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MALLET T Established 1865


MALLETT English &c Continental Antique Furniture, Objets d'Art, Paintings & Watercolours

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


M A L L E T T IN B O N D STREET Mallett &C Son (Antiques) Ltd 141 N e w Bond Street London W I S 2BS Telephone: 020 7499 7411 Fax: 020 7495 3179

M A L L E T T GALLERY Mallett &c Son (Antiques) Ltd 141 N e w Bond Street London W I S 2BS Telephone: 020 7499 7411 Fax: 020 7495 3179

M A L L E T T AT B O U R D O N HOUSE Mallett at Bourdon House Ltd 2 Davies Street London W I K 3DJ Telephone: 020 7629 2 4 4 4 Fax: 020 7499 2 6 7 0 Mallett Website: Email:

Front cover: Detail of a cabinet attributed to James Newton {see pages 70-73). Frontispiece: Detail of a Queen Anne red lacquer lowboy (see pages 16-17). Opposite: One of a set of Louis XV wall appliques (seepage 108-109).




'HISTORY NEVER STOPS HAPPENING' These w o r d s of the American novelist D o n DeLillo are apt for the antiques business, where we are constantly looking at interesting and beautiful artefacts in a contemporary context. As times change, taste varies a little though the finest is always secure and beyond the b o u n d s of fashion. But most importantly each period creates specially fine pieces that are destined to survive because they are artistic, well conceived and crafted, and therefore become treasures of their times. The selection we have m a d e for you here in this booklet shows a wide historical variety; new styles, new w o o d s , new techniques and many added influences have introduced ever-expanding opportunities. The wonderful things gathered together in these pages reflect very different times and it is g o o d to think that as the new millennium progresses we shall, I hope, be continuing to s h o w you further wonders, as history goes on 'happening'. I hope you enjoy this contribution for 2 0 0 1 .

L a n t o Synge Chief Executive




An extremely fine pair of George II giltwood side tables in the manner of William Kent,with dark green marble tops with sienna borders, the fluted frieze carved with acanthus and with a patera at each corner, with magnificent pierced apron formed of boldly carved foliate scrolls centred at the front with a garland of densely carved flowers, raised on scroll form legs with acanthus, guilloche and scale carving and hung on the inside edges with swags of fruit and flowers. English, circa 1740 The marble tops replaced Height: 3274 in / 83 cm Width: 4IV4 in / 106 cm Depth: 24V2 in / 62 cm William Kent (1684-1748), architect, painter and designer, was essentially a great interior decorator w h o made a huge impact

on the furniture of his age. This splendid pair of tables is indicative of his style and the stool overleaf, one of a set supplied to H a m p t o n Court, is almost certainly designed by him. After ten years studying in Italy and under the patronage of Lord Burlington, he brought his own interpretation of the earlier Italian baroque to some of England's greatest houses, creating furniture in harmony with their interiors. In addition to Lord Burlington's own Chiswick House, some of Kent's greatest work can be seen today at Houghton Hall and Holkham Hall in Norfolk, at Chatsworth in Derbyshire and at Kensington Palace and Hampton Court Palace. Kent was able to reinterpret and reduce the monumental stonework forms of Italianate architecture into items of furniture commensurate to room settings. Drawing upon the antique, he incorporated classical motifs into his own architectural

vocabulary, thus creating a sumptuous combination of the two. His great pier tables and chairs speak of the fountains of Rome, often adorned as they are with marine motifs, alluding to the cult of Poseidon. Here the legs of the tables are bold volutes in the form of strapwork, carved throughout with fish scales. The scroll form supports of the stool are similarly scale carved and centered on both sides by a large scallop shell, symbolic of Aphrodite, or Venus, born of the sea. These particular tables are also interesting in that they show early indications of the emerging rococo style, with their intricate and densely carved wreaths of flowerheads flanked by scrolling leaves, still symmetric but giving way to a slightly lighter and more naturalistic look and creating a foil to the overall architectural form.

A GILTWOOD STOOL FROM HAMPTON COURT An important carved giltwood 'X' frame stool by Henry Williams, carved throughout with a scale pattern, the front and back both centered by a large shell and the sides with a scrolling leaf motif, the scrolled supports carved with large acanthus leaves and ending in large naturalistic paw feet. English, circa 1737 Height: 17'A in / 44.5 cm Width: 26 V2 in / 67 cm Depth: 20 Vi in / 52 cm


This stool comes from a large set made in 1737 by Henry Williams for Hampton Court Palace. They were most probably designed by William Kent and were originally upholstered in green silk damask. In the Lord Chamberlain's accounts at the Public Record Office are the following entries: to Michaelmas 1737 Henry Williams, Joyner, 2 large arm chair frames finely carved & gilt £18 24 Sq. Stool frames suitable £192 to Michaelmas 1737 William Weekes: laceman supplied for 24 square stools, upholstered with green damask for the Queen's Withdrawing room 1736/7 Henry Cooke: mercer, upholstered same with green Genoa damask at £16.6.00 per yard


At that time there tended to be considerable movement of furniture and works of art between the royal residences and there is no inventory recording these stools until the reign of George IV. It is therefore not possible to say for certain when this particular stool was removed from Hampton Court. However, today ten of the set stand in the Communication Gallery at Hampton Court. In this gallery hangs a collection of portraits by Sir Peter Lely which represent the most beautiful women at the court of Charles II and are known as the 'Windsor Beauties'. Below each portrait stands one of the stools and between them are torcheres in the form of terms by Benjamin Goodison. Hampton Court Palace is famously associated with Henry VIII but his Tudor palace was largely remodelled for William III and Queen Mary by Sir Christopher Wren, creating one of the great baroque masterpieces of architecture of the late 17th century in England. The Queen's drawing room referred to above is the central room on Wren's east front. At the very beginning of the 18th century, during Queen Anne's reign, the room was painted by Antonio Verrio with allegorical scenes to celebrate the great naval power of Britain. When George II came to the throne the State Apartments were redecorated and refurnished for Queen

Caroline. In 1737 he hung the Drawing Room with silk damask, covering Verrio's paintings which were not to his liking, and it was at this time that the set of stools was supplied. 1737 was the last year in which the full court visited Hampton Court Palace. Not long after a rift with their eldest son, Frederick, Prince of Wales, Queen Caroline died and the King never went there again with the court. The cabinetmaker Henry Williams is recorded at Long Acre in London between 1717 and 1758. He succeeded Richard Roberts as chairmaker to the Royal Family, supplying to the Royal palaces from 1729 untill758. He was patronised by Frederick, Prince of Wales, later George II, and the Lord Chamberlain's accounts show him to be a regular supplier of furniture to Windsor Castle, Somerset House, Kensington Palace, and the Houses of Parliament, as well as to Hampton Court. Other commissions included those to Sir Paul Methuen of Corsham Court in Wiltshire, Sir John Dutton of Sherborne House Gloucestershire, Thomas Coke, Earl of Leicester, at Holkham Hall, Norfolk, and The Lodge, St John's College, Cambridge.

"We are grateful to Sebastian Edwards, Head of Works of Art in the Curatorial Department at Hampton Court Palace, for his help in identifying this piece.



A S E T OF T H R E E G E O R G E II G I L T W O O D WALL B R A C K E T S An exceptional set of three George II giltwood wall brackets of large scale, each in the form of a broad boldly curving scroll with magnificent acanthus carving and central beading, carved at the sides with floral paterae and scrolling leaves on a punched ground, surmounted by a foliate carved and fluted pediment. English, circa 1740 Height: 2 0 in / 51 in Width: l l V 2 i n / 2 9 in Depth: 9 in / 23 cm





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A magnificent early 18th century Queen Anne red lacquer bureau bookcase; the upper part with broken arched pediment surmounted by turned giltwood urn finials, the arched doors with bevelled mirror plates opening to reveal a fitted interior with an arrangement of small drawers and pigeon holes around a small central cupboard with bevelled mirror door, enclosing a further compartment with drawer and pigeon holes and flanked by fluted pilasters forming secret compartments; with candle slides beneath the outer doors; the lower part having a fall front opening to reveal a further fitted interior, also with a central cupboard and hidden compartments and with a well beneath; all above two short and two long drawers in the base with engraved brass handles and lock escutcheons, raised on shaped bracket feet; the bureau bookcase japanned throughout with a great variety of chinoiseries in shades of gold on a deep red ground, including birds, flowers, animals and rocky landscapes, with musicians and other figure subjects, the fall front depicting a stag hunt, with fishermen in the foreground and galleons in the distance.


English, circa 1710 Height: 96 in / 244 cm Width: 4072 in / 103 cm Depth: 22% in / 58 cm From the days of the early explorers, the exotic East and its culture held a fascinating curiosity for Europeans. In the 16th and 17th centuries, with the expanding trade between the hemispheres, particularly via the shipping routes of the great maritime powers of England, Holland and Portugal, eagerness grew to acquire newly discovered oriental treasures such as porcelain and lacquer. At that time, the most desirable lacquer was considered to be that of Japan, hence the term 'japanning'. However, in the 17th century Japan was almost completely banned from trading with the west. This, together with the expense and time involved in bringing back original pieces from so far away and the hunger of fashion conscious furnishers here, led to the emergence of imaginative craftsmen and artists who strove to imitate the Chinese or Japanese designs. In 1688, Messrs John Stalker and George Parker published in Oxford A Treatise of Japaning and Varnishing, Being a compleat Discovery of those Arts. Stalker is recorded

as a maker of japanned furniture working 'at the Golden Ball in St James's Market'. Parker is thought to have been more of an academic and lived in Oxford. The Treatise was a detailed work on the European interpretation of oriental decoration on furniture and objects, as well as other decorative finishes. Including twenty-four copper plate engravings of chinoiserie designs, it is written in terms of sumptuous verbosity, liberally illustrated with picturesque, classical references. It nonetheless covers every possible aspect of its subject, describing in great detail the skills of japanning, particularly advising the 'reader or practitioner' to beware of poor quality and the work of 'varnish-dawbers'. Given the early date of its publication, this entrepreneurial work had a considerable effect for many years. A famous suite of red and gold lacquer furniture was supplied by Giles Grendey as late as 1735-1740. The three examples illustrated here, a magnificent bureau bookcase and a side table from about 1710 to a beautiful clock of about 1725, are all superb representations of the influence of eastern art on the furnishings of English homes and the tradition of japanning that has existed more or less ever since.




A very rare japanned lowboy decorated

A George I red lacquer bracket clock with

throughout with gold chinoiseries on a

musical movement by James Chater playing

red ground, the top depicting a seated

two tunes, the bell-shaped top surmounted


mandarin with attendants near a pavilion

by flambeau finials, with brass arched dial

in a terraced garden, within a border of

signed James



and with

gilt hatchwork, with one long drawer

strike-silent dial, music selection dial and

and three short drawers in the frieze

calendar aperture, the dial surrounded by

retaining their original brass handles,

gilt metal spandrels, the door also with

with carrying handles at the sides and

pierced spandrels, the case decorated

shaped apron, raised on cabriole legs

throughout with gold chinoiseries on a

ending in pad feet.

scarlet ground, with brass carrying handles and bracket feet, the back plate with rococo

English, circa


and chinoiserie engraving.

