings.The base bears an

initial stamp RF and S.50. (This mark is RF for Republique Frangaise,

the S is the initial of the gilder, and the 50 is the year 1850).

France, dated 1850


Diameter: 16in (40.5cm)

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A l)rass cani|)aigii bed A rare Charles X lacquered brass campaign bed. The back and

sides take the form of a lattice of brass rods, supported by

columns enriched with moulded col lars and surmounted by urn

finials, decorated with machined neo-classical ornamental motifs.

The whole is supported on six turned legs, enriched with similar

decoration and terminating in brass castors.

France, c irca 1820


Length: 79 in (202cm)

Depth: 36 in (92cm)

In the world of decorative arts few names stand out as prominently as

that of the Sevres porcelain manufactory. Even the word alone conjures

up the image of France at its creative height. Simply saying a piece is by

Sevres is in itself a benchmark of quality. The factory was founded in

1738 at Vincennes, however its great period began in 1751 when J.-J.

Bachelier became art director. In the following year Louis X V took a

controlling interest and they adopted the famous crossed Ls of the royal

cipher as the factory mark. In 1756 they moved to a new building at

Sevres. From this point on they went from strength to strength, having

the king as their protector, patron and even chief salesman. There was an

annual sale in the king's private dining-room at Versailles and courtiers

were expected to buy. Failure to do so was noted and might even result in

losing the king's favour. Needless to say the sales were a great success

and many commissions followed.The factory continued through the reign

of Louis XV I and even carried on through the revolution. In 1793 the

factory was declared state property and the letters RF (Republique

Frangaise) became the factory mark. Though the revolutionary period

was short the change in style was permanent and with the advent of the

imperial era classicism became the pre-eminent doctrine.The illustrated

tripod centrepiece was modelled for the first time in this period. The

factory has continued through war and revolution, at all times

maintaining its principles and quality as best it can. Sevres still exists

today predominantly making reproductions of 18th-century designs whilst

remaining open to the occasional burst of creativity.

The tripod illustrated is clearly dated 1850, however the model was

created nearly 50 years earlier. The great moderniser of the Sevres

factory was Alexandre Brongniart. He brought the company into the

19th century and through technical innovation and new designs he

ensured that Sevres would survive the vicissitudes of the times, something

that few 'ancien regime' businesses managed. In 1807 Napoleon ordered

from Sevres a personal service of porcelain, part of that service was to

be a 'surtout de table'. Through his agent and director of the Napoleon

Museum, Vivant-Denon, he instructed it to be in the neo-classical taste

and to be in biscuit porcelain. This material was favoured as it was

considered to resemble white marble. The architect Theodore Brongniart

(the father of Alexandre) supplied the design. In it one can clearly see the

tripod.The plan still exists and is kept at the 'Centre Historique des

Archives Nationales'.The idea of using the tripod was both inspired and

political. By adapting the basic form of the athenienne that had been in

currency since the 17th century, Brongniart was alluding to the

magnificence of France's past. The specifics of the design can be

explained politically.The form is a faithful reproduction of an antique

fountain acquired by the Louvre as part of the treaty of Tolentino signed

on the 19th February 1797.The fountain had come originally from

Hadrian's vil la atTivol i .Thus Brongniart was able to make reference to

antiquity and the triumphs of Napoleon in one deft move. Naturally the

designs were swiftly approved and production began.

Here the complete records of the Sevres factory prove invaluable.

They still retain the plaster original modelled by Brachard the elder.The

finished product, which consisted of two tripods, was delivered to the

emperor on the 27th IVIarch 1810 together with the rest of the service.

The delivery coincided with the nuptials of Napoleon and Marie-Louise, a

celebration that lasted six days.The illustrated example, though later in

date, is identical to those from the Napoleonic service except that the

stem is inverted and has a small extra foliate element at the top. It was

certainly produced from the same moulds.The only other difference is

that this example is gilded.The earlier ones were originally supplied with

gilt bronze plinths made by Thomire.This example also has gilt brass

rings in the lion's mouths and a gilt col lar on the stem. Given the imperial

genesis of this piece it is unlikely a copy would have been made without it

being for an exceptional client. 1850 was the middle year of the Second

Republic. On 2nd February 1848 riots tore through the streets of Paris

baying for the blood of the king. Louis-Phil ippe escaped in disguise from

the borders of France.Thus began the Second Republic, and following

further riots in June the same year the nephew of the Emperor Napoleon,

Louis Napoleon, was elected president. In the face of opposition from the

government he swiftly moved to establish a dictatorship. In 1852 the

people elected him in a plebiscite 'Emperor Napoleon III'. It would not

be inconceivable that the tripod was either made or gilded under the aegis

of Louis Napoleon himself.

67

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Four tole tea caniiisters

A set of four large-scale red tole tea canisters numbered 1-4. The front of each is decorated with a gilt treillage

at the top and at the bottom, which borders a polychrome chinoiserie vignette related to tea manufacture.

Now mounted as lamps.

England, circa 1860

Height including shades: 30in (76cm)

70

A (Charles X oveniiantel inirrot

A rare large-scale, Charles X eglomise mirror with a polished brass outer edge. Each side is canted and the eglomise depicts

gilt borders and scrol l ing gilt oak leaf motifs against a white background. The piece retains its original mirror plate.


Height; 41 in (104cm)

Width: 35 in (89cm)

71

M A L L E T T P L C

DIRECTORS

George Magan* chairman

LantO Synge chief Executive

The Hon Peter Dixon

Pau la Hunt

Giles Hutctiinson Smith

Thomas Woodham-Smith

Henry Neville

The Hon Mrs Simon Weinstock*

Rex Cooper*

Simon de Zoete*

*Non executive

Ma l l e t t & Son (Ant iques) L td

141 New Bond Street

London W I S 2BS

Tel +44(0)20 7499 7411

Fax +44(0)20 7495 3179

Ma l l e t t at Bourdon House L td

2 Davies Street

London W I K 4DJ

Tel +44(0)20 7629 2444

Fax +44(0)20 7499 2670

Lan tO 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 Mack innon

Ainsl ie Marchant

Thomas Woodham-S mith Director

Henry Neville Director

Felicity Jarrett

Annabel D'Arcy

F iona Barker

Timothy Langston

Mal let t Website: www.mallettantiques.com

Emai l : [email protected]

I IVlallett & Son (Antiques) Ltd 2001

Designed by Sinclair Communications

Printed in England by Balding + Mansell

7 2

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