2001 - Mallett - The Nineteenth Century

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MALLETT riie Nineteenth Century

B o u r d o n Mouse

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Loudon W I

London W I

Inlroduclion

This year we are proud to be able to offer our clients a c a t a l o g u e w h i c h is both a selection of some of the most i m p o r t a n t and fine quality 1 9 t h century pieces M a l l e t t has ever a c q u i r e d and w h i c h also captures the c h a r m and whimsy of the age. The J a c k s o n and G r a h a m centre table (page 4) is an exceptional piece of furniture w h i c h highlights the mastery of m a r q u e t r y achieved during the V i c t o r i a n era. In t a n d e m we have the B a c c a r a t o c c a s i o n a l table (page 5 6 ) w h i c h equally is a t e s t a m e n t to m a n ' s t r i u m p h over materials.

Neither of these pieces w o u l d be possible today: the hours required coupled w i t h the loss of skills render such creations unrepeatable. However the V i c t o r i a n age was not just about technical excellence; it was also a period when new creative freedoms were sought. Here we illustrate several w o r k s t h a t d r a w inspiration f r o m the liberation initiated by the Impressionist m o v e m e n t . T h e 1 9 t h century is r e m e m b e r e d for its rigidity and discipline but in its a r t s and c r a f t s the range of m e d i a and ideas e m p l o y e d is a l m o s t unbounded. By showing tables made of iron and glass in addition to the w o r k s w h i c h revived Renaissance and medieval designs we hope to be able to give a true taste of the age.

Both at B o u r d o n House and at B o n d Street we continue to show 1 9 t h century pieces alongside the c r e a t i o n s of other epochs. It has always been the ethos of M a l l e t t to c o m b i n e and connect decorative a r t s in an eclectic manner. Therefore^ though we celebrate the 1 9 t h century w i t h i n these pages and in our showrooms, we aspire to tempt our clients to buy f r o m all eras.

The re-evaluation of the decorative a r t s of the 1 9 t h century is partly driven by the observation that the greatest creations of the age can be a c q u i r e d for much less t h a n those of the previous century. There were obvious changes in style, and methods changed as did materials, however ingenuity and skill did not diminish. In this c a t a l o g u e we hope to d e m o n s t r a t e the quality of the age and show that many pieces are still undervalued in c o m p a r i s o n to their antecedents.

We look f o r w a r d to discussing w i t h you any piece that you may find of interest.

Thomas Woodham-Smith

Henry Neville

A n 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 England, circa 1860 Height: 28in (71cm) Diameter: 50in (127cm)

Clive Edwards, in an article for the Furniture History Society

Graham were elaborate in their confections, but the sophistication

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

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

pantheon of Victorian furnishing enterprises, few names are more

The firm was active between 1 8 3 6 and 1 8 8 5 . They had

important than Jackson and G r a h a m " . Charlotte Gere and iVIichaei

premises in Oxford Street, which gradually expanded until they

Whiteway describe Jackson and Graham in their work ^Nineteenth

controlled six buildings on the same street. They were great

Century Design' as "probably the most important High Victorian

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

cabinet-making f i r m " . W i t h academe clamouring to lavish praise

employed fashionable designers and architects to enhance their

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

work. Amongst these, Jackson and Graham employed Dr

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

Christopher Dresser and Bruce Talbert. However, the longest

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

and closest affiliate was Owen Jones. He was central to the work

the mechanical age and the lush overelaboration of the epoch

carried out for A l f r e d Morrison at 16 Carlton House Terrace

combine to render the whole Victorian era as seemingly second

and Fonthill, Wiltshire. Pieces made for Morrison were shown

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

at exhibitions around Europe and Owen J o n e s ' s t y l e defines the

Indeed Jackson and Graham celebrated this same mechanisation.

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

They delighted in the fact that their machines afforded them the

through a mixture of internal strife and external trading conditions,

opportunity to execute a sophistication of marquetry that mere

finally being bought out by their rivals, Collinson & Lock, in 1 8 8 5 .

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

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)

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Oil on canvas Unframed: 30 x 42in (76.5 x 107cm) Framed: 42 x 54in (107 x 137cm) Provenance: a c q u i r e d in A u s t r a l i a by the last owner in about 1 9 7 8

This is an exceptionally rare view of the interior of an artist's house in A u s t r a l i a at the time of the Aesthetic movement.