Height: 2 9 in / 74 cm Width: 30'/2 in / 78 cm

English, circa

Depth: \9'/i in / 4 9 cm

Height: 2 3 in / 5 8 cm


Width: 15 i n / 3 8 cm See a l s o f r o n t i s p i e c e f o r d e t a i l

Depth: 9'A in / 2 5 cm





An early 18th century walnut chest of drawers of very fine faded colour, having a quarter veneered top with moulded edge, crossbanding and inlaid stringing, with an oak lined brushing slide above four graduated drawers with pierced brass handles and lock escutcheons, all the drawers crossbanded and similarly inlaid with stringing, raised on bracket feet.

A George I small kneehole desk in highly figured burr walnut of very fine colour, the quarter-veneered top with indented corners, crossbanding and herring-bone inlay, with one long drawer above three small drawers at each side, all with engraved brass handles and lock escutcheons, the kneehole recess with a shallow drawer above a small cupboard which slides forward.

English, circa 1715 Height: 30 in / 76 cm Width: 2972 in / 75 cm Depth: 17^4 in / 45 cm

English, circa 1720 Height: 3OV2 in / 77 cm Width: 28 in / 71 cm Depth: 17% in / 45 cm


A WING CHAIR WITH ORIGINAL NEEDLEWORK A George II walnut wing chair of unusual form, having slightly in-curving sides, covered in original needlework depicting exotic birds, stylised flowers and scrolling foliage, the back worked with a central vase and a seated lady wearing a laurel wreath, raised on cabriole legs carved at the front with scrolling acanthus at the knees and ending in claw and ball feet. English, circa


Height: 4 5 in / 114 cm Width: 29 in / 74 cm Depth: 3172 i n / 8 0 cm





A fine and rare early 18th century Queen Anne walnut and parcel gilt card table, the finely figured foldover top with walnut crossbanding and herring-bone borders, the gilded gesso edge with raised foliate decoration on a punched ground, opening to reveal a baize playing surface with burr yew roundels for candles, the shaped frieze with a single long drawer with brass pull handles above a plain gilded edge, all supported on circular tapering legs with gilt foliate decoration on the knees and terminating in pad feet with gilt shells. English, circa 1710 Height: 2874 in / 72 cm Width: 31 in / 79 cm Depth: 15V4 in / 40 cm An almost identical card table to this was sold from the renowned collection of the late Mrs Marjorie Wiggin Prescott, at Christie's in New York in January 1981, and is now in a private US collection. The tables vary only in the character and colour of the walnut veneers and must clearly have come from the same workshop. With their


gilt gesso embellishments they represent a highly sophisticated variation of the traditional card table form of the Queen Anne period, created for the smaller, more intimate interiors of the time. Placed for everyday use as a side tables, they would have been brought out regularly for the playing of popular games such as quadrille, basset and loo. There was a passion for card playing in the early 18th century and sometimes the stakes were high. Despite a new tax imposed on cards and dice, enthusiasm for gaming was not diminished, and no less so among the ladies than the gentlemen. Jonathan Swift wrote in his Journal of a Modern Lady that despite a long night of quadrille, by tea time the next day she is eager to start playing again: The Table, Cards and Counters set And all the Gamester Ladies met. Her spleen and Fits recover'd quite Our Madam can sit up all night; Who ever comes I am not within. Quadrille the word, and so begin.


A SET O F FOUR G E O R G E I WALNUT CHAIRS A set of four fine George I walnut side chairs with vase shaped back splats with burr walnut veneers, the seat rails having a moulded top edge with drop-in seats covered in 18th century needlework with baskets of flowers on a blue ground within red borders, the cabriole front legs with boldly carved shell motif together with scrolls and pendant husks and ending in claw and ball feet. English, circa 1720 Height: 41 in / 104 cm Width: 22 in / 56 cm Depth of seat: 19 in / 48 cm






A very fine set of ten Chippendale period mahogany dining chairs, comprising two armchairs and eight single chairs, the backs with shaped top rails, moulded side supports and foliate and ribbon carved pierced splat backs, all on square moulded legs joined by 'H' stretchers, the serpentine seats covered in green silk damask. English, circa 1 7 6 0 Plus two new single chairs to make a set of twelve. Armchairs: Height: 38 in / 9 7 cm Width: 2474 in / 63 cm Depth of seat: 2 0 in / 51 cm Single chairs: Height: 3 7 in / 94 cm Width: 2 2 in / 56 cm Depth of seat: 18 in / 4 6 cm




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A CHIPPENDALE KETTLE STAND A small Chippendale period mahogany kettle stand with pie-crust top, raised on a turned stem with spiral knop, on arched tripod base with pointed pad feet. English, circa 1760 Height: 2474 in / 62 cm Diameter of top: 11'A in / 28.5 cm Width across feet: 17 in / 4 3 cm

A G E O R G E II C A R V E D ERUITWOOD ARMCHAIR An extraordinary George II library armchair made in fruitwood with carving of exceptional quality and grandeur, being carved throughout with acanthus leaf and scroll motifs, including an elaborate apron centred by a shell at the front, raised on cabriole legs with further acanthus motif and ending in scroll toes, the padded back and seat upholstered with 18th century French 'bizarre' needlework with exotic birds and animals, stylised flowers and other motifs on a charcoal ground. English, circa 1755 The needlework Erench, 18th century Height: 36V2 in / 93 cm Width: 2772 in / 70 cm Depth: 28 in / 71 cm


A MAHOGANY SERPENTINE COMMODE A very fine Chippendale period mahogany serpentine commode, of grand proportions and superb colour and figuring throughout, the top with a moulded edge, the sides curving outwards to broad canted corners headed by carved acanthus leaves on a punched ground above fluting carved with flower motifs at the base, with four long graduated drawers, the top drawer fitted with baize lined brushing slide and all with brass swan's neck handles, raised on bracket feet. English, circa 1 7 6 0 Height: 3572 in / 90 cm Width: 54 i n / 1 3 7 cm Depth: 26Y4 in / 68 cm

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A fascinating and rare mid 18th century colonial kneehole desk made in a variety of East Indian hardwoods and inlaid with ivory and ebony, the top with zig-zag border and central rosewood panel inset with a stylised lotus flower within an arabesque and running flower border, surrounded by smaller rectangular panels inlaid with similar lotus flower motifs within intricate borders of geometric stringing; the desk with a single long drawer above a sliding cupboard unit inlaid with the figure of Aeneas in silhouette above a dummy drawer, flanked by three drawers at each side, all inlaid with further silhouettes of animals and classical scenes depicting Apollo; with cast brass carrying handles and drop ring drawer handles, raised on bracket feet. Indo-Dutch, circa


Height: 3172 i n / 8 0 cm Width: 32'A in / 82 cm Depth: 2OY4 in / 5 3 cm


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The occupation of India by the combined European powers of England, Holland, France and Portugal during the 17th and 18th centuries produced some remarkable items of furniture that combined the cultures and traditions of the East and the West. This extraordinary desk of European form liberally displays Indian influence in the lotus flower motifs so present in Mughal decoration. However, here they are stylised to the degree that they seem to resemble the tulip, the precious bulb which in Holland was traded with such frenzy that the most rare species fetched staggering prices and were almost a

currency in their own right. O n the front of the desk are silhouettes depicting beasts of the forests and plains. There are buffalo, antelope and horses as well as a hare and a tiger. These contrast charmingly with the scenes from ancient Greek mythology. O n the central cupboard door is Aeneas carrying his son Ascanius on his shoulders, leaving the ruins of Troy behind him. O n one of the lower drawers is Apollo with the nymph Daphne, at the point when she metamorphoses into a tree to avoid being captured by him. O n the other Apollo is shown in triumphant pose with his arm aloft.



An exceptionally rare late 18th century aventurine tea caddy, the glass body bound with finely chased rococo gilt copper mounts in the manner of James Cox, with shaped carrying handle and supported on ball and claw feet, the top opening to reveal a series of three containers, all with aventurine panels and similar gilt metal borders. English, circa 1775 Height: 6 in / 15 cm Width: 9 in / 23 cm Depth: 5 in / 13 cm Aventurine is a special type of glass, first used in antiquity but re-discovered by accident in Murano during the 16th century (the name deriving from avventura.


meaning chance). It was achieved by mixing copper crystals with molten glass, creating a spangled, quartz-like iridescence. The use of aventurine in England in the 18th century is associated both with James Cox, a renowned maker of some remarkable ormolu objects, clocks and automata made particularly for the eastern market, and with Matthew Boulton who incorporated it into certain of his finest works in ormolu. Mallett's handled in 1980 a magnificent blue aventurine casket of this form and with similar gilt metal mounts. An almost identical tea chest to the present one was sold from the Calvert Wardley collection at Phillips in 1982 but in this instance the interior caddies were of enamel.

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A n 18th century silver mounted mother-ofpearl casket, intricately carved throughout with flowers and leaves, with pierced silver carrying handle, hinges and lock escutcheon and raised on silver claw and ball feet, containing three rococo chinoiserie repousse silver tea caddies with lids, the interior retaining its original red velvet lining.

Hallmarks: S. Herbert & C o , London 1760-1 Height: 7 in / 18 cm W i d t h : 11'A i n / 3 0 cm Depth: 672 in / 16.5 cm



A very rare Chinese Chippendale mahogany 'silver' table having a rectangular pie-crust top, the frieze with blind fret carving, on square chamfered legs with pierced fret brackets and joined by a pierced ' X ' stretcher. English, circa 1760 Height: 2 8 in / 71 cm Width: 29V4 in / 75.5 cm Depth: IV/iin/ 55 cm A 'silver' table is a type of centre table of the early George III period, also referred to as a 'China' table, and its original purpose was to hold a silver tray on which the tea service would be placed. From its introduction to England early in the 17th century, tea became more and more widely drunk. It was a regular pastime to visit the tea gardens in and around London to enjoy

AN OVAL G I L T W O O D MIRROR A fine George III carved giltwood oval mirror of the Chippendale period retaining its original plate, the frame formed of adjoining scrolls surrounded by a pierced framework of scrolls, foliage and flowers, with pierced cartouche cresting and a further pierced cartouche at the base. English, circa 1765 Height: 4 3 in / 109 cm Width: 2872 in / 72 cm PROVENANCE Stonor Park, Buckinghamshire


the fashionable new beverage. By the middle of the 18th century, however, it was becoming more popular to drink tea at home and so new furniture was designed accordingly. Alluding to the far eastern origins of the tea, certain tables were designed in the new 'Chinese' style, decorated with fret piercing or carving. Thomas Chippendale in his Director of 1754 shows two table designs 'for holding Each a Set of China and may be used as Tea-Tables'. Such tables were often reproduced in the 19th century and genuine period examples are rare. Especially unusual is this adaptation of the pie-crust edge, here reconfigured to suit a rectangular form rather than the usual circular shape. Possibly a silver tray was originally made to match the sophisticated shape of this previously unrecorded table.







A PAIR O F I R I S H S I D E CHAIRS A very rare pair of 18th c e n t u r y Irish m a h o g a n y side chairs, w i t h p a d d e d backs a n d d r o p - i n seats, t h e s h o w - w o o d f r a m e carved o n the a r c h e d topraii with a central shell flanked by foHate scrolls a n d w i t h scale carved u p r i g h t s , the base edged with scallop a n d bead carving, having a serpentine f r o n t rail c e n t r e d by a fan a n d scrolls, w i t h cabriole f r o n t legs carved with stylised a c a n t h u s a n d bellflowers a n d e n d i n g in scroll toes, t h e r a k e d , straight back legs with similar stylised a c a n t h u s . Irish, circa


H e i g h t : 3772 in / 9 5 cm W i d t h : 23'A i n / 5 9 c m D e p t h : 2 6 in / 6 6 cm



An important mahogany single diningr o o m chair attributed to T h o m a s Chippendale, the open splat back with finely carved husk swags enclosing a central patera with floral hub, the slightly arched back rail with central foliate motif and an oval patera surmounted by leaf capping at either side, the carved lower back with Greek key pattern, a 'sunburst' motif and fluted base, the seat rail with guilloche carved border, raised on tapering front legs carved with bell-flower pendants within recessed panels and ending in spade feet.



