Download - 2002 - Mallett Lighting Catalogue

m W

i t

t t i\ m

M A L L E T T Established 1865

i

5.

\ .v' ' - J- A X ) # / J

1 ri ' ' ^ >i'! <•

V k ' J 'A/i

) te I I t l -m \

f i t

y

y

V

M A L L E T T Lighting

2002

141 New Bond Street, London wi

Bourdon House, 2 Da\ ies Street, London wi

Contents

Foreword

Introduction

i8th century

Candles

igth century

page 5

7

9

41

43

The progression of light 54

Lighting for Country 68 Houses

19th century Revivalism 71

t

F'ront ccn er and froiuispiecc: Details of (Jcorgian wall light ilkistratccl on page 23.

F o r e w o r e

Tlic correct clioicc of" lighting, whether for a grand palace or a small cottage, is the most important way to create a welcoming ambience. It may be for illumination of a prized object, suitable lighting for bedtime reading or flattering lighting for a dinner party, but it must be carefully chosen. Only the kitchen and the ba throom recjuire l)right, even lighting.

Mallett is justly renowned for its table lamps based on the \ ase form, gi\'ing warmth to li\-ing rooms throughout the world, but these arc only part of the range of lighting fittings offered by the company. This catalogue illustrates the wide range of chandeliers, wall lights and candlesticks currently held in the company's stock.

% • . 1

m mi

.

-jy^i

' f l L W sir Wl

Introduction

Perhaps tlie greatest revolution in interior decora t ion was b rough t al)out by the in t roduct ion of electric light at the end of the n ine teen th century. T h e deve lopment of electricity, gradual ly perfected, marks the end of the theme we have chosen for this \ o l u m e but equally it enhances our percept ion and evaluat ion of the decorat ive lighting fixtures of the previous generat ions.

W e \'iew now, with fascination, the ex t raord inary inventi\ 'eness and decorati\-e c h a r m of the m a n y de\'ices and me thods of lighting that played a significant par t in the decorat ive arts before the invention of electricity. T h e a tmosphere was changed for e\'cr, thank goodness, but the older l ighting fixtures, f rom chandel iers to candlesticks, could now be considered in themseK es for wondrously varied qualities, even as minor works of art . T h e y were of ten m a d e to \ ery fine designs a n d of superb craf t smanship . Moreover , in adap ted circumstances , their effecti\ 'eness remains entirely relex ant and suited to m o d e r n life.

Light had h i ther to been dependen t always on some sort of f lame but the receptacles and mechanics for providing and maximis ing it, lead to ingenuity and decorat ive imaginat ion that together form an intriguing subject. In the comfor t of today's world the devices still provide special e n c h a n t m e n t .

J o h n S m i t h ' a n d all of us at Mallet t have enjoyed p repa r ing this first comprehens ive collection of beaut i fu l pieces relat ing to the i l lumination of fine rooms. W e hope you too will enjoy this anthology de\'Oted to a vital aspect of interior decora t ion a n d collecting.

Lan to Synge Chief Executive

Louis Haghe (d. 1885) 'The Artist's Studio' signed and dated 1860 watercolour over pencil heightened with bodycolour A similar brass chandelier can be seen on page 10.

I 8TH CENTURY

•W-'i'

( '? I" F*

"eMl'tl^ii ijM^h

'' Vvt,""-

J H.ti

/J

10

I 8 T H C E N T U R Y

/ \

V,

t'ri)f rf

Giltwood was occasionally used in

the making of chandeliers, and

wrought iron was sometimes used,

giving a medieval appearance , but

brass was the usual material for

both ecclesiastical and secular

chandeliers during the first half of

the eighteenth century.

A large brass chandelier

A two tier brass tweh'c light chandelier ,

surmounted by a double headed eagle.

Each branch is o f ' S " scroll form with

further subsidiary scroll ornaments.

T h e stem is of niulti]5le baluster form

terminating in a globe finial.

L o w Clountries, circa 1720

Height: 32 in f8i cm)

Width: 28 in (71 cm)

Th i s chandelier is ty])ical of those

shown in church interiors in Dutch

"Old Nhister" paintings.

A six branch chandelier

A mid 18th century brass six branch

chandelier, each arm o f ' S ' scroll form,

supported by a column witli incised

lines and shaped collars.

English, circa 1750

Height: 21 in (53 cm)

\\'idth: 27 in (69 cm)


||

I I V 'J

ii'

O

I I ^ » II

t. I i

A brass jive arm chandelier

A small mid i8th century fi\'e branch

brass chandelier with turned and

reeded stem and scrolling arms with

turned nozzles and dri|) pans

I'^nglish, circa 1760

Height: 19 in (48 cm;


A late Louis XV ormolu lantern

A n exceptional large scale hexagonal

early neo-classical late Louis X \ '

ormolu lantern. There is a smoke cowl

at the a])ex of the lantern which has

below it a fi\ e-branch scroll cano|)v.

Each face of the lantern is of serjjentine

outline and is f ramed with scrolling

applied elements. T h e upper ones

surmoimted by acorn finials, each panel

is surmounted by a scroll with a foliate

element at its summit. T h e lantern

has a two part, fi\ e-branch chandelier

element.

T h e design is a neo-classical adaption

of the lantern recorded at the Chateau

de Montgeof f rey , M a i n e et Loire,

between 1771 and 1772.

f ' rench, circa 1770


Diameter : 25 in (64 cm)

( i lazed lanterns were wicleh' used,

particularly in hallways, the glazing

[)rotecting the l lame from draughts

caused by open doors and windows.

I 8 t h c e n t u r y

A bronze gothic hall lantern

A v e r y rare , large scale i8th century

gothic b ronze h e x a g o n a l lantern, each

side s u r m o u n t e d by a quatre fo i l finial

a n d each c o r n e r by a spire finial a b o v e

cluster c o l u m n supports , with foliate

ball finials at the base , reta ining its

or ig inal double oil l a m p fixture,

s u r m o u n t e d by a glass smoke cowl a n d

foliate cresting. T h e castings are o f

except ional qual i ty a n d precis ion

throughout a n d the lantern retains its

or iginal pat ina .

Engl i sh , circa 1790

Height : 34 in (86.5 cm)

Width : 17V4 in (45 cm)

T h i s colsa l a m p , which has n o w been

electri f ied, demonstrates c learly the

care that went into its design. T h e glass

cowl at the top of the lantern w o u l d

sto]) smoke f r o m the two f l ames f rom

blackening the ceil ing. T h e left hand

pane is h inged, with the catch clearly

visible, to enable the ser\'ant to light the

l a m p through the o|3en d o o r and also to

enable the w h o l e fitting to be u n h o o k e d

a n d r e m o v e d for c lean ing and refi l l ing

with oil.

W h e r e the electric candle is n o w

w o u l d have been a c h i m n e y , to gi\'e a

g o o d draught for the flame, a n d also

the wick. T h e c h i m n e y w o u l d need

c leaning a n d the tubular wick w o u l d

n e e d t r imming. B e n e a t h the wick sleeve

is a flattened c u p which unscrews , the

c u p is per fora ted to a l low air to rise up

through the wick and the c u p also

catches the residue of oil that falls ofl"

the bot tom of the wick , this w o u l d also

need c leaning.

T h e cyl indrical reservoir tmscrews

a n d is inx erted to enable it to be filled

with oil; the reser\o i r is then closed o f f

using the small knob, which can just be

seen, under the reservoir to the left in

the p h o t o g r a p h . The reservoir is then

screwed back a n d reo j iened so that the

oil can trickle d o w n onto the two wicks

f r o m the horizontal arms. I he fitting

can then be p laced back on the hook.