A r t h u r Montague lived next door to A r t h u r Jose de S o u z a Loureiro, and the present picture was executed as a memento of their friendship.

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

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

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

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

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

decorated with large hexagonal facets. The two stoppers and the

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

handle of the bowl contain miliefiori bouquets of flowers.

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

Baccarat, France, circa. 1850 St. Louis, France, circa 1850 Diameter of tray: l l i n (29.2cm) Diameter of tray: 12in (30.5cm) Height of decanter: 12in (30.5cm)

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Height of decanter: lOin (26.5cm)

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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 6 6 c m )

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.

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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 J c i u i e n s and B c l l r i d g e A rare early V i c t o r i a n c i r c u l a r table by Jennens and Bettridge. The japanned top is decorated with polychrome exotic birds and butterflies in flowering branches with gilt leaves on an apple green ground. The underside is stamped 'Jennens and Bettridge' 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 t r i a n g u l a r form, the top of the c o l u m n stamped ' J & B 7 1 ' .

England, circa 1 8 4 0 Height: 3 0 i n { 7 7 . 5 c m ) Diameter: 2 4 i n ( 6 3 c m )

In the early 19th century Jennens and Bettridge founded a

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

papier mache factory in Birmingham. They were the

more exquisite lustre than by any other means". Jennens

natural successors to the most distinguished of the 18th

and Bettridge became most famous for introducing new

century producers, Henry Clay.The German traveller and

types of furniture including elaborate tables and chairs

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

made from papier mache, extending the range of Henry

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

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

paper are pasted together and dried; they are then carried

tea wares. Jennens died shortly after the company's

out to a room resembling a little timber yard; cabinet

successful display at the Great Exhibition of 1851, after

makers form every article as it is required sawing it out of

which their products were stamped Bettridge & Co.

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

Therefore this table pre-dates the 1 8 5 1 Great Exhibition.

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Iwo unusual Victorian music stools A c h a r m i n g late 1 9 t h century brass music stool having a

A L o u i s X V - s t y l e w a l n u t m u s i c s t o o l , the seat c a r v e d in the

c a r r y i n g handle and four scroll legs terminating in cap feet.

shape of a s c a l l o p shell w i t h a s c r o l l end. The seat is

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

s u p p o r t e d by three c a b r i o l e legs, w h i c h t e r m i n a t e in c l a w feet a n d are j o i n e d by an unusual shaped t r i p o d p l i n t h base

England, c i r c a 1 8 7 0 France, c i r c a 1 8 7 0 Height: 2 3 i n ( 5 8 . 5 c m ) W i d t h of seat: 1 2 i n ( 3 1 c m )

Height: 2 3 i n ( 5 8 . 5 c m )

Depth of seat: 1 2 i n ( 3 2 c m )

Width: 15in (38cm) Depth: 1 8 i n { 4 6 c m )

A n Aiish'iari i n a l i o g a n y j a r d i n i e r e 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)

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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)

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A hackgamiiioii table A W i l l i a m IV maliogany b a c k g a m m o n 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 b a c k g a m m o n 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, c o l u m n legs with a double baluster c a p i t a l and a turned foot.

England, circa 1 8 3 0 Height: 2 9 i n ( 7 3 c m ) Width: 43in (109cm) Depth: 2 3 i n ( 5 8 c m )

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A. set of six Gillows chairs A set of six mid 1 9 t h century A r t s and C r a f t s mahogany side chairs, having chamfered edges and a scrolled serrated top rail, decorated throughout with ornamental ebony dowels. The chairs have c o l u m n a r front legs and sabred back legs, joined by a

f o r m turned stretcher. E a c h c h a i r stamped several times ^Gillows' and bearing the model number

3 9 7 1 and each back rail signed by the c r a f t s m a n in pencil.

In the manner of J P Seddon

England, c i r c a 1 8 6 5 Height of back: 3 4 i n ( 8 6 . 5 c m ) Height of seat: 1 6 i n ( 4 1 c m ) Width: I S i n (47cm) Depth: 1 8 i n ( 4 7 c m )

The design for this set of six chairs is drawn from a model chair exhibited by Seddon & Co in the 1 8 6 2 International Exhibition in London. The Medieval Court at the Exhibition, 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 " w e are bold to say that ... we have achieved ... works of which posterity will recognise as one of the great works of the artist's mind and hand ... which may go out of fashion but which will, 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 Gillows work and his pottery designs for Minton.