The English Chair, M Harris, 1937, p i 4 2 , pi Ixxiia PROVENANCE:

Probably made for Daniel Lascelles, Goldsborough Hall, Yorkshire Moss Harris & Sons, 1937, by repute Sir K Wilkinson Mallett 1969 Private collection, England Mallett 1990 Private collection, England

English, circa 1770 Height: 38 in / 9 7 cm Width: 2172 i n / 5 5 cm Dept: 1974 i n / 4 9 cm



cf Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, pp 90-91, pis 144-149

Conforming exactly in style and decorative embellishment to the set of chairs supplied to Goldsborough Hall in Yorkshire by T h o m a s Chippendale between 1771 and 1776, this chair may well be part of that suite. The 1801 inventory of Goldsborough Hall states that the dining room was furnished with fifteen mahogany dining chairs 'coverd with red M o r o c c o Leather & brass naild'. Daniel Lascelles, owner of Goldsborough and patron of T h o m a s Chippendale, died in 1784 and his brother, Edwin Lascelles of nearby H a r e w o o d House, inherited everything. In 1929 Goldsborough was vacated, rented as a school and subsequently sold by the 6th Earl of H a r e w o o d . The contents were either sold See overleaf







continued or removed to Harewood. The 7th Earl sold fourteen of the Goldsborough dining chairs at Christie's in London in April 1976. They were sold again at Christie's in July 1996 and are now in the Metropolitan Museum in New York. This history suggests that the fifteenth chair originally supplied by Chippendale may well have been sold or somehow separated from the rest of the set when Goldsborough was vacated in 1929. The present chair reputedly appeared on the London art market in 1937 in the premises of Moss Harris &c Sons. It has been through Mallett's hands twice previously, in both instances going to private collections in England. The five recorded sets of earlv neo-

classical dining chairs commissioned for Goldsborough Hall, Newby Hall, Harewood House, Brocket Hall and probably Lansdowne House between 1769 and about 1774 clearly illustrate Chippendale's approach. All are of similar concept, with some differences expressed in the degree of elaboration in the carved enrichment. Interestingly, the present chair shows evidence of brass nailing on the sides of the rear supports, as if it had previously been upholstered in an identical manner to the leather covered Goldsborough chairs. Daniel Lascelles purchased Goldsborough in 1760 and commissioned John Carr of York to modernise the interior. Unfortunately, no invoices or

accounts referring to the furnishing of the house have been traced. However, vital evidence of Chippendale's involvement is to be found at Harewood where the steward Samuel Popelwell kept a day book of work in which he accurately recorded precisely how Chippendale's site foreman, William Reid, spent his time. Four entries refer to Reid visiting Goldsborough between 1771 and 1776. The set of fifteen chairs supplied to Goldsborough are amongst Chippendale's most eloquent early neo-classical designs and, while clearly related to, are more richly styled than the other documented sets which still remain in situ at Newby and Harewood.

A G E O R G E III O V A L GILTWOOD MIRROR A very fine George III oval giltwood mirror of transitional style having a fluted and beaded inner frame surmounted by a carved and pierced giltwood cresting in the rococo manner formed of foliate scrolls, with further leaf scrolls at the base, the sides hung with swags of husks and with oval paterae in the neo-classical manner. English, circa 1770 Height: 52 in / 132 cm Width: 25 in / 63.5 cm

l-cft: O n e of the Cioldsborough chairs, reproduced courtesy of Christie's Images




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time in m a k i n g it habitable. The original

M u s e u m archives, establishes the identity

A d a m period carved giltwood oval back

plans were not wholly to their liking and

of six carved and gilt armchairs and t w o

armchairs attributed to J o h n Linnell, the

the state rooms were hardly decorated in a

confidantes at Inverary which must have

An important and exceptionally fine pair of

frames carved throughout with guiiloche

manner to suit the sophisticated neo-

been amongst 'the golden chairs' admired

and foliate motifs, the curved oval back

classical taste of the new owners. A n

so much by James M a x w e l l .

with medallion cresting and raised on

important feature in this transformation of

carved acanthus, the arms with leaf-carved

the castle was the new furniture ordered by

back armchairs at Inverary can also be

A second set of six carved and gilt oval

ball hand rests, with drop-in seats within a

the 5th D u k e , from the Linnell workshop

attributed to J o h n Linnell. These have

moulded seat rail carved on all sides, raised

in L o n d o n , which was installed at Inverary

fluted seat rails and turned and fluted front

on square tapering legs.

between 1773 and 1780.

legs surmounted by carved paterae. The

The poet James M a x w e l l visited the

an acanthus leaf at the elbow and the base.

English, circa 1775

house in 1777. He noted 'the rich

Height: 38 in / 97 cm

tapestries with borders decked with gold'

W i d t h : 24 i n / 6 1 cm

and continued:

transformation of the drawing-room, But to describe, the furniture,

The attribution of this pair of chairs to

I must confess is above my

Linnell lies in their immediate comparison

The organ, instruments,

both to his o w n drawing and to an

can never fully be describ'd

so grand,

and golden

dining-room and the saloon. These were dispatched to the 5th D u k e of Argyll and

hand. chairs

to ears.

work was eventually begun in 1782. They introduced the most elegant stucco ornament and enlivened the grand rooms

important recorded commission. west coast of Scotland and designed by

In 1780, Robert M y l n e was preparing his superb designs for the final

Depth: 21 in / 54 cm

Inverary Castle, situated in Argyll on the

arm supports are moulded and carved with

The 5th Duke's bank account records

with exquisite painted decoration in the

payments made to J o h n Linnell between

late Louis X V I style. The rooms were not

Roger Morris in 1746, was inherited by the

1774 and 1780 totalling ÂŁ 8 8 4 12s 9d.

finally completed until 1789. It was against

5th D u k e of Argyll in 1770. Although still

Fortunately, despite the lack of detailed

this sophisticated background that the

incomplete, the D u k e and his wife,

bills, Linnell's original design for this

sumptuous Linnell seat furniture was to

formerly the Duchess of H a m i l t o n , lost no

model, n o w in the Victoria and Albert

find its ultimate place.

Drawing by Linnell reproduced by courtesy of the Victoria and Albert M u s e u m



An important and rare pair of ormolu circular wine coolers by Matthew Boulton, the top rim with guilloche and bead border above a reeded body with a lower band of Vitruvian scrolls and very finely chased acanthus base, raised on turned socles, with reeded acanthus cast handles at either side rising from bacchanalian satyr's masks with vine leaf headdress, one stamped on the base 3, the other 4. English, circa


Height: 9 in / 23 cm Overall width lO'A in / 2 6 cm LITERATURE

cf Nicholas Goodison, Ormolu of Matthew




1974, p 137 and pis

63 and 163, design from Boulton &C Fothergill's Pattern Book

I, p 177, fig n

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


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

this pattern or indeed whether Boulton's designs were copied by the French, a modern conundrum that would have amused him. Sir Nicholas Goodison has kindly confirmed the attribution to Matthew Boulton. Design from Boulton & Fothergill's Pattern Book


reproduced by courtesy of Birmingham City Archives

The heavily gilded copper body indicates an English manufacturer and the attribution to Boulton is enhanced by the presence of a drawing in Boulton and Fothergill's pattern book clearly showing that the firm did in fact make them to this pattern. The quality of the chasing is remarkably high, indicating that these may have been for a specific commission rather than made on speculation for sale. It is not clear, however, whether Boulton drew inspiration from French models known of



A rare George III satinwood and marquetry

Henry Hill had a far ranging business. As

Pembroke table of serpentine form with

well as being a cabinetmaker, he was also

Calley, who was a regular customer. There

ogee shaped flaps, the parquetry top inlaid

clockmaker, coachmaker, decorator,

are three other known tables by Hill, all

with marquetry floral sprigs, the frieze with

auctioneer and estate agent, and

featuring this type of large scale parquetry,

flowers and foliate scrolls, raised on

representative of The Sun Insurance

one having similar inlaid flower sprigs,

circular fluted legs, headed by classical urns

Company. He established himself in

derived from 18th cemury chintz patterns.

and ending in ball toes with brass and

Marlborough, Wiltshire, in about 1 7 4 0 and

There is also a closely related commode in

leather castors.

remained there until his death in 1 7 7 8 . His

the Lady Lever Art Gallery at Port Sunlight.

client list was impressive, many of them English, circa


likely to have been purchased by Arabella

Hill was well situated at Marlborough,

being the landed gentry of Wiltshire,

being on the main road between Bath and London, a route greatly travelled by the

Height: 2872 in / 72 cm

including Sir Paul Methuen at Corsham

Width: 4174 i n / 1 0 5 cm

Court, The Duke of Somerset at Maiden

rich and wealthy of the time as they went

Depth: 3 3 in / 84 cm

Bradley, the Earl of Radnor at Longford

to take the waters at the fashionable west

Castle and the Calley family at Burderop

country spa town. His London and home


Park. A table from Burderop, nearly identical

counties commissions included those for Sir

cf Lucy Wood, Catalogue

to the present table, is illustrated in Lucy

John (later Lord) Delaval and Henry Hoare

Wood's Catalogue

of the banking family.

1 9 9 4 , p p 6 4 - 7 3 , figs 4 6 - 5 0




of Commodes

and was








A very fine late 18th century Chinese mirror painting depicting a brace of pheasants perched on a rock beside chrysanthemums and beneath a flowering branch with a finch perched upon it. Chinese, circa 1780 In an 18th century continental carved giltwood frame Height: 38 in / 97 cm Width: 23 in / 59 cm





"I - ' *

A M A G N I F I C E N T PAIR O F CHINESE SCREENS A pair of Chinese red and gold lacquer five fold screens, each screen painted in rich tones of gold and silver with black on a deep scarlet ground and depicting extensive mountain landscapes peopled by courtly figures in temples and pavilions, surrounded by trees and clouds, the outer border representing a continuous frieze of stylised foliage; the panelled back of each leaf decorated with flowering trees in gold on a black ground.