'Panelled Room' by A . J . Warne Browne. This picture illustrates the use of both an argand lamp and a 'student's lamp"

14

I 8 T I I C E N T U R Y

A large Adam period cut glass chandelier

A magnificent and \ ery rare Adam period cut glass chandelier of the finest quality and proportions, the baluster stem with central urn with ormolu band, surmounted by a canopy hung with swags and pear drops, the base of the stem also banded with ormolu and supporting eight scrolling candle arms with star pans and van Dyck nozzles, interspersed with eight sinaller arms with spire finials, all hung with swags and pear drops, with a large pineapjile finial at the base.

English, circa 1770

Height: 71 in (180 cm) Width: 38 in (96 cm)

Large chandeliers became popular in assembly rooms, such as those in Bath and in the music rooms of great houses.

16


Carton pierre

Carton pierre, a French term, is a specific

process for making a type of what the

I^nglish call papier mache. Indeed there

is no English language term for items

made from pulped or moulded paper,

hi G e r m a n the term is das Papiermache.

Carton pierre is made f rom pulped

paper mixed with whiting and glue,

jjressed into moulds, then hardened

and dried. Papier mache is a much

earlier product than is often supposed.

Robert Boy le , ( 1627- 1691 ) the

discoverer of 'Boyle 's L a w ' taught to

all school children during physics

lessons, mentioned the suitability of

papier mache for the embossed work on

picture frames in an essay he wrote

in 1672.

In 1749 \Villiam DuflTour of S o h o

claimed to be the original maker of

papier mdche although he ma)' have

been disingenuous in this as it appears

that the process was much developed

in France. T h i s material was a very

versatile w a y of producing hard, long-

lasting, apparently carved, decoration

using a moulding process and is indeed

more common than is realised, as

when the moulding is gilded or other-

wise decorated it is, f rom the front,

undetectable from the real thing.

At Schloss Ludwigslust, near

Schwerin in ( i e r m a n y , both the main

hall and the chapel are extensively

decorated in this manner , Ludivigsluster

haton, where is is used to produce i)oth

faux marble and faux wood car\ ing,

and the result is truly magnificent.

These wall lights gi\e the impression

of being ])rociuced by one of England 's

finest woocl-car\'ers, and then lovingly

gilded. T h e y are indeed lovingly

gilded, but the details are all in carton

pierre supported on a wooden and

metal f rame and made around 1775.

A pair of giltwood wall brackets

A fine pair of late i8th century carton

pierre composition and giltwood wall

lights, the fluted and embellished

central column supporting a f laming

urn decorated with swags and acanthus

mouldings ending in an acorn finial,

with three elaboraie candle arms

enhanced with ' C scrolls, beading

and acanthus leax'es, the upper part

embellished by detailed swags.

English, circa 1775

Height: 24'/2 in {62 cm)


18

a riiu t/f I ' m if''3 I

I B I i I f- WM A

I iTi M •

%

It l/ 1V


A set of Louis X V wall appliques

An exceptional set of four

Louis X \ ' gill bronze two branch

rococo foliate wall appliques.

T h e y have delicately wrought ,

scrolling arms with alternate

scroll and foliate drip pans and

similarly wrought socles.

French, circa 1750



In the Lou\ re collections, Paris,

there is a com]5arable pair of gilt

bronze two branch wall lights

bearing the 'C" ccuronnepoin^on

(donated by the Duchess^de

Richelieu, 1971). The current set

of four share the same fluidity of

form and composition.

Examples such as these wall

lights were supplied by Phillipe

Caf f ier i throughout the rococo

period

Sets of wall lights such as these

are \ ery rare survivals, most

having been divided into pairs.

T h e similarity with the wall lights

exhibited in the Louvre does not

imply that these were produced

by Caf f ier i , but the quality of the

craftsmanship does show that

they were produced l)y one of the

finest Parisian workshops, at the

height of the rococo period.

1

4 W - ^

%

A pair of ormolu wall appliques

A pair of mid i8th century Italian gilt

metal rococo two branch wall aj^pliques,

boldly modelled as intertwining 'Cr

scrolls and foliate ornament , each

element finely chased.

Italian, circa 1755

Height: 18 in (4() cm)


A pair of ormolu wall lights A pair of wall lights

A n e x t r e m e l y fine pair o f late i8ih

c e n t u r y o r m o l u wal l lights, the centra l

c o l u m n s u p p o r t i n g a f l a m i n g urn

a d o r n e d with foliate swags, t w o c a n d l e

a r m s g r o w i n g f r o m a c a n t h u s roots

j o i n i n g the m a i n stem, all a b o v e a small

hal f round l)e\ elled plinth a t t a c h e d to

a small finial.

Scandinax ian, circa 1770

Height : 18 in (46 cm)

W i d t h : la 'A in (31 cm)

A pair ol late 18th c e n t u r y t w o branci i cut

glass wall lights, with t w o further n o t c h e d

a r m s s u p p o r t i n g spires a n d a snake a r m ,

all h u n g with drops and fljstoons, the

large central spire s u r m o u n t e d b y a

c a n o p y and cut urn, the cut receiv er b o w l

with a stem piece a n d cano])y b e l o w ,

e n d i n g with a large ])endant dro]).

Engl ish, circa 1785


W i d t h : i() in (41 cm)

22

fy m m 4! f-tfvl Mh.

•WJ.

r m m ' I'

I a . j i

- J t rAh i

^ If-'-" •i r*M IL.

I

if.r.ittu


A pair of wall lights

A pair of late i8th century cut glass

wall lights with three candle arms,

with original gilt metal brackets

supporting a central faceted spire

surmounted by a canopy and

pineapple finial, dressed with

chains of faceted pear drops to the

rear arms and candle sconces,

terminating at the base in an

ormolu berry finial.

English, circa 1790

Height: 27'/a in (70 cm)

Width: i4'/2 in (37 cm)

Depth; 12 in (30.5 cm)

see overleaf

A magnificent pair of glass wall lights

A n extremely rare ]5air of su]3erb

c|uality late i8th centiny (k 'o rge 1 1 1 cut

glass wall lights ofexce|)t ional size, each

fitted for three lights with \ an Dyck

|)ans and nozzles sui)|5()rted on notched

arms to a central receiv ing bowl and

gilt metal bracket, ha\ ing notched cut

arms at the back with canopies and

acorn finials. T h e central s])ire is to])])ecl

with a glass cano]3y under which are

sus]jended three further notched arms.

two with canopies and finials centred by

a large ])ineapple finial, all dressed with

chains of period pear shaped drops,

hav ing at the bottom a cut glass canopy

with eight terminal drops and large

faceted cut glass acorn finial.

English, circa 1790




T h e most common form of lighting

was the single candle-stick. These were

made in every tyiJe of material known

to the decorativ e arts.

A pair of Chinese candlesticks A pair of carved candlesticks

A rare pair of Chinese export blue A n unusual pair of Louis X V French

and white candlesticks in the early i8th pro%-incial carx ed fruitwood candle-

century English sil\-er style. sticks, the stems and feet profusely

Kan.gxi, circa 1720 decorated with swags and foliate ornament. T h e top collar and the btm

Height: 7 in (18 cm) feet are in ivory.

French, circa 1760


28

I 8 T H C : E N T U R Y


A pair of paktong candlesticks

A delicate pair of George 1 1 1 paktong

candlesticks with gadrooned dri]5 pans.

I'he stems are of elaborate baluster

form supported by a traditional

circular base with a spiral gadrooned

border.

Faktong is an alloy, dex cloped in

Clhina, of zinc, nickel and copper,

which resembles silver. It is resistant

to tarnish.

iMiglish, circa 1760

Height: 7'/2 in (19 cm)

A pair of facet cut candlesticks

A pair of large cut glass candlesticks,

both feet and nozzles decorated with

shallow cutting and the stems cut all

o\'er with d iamond facetting.

English, circa 1765

Height: 10V2 in (26.6 cm)

30


31


A pair of paktong candlesticks A pair of ormolu ship's candlesticks

A pair of late i8th century paktong candlesticks of neo-classical outline having doric capitals with fluted and reeded stems on square plinths, enriched with beading and gadrooning.