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A highly u n u s u a l e a r l y 1 9 t h c e n t u r y F l o r e n t i n e c i r c u l a r s a t i n w o o d c e n t r e t a b l e . T h e t a b l e has a n a r r o w f r i e z e a n d s t a n d s on b o l d l y m o d e l l e d s c r o l l legs w h i c h in t u r n s t a n d on a c o n c a v e sided t r i a n g u l a r p l i n t h t e r m i n a t i n g in p a d feet. E a c h e l e m e n t is b o r d e r e d w i t h m a h o g a n y c r o s s - b a n d i n g w i t h a d o u b l e b o r d e r of b o x w o o d a n d k i n g w o o d s t r i n g i n g . T h e t a b l e has a m o s t u n u s u a l s c a g l i o l a top, w h i c h has a finely d r a w n o a k leaf b o r d e r in s h a d e s of y e l l o w a n d b r o w n . T h e c e n t r e has a c a r t o u c h e d e p i c t i n g a b u c o l i c l a n d s c a p e w i t h f i g u r e s f i s h i n g in the f o r e g r o u n d . T h e c a r t o u c h e is b o r d e r e d w i t h a f r a m e of s i m u l a t e d b e a d s w i t h trompe I ' o e i l shadows.

Italy, c i r c a 1 8 2 0

Height: 30in

(76cm)

Diameter: 34in

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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: l O i n (25cm) Diameter: 5in (13cm)

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A (^liarles X (jotliir 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-

I'ebeniste'. Many of these are in the Gothic taste.

1838), lies not so much in his achieved works, which only

He explains his style in the introduction:

flowered for a brief period between 1831 and 1838, but

'Beaucoup de personnes tiennent a se procurer des

in two key aspects of his career. The first was the

meubles confectionnes dans le gout simple et pur qui est

influence he exerted on contemporary taste following

aujourd'hui le gout dominant, mais d'autres donnent la

1836, when he wrote to the 'Garde-meuble de la

preference aux meubles fait dans le gout gothique. II faut

couronne' offering *un bureau de dame a etageres en bois

le dire, le nombre de ces derniers augmente dans une

de palisandre de sa fabrique'.They accepted it and,

proportion telle que le genre gothique est une des

following this, many further commissions were granted.

branches principales du commerce de I'ebenisterie'.

Caron's style became favoured and in a few short years

In other words, though Caron offered Gothic-style

he furnished many noble clients with distinctive, delicately

furniture, he was aware of the taste for furniture that

inlaid rosewood Gothic furniture, both in France and

exhibited simplicity even though the ornament could be

abroad. The second key event was the publication, in

rich. Caron was a precursor and disseminator of the

1836, of 60 designs under the title 'Le Manuel de

Gothic style but his forms always retain Empire lines.

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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)

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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 O S c m ) Width: 23in (58.5cm) Depth: 20in (51cm)

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A (Charles X w r i t i n g lal)lc by L e s a g e A fine q u a l i t y C h a r l e s X s m a l l w r i t i n g t a b l e in r o s e w o o d w i t h b o x w o o d s t r i n g i n g h a v i n g an u n u s u a l b a l u s t r a d e d g a l l e r y in r o s e w o o d w i t h b o x w o o d b a l u s t e r s . T h e t a b l e has a single d r a w e r in the frieze, w h i c h opens to reveal a p o l i s h e d m a h o g a n y i n t e r i o r and a r e m o v a b l e w r i t i n g tray. The f r i e z e is s u p p o r t e d by b o x w o o d

scroll elements and

s t a n d s on t w i n c o l u m n s , in t u r n s t a n d i n g on s c r o l l feet i n l a i d w i t h b o x w o o d s t r i n g i n g a n d h a v i n g a b o x w o o d pad foot.

The t a b l e has an e l a b o r a t e l y t u r n e d s t r e t c h e r w i t h a finely c a r v e d r o u n d e l at e a c h end.