' '


I '




. r M ' 2


if â&#x20AC;˘

Qianlong, circa 1780 Height: 85 i n / 2 1 6 cm M a x i m u m length: 113 in / 2 8 7 cm PROVENANCE

Baron Achille Seilliere (1813-1873) Chateau de Mello and by descent in the family at the chateau See overleaf





A rare pair of late 18th century Chinese pistol handled porcelain urns decorated in black and gilt, made for the Swedish market in the style of vases made by the Marieburg factory, the body of each with two monograms, GLS and ARR, within an oval floral cartouche ad hung with swags of bellflowers, raised on square faux marble base, the covers with pineapple finials. Qianlong, circa 1793 Height: 17 in / 43 cm PROVENANCE

The vases were commissioned by Gustaf L Sifwertson (1756-1839), Captain of the Gustaf III of the Swedish East India Company, and bear his monogram. The ship was named after Gustaf III (17461792), King of Sweden Captain Sifwertson brought the vases back on his ship in 1793 and they were later recorded in the possession of his third wife, Sophia Christina Busch, whom he married in 1831. It is therefore possible that the second monogram 'ARR' refers to his first or second wife. The Chinese are thought to have used a


Wedgwood vase as the model for this form of pistol handled urn. The shape derives from 16th century designs by Stefano della Bella, who worked for Ferdinand de Medici, which were later published in England and copied by Wedgwood. The Marieburg factories in Sweden also copied the design and so the Chinese export versions are often associated with the Swedish market. The Swedish East India Company got its first charter, with the sole rights in Sweden to trade with China, in 1731. By the second half of the 18th century it had become the largest employer in Sweden and had the monopoly of the European tea trade. The Company's headquarters were at Gothenburg and most of their ships were built in Stockholm. They exported iron and timber and, in return, brought back mostly tea, porcelain and silks. In 1813, affected by extra taxation, importation restrictions and war with Russia and Denmark, the Company was finally dissolved. It is recorded that in its heyday it made no less than 132 journeys to China. We are grateful to Gunnar Lowenstein of the Maritime Museum, Gothenburg, for his help in cataloguing these vases. Gustaf III reproduced courtesy of the Maritime Museum, Gothenburg

H #/










A late 18th century Sheraton period

A pair of Regency satinwood ' X ' frame

painted armchair, the top rail with a

stools with caned seats, the supports of

painted floral panel above an interlaced

scrolling form and joined by carved and

back with fluted uprights, the arms of

painted side rails and stretcher, mounted

curving shape and resting on spiral

with gilt metal paterae and ball feet.

supports, the bowed and upholstered seat supported on circular tapering legs, also

Enghsh, circa

with spiral fluting, the chair decorated

Height overall: 21 in / 53 cm

throughout with green highlights on a

Width: 2272 in / 5 7 cm

cream ground.

Depth: 1472 i n / 3 7 cm

English, circa



Height: 3572 in / 9 0 cm Width: I V h in / 5 7 cm Depth: 2172 i n / 5 5 cm


A SHERATON SATINWOOD SECRETAIRE A late 18th century Sheraton period secretaire cabinet in satinwood of exceptional colour and figuring and with narrow tulipwood crossbanding throughout, the upper part with glazed doors with arched silvered astragals, the lower part with a secretaire drawer fitted with pigeon holes flanked by small satinwood faced drawers, above three graduated long drawers, the base outlined with ebony mouldings and raised on topie feet. English, circa 1790 Height: 83 in / 211 cm Width: 3972 i n / 1 0 0 cm Depth: 21 in / 53.5 cm






A Sheraton period mahogany cellarette of square form, the t o p inset with a coat-ofarms with horse supporters and the m o t t o SUCCESSUS INCEPTIS NOSTRIS INTEGRIS A D S / T within a b o x w o o d oval, the front with a further oval and an armorial shield inscribed Wm TATLOCK 1802, the cellarette inlaid t h r o u g h o u t with b o x w o o d and ebony stringing, foliate corners and paterae, the sides with carrying handles and supported on square tapering legs ending in brass castors.

English, dated 1802 Height: 2 3 in / 58.5 cm Width: 17 i n / 4 3 cm Depth: 16 in / 41 cm The armorial bearings on the lid of the cellarette are those of the Coopers' Company, one of the livery companies, or guilds, of the City of London. Coopers made the casks for stout and porter. The arms on the front are most probably those of William Tatlock (d 1807). The armorials would

suggest a connection between William Tatlock and the Coopers' Company. As Superintending Master of Chatham Dock, he might have been concerned with cooperage in his work. The vines surrounding the Tatlock Arms and the barley on either side of the Coopers' Arms clearly refer to the contents of the barrels.

We are grateful t o Timothy D u k e , Chester Herald at the College of Arms for his identification of these arms.





A rare Regence five sided brass hanging lantern of small scale with five lights, the arched sides with curved glass and each surmounted by a male mask, each corner with a female mask, with glass smoke cowl above. French, circa 1720 Height: 18 i n / 4 6 cm Width: 11 in / 28 cm



An unusual brass hexagonal hall lantern with foliate cresting, anthemion and mask finials at each corner and foliate finials at the base. English, circa 1820 Height: 24'A in / 62 cm Width: 1572 i n / 3 9 cm




A brass hexagonal hall lantern surmounted by a glass smoke cowl supported by cast foliate scrolls with flower motifs, the opening panel with a catch in the form of a hand grasping a scroll, with further foliate scrolls at the base. English, circa 1 8 2 0 Height: 2 9 in / 74 cm Width: I6V2 in / 4 2 cm


A magnificent and large hexagonal brass hall lantern with large cast leaf finials at each corner, the glass sides surmounted by arched scrolls, with scroll supports rising to a glass smoke cowl and foliate ceiling rose, with foliate pendant finials at the base. English, circa 1 8 2 0 Height: 34 in / 86 cm Width: 17 i n / 4 3 cm






A Regency Egyptian style parcel gilt

satinwood panels, the stand with a single

Having trained in the celebrated workshops

rosewood and satinwood collector's

long drawer in the frieze with bronze lion's

of Lawrence Fell and William Turton,

cabinet-on-stand attributed to James

head handles, the carved legs with straight

James Newton was first recorded as a

Newton, the cabinet with a gilt metal

and spiral fluting headed with Egyptian

master cabinetmaker in 1 7 8 1 . By 1 7 8 9 , he

gallery above a foliate Vitruvian scrolled

masks and terminating in lion's paw feet.

had taken over the business from Fell and Turton and moved to larger premises at 6 3

frieze and ebonised Egyptian masks, the

Wardour Street, London.

doors banded with applied giltwood

English, circa

mouldings with ebonised lion's mask

Height: 6 4 in / 163 cm


corners, surrounding magnificent

Width: 42Y2 in / 108 cm

known and suggest that his business and

satinwood panels crossbanded in tulipwood

Depth: 19 in / 4 8 cm

craftsmanship were held in high regard. He

A number of Newton's commissions are

was a regular supplier of furnishings to the

with boxwood and ebony stringing,

Earls of Exeter for Burghley House,

opening to reveal a series of sixteen


graduated drawers in rosewood with

Giles Ellwood, James

satinwood crossbanding and turned ivory

History Society Journal 1 9 9 5 , p 1 5 4 , figs

which he was in receipt of payments

handles, the reverse of the doors also with

10 & 11

totalling nearly ÂŁ 8 , 0 0 0 . These commissions



Lincolnshire, between 1 7 7 3 and 1 8 0 3 for


included a magnificent state bed which, still in situ, was supplied to coincide with a visit by the Prince of Wales in 1 7 9 7 . Between 1 8 0 0 and 1 8 1 0 , James Newton was at the pinnacle of his career. It was during this period that he supplied furniture to Matthew Boulton for Soho House in Birmingham, to the Earl of Jersey for both Osterley and Middleton Park, to the Heathcote family for Normanton Park and to the Earl of Breadalbane for both his London residences on Park Lane and Wigmore Street and his palatial Scottish residence, Taymouth Castle, for which he supplied no fewer than eight commodes. James Newton was one of the great exponents of the neo-classical movement at the end of the 18th century. He took this obsession with the 'Antique' a step further by combining both the then very avantgarde Empire and classical Egyptian styles of decoration with the typically 17th century arrangement of cabinet on stand. Two pieces similar to the present cabinet can be seen at Burghley House. However, there were actually made from walnut cabinets, circa 1 7 0 0 , which were remodelled by Newton and re-mounted on ebonised and gilt stands, together with simulated marble tops and lacquered brass handles, galleries and mounts. All three cabinets are raised on stands, carved with animal feet and decorated with simulated bronze and gilt ornament of Egyptian inspiration but the actual cabinet of the present piece differs from the Burghley examples in that it is an entirely original work attributable to James Newton. The use of exotic veneers, cedar linings, giltwood mouldings and masks in plaster decorated to simulate bronze are all hallmarks of Newton's work and it is virtually certain that Newton made this cabinet as a important private commission. It is possible that this piece predates the Burghley examples, known to have been in situ by 1804: the 1st Marquess of Exeter may have seen the present piece, and consequently commissioned Newton to remodel two surplus, and at that time unfashionable. Queen Anne walnut chests in the latest style. Newton, unlike the majority of his contemporaries, was known to have labelled pieces made for stock although it is clear that he did not deem this necessary for private commissions. Not one of these three cabinets show any sign of labelling but, in the context of the Burghley commissions and in conjuction with the Burghley Day Book records, they are clearly attributable to the workshop of James Newton.


s •





t ? iff . r I

G R E A T G L A S S BY F & C O S L E R OF B I R M I N G H A M The firm of F&cC Osier of Birmingham was pre-eminent among glass manufacturers in England during the 19th century and early 20th century. The firm continued manufacturing, albeit in a less illustrious capacity, until the 1930s Already makers of a wide variety of table glass and lighting fixtures, F & C Osier hit the headlines with their great crystal fountain, the centrepiece at the Crystal Palace in Hyde Park during the Great Exhibition of 1851. Visitors from throughout the British Empire came to the Exhibition, not least the princes of India. Thence stemmed a unique market for increasingly imaginative designs for furniture in the finest quality cut glass. Osier opened a showroom in Calcutta, to which they shipped their wares for sale to the maharajahs and potentates. There were tables and chairs, chandeliers and torcheres, two recorded longcase clocks and even a bed or two. The multi-faceted glass must have sparkled in the white marble palaces. Any apparent fragility belies the comparative robustness of the furniture, given the quality and solidity of the glass itself, supported by silvered metal frameworks and the glass was impervious to termites! The Maharajah of Udaipur has recently created a museum to display publicly his personal collection of Osier glass furniture, previously in the Lake Palace Hotel at Udaipur. The Birmingham City Museum and Art Gallery retains the remarkably comprehensive archive of the Osier business, including many of the original drawings and design numbers.



A cut glass triangular etagere with gilt metal mounts, the shelves made of teak, the sides being covered with electroplated silver and clad in finely cut glass and the tops with their original mirror plates, the uprights also clad in cut glass over silvered tubes and iron rods, surmounted by cut finials. F&cC Osier, Birmingham, circa 1885 Height: 49V4 in / 126 cm Width: 2472 in / 62 cm Osier first designed rectangular three-tier etageres in 1882 when they were described as 'oblong whatnots'. Four-tier triangular etageres such as this, which were introduced soon afterwards, are extremely rare.