English, circa 1775


A remarkable and very large pair of gilt copper ship's candlesticks, each drip pan having a beaded rim, as does the socle, capital and base. The tapering column is surmounted by incised laurel leaf ornament, fluted and supported on an over scale circular base, similarly decorated with laurel leaves in low relief on a punched ground.

Baltic, circa 1780



33


A pair of ormolu telescopic candelabra

A n unusual pair of Louis X \ ' I ormolu three

branch telescopic candelabra , each surmounted

by a covered urn and standing on a fluted

column supported by a collar of laurel leaf

moulding, terminating in three lozenge cut feet.

French, circa 1785


Height raised: 15 in (38 cm)

34


~ / U . . i

/ 'J r ^ ^

! • v:)

< ^

/

' ^ • ^ - V ' ' i '

/I pair of single arm giraiidoles

A n extremely rare pair oigirandoles, the

base on a domed foot in the form of a

short candle stick. A metal holder in

the nozzle contains a socket for an

' S ' sha]5ed arm with integral nozzle

and dressed with a ])an with pear

sha])ed dro]3s, also holding two wing

shaped arms which are joined together

by a silver su])])ort which holds

scalloped triangular spires. T h e spire

is surmounted by a small canopy with

l^ear shaped drops and two festoons

abo\ e which is a crescent finial.

T h e whole is facet cut in t\pical lyfios

style.

English, cina lylio


35

I 8TH C E N T U R Y

36

I 8 t h C E N T l ' R V

A pair of ormolu and cut glass lustres

A pair of girandoles or lustres on ormolu bases and 'Bristol' blue rectangular pedestals. Each pedestal is decorated with four blue and white Wedgwood placjues of muses and putti, above which is a brass recei\'er and a glass receiver bowl holding a central notched spire and five arms.

T w o of the arms have van Dyck nozzles and pans hung with pear

drops. There is a central snake arm hung with a festoon, and at the rear are two curled snake arms with circular drop pendants and a festoon leading to the canopy. This canopy is also decorated with pear drops and surmounted by a central urn.

English, circa 1785

Height: 26'/2 in ((37 cm)

Width: i4'/2 in (37 cm)

A pair of ormolu and glass candlesticks

An extremely rare ]3air of glass and ormolu candelabra. With columnar bases of deeply cut lozenges, the central stem and nozzle supported by an unusual downward turning van Dyck cut pan hung with pear drojjs.

English, circa 1780

Height: 11 'A in (29 cm) Width: in (12 cm)

•M

I 8TH C E N T U R Y

38


Bonnet Rouge

T h e bonnet rouge was a red cap that

was wor n by the sans-culottes dur ing

the French Revolut ion . Sans-culottes

in Enghsh means 'without knee

breeches ' , and it was a term loosely

applied to the lower classes in F r a n c e

during the French Revolut ion .

T h e n a m e was derived f r o m the fact

that these people wore long trousers

instead of the knee breeches worn by

the upper classes. T h e term appl ied

to the sectionary "e l i tes" in Paris

connected with the J a c o b i n s , and to

the popular masses aroused dur ing

the rexoXuimwcXvyjournees, or mass

protests. Sans-culottism re ferred to the

collectivist ideolog)" that x a lued

fraternity above liberty andj ^

d e m a n d e d economic controls.

T h e enrages were a distinct g roup

of Parisian radical sans-culottes

extremists. 'Fhey were led b y j a c q u e s

R o u x in pi l laging the city's food

stores in 1793, and they d e m a n d e d

strict economic controls. M a n y of the

requests of the sans-culottes were

granted by the government in order

to maintain popular support in the

early months of the reign of terror.

A pair of revolutionary ormolu appliques

A pair oi'two candle wall lights, in the

Ibrni of snakes springing from a cannon

barrel surmounted by a re\ olutionary

bonnet.

French, circa 1790


Width: 8 in (20 cm)

39

Candles

I he sun, moon and flames were, until the end of the nineteenth century,

mankind's only source of useful light. Fireplaces gave out a certain amount

of light in winter, rushlights (rushes soaked in tallow) gave a cheap source

of short-term light, but until towards the end of the eighteenth century the

one general source of light was the candle.

Candles have been made from many diflerent materials. Tal low,

rendered animal fat, was a readily available and a quite cheap material for

candle-making; indeed many domestic households rendered their own fat

and made their own candles. However, tallow candles give a poor light,

have a very smoky flame and give off a disagreeable smell when burning.

Among the rich, beeswax was the material of choice, T h e Tal low

C^handlers Guild in the city of London was founded in 1462, the Wax

(Uiandlers in 1484. In 1710 an excise duty of 4 pence per pound on beeswax

was introduced, the ecjuivalent to around / , i . 30 (Si.90) today and the tax

was not abolished until 1830.

Large scale whaling in the nineteenth century yielded large amounts

of spermaceti oil that could be conx erted into wax to produce candles.

The resultant flame was so bright that the light gi\en off by a standard size

spermaceti candle burning at a standard rate was used as the benchmark

in the science of photometry. One unit of candlepower was defined as the

light produced by a pure spermaceti candle weighing one sixth of a pound,

burning at a rate of 120 grams per hour.

In 1823 the publication, by the long-li\'ed chemist Michel-Eugene

Cheveul (1786- 1889), of a paper on the chemistry of tallow lead to the end

of commercial tallow candles and their replacement by stearine candles, a

tallow derivative, which is less oily and burns without an unpleasant

odour.

T h e eminent English scientist Michael P'araday ( 1791- 1867) , at

Christmas-time 1860 devoted six hour-long lectures to 'The Chemical

History of a Candle ' . T h e lectures, delivered at the Royal Institution,

Albermarle Street London, were part of a series of Christmas lectures

for young people, inaugurated by Michael Faraday in 1826. In the course

of these six lectures Faraday was able to introduce his young audience to

many aspects of the physical world. He was able to discuss combustion

and the properties of a flame, where a flame is at its brightest and hottest,

the chemical comjDonents of a candle and its manufacturing process,

the requirement of oxygen for burning, the products of combustion,

being water from the hydrogen and carbon dioxide from the carbon,

(paraflin wax is a hydrocarbon), and hence the nature of the atmosphere

and respiration.

I'hese lectures were so remarkable that they were produced in book

Ibrm and have been in print ever since and are still available today.

4 '

I'he game of Dominoes was introduced into Europe from CUiina earh in the i8th century, an ideal game to play in the evening.

I'he walnut chairs, the walnut games table and the gilt mirror are all 1-^nglish and date from this period.


A pair of four branch candelabra

A very unusual pair of Empire l)ronzc

and gilt four branch candelabra . T h e

central branch in the form of a bronze

vase with a removable ormolu cover

surmounted by a f lambeau. T h e three

further a rms are of scroll outline with

Dolphin head socles and are supported

by three gilt owls standing upon a

sphere above an obelisk. E a c h obelisk is

mounted with an allegorical group,

representing on one love divided and

the other love united. T h e candelabra

terminate in finely chased winged claw

feet, upon a trianglular concave sided

])linth terminating in bun feet.

f f

Attributed to C l a u d e ( ia l le

France, circa 1805

T h i s unusual pair of candelabra with

the three owls relate to a pair described

in the 1807 inventory of the Chateau de

Fontainebleau, listed as being in the

second salon of the Empress Josephine :

''unepaire (flambeaux) en cuivregaines rondes

grijfes et hiboux dores or mat hauteur 2gc".

These are illustrated in "J-P Samoyault,

Pendules at bronzes d'ameublement entres

sous le Premier Empire, Paris, ig8g,p ijG,

fig'jf-

C l a u d e Gal le was one of the greatest

bronze casters of his age. He was a

leader of the neo-Egyptian taste

I1 >

O , O

M ii:

4 iL i

pre\ alent under the reign of Xa]3oleon.