B e a r i n g an i n d i s t i n c t s t a m p f o r the M a r c h a n d , Lesage

France, c i r c a 1 8 2 5

Height: 31in ( 7 9 c m ) Width: 28in {72.5cm) Depth: 17in ( 4 4 c m )

Antoine Nicolas Lesage ( 1 7 8 4 - 1 8 4 1 ) was one of the m o s t i m p o r t a n t P a r i s merchants. T h o u g h frequently r e c o r d e d as a cabinet-maker, the clerk of the Royal ' G a r d e - m e u b l e ' , Veytard, noted in 1 8 2 3 that he was a dealer, not a maker. Lesage s t a r t e d and d i r e c t e d a shop for f u r n i t u r e and objets d ' a r t at 2 B o u l e v a r d des Italiens f r o m 1 8 1 2 to 1 8 2 1 . A t that date, he also became d i r e c t o r of another shop c a l l e d the ' U n i o n des A r t s ' at 2 rue G r a n g e - B a t e l i e r e . These shops offered clients a r e m a r k a b l e range of products and services f r o m f u r n i t u r e and objects to a c o m p l e t e upholstery and d e c o r a t i n g service. He c o u n t e d the Duchesse de Berry, w h o bought for the C h a t e a u de Rosny, a m o n g s t his clients. Sadly, his business f a i l e d in 1 8 3 9 and he died t w o years later in 1 8 4 1 . F r o m his b a n k r u p t c y papers, it is c l e a r t h a t he m a d e a great deal of his stock, and that he also c o m m i s s i o n e d pieces f r o m many of the finest c r a f t s m e n of his day, for e x a m p l e the bronzier, Remond, and the cabinet-maker, J e a n s e l m e .

30

31

Paul (]esar JI el leu

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A s a chronicler of the *Belle E p o q u e ' Paul Cesar Helleu has no e q u a l . T h o u g h he worked extensively in oils and pastels, he is chiefly remembered as the master of the drypolnt p o r t r a i t . His delicate, a l m o s t minimalist technique seems to capture the spirit of the age perfectly. Under the patronage of the M a r q u i s de M o n t e s q u i e u and the guidance of J J Tissot, Helleu succeeded in drawing the nobility of Europe, as well as some of the many distinguished A m e r i c a n s who travelled to Europe during this time.

M a l l e t t have over the years established a t r a d i t i o n of exhibiting Helleu's work and last year we mounted an exhibition that covered all aspects of his career. In this catalogue we are illustrating just three drypolnts but we continue actively to market his complete oeuvre.

These works cover three strains of his output. In ' L e s Lionnes' we see a series of girl's heads. The title refers to the mane of hair that each head depicts. This is a very personal study and the subject bears some parallel with the drawings he made of his own daughter.

The work entitled ' M a d a m e C h e r u i t ' is one of his public subjects, a c o m m i s s i o n probably, of a society figure. F i n a l l y there is the p o r t r a i t o f ' M a d a m e Letellier'; 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 all the important events of the season. She was also one of Helleu's most favoured subjects and many p o r t r a i t s of her are recorded.

Ar.v Lionncs Drypoint Signed, c i r c a 1 9 0 0 F r a m e d size: 22 x 2 1 i n

32

(56 x 5 3 . 5 c m )

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Drypoint with watercolour highlights Signed, c i r c a 1900 Framed size: 30 x 21in

(76 x 53.5cm)

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Drypoint with watercolour highlights Signed, circa 1900 Framed size: 30 x 21in

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(76 x 53.5cm)

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)

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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)

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A s|)(HMiiien mcirl)[e (xx'asioiiaJ table

A group of l)rass doorstops

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

(clockwise

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

A brass doorstop with bell-shaped base and

from the

left)

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

scrolled handle

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

England, circa 1 8 2 0

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

Height: 13in ( 3 3 c m )

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.

An unusual William IV brass doorstop in the form of a profile of a seated dog, its head turned, on a

England, circa 1 8 3 0

rectangular plinth with a fluted border.

England, circa 1 8 3 0

Height; 29in ( 7 5 c m )

Height: 13in ( 3 3 c m )

Top diameter: 19in ( 4 9 . 5 c m ) An unusual Victorian allegorical brass doorstop depicting a lion fighting a snake beneath a palm tree. The whole supported on a cast-iron plinth.