A SET OF F O U R W A L L - L I G H T S A set of four wall lights, originally for paraffin, designed in the Arts and Crafts style, the ormolu brackets decorated with bevelled mirrors, the glass arms supported by ormolu and glass cross-pieces with decoration showing an Egyptian influence, the uprights at both ends having handblown finials decorated with berry prunts, the oil reservoirs standing in everted coronets of ormolu mounted drops. F&cC Osier, Birmingham, circa 1880 The shades modern replacements, based on contemporary designs Height: 1 9 ' / 2 i n / 5 0 cm Depth: 20'/. in / 52 cm



GLASS F U R N I T U R E See previous


Two magnificent crystal glass throne chairs made for a maharajah and his consort, together with a footstool, all upholstered in crimson silk velvet according to the original designs and clad entirely in cut glass over silvered frames, together with a circular cut glass pedestal table with mirrored top and retaining its original velvet border. F & C Osier, Birmingham, circa 1 8 7 0 - 1 8 9 5 The larger chair appears in Osier's folio as 2 8 9 5 B entered in November 1894. This stool appears in Osier's pattern book records dated around 1890. CHAIRS

Left: Height: 4 8 in / 122 cm Width: 26'/2 in / 6 7 cm Depth: 16'li in / 6 7 cm Right: Height: 4 6 in / 117 cm Width: 25'/i in / 65 cm Depth: 23V2 in / 6 0 cm STOOL

Height: 7'U in I 18.5 cm Width: I T h in / 5 7 cm Depth: 1574 in / 4 0 cm TABLE

Height: 34 in / 86 cm Diameter of top: 24 in / 61 cm


A pair of glass and silver plated torcheres, the heavy cast base on three small bun feet above which are a series of differently decorated glass segments, supported by silver plated sleeves and surmounted by a mirrored plateau, signed F&C OSLER. F&cC Osier, Birmingham, circa 1875 Height: 5474 i n / 1 3 8 cm Diameter of top: 12 in / 30.5 cm Width of base: 16 in / 41 cm

T o p left: C o n t e m p o r a r y watercolour of Osier armchair. Illustrations from the Osier Archives, by courtesy o f Birmingham City Museum and Art Gallery


I ' l









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A fine glass and ormolu chandelier by Osier of a revolutionary design incorporating a long twisted cut glass column simulating a rope below which hangs the stem piece, surrounded by eight rods with finials at either end, with ' C arms radiating from an ormolu ring and retaining their original shades, stamped F&C OSLER. F & C Osier, Birmingham, circa


Height: 6 1 % in / 157 cm Width: 38V2 in / 98 cm The use of vertical glass rods surrounding the stem piece is a uniquely Osier device to give a new look to chandeliers and wall-lights, moving away from the classical festooned type. This style was used for candles (in India), gas, and later on electricity.

A PAIR O F M A R Q U E T R Y ETAGERES A most unusual pair of Victorian three tier etageres in kingwood, elm and tulipwood, the top with a brass gallery and brass urn finials, each shaped tier inlaid with marquetry and with applied brass mouldings, raised on hoof feet. English, circa 1870 Height: 18'/i in / 72 cm Width: 1572 in / 39 cm Depth: Wh in / 29 cm




A fine 19th century silver gilt W a r w i c k

was purchased as the crowning piece o f the

figures are thought to be a young

Vase with finely cast and chased decoration

Burrell Collection in Glasgow.

representation o f B a c c h u s and perhaps his

o f B a c c h a n a l i a n heads and trailing grapevines. H a l l m a r k s : J C & C o for J Crichton & C o ,

T h e original vase would most probably have been commissioned between 1 1 8 and

wife. T w o large handles, representing vineroots, spring from the lower part o f the

1 3 3 A D to adorn Hadrian's villa, along

bowl and split into bands o f fruiting vines

with a large number o f other ornate marble

around its rim.

Edinburgh, 1 8 8 8 - 8 9

furnishings such as tables, basins,


candelabra and vases. T h e E m p e r o r

and as an attribute to British heritage. T h e

Hadrian was a lavish patron o f the arts and

W a r w i c k Vase is also particularly

his villa at Tivoli, his favourite country

significant for its role in the history o f


W i d t h : 1 4 i n / 3 6 cm

F o r all its importance as an antique relic

T h e original W a r w i c k Vase was excavated

residence, became a testament to his

British decorative arts in the 19th century.

from a lake at Hadrian's Villa, Tivoli in

decorative tastes.

A series o f prints published by Piranesi in

1 7 7 1 and was bought to England the

Reproductions o f the vase vary greatly in

1 7 7 8 for marketing purposes made images

following year. Having been re-assembled

their loyalty to the decorative detail o f the

o f the design accessible. At first casts were

from fragments, the restored marble vase

original vase. T h e decoration o f the bowl o f

not allowed to be made and replicas were

rose to a massive 2 . 9 4 metres and weighed

our vase is identical to that o f its prototype:

strictly prohibited, with the exception o f

8'A tons.

O n the front are four heads set against a

Lord Lonsdale w h o was permitted to m a k e

lion's skin. T h e central bearded figure is

a full scale replica in solid silver. By the

Discovered in 1 7 7 1 by the archaeologist

thought to be that o f Bacchus, the god o f

turn o f the century, however, restrictions

and painter Gavin H a m i l t o n , the vase was

wine. T h e other central figure, crowned

were eased and many copyists took

then sold to the Scottish diplomat,

with a garland o f grapes and vines, is the

inspiration from the vase. A variety o f

antiquary and British a m b a s s a d o r in

head of Silenus, a rural god in Bacchus's

reproductions varying in size, medium and

Naples, Sir William H a m i l t o n . It was Sir

retinue. O n each side o f the central figures

decorative accuracy were m a d e and the

William's intention to install the piece in

are t w o bearded satyrs. T h e thyrsus, a wand

form remained popular for the following

T h e British M u s e u m as an extension to a

tipped with a pine cone, appears between

century. M o s t o f these were miniatures,

collection o f antique vases he had already

Silenus and the head on the right. T h e pine

between 5 inches and 9 inches in height,

sold to the museum the previous year.

c o n e is an ancient fertility symbol and as

although attempts have been made to

Despite months o f negotiations, however,

Bacchus was originally a fertility god, it is

reproduce the vase in full scale. T h e

the museum refused the vase at which point

usually associated with him and his retinue.

reproductions had a range o f uses as ice

it was acquired by George Greville, Earl o f

T h e corresponding staff on the left side is a

pails, wine coolers, soup tureens and sporting memorials or were displayed

Warwick. T h e new owner declared that it

pedum or sheep-crook, made from the

was 'the finest remains o f Grecian art e x t a n t

w o o d o f the wild olive. It represents

purely as decorative objects. This silver gilt

for size and beauty' and constructed a

pastoral life and thus is an attribute o f Pan

vase was made in Edinburgh by J Crichton

specially designed greenhouse in which to

and other followers o f Bacchus.

install the vase at W a r w i c k Castle. T h e vase remained at the castle until 1 9 7 9 when it

T h e opposite side o f the vase is decorated similarly. Here the t w o central

&C C o . Its size implies it was intended to be a wine cooler, a use that corresponds with the vine leaves and Bacchic imagery.

T h e Warwick Vase by courtesy of Glasgow M u s e u m s




A William IV circular extending mahogany

English, circa 1835-1840

dining table by Johnstone Jupe & C o of rare

W i t h original wooden cabinet for the

small scale, the swivel action top formed of

additional leaves

eight triangular segments with expanding

Height: 2972 in / 74 cm

mechanism to insert eight additional

Diameter closed: 42'A in / 108 cm

sections, all with brass tips, raised on a

Diameter extended: 6 O V 4 in / 153 cm

turned pillar with stylised lotus leaf carving supported by a platform base with concave sides on reeded feet with brass castors. Underneath the table top is a central


Christopher Gilbert, Pictorial of Marked



circular brass hub inscribed JUPE'S

1840, 1996, pp 283/285.


E Aslin, 19th Century English

The surrounding timber stamped






and the serial number

9675. The curved steel arms of the capstan action stamped PATENT. Johnstone LONDON


Francis Collard, Regency 1985, p 24


Jupe & Co, New Bond Street, and with the royal coat of arms.


1962, pi 5

The base with a

trade label in bone inscribed JUPE'S

Dictionary 1700-

See overleaf


• V


• . . i Wi.

• tt- i •».'»••f, 'i , rjr- '


n n•J

Robert Jupe, 'upholder' of 47 Welbeck Street,

The early date, in conjunction with the

Cavendish Square, London, patented a design

number of patent and maker's marks that

for a circular expanding dining table with a

can be found on both the mechanical and

segmented top in 1835. The specification

structural components of this remarkable

states: 'An improved expanding table so

piece, highlight its importance in the

constructed that the sections composing its

development of the expanding circular table.

surface may be caused to diverge from a

Johnstone Jupe & C o were obviously very

c o m m o n centre and that the spaces caused

proud of this display of their skill and

thereby may be filled up by inserting leaves


or filling pieces. The table, when expanded,

It seems unlikely that a piece

forms usually a round but it may be arranged

commissioned privately would bear the bone

to form an oval or an oblong.'

trade label quite so prominently on the base

The first tables were made between 1835 and 1840 by J o h n Johnstone of N e w Bond

rather than underneath the top, and the extensive stamping of the patent all over the

Street, subsequently becoming Johnstone &c

mechanics suggests that this is an early

Jeanes after 1842. Hence, this table, w k h

example of a design as yet little k n o w n . It is

the label Johnstone

therefore likely that this table was originally

& Jupe must have been

an early example and made prior to 1842.

an exhibition piece or a final prototype to be

The tables were usually supplied with a

shown to potential clients or patrons for

cabinet for the loose leaves.

future commissions.




A pair of cut glass pear shaped decanters standing on circular star-cut pedestals, the bodies with a band of flat cutting, a broad band of cross-cut diamonds and a band of prismatic cutting, below a single neck ring, the hollow stoppers in the form of a spire and similarly cut.

An Irish glass fruit bowl, the drum shaped bowl with a scalloped edge decorated with a band of large diamonds, a band of blazes and a band of flat cutting, on a knopped stem and hollow, square pedestal base.

English, circa 1820 Height: 13'A in / 34 cm

Irish, circa 1800 Height: 972 in / 24 cm Diameter: 11 in / 28 cm LITERATURE:

Old Irish Glass, M r s Graydon Stannus, 1921, pi X


A ' R O C K C R Y S T A L ' VASE E N G R A V E D W I T H


A monumental vase engraved in the 'rock

makes the piece in clear flint glass of

crystal' style with a design of fish amidst

enormous thickness. This is then treated


just as real rock crystal is; the design is carved straight out of the solid. The weight

Thomas Webb &c Son, Stourbridge, 1 8 8 9

of this ewer, before it was decorated, was

Pattern book number 1 7 4 1 5

just twice what it now is, half of the

Height: 12 in / 3 0 . 5 cm

the carving of it. The difficulty of such a

material having been actually cut away in work is very great, and the patience LITERATURE

required to undertake and carry out a

This vase is one of a pair, the other, with a

piece of the size of this ewer, which

re-cut foot, has been illustrated three times:

measures sixteen inches in height, is only to

English 'Rock Crystal' Glass


Exhibition Catalogue by Ian Wolfenden for Dudley Art Gallery 1 9 7 6 , pi 2 0

Art, Feat and Mystery. The Story of Thomas Webb & Sons. Glassmaker, H W Woodward, Stourbridge 1 9 7 8 , p 4 9

British Glass 1800-1914, Charles

be sustained by the artist's intense love of his work.' Our vase now weighs 81b (3.6kg), so the glass-cutter must originally have been manipulating over 141b (6.4kg) of glass. Ian Wolfenden, in his 1976 catalogue wrote: 'This integration of cutting and

Hajdamach, Woodbridge, Suffolk 1 9 9 1 ,

engraving is a feature of the finest 'rock


crystal' work and much of it was produced during the 1880's. How far the influence of

The earliest known record of the term 'rock

Chinese designs causes this technical

crystal' appears in the Thomas Webb

change is arguable but in a glass such as

factory pattern books, next to pattern

the fish vase of 1 8 8 9 (pi 7 Cat no 20) there

numbers 1 0 9 9 2 and 1 0 9 9 3 , inscribed

is a clear Chinese influence on a piece

'Engraved as Rock Crystal (Kny)' and dated

remarkable for technical virtuosity. The

6th July 1 8 7 8 . There is a series of vases in

vase is made from clear glass and the walls

the Webb pattern book with large fish amid

are approximately Vs in. Immediately the

waves beginning in 1 8 8 5 (Pattern 1 5 1 1 6 ) .

weight of the vase and its solid appearance

Sometimes these are partly coloured (eg

give it the feel of natural crystal. The

1 5 2 7 7 'bowl on three flint feet, flint body,

scrolled waves of Chinese inspiration

ruby fish, blue', now at the Corning

surround a number of large fish scattered

Museum of Glass, New York State). AS Johnson FRGS, writing in 1 8 8 6 , discussing the manufacture of probably the most important item of Rock-Crystal glass ever made, 'The Fritsche Ewer' by William Fritsche, now in the Corning Museum of Glass, outlined the method of manufacture: 'A sketch of the outline of the required article is given to the glass-blower, who


like fossils in a bed of rock. It seems likely that the outlines of the fish were prepared on the cutter's wheels and the remainder largely engraved. The sense of design is so strong that one may imagine the glass could have been engraved in no other way. In this the vase has a curiously modern aspect, reminding one of the moulded fish vases produced by Lalique in the 1920's.'