At his peak there were over 400

craftsmen in his workshop. H e sujjplied

many items for the Ckiarde-Meuble and

many great nobles. A docimient in his

archi\ e dated August 1795 shows that

he had ''une paire de flambeaux a hibou", in

his inventory, indicating that Gal le was

using the owl motif during this period.



A cut glass chandelier

A six branch chandelier f rom one of the

Baltic States, the ring supporting six gilt

metal candle arms. T h e drip jians ha\ e

been stamped and chased in a leaf

pattern and hung with sc|uare drops

with prisms below. A b o v e the ring is a

waterfal l of sc|uare drops surmounted

by a coronet made of graduated

circular drops and horizontal rule

drops, above which are eight palm

fronds, also made of horizontal rule

drops. T h e coronet is hung with

columns of drops with prisms below.

Beneath the ring are four concentric

circles with prism drops with one square

drop above. T h e finial is a large and

hollow pear shaped drop, decorated

with flute cutting. T h e whole chandelier

is constructed with good cjuality, slightly

grey soda glass, which is characteristic

of all chandeliers of this period and

geographical location.

Possibly Swedish, circa 18 10


\Vidth: 31 in (78 cm)

Sweden at this period had a thriving

glass industry with eleven glass

houses in ])roduction, most of

which were capable of j^roducing

chandeliers. Russia , particularly around

St. Petersburg, had several good glass

houses, and there were also glass houses

in or near the Hanseatic ports. As the

skilled glass workers were itinerant,

styles were rapidly transferred from

one country to another making exact

attributions nearly impossible.

44

I . ir'kiJ, \ I f

Mr- i M f c i ^ '

H iM

• it' ; ' ' e

4 - ' i j 1-

i g T H C E N T U R Y

John Blades' Upper Showroom, pul)lished in Ackermann's

'Repository' of the Arts'.

John Blades is first mentioned in a London Directory in

1783 when he opened his showrooms at 5 Ludgate Hill.

He remained there until his death in 1829. He recei\ ed

many large commissions including that of a pair of

chandeliers for the hall of the Draper's Company, where

they still sur\ ive today. Blades was unusual in using an

outside designer, the well known architectj . B. Papworth.

He was also the first English glass company to open a

branch in India in Calcutta. After the death of John Blades,

the business was continued by Francis Jones and his sons.

A pair of candelabra by John Blades

A m a g n i f i c e n t pair o f large three a r m

c a n d e l a b r a by J o h n Blades o f L u d g a t e

Hill , L o n d o n , with o n i i o l u bases a n d

o r m o l u a r m s , tlic stems, p a n s a n d

nozz les d e c o r a t e d with co l i imns o f c r o s s

cut t ing and ])illar cut t ing and h u n g with

rtile dro])s b e l o w b a g u e l l e cut drojjs.

Eiiglisli, circa 1810

Height: 25Va in (64 cm)

W'idtli: 16 in (40.5 cm)

46

l < ) T n C E N T U R Y

47

In 1812 Thomas Osier together with John Barton pubhshed a leather bound catalogue listing the range of drops that they had for sale together with a ]3rice list. This extremely valuable document is our main reference for naming and pricing drops in the first hall'of the 19th century.

It is normal practice for chandelier assemblers to buy their drops in from specialist suppliers. It is recorded that Thomas Osier supplied the Waterford Glass Company with drops for their chandeliers and this practice continues today. T h e modern manufacturers of chandeliers in Bohemia regularly source their drops from Egypt and India where labour is cheaper.

ICICLE^. SPANGLES.

679p<Tgro 580. . 681 . : 582. . 68«N. P. 583. . 584. . 591. . 598. . 593. . 594. : 595. . 627. . 688. . 634. : 689. . 630. . 631. . 638. . 633. . 651. .

661. . 668. . 663. . 664. ,

• IKOVKT.

- p,rCtR<.»ttM<»>l"-Jr p.fCeia.«m«eiHlw-

• /

"M/ >

T

/if •4; ///

/ .

/if / / .

/ / . '

i'A

fc /

••"'J

-rt!

"i/ •"i '79/. Vj

'l J /

608 per gro. e/ <609 , -

610 . 611 . 618 613 . 614

Bllbtr of Ibe iboM m»j b« bid, xbM oa au liat, like Oi« PU-Km rtewn ii the PI«U, «l the WIM Pricoa.

CHAIN DROPS. 700 per gro 701 - -708 - -703 - -704 - -705 - -

Eitktr, *c. u tbote.

BARLEY CORNS. 710 per gro. 711 • 718 • 713 • 714 • 715 •

Silhtr, *«• M •ko"-

A pair of Regency two armed candelabra

A pa i r of tab le lustre.s wi th two b r a n c h e s a n d a cen t ra l finial, the o r m o l u cross-pieces r e t a in ing the i r or ig ina l m a t t a n d b u r n i s h e d gi lding.

T h e icicle d rops a re i l lustrated in Os ie r a n d Ba r ton ' s pr ice list d a t e d 1812, as n u m b e r s (>51 a n d 652 at 180 / - a n d 2 2 0 / - pe r gross.

Knglish, circa 18to

Heigh t : 19 in (48 cm)

W i d t h : i3'/2 in (;-54cm)

48

i g n i C E N T l ' R Y

49


A garniture of three Argand Lamps

A garniture of three oil lamps, the original design of which was imented by Monsieur Aime Argand of Switzerland in 1784; made to burn colsa oil. The three cut glass reservoirs are surrounded by ormolu coronets from which hang button and icicle drops. The ormolu lamps have now been converted for electricity and stand on decorated glass bases. Each lamp bears the retailer's mark, Johnston Brookes & Co. Manufacturer. London.

English, circa 1815

Height of largest: 25 in (65 cm)

Height of smallest: 20 in (51 cm)

50

i g X H C E N T U R Y

A candelabrum by Apsley Pellat

A two branch candelabrum with

ormolu arms and central leather finial,

the pans with complex drops and the

cut stem containing a sulphide of

Euterpe, the muse of the llute.

English, circa 1825

Height: 12'/a in (32 ctn)



A pair of two branch candelabra

A fine pair of cut glass tw o branch

candelabra , the centre su|)port in the

form of an elaborately cut leaf holding

two arms with cut nozzles and pans

iiung with prism drops.

English, circa 1840

Height: in (39 cm)

Width: 11 '/2 in (27 cm)

A pair of Russian gilt bronze candelabra

A \'ery rare ])air of late i8th century

Russian ormolu candelabra decorated

witii siKerecl metal studs and the

faceted circular bases with rosettes, the

hexagonal stem su]5porling a single

nozzle w itii a remox able double candle

arm.

Russian, circa 1800

Height: 15 in (38 cmj

Width: 8'/2 in (22 cm)

..Q.

Q . i i v j l _ — : ^r i i f ^ M M

HI

m X

53

The Progression of Light The Middle Ages to Modern Times

Tallow is the rendered fat from cattle and sheep and was the first material that was cheap enough for Ex eryman. Farmers and housewives could render their own although, particularly in towns, production was in the hands of members of the 'I'allow Chandlers Guild. Peeled rushes could be dipped in molten tallow and the resultant rush-light burnt to give enough light for safe movement, but not for reading. Most tallow was made into candles; these were comparatively cheap, but they burnt with an acrid smell, were rather smoky and the light was relatively poor. Animal or vegetable oil could also be used in a small oil lamp like 'the widow's cruse'.

Whence is thy learning? Hath thy toil

O'er hooks consumed the midnight oil.

John (iay 1685-1732

Beeswax used by members of the Wax Chandlers Guild, was an altogether superior ])roduct, it was sweet smelling and gave a good light, making it the preferred lighting in Cathedrals, Court and the houses of the rich and mighty. It was, and remains, extremely expensive. So much so that, by custom, housekeepers were allowed to keep the candle ends of the household as a perquisite.