England, circa 1 8 6 0 Height: 17in ( 4 3 c m )

An early 19th century heavy brass doorstop with semi-circular stepped base and pierced shaft and handle.

England, circa 1800 Height: 15in ( 3 9 . 5 c m )

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 1 8 8 0 Height: l l i n ( 2 8 c m )

38

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39

A very large scale mahogany dining table An outstanding William 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 tripod plinth with scroll feet.

England, circa 1830 Height: 29in (74cm) Diameter: 84in (213.5cm)

41

A 19lli century i)()X(Mr (*ani])aign cliair A n early 1 9 t h century, mahogany folding c a m p a i g n chair, with turned, fluted and tapered front legs and splayed back legs, mounted on brass c a s t o r s . T h e c h a i r retains all its brass fittings and is now upholstered with vellum green leather.

England, c i r c a 1 8 2 0 Height of back: 3 7 i n ( 9 5 c m ) Height of seat: 1 7 i n ( 4 3 c m ) Width: 25in (63.5cm) Depth: 2 2 i n ( 5 6 c m )

42

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43

Two ]9lli roiiliiry c^agores A fine quality Victorian two-tiered etagere. Each face is veneered in

A Regency burr w a l n u t four-tier etagere. The top has a single

amboyna witPi ebony cross-banding and bordered with boxwood and

drawer w h i c h is lined with mahogany and each tier is supported

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

by finely carved, reeded columns with turned c a p i t a l s and feet.

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

The whole is standing on turned bun feet.

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

The whole stands on turned, tapering, circular legs.

England, circa 1815

In the manner of Holland & Sons.

Height: 36in (91.5cm) England, circa 1870

Width: 19in (48cm) Depth: 15in (38cm)

Height: 36in (91cm) Width: 26in (66cm) Depth: 15in (39.5cm)

44

A papier-inaclie lal)lc A V i c t o r i a n papier-mache c i r c u l a r occasional table. The top is decorated with a finely painted floral vignette bordered with an elaborate gilt and polychrome s c r o l l . The stem, base and tapered foot are similarly enriched with elaborate flowing, gilded f l o r a l ornament.

A t t r i b u t e d to Jennens and Bettridge. See footnote to page 14.

England, circa 1 8 7 0 Height: 2 9 i n ( 7 4 c m ) Diameter: 2 6 i n ( 6 7 . 5 c m )

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 naturalistic 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 tripod f o r m and are further carved with a motif of trailing ivy throughout the base. They retain their original scagliola verde antico tops and have a shallow frieze carved with trailing ivy.

Italy, c i r c a 1 8 4 0

Two centre tal)les Tables height: 2 8 i n ( 7 1 c m ) Diameter: 4 3 i n ( 1 0 9 c m )

/

4in (61cm) 6in (91.5cm)

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A p a i r o f sol I c e s Height of seat: 1 9 i n ( 4 9 c m ) Height of back: 4 7 i n ( 1 1 9 . 5 c m ) Width: 64in (162.5cm) Depth: 3 6 i n ( 9 1 . 5 c m )

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

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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 neoclassicism with the natural spectacle of the sublime. Famous grottoes were I

lavishly designed using natural elements, often housing fountains with classical sculpture, throughout Europe.

Architects, such as Claude Ledoux ( 1 7 3 6 - 1 8 0 6 ) , 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 r o m 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 controlling 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 set of martial ire-irons

A pair of 19th century high back hall c h a i r s in the J a c o b e a n

A late 19th century, unusual set of fire-irons in the f o r m of

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

stylised bayonets with brass and steel mounted wooden handles.

design, on partly turned legs joined by pierced and turned stretchers, painted off-white with traces of red.

England, c i r c a 1 8 9 0

England, c i r c a 1 8 4 0

Length of shovel: 2 7 i n ( 6 9 c m )

Height: 4 4 i n ( 1 1 2 c m ) W i d t h : 16in ( 4 2 c m ) Depth of seat: 1 6 i n ( 4 1 c m )

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

Height: 32in (81.5cm) Width: 37in (94cm) Depth: 18in (46cm)

52

1w() (^asl-ir'on s l \ c k s t a n d s A fine mid 19th century cast-iron stick stand which combines early

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

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

having stylised foliate ornament at the sides and a similarly stylised

S t a m p e d F a l k i r k , with its original design number and patent.

egg-and-dart motif on the base. The top having four rings for canes with a central open space for larger umbrellas.