The Battle of the Saints see overleaf

5: i r


• • ••


1. /f J

THOMAS 1759-1837


The Battle of the



The present painting depicts

Rodney in the Formidable 'Lord Rodney, in the Formidable,

at 14

(90 guns), with

her white admiral's flag at the main and her

minutes past 9 am, leading the centre

two-flag signal to engage the enemy at the

division of the British Fleet through the

fore, at the moment when she is breaking

French line, April 12th 1 7 8 2 '

through the French line. The Ville de


was crippled in the subsequent ferocious (The Battle of the Saints: Rodney in the Formidable

is to the windward of the Ville

fire-fight, and surrendered later in the day. Thomas Luny was born in London in

de Paris.)

1 7 5 9 , and was trained by the distinguished

Oil on canvas

early paintings have very much the feel of

marine painter Francis Holman. Luny's In carved and giltwood frame

his master, though his palette tends to be

Unframed: 4 8 x 71 in / 81 x 122 cm

slightly lighter. He started exhibiting at the

Framed: 5 7 x 8074 in / 145 x 2 0 4 cm

Society of Artists in 1 7 7 8 , and at the Royal

Subject engraved by P Mazell after Thomas

exhibited there every year until 1 7 9 3 , the

Luny and published 1782

year of the outbreak of the French

Academy in 1 7 8 0 - his paintings were

Revolutionary War. Luny volunteered for EXHIBITED

service with the navy, with whom by now

Royal Academy, 1 7 8 2 , number 2 5 4

he had an intimate acquaintance as a

The Battle of the Saints was the last big battle between the British and the French & Spanish allies in the hostilities following American War of Independence. In February 1 7 8 2 , Admiral Rodney was sent out with 12 more ships to reinforce the

painter - most of his patrons were navy men. He seems to have produced no more paintings from this date until about 1 8 0 2 , when he once more sent a picture to the Royal Academy. Paintings before Luny joined the navy (as here) are both rarer and finer than those he

brilliant Admiral Flood, who, with much

produced after the end of his service, and

inferior resources, had kept the French

the reason is not hard to find. He retired

Fleet under de Grasse in check. The

from the navy with severe arthritis in his

strategic situation was then critical. The

hands, and this caused a diminution in the

French had just captured St. Kitts, and

'fineness' of his paintings, which after circa

were about to attack Jamaica. Fourteen

1 8 0 5 become much broader in treatment. It

Spanish ships of the line and 8 , 0 0 0 soldiers

seems likely that he retired to his studio in

waited at Cap Fran^ais to join de Grasse,

Teignmouth to be near his former Captain

the French Admiral: an overwhelming

and mentor, George Tobin RN, who had


likewise retired to that town.

On 12th April, the two fleets met near

Luny was a prolific painter, despite his

the Saints on the Dominican Coast in the

disability, and by 1 8 3 7 was able to have a

West Indies. Just an hour after the

retrospective exhibition in Bond Street with

commencement of hostilities, the wind

1 3 0 of his works on display. At his death,

direction changed to the advantage of the

he was a fairly rich and successful man,

British, and they were able to use the

leaving a fortune of ÂŁ 4 , 0 0 0 to his daughter

windward breezes to luff through the

who had long assisted him. There are

French line which was in calmer airs under

examples of the artist's work in a great

the coast. (Sir Charles Douglas, Captain of

many Museums around the world,

the Fleet, memorably awakened Rodney to

including forty at the National Maritime

report that 'God has given us the enemy on

Museum, and others at Bristol, Exeter,

the lee bow').

Plymouth and the Peabody Museum of Sail,

A number of French ships were taken by boarding, including the Flagship Ville de Paris, which surrendered to Hood on the


Salem, Massachusetts. The present painting ranks amongst his most ambitious and famous works.


A R T H U R DEVIS 1712-1787

Philip Howard of Corby Castle, Cumberland

the College of the Benedictines at Douay and wrote the Scriptural History of the Earth and Mankind in 1797.

Oil on canvas

His father Thomas Howard had inherited Corby Castle in 1720 and laid out the grounds as depicted here by Devis. Philip inherited the estate in 1740 and married Anne Witham of Cliffe, Yorkshire in 1754. This painting represents the view from the terrace of Corby Casde. Philip sits at the edge of the formal garden beside the house. Beyond him, looking south, is the River Eden, with its woods to the left, and the famous narrow island in the centre, said to have been constructed for salmon fishing by the monks of Wetheral Priory. Above the bank to the right can be seen the Old Priory gatehouse.

Signed and dated 1759 Unframed: IT'A x 36 in / 70.5 x 91.5 cm Framed: 34'A x 4 3 in / 87 x 109.2 cm


By family descent from the sitter; Mrs Howard, Corby Castle, Cumberland; Lady Lawson, daughter of the above, 1941; John Howard, Esq. PhiHp Howard ( 1 7 3 0 - 1 8 1 0 ) was the son of Thomas Howard and Barbara Musgrave of Edenhall, Cumberland. He was educated at


Arthur Devis was a leading exponent of the conversation piece, an informal group portrait of family or friends usually depicted in private surroundings. He also specialised in small scale portraits of single figures. He was born in Preston and from the late 1730's onwards, he was working both in his native Lancashire home and London. He was patronized mainly by middle-class clients who favoured small scale portraiture. His neat style, which features well observed figures in formal landscapes, makes his work a remarkable record of mideighteenth century genteel life. Devis exhibited at the Free Society of Artists between 1761 and 1780 and became its President in 1768.


Cappriccio with Architectural Ruins and a distant view over a lake

Christian Stocklin was born in Geneva where

artist became a citizen of Frankfurt. As well

he received his initial training. In the 1750's

as painting classical landscapes with ruins,

he went to Bologna to work with the

Stocklin also painted architectural interiors -

Oil on canvas

architect, painter and theatrical designer

mostly churches, in the manner of the

Signed and indistinctly dated '^''63

Antonio Galli Bibiena ( 1 7 0 0 - 1 7 7 4 ) . Stockhn

Flemish artists Hendrick van Steenwijck the


was a very itinerant artist; by 1759 he was in


Rome and from 1761 to 1 7 6 4 he contributed

Elder (1578-1656/1661). The authorship of

x 6374 in / 6 8 x 162cm

Framed: 35'A x 72'/: in / 91 x 184 cm


1 5 5 0 - 1 6 0 3 ) and Pieter Neefs the

to the architectural decoration of theatres in

this work, by far the grandest in his known


Stuttgart and Ludwigsburg, during which

oeuvre, only came to light when it was

German private collection

time this picture was painted. In 1766 the

cleaned, and the signature was found.






The Grand National of 1839 A cigar box painted with scenes from the Grand National of 1839 on the sides and a portrait of Jem Mason on the winner Lottery with the owner John Elmore on the lid. Oil on wood Height: S'/i in / 14 cm Depth: 7V2 in / 19 cm Length: I2V4 in / 32.4 cm Charles Hunt was one of the leading engravers in aquatint of the 19th century and engraved subjects after the work of the leading sporting painters, most notably J F Herring Senior, as well as his own paintings which include a comprehensive series of the leading steeplechases. The scenes on this box are taken from a set of his own aquatints. Steeplechases were first run at Liverpool on February 29th 1836 when there were two races. The first was won by Captain Becher riding The Duke, and in the second, riding Ironsides, he was runner-up after falling on the flat and remounting. In 1837 The Duke won again, but was ridden by Henry Potts. The following year, with Becher back in the saddle, he finished third. Up to this time the meeting had been


organised by Mr Lynn, but for the 1839 meeting he handed it over to a syndicate. The publicity for and interest in the race has traditionally led to it being known as the first running of the Grand National, although that title was not actually used until 1847. The conditions of the race were: A sweepstake of 20 sovereigns each, 5 forfeit, with 100 added; 12 stone each, gentlemen riders; four miles across country; the second to save his stake and the winner to pay 10 sovereigns towards expenses; no rider to open a gate or ride through a gateway, or more than 100 yards along arty road, footpath or driftway. Those conditions seem to have been only loosely adhered to for the distance was actually over four miles and at least nine of the jockeys were known to have ridden for hire for many seasons. The course was over open farmland, the most formidable obstacles being the stone wall and the two brooks. The first of these was dammed to make it eight feet wide, with a timber fence three and a half feet high set back a yard on the take off side. Leading up to the brook was the heaviest plough anywhere on the course and the landing side was fully a yard lower than the field they jumped from. This fence became known as Becher's Brook after the race in 1839 when Conrad stopped abruptly throwing Captain Becher

over his head into the water. Wisely, Becher dived into the deepest part and waited for the field to leap over him before emerging to remount Conrad and continue. Sadly his reunion with Conrad was short-lived as they fell again at the second brook and were unable to continue. Captain Becher never rode in the National again. None of this is shown in the paintings on the cigar box as the first view, on the left side of the box, depicts the field taking the stone wall towards the end of the first circuit well after Becher had fallen. The second scene on the back of the box shows the first brook (Becher's) on the second circuit and the painting on the right side of the box shows the second brook on the second circuit. The final view on the front shows the finish with Lottery leading Seventy Four, Paulina, True Blue, The Nun, Railroad, Jack and Pioneer, who were the only finishers with a race time of 14 minutes, 53 seconds. The size of the crowd in the painting indicates the popularity of the meeting and interest in the race and explains the demand for pictorial records. Apart from Hunt's set of four aquatints, there were two further sets issued, after originals by FC Turner ( 1 7 8 2 - 1 8 4 6 ) and GH Laporte ( 1 7 9 9 - 1 8 7 3 ) . W e are grateful to David Fuller o f the British Sporting A r t T r u s t , f o r his h e l p in i d e n t i f y i n g t h i s p i e c e .

Left side


R i g h t side







A Qianlong Zitan painting table having a panelled top and elaborately carved sides and legs. The frieze is divided in four sections of ornament. The top section is carved in low relief with waves and dragons. The section below is similarly carved with waves as well as crabs, fish and other sea life. Below that a formal geometric border surmounts the main frieze which depicts dragons amid waves in high relief and continues down the first third of the legs. The remaining two thirds of the legs are carved with interlocking key

patterns and have a carved lotus at the foot. The table has brackets carved as pierced stylised cloud motifs below the frieze. China, circa 1760 Height: 34 in / 86.5 cm Width: 68 in / 173 cm Depth: 19 in / 48 cm A very similar table is illustrated in Classic Chinese furniture of the Qing dynasty by Tian Jiaqing, p 196, pi 86.