Colsa oil made from rapeseed, is a thick viscous oil, too thick to travel up a wick, but instead is gravity fed onto a tubular wick, of the type invented by M. Aime Argand in Switzerland in 1784. It gave the brightest light to date -'the light of ten candles'. This form of lighting rapidly became popular throughout Europe and North America. Many surviving lamps bearing retailers labels from most of the major cities in the United States testify to their popularity among the middle classes, the first available bright light at a reasonable price.

Spermaceti oil gained popularity with the increase in whaling in the second half of the eighteenth century. A sperm whale can have over one ton of oil in its head, so together with the whale blubber for soap making, the whale meat and whalebone for corsets and other uses, whale hunting could be \ery profitable.

Bayberry wax |Droduccd in North America from bayberries harxested in the fall, was used Ibr candle making by the early American settlers, howex er the hard work and low yield discouraged widespread use.

Stearine is a deri\ ati\ e of tallow which is harder and burns brighter and longer. Stearine was discovered i)y the eminent Frenchman Michel-Eugene Chevreul (1786 1B89), chemist, physicist and philosopher, professor and later Director of the Gobelins tapestry works in Paris. 'Fhis polymath's work on the constitution of fats led to the saponification of tallow, yielding stearine and glycerine. 'Fhis work, published in 1823, led to a great industry of stearine candle manufacture.

Oil based products such as a liquid known as kerosene in America and paraffin in England, and paraiFin wax, were dex-eloped in the mid nineteenth

54

T H E P R O G R K S S I O N O F L I G H T

century and completely revolutionised domestic lighting in middle and

working class homes.

K e r o s e n e or paraff in oil is a mobile liquid which can be drawn up a wick by capillary action; it was also comparati\-ely cheap. Lamps, often with glass reservoirs, were to be found in every household, the flame protected from draught by a glass chimney which also aided the flow of a steady suppK' of air to the flame. The flame area was surrounded by a frosted globe, which defused the light.

Paraf f in w a x gave a light comparable to beeswax, and although not C|uite so sweet smelling did not have the really disagreeable odour of burning tallow. Also in the mid nineteenth century the braided wick was de\eloped, this wick bent over at the top and completely burnt away when it reached the edge of the flame, putting an end to the constant round of snuffing and trimming wicks.

C o a l g a s was de\ eloped in the United Kingdom by William Murdock, with the first London street being illuminated by gaslight in 1809. The idea was met with ridicule, the Reverend Sidney Smith, the famous wit, lamj^ooned the idea, and the following rhyme was popular in Glasgow:

"We thankful are that sun and moon 11 'ere placed so very high That no tempestuous hand might reach To tear them from the sky. [ I 'ere it not so, we soon shouldfind That some reforming ass J Vould straight propose to snuff them out,

And light the world with das'

Sir Walter Scott became the first chairman of the Edinburgh Gas Light Company and lit his home, Abbotsford, with gas from his own generator. Large houses like Abbotsford generated their own gas and public companies were formed in towns to enable gas to be piped to those who wished to subscribe; and many did. ( ias was use in wall lights, hanging lanterns, chandeliers, and even for desk lights if the desk was plumbed in for gas.

In 1819 the Apothecaries' Company installed a small oil gas ])lant to make the gas to light their Hall and adjacent jiharmaceuticals factory. The comparati\ e hourly costs were assessed as follows:

Oil gas 'A pence per hour

A r g a n d b u r n e r with gas oil 'A ]ience per hour A r g a n d l a m p burning s p e r m a c e t i oil 3 pence per hour T a l l o w m o u l d e d candles 3 pence ])er hoiu B e e s w a x candles 14 pence per hour

The 'fish tail' burner was the standard gas flame, so called because the flame spread out in such a manner. Towards the end of the nineteenth centiny the much brighter incandescent gas mantle was in\entecl, this ga\e a much brighter light, comj:)arable to electricity, but it was \'ery nois\'. .Also l ime light', with its ghostly yellowish light, was used in the theatre, the light being formed by directing a gas flame onto cjuicklime, causing it to incandesce brightly.

THE PROGRESSION' OF I.IGHT

N o w a d a y s clectric ligliting is almost the only fo rm of l ighting, with candles

being used to evoke a certain m o o d in restaurants a n d pr ivate d ining rooms.

T h e first light p r o d u c e d f r o m electricity was \ ia the 'arc l amp ' . E v e n be fore

Iklison and S w a n n s imultaneously deve loped the electric light bulb , c a r b o n

arc lamps were in use. T h e very bright light p r o d u c e d between the two c a r b o n

rods was too bright for domestic use but ideal for street l ighting, a l though

it was unrel iable and rec|uired m u c h maintenance . It was also used for

spots-lights, in the theatre, in anti-aircraft de fences and in films, where it

w a s responsible for m a n y a sore eye amongst the actors due to its high ultra-

\ iolet content.

I'he electrical light bulb was in full commerc ia l product ion by 1 8 8 1 , fo l lowed

shortly af iervvards by the fabr ic l ampshade . In the past, because of the d a n g e r

of fire, shades were usually in metal , as in bouillotte lamps, or in glass, often

frosted, as in s inumbra lamps. I his new fashion soon meant that e\ en candle

l lames wi-re hidden f rom the gaze by fal^ric shades, regardless of the danger of

fire. S o o n some shades b e c a m e more akin to the mil l iner 's art and were

j^roLidly illustrated in the ladies magaz ines of the per iod.

Fluorescent tube lighting was introduced af ter the S e c o n d W o r l d W a r , but

its lack of a continuous s]:)ectrum and the rather ungainly nature of lubular

lighting has ensured that this type of l ighting is mainly used in industrial and

c o m m e r c i a l buildings rather than in a domest ic situation.

Ha logen lighting is b e c o m i n g increasingly |:)opular because of its bright,

white light. Also the small size of the bulb gi\ es the possibility of a tightly

focused b e a m .

5<i

Apslcy Pcllat Showroom, puhlislicd in .Ackermann's 'Repository of the .\rt.s'.

In 1802 .\psley Pellat took ()\er an existing glass works. The f a l e o n (iiassworks in Hhiekfriars, it is from tliis base tiiat he perfected the production of ' sulphides ' which he described in a book that he published in 1821. In 1849 bis publication of (,'uriusities nj (Hass Making was the first major book in English on tiie science and ])roduction of glass. Like Faraday, .\psley IVIIat gave lectures at the Royal Institution in London where he nearly set fire to the building, and he continued to be an acli\'e glass maker showing at both the (ireat Lxhibition of 1851 and the London ICxhibitioii of'i8()2. He died in i8()3.

A Swedish ormolu and glass mounted candelabrum

All exceptional , large scale late i8th

century blue glass and ormolu six

branch candelabrum, taking the form

of a \ ase mounted upon a circular

column supported by a tripod key

pattern base, standing on a white

marble plinth terminating in claw feet.

The candle arm is strung with glass

bead swags and has ornament of both

aquatic and (loral motifs.

Swedish, circa 1800


Width: i j '/2 in (39 cm) • A

T h e use of blue glass combined with the

clear white crystal on this candelbrum

reflects the close liasons between

Russian and Swedish glass manu-

facturers. The extensive use of ormolu

was inspired by the French neo-classical

designs of this period. These particular

elements, such as the scrolling foliage,

on the metal mounts, can be seen on

later designs manufactured by Lindroth

of Stockholm and are drawn f rom

French publications In Percier and

Fontaine

57

igTH CENTURY

A pair of Directoire ormolu candelabra

A v e r y fine pair o f pat inated a n d

gilt b r o n z e c a n d e l a b r a f o r m e d o f

classical f e m a l e figures b e a r i n g

three scrol l ing c a n d l e a r m s h u n g

with gar lands o f f lowers a n d

m o u n t e d wi th r a m ' s heads , leaves

and w h e a t e a r s , s u r m o u n t e d b y

birds wi th outstretched wings , on

c ircular plinths with masks and

gar lands o f f lowers a n d w i n g e d

sphinxes at either side.