England, c i r c a 1 8 7 0

Stamped Coalbrookdale and bearing the design registration diamond together with the model reference number.

Height: 3 4 i n ( 8 7 . 5 c m ) Width: 21 in ( 5 3 . 5 c m )

England, circa 1 8 8 0

Depth: 11 in {28cm) Height: 25in ( 6 3 . 5 c m ) Width: 24in ( 6 1 c m ) Depth: 6in ( 1 5 c m )

The combination of A r u m Lily below and flowers of Morning Glory above, unified by scrolling 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 1 8 6 9 reveal a similar combination of English botanical detail with more abstract naturalistic decoration, inspired by the illuminated 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 A r t of Decorative Design' published in 1 8 6 2 . 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 f X icioiMan (ool-slools

A

A pair of Edwardian cut-glass claret jugs. The bodies are cut with a

A pair of Victorian foot-stools upholstered in deep-

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

buttoned silk velvet and supported by elaborately cast

indistinct maker's mark and model number.

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

baroque revival lacquered brass scroll feet.

England, circa 1910 England, circa 1870 Height: Sin (20cm) Height: 9in (23cm) Width: 15in (38cm) Depth: 12in (30.5cm)

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, c i r c a 1870

Height of back: 32in (81cm) Height of seat: 15in (38cm) Depth of seat: I B i n (45.5cm) Width of seat: 20in (52cm)

55

A Baccarat glass gucriclon A cut-glass centre table, with a c i r c u l a r 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 i r c a 1 8 8 0

Height: 3 5 i n ( 9 2 c m ) Diameter: 23in ( 6 0 c m )

This table was made by Baccarat around

Baccarat's craftsmen were inspired by

Italian mathematician Fibonacci. He

1880, at a time when Baccarat was

the natural arrangements of flower petals

devised a table with consecutive numbers,

developing their Indian market through

and seeds in the design for the decorative

for both spirals, where each following

their showrooms in Bombay. The Indian

cutting of this table top. The double spiral

number is the sum of the previous two.

Maharajahs demanded, and could pay for,

arrangement, one clockwise, one counter-

This arrangement was based on the

the highest standards of workmanship.

clockwise, is nature's most effective way

golden mean and is here employed in the

The sharpness and quality of the cutting

of arranging seeds, as can be found in the

lozenges on this table top, whose shape is

of this table requires so much time from

sunflower. Although common throughout

directly related to the rhombic form of

the craftsmen as to be completely

nature this phenomenon was only

sunflower seeds.

uneconomical today.

explained in the 13th century by the

56

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Gaston Latoiiclie I<sr)4-I!)l3 llvo J Inures in a park Oil on canvas Signed and inscribed ' a IVlonsleur Feuillard' Unframed: 23 x 23in / 58.5 x 58cm Framed: 31 x 30in / 78.8 x 77.5cm

Gaston L a t o u c h e 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

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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 largescale 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.

m.

58

\ terracotta lion A n heroic scale French mid 19th century t e r r a c o t t a model of a seated lion, his head slightly t u r n e d . T h e modelling is achieved in a bold and impressionistic manner. The whole stands on an integral square plinth.

France, c i r c a 1 8 4 0 Base: 1 9 i n ( 4 8 c m ) square

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Height: 4 5 i n ( 1 1 4 c m )

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A pair of small oak Gotliic lal)les A pair of mid 19th century small square occasional tables in oak, with a pierced quatrefoil frieze and spiral carved supports surmounted by scroll c a p i t a l s and with a weighted shelf below, on short turned legs with square Gothic feet.

England, circa 1 8 5 0 Height: 3 0 i n ( 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 William IV mahogany writing 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) Depth: 42in C107cm)

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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^ c a n d l o s l i c k s A very unusual pair of W i l l i a m 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

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A L()uis-Pliili|)|)e Scares ])()ixx^laiii centrepiece

A l)rass cani|)aigii bed

A very rare Louis-Philippe Sevres porcelain centrepiece, having gilt

A rare Charles X lacquered brass campaign bed. The back and

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

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

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

columns enriched with moulded collars and surmounted by urn

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

finials, decorated with machined neo-classical ornamental motifs.