An unusual burr birch and walnut commode. The top is divided into three panels, bordered with inlaid harewood stringing with a complex interlocking key pattern at the corners. Each panel is bordered with a wide crossbanding of straight grain walnut and divided by an unusual crossbanding. The c o m m o d e has three drawers, each decorated in a similar fashion to the top. They are mounted with finely chased gilt-bronze ring handles that are surmounted by a bow. The front corners are canted and inlaid with a stylised honeysuckle swag. The base of the


c o m m o d e is inlaid with a marquetry, fluted motif and stands on round, tapering legs similarly inlaid to simulate flutes. Germany, circa 1760 Height: 35 in / 89 cm Width: 52 in / 132 cm Depth: l A ' h in / 62 cm LITERATURE

Seemann EA, Dresdener Mobel des 18 Jahrhimderts, Dresden, 1993, p 273. Schwarze W. Antike Deutsche Mobel, Germany, 1977, p 116

A G E R M A N G E S S O PIER MIRROR A fine quality early 18th century baroque giltwood bolection frame pier mirror. The frame is carved with a hatched ground, embellished with floral motif in low relief. The mirror retains its original mirror plates. Germany, circa 1720 Height: 59 in / 150 cm Width: 35 in / 89 cm






Yverdon 1765-Rome Views of



A pair Watercolour on paper Framed: 4 5 x 3 5 in / 114 x 89 cm

Inscription: Vue de Rome prise au pied du Mont Marius peint et define en grand d'apres nature par Francois Kaiserman. Artiste a Rome le 16 mars 1814.

tutor, which is seen in the choice of colours and the expression of solid and liquid forms through tone. Kaisermann subsequently traveled to Naples for a period of six years, returning to Rome where he spent the rest of his life. He died in 1 8 3 3 . Kaisermann's oeuvre is populated with landscape and architectural scenes

Franz Kaisermann was of Swiss origin and

depicting the surrounding areas and

like so many contemporary artists was

buildings of Rome. Paintings such as the

lured by the arts and classical history of

present pair are characteristic of his

Italy. In 1783 he travelled to Rome, where

oeuvre, with a bucolic scene and distant

he became the pupil of the great Swiss

views of Rome. Amongst Kaisermann's

watercolourist Abraham Ducros.

many clients was Prince Borghese, who

Kaisermann's handling of the watercolour

commissioned several works and held his

medium has distinct similarities with his

work in high regard.





An exceptional set of four Louis X V giltbronze, two-branch, rococo, foliate wall appliques. They have delicately wrought, scrolling arms with alternate scroll and foliate drip pans and similarly wrought socles.

being produced. The models for fine and delicate pieces such as these wall lights would have been carved in a finely grained wood, such as pear wood, which was strong and could be accurately carved to show off all of the detail.

France, circa 1750 Height: 23 in / 58 cm Width: 12 i n / 3 1 cm

The finished model would then be pushed into a box of fine sand and the resulting shape depressed in the sand would be the receptacle for the molten bronze. The resultant casting would have been relatively crude, and covered in imperfections. These imperfections were then removed and cleaned up before the different sections could be braised together and chased by the ciseleur.

In the Louvre collections, Paris, there is a comparable pair of gilt-bronze two branch wall lights bearing the ' C couronne poingon (donated by the Duchesse de Richelieu, 1971). The current set of four share the same fluidity of form and composition. Examples such as the present wall lights were supplied by Phillipe Caffieri throughout the rococo period (see Hans Ottomeyer/Peter Proschel, Vergoldete Bronzen, p p l 4 2 ) . The process of gilt-bronze manufacture was extensive, very costly and involved craftsmen from several guilds. The models, for example, were solely produced by the members of the Academie de St Luc. Usually the casting process was carried out by the fondetirs and the gilding by the doreurs. However, in the case of Phillipe Caffieri, who was appointed to the Royal court, he could oversee the entire production process from the initial design conception to the final gilding and chasing. The models for bronze work were produced in a variety of materials, the use of which was governed by the type of object


The chasing process was highly important and required that the bronze was set into a block of tar in preference to a vice and then a variety of chisels were skillfully used to create the desired surface detail. On completion, the bronze for very expensive pieces was then gilded. Due to the great expense of gilding, some pieces were varnished with a gold lacquer and it was often left for the client to decide whether or not to gild. Sets of wall lights such as these are very rare survivals, most having been divided into pairs. The similarity with the wall lights exhibited in the Louvre, does not imply that these were produced by Caffieri. However, the quality of the craftsmanship does show that they were produced by one of the finest Parisian workshops, at the height of the rococo period.


A rare Regency japanned duet stand, each face having a chinoiserie fret at the centre bordered with gilt anthemia and rose paterae on a black ground. At the sides of the stand are articulated brass candle arms. The whole is supported on a gilt fluted column with, at the base, a frieze of putti with musical instruments. There are three sabre legs, decorated with gilt arabesques and terminating in brass sabots. England, circa 1810 Height: 4 8 in / 122 cm Width: 2 0 i n / 5 1 cm Depth: 15 in / 38 cm Japanned work has been popular since the early 17th century, originally inspired by the Chinese and Japanese designs and lacquer work imported to Europe. The japanning on the present music stand is far

removed from the oriental inspired designs of the previous centuries. In this instance the lacquer design is thoroughly European, relating to architectural and renaissance motifs. In keeping with the musical theme satyrs holding musical instruments frolic around the base of the supporting column and Regency anthemia are delicately painted around the sheet rests. In this instance, the japanning is used as an alternative to ormolu mounts or brass inlay which would have been unsuitable for such a delicate piece. The result achieved in this music stand conforms to Thomas Hope's definition of the essential qualities of furniture: beauty, character and appropriate meaning, (Agius, P, Ackermann's Regency Furniture and Interiors, Crowood, 1984, pp 14), combined with the lightness of touch which Rudolph Ackermann sought in Regency furnishings.

A LARGE VICTORIAN OVAL M I R R O R A large scale mid 19th century oval pier mirror, carved throughout with boldly modelled foliate ornament, including palm leaves and roses, decorated at the base and the apex of the mirror with a crossed ribbon. This motif is continued into the cresting in larger scale, where the ribbon motif holds a swag of laurel leaves. The mirror retains its original bevelled plate. England, circa 1850 Height: 70 in / 178 cm Width: 4 8 in / 122 cm


A PAIR OF R A F R A I C H I S S O I R S A pair of N a p o l e o n III m a h o g a n y three tier rafraichissoirs of g o u r d form. T h e top tier having a jardiniere or wine cooler element together with a circle of veined white marble bordered with a pierced gilt-bronze gallery. The two lower tiers follow the s a m e outline and are entirely veneered in acajou tnouchete. T h e whole is supported by three cabriole legs terminating in square giltbronze topie feet. France, circa 1 8 7 0 Height: 3 3 in / 84 cm Width: 18 i n / 4 6 cm Depth: 2 6 in / 6 6 cm A similar shaped rafraichissoir, stamped by Nicolas Petit (1765-1770), which may have influenced the pair shown here, is illustrated in The French Interior, John Whitehead, p 88.

AN E M P I R E T O L E CHANDELIER An Empire red and gilt tole six branch colza oil chandelier. T h e octagonal central stem is of vase form and is decorated with a band of gilt foliate ornament and has, at the base, gilt laurel leaf decoration. Each candle arm has a red tole s m o k e cowl decorated with anthemia and each candle socle has a basket of fruit with a s w a g below in gilt. France, circa 1 8 1 0 N o w wired for electricity. Fieight: 2 4 in / 6 1 cm Width: 2 4 i n / 6 1 cm




An Empire circular mahogany centre table. The top frieze is enriched with crossbanding of ebony and mahogany. It is supported on a flame veneer hexagonal baluster stem, in turn standing on a tripod plinth with each element carved in low relief with a scroll and mounted with gilt-bronze acanthus mounts. The table retains its original dished white marble top and the whole stands on carved mahogany claw feet. Stamped JJ Werner. France, circa


Height: 2972 i n / 7 5 cm Diameter: 3 7 in / 94 cm Born in Switzerland in 1791 but working in France, J J Werner was an extremely successful upholsterer, cabinet-maker and decorator. A chief protagonist of the strong, bold Empire style, he was granted the certificate of registry in 1826 by the King. His business was located at various addresses but finally, from 1844 to 1849, in rue Saint-Dominique-Saint-Germain. By his early twenties he already commanded an important patronage. In 1820 he became a member of the Societe d'Encouragement pour rindustrie Nationale and earned the title of Purveyor to the Garde-meuble. In 1825 Werner supplied furniture for the King of Bavaria, Prince Eugene Napoleon and for the Chateau de Rosny. He was a perfectionist in every way, striving for the highest quality, not just in craftsmanship but in the materials he used.


even producing his own wood, cultivated in different regions of France. Consequently he was renowned as a great specialist in furniture made from French wood, particularly ash, and strove to invent his own method of seasoning. By 1819 he was entirely focused on the production of pieces in indigenous woods, favouring ash, elm, dogwood, yew and mulberry, resulting in the supersedence of the fashion for mahogany veneer. He won a silver medal for works he presented at the 1819 Exhibition. In response to his innovative skill, the jury would pose him questions to which he found auspicious solutions, earning him another medal at the 1823 Exhibition where he displayed his skill in using indigenous marbles, such as Vosges porphyry. He earned commissions from such patrons as the King of Bavaria, promoting him to Purveyor of furniture and house Decorator. At the Exhibition of 1827 he received another medal but despite the acclaim, he openly lamented the small number of royal commissions granted to him. Nonetheless, he was patronised by an impressive private clientele including the Duchesse de Berry who wrote to him in 1827 saying she was 'enchanted by the pieces that he had made for them since 1 8 1 9 . . . T h e wood and the marble retain all their tonality, beauty and lustre; the earliest pieces, far from showing any deterioration since the time of their delivery have, indeed, only gained in tint'.




•• • f . -.^ji-v-ji^ f jirT''"' > a-. /,





A late Louis X V I mahogany secretaire having a fall front with flame veneer mahogany at the centre, framed with a broad mahogany crossbanding bordered with brass. Above the fall is a single drawer similarly framed in brass with large scale gilt bronze ring handles. The fall opens to reveal a colonnaded interior with a secret drawer above and three drawers below. The interior has a mirror back. Flanking the fall are fluted columns reeded with laurel leaf in gilt bronze. Below are three drawers supported by column legs with a mahogany lower tier standing on topie feet with a gilt bronze collar.