F r e n c h , circa 1800

Height: 24^2 in (62 grn)

W i d t h 7V4 in (20 cm)

A bloodstone and ormolu candelabrum

A n unusual early 19th c e n t u r y

b l o o d s t o n e a n d o r m o l u t w o

b r a n c h c a n d e l a b r u m , the

' S ' scroll arms in the f o r m o f

f l o w e r i n g rose b r a n c h e s ,

supported b y an ionic capita l

a b o v e a t a p e r i n g fluted c o l u m n

raised on a turned base ,

t e r m i n a t i n g in an o r m o l u square

pl inth wi th return corners .

Balt ic , circa 1810

Height : i6'/2 in (42 cm)

W i d t h : 1 0 % in (27 cm)

B l o o d s t o n e is a semi-prec ious

mineral w h i c h is a d e e p green

\'ariety o f c h a l c e d o n y wi th small

spots o f red jas]Dcr in it.

59


6()

A pair of Empire candlesticks

A highly unusual pair of Empire gilt-bronze

candlesticks taking the form of an upturned

helmet supported by three flags, in turn

standing on a bound cluster of muskets, on

a circular base bordered with laurel lea\ es.

French, circa 1 8 10


I G RN C E . N T I ' R Y

A pair of Charles X candlesticks

A pair of Char les X cut glass candlesticks

profusely d iamond cut on the nozzle, on a

hexagonal baluster stem. T h e stepped foot

has star cutting beneath and an ormolu rim.

French, circa 1825

Height: 10V2 in (27 cm)

Gi


A brass bouillotte

A good quality Empire gilt bronze three branch bouillotte lamp, retaining its original tole shade with polished brass interior. The arms are o f ' S ' scroll form and support drip pans with a beaded edge and socles enriched with machined neo-classical ornament. The arms are supported by a fluted column and the traditional dished platform base is decorated throughout with further neo-classical ornament.

French, circa 1810

Height: 26 Vz in (67 cm) Width of shade: 11 'A in (28 cm)

Bouillotte was a card game popular in France in the eighteenth and early nineteenth centuries.

A pair of gilt bronze bouillottes

A good pair of Empire gilt bronze, three branch bouillottes with green tole shades. The finials are finely chased and take the form of a pine cone supported by a canopy of laurel leaves. The arms are of traditional ' C scroll form decorated with eagle's heads and have a sunflower motif as part of a subsidiary scroll. The socles have cross-hatched, machined ornament and a finely gadrooned base. The whole is supported by a fluted column standing on a dished circular plinth, decorated with a pierced stylised frieze ofbasketwork.

French, circa 1810

Height: 27 in (68.5 cm) Depth of shade: 15 in (38 cm)

62


63

i g X H C E N T U R Y

A Louis Phillipe bronze sinumbra lamp

A fine quality s inumbra lamp retaining

its original shade, the bronze column

with a stylised foliate capital and spiral

foliate applied ornament abo\ e a ring

of neo-classical figures, supported by a

domed plinth with a stylised egg and

dart motif in relief

French, circa 1830


64

i g T I I C E N T U R Y

A pair of Empire ormolu appliques

A (ine pair o f c a r l y 191I1 century ormolu

wall lights in the manner ofCUaiicle

( ial le . the winged female figures each

suj)porting fi\'e candle arms.

l''rench, circa 1810

Height; 2'j in (52 cm)

Width: i; in (32 cm)

Deptli: 10 in (23 cm)

<>5


66

I ( ) T H C K N T l ' R V

A pair of gilt metal appliques

A most unusual pair of earl\- 19th

century sfilt metal two branch

applic|ues in the form of caryatids, one

representing Mars , the other Athena.

In their arms, they each hold a s])iral

branch su])])orting two candle holders,

the a rmour and robes of the ligures are

rendered in ])recisc detail.

Probably Knglish, circa 1H20



A pair of bronze and ormolu wall appliques

A ])air of 19th century gilt bronze fix e

bi-anch wall appliques.

I-'rench, circa 1820



<)7

Lighting for Country Houses

In 1992 H a r e v v o o d H o u s e in Y o r k s h i r e d e v o t e d an entire exhib i t ion to

' C o u n t r y H o u s e L i g h t i n g ' . T l i i s e x h i b i t i o n e m p h a s i s e d h o w Uttle hght o u r

p r e d e c e s s o r s e x p e c t e d in their d o m e s t i c s u r r o u n d i n g s . T h e c a t a l o g u e to

the e x h i b i t i o n q u o t e d the case o f Phi l ip Y o r k e , the first Ear l o f H a r d w i c k ,

(died 1764) w h o li\ ecl in a v e r y large house built b y Bess o f H a r d w i c k in

D e r b y s h i r e . A l t h o u g h this o n e w a s o n e o f the houses wi th extra\ 'agant ly

large g l a z e d w i n d o w s , h e n c e the c o n t e m p o r a r y d o g g e r e l ,

Hardwick Hall, more glass than wall

a n d w o u l d h a \ e b e e n airy a n d light d u r i n g the d a y t i m e , at night things

w e r e di f ferent . T h e Ear l r e p o r t e d l y sat wi th his wi fe discussing the

p a i n t i n g o f the r o o m t h e y usual ly sit i n . . . . ' m y L o r d w a s for h a v i n g an ash

o r o l i\e c o l o u r as l)eing the c h e a p e r a n d m o r e d u r a b l e . But m y L a d y

o b j e c t e d that, t h o u g h m o r e e x p e n s i v e , the f a s h i o n a b l e F r e n c h w h i t e

w o u l d be c h e a p e r in the e n d , since it e n a b l e s the r o o m to be lit w i t h t w o

c a n d l e s ra ther t h a n four . '

M r s D e l a n y , the i n d e f a t i g a b l e Irish lady w h o w e n t e \ e r y w h e r e a n d

r e p o r t e d e v e r y t h i n g , r e p o r t e d that w h e n she x'isited H o l k h a m in N o r f o l k

' m y L a d y L e i c e s t e r w o r k e d at a tent-stitch f r a m e e\-ery night b y one candle

that she sets u p o n it, a n d no spectacles.'l/ditrWr^ D e l a n y re ferred to the visit

o f K i n g G e o r g e I I I to the D o w a g e r D u c h e s s o f P o r t l a n d at Bulstrode,

B u c k i n g h a m s h i r e , in 1779, w h e n she n o t e d ' H e r G r a c e h a d the house

l ighted u p in a most m a g n i f i c e n t m a n n e r : the c h a n d e l i e r in the great hall

w a s not l ighted b e f o r e for twenty years.''

W e h a v e d e s c r i b e d e l s e w h e r e in this c a t a l o g u e h o w e x p e n s i v e b e e s w a x

c a n d l e s w e r e , h e n c e the e c o n o m i e s m e n t i o n e d a b o v e . In large r o o m s

l ight ing f r o m centra l fixtures tends to get lost, ne\ er m i n d the d a n g e r o f

fa l l ing w a x , a n d l ight ing in such r o o m s usually c a m e f r o m wal l l ights or

c a n d e l a b r a s t a n d i n g on torcheres . T h e c h a n d e l i e r w a s there as m u c h to

gi\ e g r a n d e u r to the r o o m d u r i n g the d a y as to g ive light at night .