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

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

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

decoration and terminating in brass castors.

gilt with birds perched on vine leaves intertwining in a stylised France, circa 1 8 2 0

guilloche pattern. The sides of the legs are fluted and they terminate in claw feet. The central supporting column has a capital of lotus leaves above a boldly spiralling baluster-form support.The whole stands on a

Height: 4 8 i n ( 1 2 2 c m )

tripod concave stepped plinth with rolled mouldings.The base bears an

Length: 7 9 i n ( 2 0 2 c m )

initial stamp R F and S . 5 0 . (This mark is R F for Republique Frangaise,

Depth: 3 6 i n ( 9 2 c m )

the S is the initial of the gilder, and the 5 0 is the year 1 8 5 0 ) .

France, dated 1 8 5 0 Height: 17in ( 4 4 . 5 c m ) Diameter: 1 6 i n ( 4 0 . 5 c m )

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

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

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

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

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

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

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

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

1 7 3 8 at Vincennes, however its great period began in 1 7 5 1 when J . - J .

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

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

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

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

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

cipher as the factory mark. In 1 7 5 6 they moved to a new building at

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

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

on the 19th February 1 7 9 7 . T h e fountain had come originally from

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

Hadrian's villa a t T i v o l i . T h u s Brongniart was able to make reference to

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

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

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

designs were swiftly approved and production began.

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

Here the complete records of the Sevres factory prove invaluable.

and many commissions followed.The factory continued through the reign

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

of Louis X V I and even carried on through the revolution. In 1 7 9 3 the

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

factory was declared state property and the letters R F (Republique

emperor on the 27th IVIarch 1 8 1 0 together with the rest of the service.

Frangaise) became the factory mark. Though the revolutionary period

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

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

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

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

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

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

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

factory has continued through war and revolution, at all times

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

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

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

today predominantly making reproductions of 18th-century designs whilst

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

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

rings in the lion's mouths and a gilt collar 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. 1 8 5 0 was the middle year of the Second

factory was Alexandre Brongniart. He brought the company into the

Republic. On 2nd February 1 8 4 8 riots tore through the streets of Paris

19th century and through technical innovation and new designs he

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

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

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

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

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

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

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

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

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

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

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

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

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

considered to resemble white marble. The architect Theodore Brongniart

of

Louis Napoleon himself.

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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, c i r c a 1860

Height including shades: 30in (76cm)

70

A (Charles X oveniiantel inirrot A rare large-scale, Charles X eglomise m i r r o r with a polished brass outer edge. E a c h side is canted and the eglomise depicts gilt borders and scrolling gilt oak leaf motifs against a white background. The piece retains its original m i r r o r plate.

France, c i r c a 1 8 3 0 Height; 4 1 i n ( 1 0 4 c m ) Width: 35in (89cm)

71

MALLETT

PLC

DIRECTORS

George M a g a n * chairman LantO Synge chief Executive The H o n Peter D i x o n P a u l a Hunt Giles Hutctiinson S m i t h Thomas Woodham-Smith Henry Neville The Hon M r s S i m o n W e i n s t o c k * Rex C o o p e r * S i m o n de Zoete*

* N o n executive

M a l l e t t & Son (Antiques)

Ltd

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London W I S

London W I K

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L a n t O S y n g e Managing Director

T h o m a s W o o d h a m - S mith

The H o n Peter D i x o n Director

Henry Neville Director

P a u l a Hunt Director

Felicity J a r r e t t

Giles Hutchinson S m i t h Director

Annabel

J a m e s Harvey Director

Fiona Barker

J o h n S m i t h Associate Director

Timothy

R i c h a r d Cave Associate Director Associate Director

Tarquin Bilgen Charles M a c k i n n o n Ainslie

Marchant

M a l l e t t Website: w w w . m a l l e t t a n t i q u e s . c o m Email: antiques@mallett.co.uk

I IVlallett & Son (Antiques) Ltd 2001 Designed by Sinclair Communications Printed in England by Balding + Mansell

Ltd

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Jeremy Garfield-Davies

72

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

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D'Arcy

Langston

Director

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