France, circa


Height: 55 in / 140 cm W i d t h : 39 in / 99 cm Depth: 16 in / 41 cm




A S E T OF SIX N O R T H ITALIAN FAUTEUILS A very unusual set of six North Italian rococo walnut armchairs, finely carved with low relief foliate decoration at the apex of the back, on the arm terminals, along the frieze rails and on the tops of the legs. The chairs are of unusually curvaceous outline with coved backs and serpentine seats. They stand on delicately wrought cabriole legs with scroll toes at the front and back. Probably Genoa, circa 1750 Height of back: 34 in / 86.5 cm Height of seat: 17 in / 4 3 cm Width: 28 in / 71 cm Depth of seat: 22 in / 56 cm




•• f

A PAIR O F E M P I R E O R M O L U M O U N T E D P O R P H Y R Y VASES An exceptional pair of ormolu-mounted Swedish campagna form porphyry vases. The handles take the form of finely chased, boldly modelled rams heads mounted with a swag of laurel leaves. The laurel leaf motif is continued around the rim with a beaded top edge, at the base of the vase and around the foot of the stem. In each case the chasing is of exceptional quality. Sweden, circa 1800 Height: 13 in / 33 cm M a x i m u m width: 13 in / 33 cm






A very unusual Swedish early 19th century candlestick face screen having a large circular gilt-bronze bordered panel of pale turquoise glass surmounted by a low relief foliate element. The turned stem is profusely decorated with machined neoclassical ornament and supports the 'S' scroll candle arm which is enriched with foliate decoration. Sweden, circa


Height including finial: I V h in / 54.5 cm



An unusual Dutch mid-18th century japanned serpentine three-drawer commode. The top is decorated with figures in a pavilion looking out upon trading ships in a harbour. Each drawer is similarly decorated with figures in a bucolic setting. The drawers retain their original brass drophandles and escutcheons. The sides are decorated with large scale birds and foliage. Low Countries, circa 1760 Height: 32'/i in / 82.5 cm Width: 4472 in / 113 cm Depth: I V h in / 6 2 cm


T W O PALAIS R O Y A L PIECES A fine quality Palais Royal mother-of-pearl and gilt-bronze inkstand having elaborately scrolling handles with a floral patera at the centre. The base of the inkstand is enriched with tiles of mother-of-pearl and supports the gilt-bronze stands for the two ink pots together with a quill stand and a pounce dish. The ink pots are of decagonal, concave outline having circular tops with acorn finials. France, circa 1810 Height: 372 in / 9cm Width over handles: 972 in / 24 cm


A pair of Empire ormolu and mother-ofpearl candlesticks, the socles cast with laurel leaves and supported by three neoEgyptian heads, the hexagonal stems terminating in claw feet, standing on a circular engraved mother-of-pearl plinth. France, circa 1810 Height: 7 in / 18 cm








A pair of large scale mid-19th century Swedish campagna form porphyry vases. Sweden, circa 1860 (The base of one repaired) Height: 19 in / 48 cm

AN ITALIAN B R O N Z E M O D E L OF A HORSE An outstanding 17th century bronze model of a prancing horse, depicted with a saddle-cloth bound with a girth, having a fine patina and retaining much of the original lacquer. Florence, circa 1680 N o w standing on a Siena marble plinth Height on stand: W h in / 29 cm Plinth: 8 X 372 in / 20 X 9 cm





A very rare pair of Prussian polished cast iron candlesticks taking the form of Telemon as Hercules wearing a lion's pelt and carrying bunches of grapes in each hand. The socles are enriched with applied acanthus leaf ornament. The whole standing on a stepped square plinth, decorated with beading and foliate ornament.

Friedrich Schinkel (1781-1841), the Berlin painter and architect, made a major contribution to the popularity of decorative cast ironwork throughout the 19th century. His designs for the Royal iron foundry in Berlin were adopted by many of the surrounding foundries, in particular the Noah's Ark foundry based in Franzosische Allee, Tuebingen.

Berlin, circa 1820 Height: 12 in / 30.5 cm

The classically inspired design of the present pair of candlesticks relates closely to designs for term figures, which were used in architecture and garden design throughout Europe. Schinkel, who had travelled to Italy and England, was strongly inspired by classicism and adopted classical motifs and designs throughout his career. These candlesticks with their strong classically inspired design were probably cast at the Berlin foundry, which also provided the furniture for the Royal Parks at Schloss Charlottenburg and also Schloss Charlottenhof.

The popularity and proliferation of decorative cast ironwork in Germany began as early as the end of the 18th century with the establishment of the Prussian Royal iron foundries in Berlin. Everyday items such as writing utensils, clock holders and candlesticks were cast at the foundry and they also produced furniture, the most famous of which was produced for the Royal parks. The designs and influence of Karl



A set of four Louis Philippe cast iron garden chairs in the troubadour style. The scroll backs are decorated with gothic arches and supported by stylised swans. The seats are cast in the style of a gothic stained glass window with a central diamond motif, framed with roundels, each decorated with pierced gothic ornament. The legs are enriched with further interlocking gothic ornament with a double baluster bar stretcher. Attributed to the Val d'Osne factory. France, circa 1840 Height of back: 31 in / 79 cm Height of seat: 1774 in / 44 cm Width: 15 in / 38 cm Depth: 1 3 ' / 2 i n / 3 4 cm





A pair of Charles X m a h o g a n y side tables,

cabinet maker J a c q u e s Theodore Ringer

Pictured on t o p of the c o n s o l e s are a very

e a c h h a v i n g a s i n g l e d i s g u i s e d d r a w e r in t h e


unusual set of four K d w a r d i a n c o p p e r a n d

frieze. T h e tables have s q u a r e pilaster legs at the b a c k a n d scroll legs at the f r o n t ,

brass q u a d r u p l e bottle carriers, having at F r a n c e , circa


the centre a b r a s s cover which r e m o v e s to

m o u n t e d with a gilt-brass anthemion motif


a t t h e c a p i t a l a n d c l a w feet a t t h e b a s e . T h e

W i d t h : 5 7 7 2 in / 1 4 6 c m

w a t e r . E a c h is s t a m p e d G . PFAK

p l a t f o r m is o f r e c t a n g u l a r f o r m w i t h a

D e p t h : 18 in / 4 6 c m



r e v e a l a r e c e i v e r f o r e i t h e r ice o r w a r m

c o n c a v e front base. T h r o u g h o u t , the tables are of a well-figured m a h o g a n y . T h e tables

E n g l a n d , circa

r e t a i n their o r i g i n a l b l a c k m a r b l e t o p s .

H e i g h t : 9 in / 2 3 c m

E a c h table b e a r s the indistinct m a r k of the

D i a m e t e r : 12 in / 3 0 c m





m 'â&#x20AC;˘j^A







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. The whole supported on a stylised mound of grass bordered with laurel leaves.

A pair of Charles X Paris porcelain parcelgilt vases having scroll handles with female heads at the terminals. The bodies of the vases are decorated in the round in polychrome with Italianate landscapes. Unusually, the vases stand on integral square plinths similarly decorated in the round with landscape paintings.

France, circa 1810 Height: 11 i n / 2 8 cm

France, circa 1825 Height: 15 i n / 3 8 cm







A very rare Anglo-Indian ivory armchair. It is engraved throughout with trailing foliate borders. The five pierced back splats are profusely decorated below a straight top rail centred by a palmette, flanked by delicate arabesques. The downswept arms are also finely engraved, ending in scrolls above a caned seat. The seat rail is also decorated with delicate floral patterns. The whole standing on similarly decorated square tapering legs. Vizagapatam, circa 1800 Height of back: 33 in / 84 cm Height of seat: 17 in / 43 cm Width: 19 i n / 4 8 cm Depth of seat: 20 in / 51 cm Furniture production in India was largely unknown before the arrival of Europeans in the latter part of the 16th century. The Portuguese were the first European nation to establish a permanent trading settlement, followed soon after by the English and the Dutch. These settlements were spread along the East and West coasts, rapidly developing into areas of intense commercial activity and thereafter into prosperous towns. These early European pioneers were unable to bring furniture with them but soon realised that the native Indian craftsmen had the extraordinary skill of copying a pattern

meticulously. It was not long before European pattern books were being circulated to the developing communities of local artisans. Vizgapatam on the Eastern coast below the great Port of Madras, became the site of a large community of artisans. The cabinet makers and craftsmen who gathered there, set up workshops which produced furniture in the European style very often veneered in precious materials such as ivory. This ivory, once veneered on to the carcass of a piece of furniture, was decorated exquisitely in etched black penwork. Soon, these local craftsmen were producing fine furniture, always incorporating their own idiosyncratic details and decoration. The designs varied greatly in complexity and the local artisans also produced smaller objects such as games boards, sewing boxes and a variety of other domestic objects demonstrating their virtuosity. However, furniture decorated in this manner is very rare and was only produced by special commission due to the costs involved and the complicated nature of the work. Pieces of furniture from Vizagapatam were often ordered directly by the Indian princes. These were often presented to visiting dignitaries and high-ranking British officials as lavish diplomatic gifts.



LOBSTER A most unusual Japanese ivory model of a spiny lobster, each element carved in fine naturalistic detail. The limbs and spine are articulated and the tail bears the carver's monogram on the inside. Japan, circa 1880 Length: 14 in / 36 cm


A PAIR O F L O U I S X V I BRULE-PARFUMS A fine quality pair of Louis X V I bruleparfums in white marble. The domed covers are mounted in gilt-bronze with a pierced canopy and a foliate scroll surmounted by a cluster of berries finial. The bodies are of vase form and are mounted with handles supported by female masks and have a pierced frieze with a border of open anthemia. The base of the vase has a similar motif to the cover and is in turn supported by a laurel leaf foot in gilt-bronze, standing on a stepped white marble plinth mounted in gilt-bronze. France, circa 1790 Height: i r / 2 i n / 2 9 cm

A PAIR O F G I L T - B R O N Z E BOUILLOTTES A good pair of Empire gilt-bronze, threebranch bouillottes having 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 eagles' heads and having a sunflower motif as part of a subsidiary scroll. The socles have a crosshatched 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 of basketwork. France, circa 1810 Height: 27 in / 68.5 cm Diameter of shade: 15 in / 38 cm



O n

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at 138



CLOCK A very unusual bronze and brass lighthouse chronometer. The large silvered dial has Roman numerals and two subsidiary dials, one for date and the other for minutes. The drum mount is supported by a waisted stem, in turn standing on a tapering rectangular plinth with adjustable brass feet. The front of the clock is mounted with a brass spirit level. The clock is signed, Fletcher Edinburgh.




Height: 16 in / 41 cm Width: 10 i n / 2 5 cm Depth: 6'A in / 16 cm It was not until 1896 that Scottish lighthouses started an automated time schedule which replaced the earlier requirement of clocks such as the present example. These clocks, many of which were supplied by Fletcher and Hunter in around 1850, were manufactured in Edinburgh. The movement was required to keep perfect time and the clock was thus supplied with ball feet that could be adjusted to ensure that it was perfectly level and not weighted to any one side. This clock would have originally been positioned beneath the lens of the light, in the light room, seated on a specially designed bracket secured to the wall. Charts and timetables would have provided the principal lighthouse keeper with all the required information, regarding the tide, light and dark throughout the changing seasons. Though the charts provided all of the information for the lighthouse keeper, his most important tool was the clock, which had to correspond accurately to the charts to determine lighting up times, in order to warn ships at sea.



DIRECTORS George M a g a n *


Lanto Synge Chief


T h e Hon Peter D i x o n Paula Hunt Giles Hutchinson Smith T h o m a s Woodham-Smith Henry Neville Rex Cooper* T h e H o n M r s Simon Weinstock* Simon de Z o e t e * *Non-executive

M A L L E T T & SON ( A N T I Q U E S ) LTD 1 4 1 N e w Bond Street London W I S 2 B S Telephone: 0 2 0 7 4 9 9 7 4 1 1 Fax: 0 2 0 7 4 9 5 3 1 7 9 Lanto Synge Managing T h e H o n Peter D i x o n Paula Hunt

Director Director


Giles Hutchinson Smith James Harvey



J o h n Smith Associate


Richard Cave Associate


Jeremy Garfield-Davies Associate


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

M A L L E T T AT B O U R D O N H O U S E LTD 2 Davies Street London W I K 3 D J Telephone: 0 2 0 7 6 2 9 2 4 4 4 Fax: 0 2 0 7 4 9 9 2 6 7 0 T h o m a s Woodham-Smith Henry Neville



Felicity Jarrett

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TERMS AND Š Mallett 2 0 0 1 kf;..


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2001 - Mallett Catalogue  
2001 - Mallett Catalogue  

'HISTORY NEVER STOPS HAPPENING' These words of the American novelist Don DeLillo are apt for the antiques business, where we are constantly...