F o r ex e r y d a y use c a n d l e s w e r e of ten used in c a n d e l a b r a o n the su])per

table, as d i n n e r as w e k n o w it t o d a y of ten took p l a c e in the a f t e r n o o n ,

d u r i n g hours o f day l ight . It w a s onl\- d u r i n g the late G e o r g i a n a n d

M c t o r i a n per iods that d inners , as o p p o s e d to i)alls, w e r e he ld in the

c \ c n i n g . T h e s imple candlest ick , or chaml^er slick, w a s used for l ight ing

w h a t w e w o u l d n o w call p e r s o n a l space , w h e t h e r for r e a d i n g , needle-

w o r k , Inlaying cards or m e r e l y mo\ ing a r o u n d the house . A l t h o u g h s imple

in c o n c e p t the candlest ick c o u l d e m b o d y all the character is t ics o f fashion-

able life. C^andlesticks with prickets , the earliest f o r m o f candlest ick , as

c a n be seen in s ixteenth c e n t u r y alter candlest icks , w e r e s u p e r c e d e d in the

sex e n t e e n t h c c n t i n y b y candles with nozz les , as they r e m a i n to this d a y .

G a n d l e s t i c k s w e r e m a d e f r o m all mater ia ls k n o w n to the d e c o r a t i v e arts,

this c a t a l o g u e illustrates candlest icks m a d e f r o m glass, w o o d , p o r p h y r y ,

68

I.ICILLTIXC; L O R C : O R N T R Y I I O I SES

jjorcclain, Ijrass, paktoiig, bronze, steel, and we could ha\'c included silver,

(a Georgian fax ourite), ix ory and even such rare materials as amber and

rock-crystal.

Oil and gas transformed the economics of country house lighting. E\en

the rudest cottage could soon afford oil-lighting, but for gas either the

house had to be attached to the gas main and thence the town gasworks

or the house had to have its own gas generating plant, as many of the

grandest houses did. Although gas could be malodorous it gained popu-

larity both because of its high light output and also because of its ease of

maintenance, no reser\'oirs to fill or wicks to trim. CJas also gives out a

fair amount of heat and in large rooms abo\ e the chandelier would be

a perforated rose which would enable the hot gases to be \-entcd sideways

above the ceiling to the outside.

Oil and gas may have transformed the economics of country house

lighting but electricity completely transformed the look. Up to now all

lighting had been based on the Ilame. The electric filament light bulb

reduced the risk of fire, (provided the wiring was safe and properly

Herhcn l)a\ is Ricluer

(i»74 i!)")")) " I h f \\ hile Drawing Room,

l^uckiiigliani Palaic"

oil oil canvas

At niglit tliis room would have been lit.

both by IIK' one large and lour smaller

ehandeliers. U)gelher with all ihe

candelabra around ihe edge of the room.

During the day the large central chandelier

would ha\e gi\'en a focus to the room and

would ha\e emphasised the symmetry of

the ceiling.

LIGHTING FOR COUNTRY lIOl St:S

J a m e s Noble (1846- 1913) ailing for Uie Answer"

oil on caiu as A pair of'siniilar appliques can he seen on page 72.

installed), but, most importantly, light could now easily be directed

downwards where it was most required. Also light bulbs could be hidden

with fabric lampshades which gave a diffused light. Unfortunately,

Victorian taste being what is was, these often degenerated into ornate

confections more suitable for the decoration of a lady's head than part of

the decor of a smart salon.

Electric light also gave a more powerful light than before leading to

complaints from ladies of a certain age that this new-fangled light was

unkind to their complexions, this lead to the reintroduction of candles at

smart Edwardian dinner parties. A pair of go thic candlesticks

A \ e i y UMUsiial pa i r o l 'Wi l l iam I \ '

^othic b ronze candlesticks with

castellated soeles and dri]) ])ans,

sii|3|3orteci oil a he.\aa;onal stem, in turn

supported on a t r iangular gothic base ,

the whole supported by a fur ther

t r iangular gothic areh loot with a small

c i rcular tower at each corner .

l^nglish, circa 1 830


I igth century Revivalism

M ' i l r ' ' I ' i

' - r j A A

\

i t'

A pair of Louis X V revival appliques

A pair ol 'earh' igih century Louis X \ ' style

fi\ e i)ranch wall appliques with elaborately

scrollinsr arms of])icrceci foliate design

su])p()rtcd on a sinuous I'oliate back plate.

French, circa 1840

Height; 24 in (61 cm)

\\'idth: 22 in (56 cm)

A large lantern in the Regence style

A 19th century gilded metal hexagonal

hall lantern of large scale in the Regence

style, the metal work moulded with stvlised

caryatids, trailing \ ines and flowers.

English, circa 1850

Height: 44 in (1 12 cm)


7-'

t'v •f r

Xl, • v. Wv

W1 I v

M •

73

i g T H C E N T U R Y R E V I V A L I S M

74

I9TH CENTI RY REVIVALISM

A Renaissance revival lantern

A n unusual Eiiglisli R e n a i s s a n c e

re\'i\ al o c t a g o n a l brass lantern

with e l a b o r a t e l y w r o u g h t scroll

a r m s s u p p o r t i n g the top fr ieze,

d e c o r a t e d with twisted obelisks

and scrol l ing p e d i m e n t a b o v e an

e g g a n d dart m o t i f wi th p e n d a n t

swags on the frieze b e l o w .

Eacl i g l a z e d panel is f l a n k e d

b y f luted c o l u m n pilasters with

an arch abo\ e. T h e base fr ieze

has inter locking 'Cr scrolls

with foliate sup]3orts b e l o w ,

t e r m i n a t i n g in a ])ine c o n e finial.



\\'idth: 26 in (66 cm)

A cylindrical brass lantern

A n elegant h e x a g o n a l brass

lantern with rams h e a d capitals

j o i n e d b y swags and p e n d a n t

husks.



D i a m e t e r : in (39 cm)

/J


A pair of gilt metal and steel Barbedienne candleabra

A pair of 19th centur\- gilt metal and steel four branch candelabra in the Renaissance re\ i\ al style, the scroll arms terminating in dolphin's heads supporting the drip pans and socles. The square stem has foliate ornament in low relief and stands on a scjuare stepped scrolling base.

Signed G. SEVl\. Inv. D. A TTARGE. Fct and F. BARBEDIEXNE A PARIS.

French, circa 1869


A pair of Berlin steel candlesticks

A pair of Cjerman mid 19th centurv polished steel Corinthian column candlcsticks, ha\ ing ornamental floral work around the base and standing on octagonal stepped plinths, l l i e drip pans decorated with punched ornament

and blue and black champleve Qni\me\ on a brass ground.

Probably Berlin, circa 1860


7( i

i g i ' l l C E N T U R Y R E V I V A L I S M

A pair of wall lights by Osier

An unusual pair of Osier gilt metal

and cut glass wall lights, the glass

elements all cut in the finest detail,

having distinctive faceted drops.

S tamped F & C: Osier

English, circa 1885

Depth: 17 in (43 cm)

These wall lights were originally made

as gas lights, with the gas travelling

from the wall, a long the liorizontal glass

tube, to the burner inside the shade.

A set of four wall lights by Osier

A set o l ' four wall lights, or iginal ly for kerosene,

des igned in the A r t s and C r a f t s style. 'I1ie

o r m o l u i)rackets are d e c o r a t e d w ith hex elled

mirrors , the glass a r m s are supported by o r m o l u

and glass cross-pieces with d e c o r a t i o n s h o u ing

an E g y p t i a n inf luence. I he uprigiits at both

ends ha\ e hand-blow n finials d e c o r a t e d with

s t r a w b e r r y j jrunts and the oil reservoirs stand in

exerted c o r o n e t s o f o r m o l u m o u n t e d drops.

F&C; O s i e r , B i r m i n g h a m


Height: ig'/a in (50 cm)

l)e])th: 2()'/2 in (52 cm)

r i i e shades m o d e r n , based on

c o n t e m p o r a r y designs.

79


A set of four glass and ormolu wall lights

A set of four wall lights in the late i8tli

century style, each wall light consisting

of an ormolu bracket to which are

attached three glass arms with pans

decorated witli pear shaped drops and

ormolu nozzles, holding lightly

decorated storm siiades. T h e central

spire is cut into two sections separated

by an ormolu collar in the form of

acanthus lea\ es. T h e lop with three

rows of pendant pear shaped drops

surmounted by an ormolu mounted

glass pineapple which reflects the

finial below.

English, circa 1900



A pair of period wall lights identical

apart f rom minor differences in the

dressing, are on show at the ^Vinterthur

M u s e u m , Delaware , U S A .

A cut glass standing light for gas

A single branch gas light on a circular

stand hung with hexagonal drops with

long prisms beneath, the cur\ ed stem

leading to a btu'iier beneath which is a

])an hung with drops that match those

to the body .This lam]5 was designed to

stand on a mantel ]3iece or writing table

which had already been plumbed for

gas. The cur\ ed stem is hollow and

extends right down the candlestick

ending in a metal nozzle which would

ha\ e fitted directly into the gas su])])ly.

This is an extremelv rare sur\ i\ al as

normally only the central holder

sur\i\es g i\ ing the a])pearance of a

conx entional candlestick. This lamp

retains a contemporary shade which

has been mo\ ed for the illustration so

that the fishtail burner can be seen.

Knglish, circa iHCio

Height: i() in (40.5 cmj

Th i s light is similar to the one

illustrated in Osier's ( '.rystal for Rnyally and

/ rt/rt/M l)\- John P Smith, ])]) 8().

80


8 l


A cut glass chandelier by Perry & Co

A ten liglit chandelier by Perry & C^o, with ten rope-twist arms with cut pans liiing with two bands of festoons and pear-shaped drops. The cm stem pieces ha\ e canopies above and below, hung with pear-shaped drops.

Englisli. circa 1840

Height: 41 in (104 cm) Diameter: 28 in (71 cm)

J I

' s o -T r - 'T ' t -H

i f i \ y

if Wm.^

i g T I I C E N T U R Y R E V I V A L I S M

A pair of chandeliers attributed to Perry & Co

A pair ofchandcl iers attributed to Perry

& C o . of N e w Bond Street, London,

with cut stem pieces surmounted by cut

crooks hung with festoons of crystal

ch ops and surmounted by spires, the

lower part of each chandelier has eight

'kick' arms and e i g h t ' S ' arms and is

also festooned with drops.

PLnglish, circaj86o

Height: 60 in (152.5 cm)

Width: 40 in (101.5 cm)

Ferry & C o . , together with Osier, were

the leading English chandelier makers

in the 19th century. In 1803 William

Perry jo ined the firm of William Parker

w h o had been England's leading i8th

century chandelier maker and w h o

made the famous chandeliers for the

Assembh R o o m s in Bath. William

Perry appears to have married Will iam

Parker's daughter. In 1817 Perry mo\ ed

to 72 N e w Bond Street when he was

appointed glass manufacturer to the

Prince Regent and he remained there

until 1890. Perry & C o bought most of

their blanks from the Whitefriars Glass

House but carried out their own

cutting, metal-work and assembly to

their own designs. T h e i r chandeliers are

to be found in many of the stately

homes of England where they are often

erroneously attributed to Waterford.

84

• J f " ! hv

vi.

i g X H C E N T U R Y R E V I V A L I S M

86

An eight light Osier chandelier

A fine glass and ormolu chandelier with

e i g h t ' S ' arms and the original engraved

storm-shades.

S tamped, F& C Osier, B i rmingham

English, circa 1870

Height: 6 1 % in (157 cm)

Width: 38'/2 in (98 cm)

T h e use of vertical glass rods

surrounding the stem piece is a

unicjuely Osier device to give a new-

look to chandeliers and wall-lights,

mo\ ing away from the classical

festooned look. This style was used for

candles (in India), gas, and later on,

electricitv. ^

An eight arm torchke by Osier

A cut glass torchere, the stem resting on

a polished brass rim with spherical

finials above, the eigiit arms rising f rom

a brass equitorial ring around a cut

spherical steni-piece, the ring decorated

with brass florets, the arms with cut

pans hung with 'Albert ' drops together

with a monumental drop hanging f rom

each crook. A b o v e the central sphere is

a flared cut bowl sitting on a radial star.

S tamped F & C Osier, B i rmingham

English, circa 1870.

Height excluding storm shades:

41 '/2 in (103 cm)

Diameter : 27 in (69 cm)

87


A Baccarat candelabmyn

A twenty four light candelabrum made

by Baccarat , each arm hung witli

long serrated drops, standing on an

elaborately cut and faceted stem

supported on a steel f rame and four legs

with d iamond and floral cutting.

French, 1878

Height: 8 8 % in (2.22 m)

Diameter: 34 in) (85 cm)

In tiie Baccarat museimi in Lorraine is

an identical candelabrum made by the

c o m p a n y for the International

Exhibition in Paris in 1878. In 1880

Baccarat opened a showroom in

B o m b a y and this candelabrum (marked

number 6) must ha\e been one of the

main exiiibits. Later on in India it was

converted to electricity f rom candles.

Baccarat made several versions of

thi.s torchere, and indeed it is still in

production today. However , Baccarat

soon sto])ped using cut components ,

such as drip pans, in fa\ ()ur of more

economical press-moulded items.

T h e elaborate notched icicle dro])s ga\ e

way to more sim])le drops and the

elaborate cutting on the stem and legs

was rejj laced with a sim])ler design.

88


- J f f W g U j .

smh -^m^if c J

' = = * JM:

90

i g T H C E N T I R V R K V I V A I . I S M

An oil lamp by Osier

A cut glass and ormolu oil lamp by

Osier , now converted for electricity

with knife pleated silk lampshade.

Signed F& C Osier, B i rmingham

English, circa 1880

Height of oil lamp: 30 in (76 cm)

Overal l height with shade: 41 '/2 in

(105 cm)

A electrical hanging lamp

A late 19th century brass A d a m revi\'al

dish light with rich ornamentation of

anthemia and floral motif , the glass dish

being frosted and fluted.

English, circa i8go


Diameter of bowl: 12'/a in (32 cm)

9>


I

ICjTH CENTI RY REVIVALISM

A brass bird cage lantern

A cl iarming late ujih century Frencli

brass bird cage oflraclit ional form.

X o w niountecl as a lantern with late

19th century Indian |)ainted birds

mounted on the chandelier element.

French, circa 1880

Height: 43'"t in ( n o cm)

A mistletoe chandelier

A charming late 19th ccntury painted

bronze chandelier, in the form of a

large, naturalistic bunch of mistletoe.

French, circa 1890

Height: 22 in (5(3 cmi


93

Mallett P L C

Directors

George Magan* Chairman Lanto Synge Chief Executive The Hon Peter Dixon Paula Hunt

(iiles Hutchinson Smith Thomas Woodham-Smith Henry Nev ille Rex Cooper*

The Hon Mrs Simon W'einstock* Simon de Zoete*

* \on-executive

Mallet & Son (Antiques) Ltd

141 New Bond Street

London w i s 2BS Telephone: 020 7499 7411

Fax: 020 7495 3179

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

James Harv ey Director

John Smith Associate Director

Richard Cave Associate Director

Jeremy Garfield-Davies Associate Director

Tarquin Bilgen

CHiarlcs Mackinnon

Ainslie Marchant

Mallett at Bourdon House Ltd

2 Davies Street London w i k 3DJ 'I'clephonc: 020 7629 2444 Fax: 020 7499 2670

I'iiomas Woodham-Smith Director

Henrv Nev ille Director

I'elicityjarrett Associate Director

Mallett website:

www.mallettanticiues.com

l>mail: [email protected]

T e r m s and Conditions

All business transactions are subject to our standard terms and conditions of sale, copies of which are a\ailal)lc on reciuest

94

http://www.mallettanticiues.com

mailto:[email protected]