1997 Mallett Catalogue

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MALLET T Established 1865

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

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1997 141 New Bond Street London \V1 Bourdon House 2 Da\'ies Street London W'l

Contents Mallett in Bond Street

6-59

Mallett & S o n (Antiques) Ltd 141 N e w B o n d Street L o n d o n VVIY OBS T e l e p h o n e : 0 1 7 1 - 4 9 9 7411 Fax: 0 1 7 1 - 4 9 5 3179

Mallett Gallery

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Mallett & S o n (Antiques) Ltd 141 N e w B o n d Street L o n d o n W I Y OBS T e l e p h o n e : 0 1 7 1 - 4 9 9 7411 Fax: 0 1 7 1 - 4 9 5 3179

Mallett at Bourdon House

72-99

Mallett at B o u r d o n H o u s e Ltd 2 Davies Street L o n d o n W I Y ILJ Telephone: 0171-629 2444 Fax: 0 1 7 1 - 4 9 9 2 6 7 0

Front co\ er: Detail f r o m a car\ ed giltwood chinoiserie o v e r m a n t e l mirror.

English, circa 1 760 (See page 28) Back cover: Detail f r o m o n e of a set of four paintings of t h e D u k e of Beaufort's H u n t by J a m e s Ross. {area \H)0-circa \750)

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(Seepage 61)

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Frontispiece: Detail f r o m a late 18th c e n t u r y C h i n e s e m i r r o r picture.

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Q i a n l o n g , circa 1 790 F r a m e d : 4172 x 28'/2 in / 105 x 72 c m O p p o s i t e page: A 19th c e n t u r y life-size cast iron model of a d e e r h o u n d .

French, circa 1885 Length: 43 in / 109 c m

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c^ Foreword The English furniture trade and antique dealers in general (brni a large pyramid and have exceptional experience. It is Mallett's role to be close to the top of this pyramid, to ofl'er and ])rovide 'the very best'.

Our own team of thirty-eight employees do not do this alone.

We are part of the antiques trade whose knowledge and expertise is tremendously rich, invaluable and ecjualled by none. Mallett's arc here to sell wonderful things, chosen on the basis of artistic taste, quality and rarit>'. Furthermore, the selection is built on the reputation of many individuals' scholarshi]5 and experience.

It is, however, increasingly difficult to find sufficient pieces ol' truly high quality but I believe we arc still succeeding. I ho]ie you uill agree that this selection is as fine as we have e\er been able to show you. To sec these pieces, and m u c t more, please come and visit us in Bond Street and at Mallett at Bourdon House in Davies Street.

P " Lanto Synge Chief Executive

MALLETT in Bond Street

A Queen Anne giltwood centre table A small gill gesso centre table, the t o p fab(A'ej with iiidenled c o r n e r s a n d c a r \ c d w ith scrolling foliage a n d strapwork. the frieze with a c a n t h u s a n d a shell at the centre of each side, raised on cabriole legs with a c a n t h u s at the knees a n d scroll toes.

Knglish, circa 1710 Height:

in / 76 cm

Width: 31 in / 79 c m l)e|)th: 20 in / 51 c m

A Queen Anne walnut bureau

A Queen Anne walnut stool

O p p o s i t e page: A walnut b u r e a u of

O p p o s i t e p a g e a n d below: A very fine

s u p e r b colour a n d patination, the interior

walnut stool with slightly cur\ ed sides a n d

fitted with pigeon holes a n d small d r a w e r s

r o u n d e d corners, on cabriole legs carved

inlaid with stringing a n d with a well a n d

at the knees with shells a n d bellflowers

secret drawer, the b u r e a u cross-banded

a n d e n d i n g in d i a m o n d toes, the drop-in

t h r o u g h o u t with b u r r yew, raised o n b u n

seat covered with p e r i o d needlework, with

feet.

petit point panels depicting h o u n d s in landscapes s u r r o u n d e d by multi-coloured

English, circa 1705

a r a b e s q u e s o n a dark b r o w n g r o u n d .

Height: 40 in / 102 c m Width: 36 in / 92 c m D e p t h : 20 in / 51 c m

English, circa 1710 Height: 17'/2in / 4 4 c m L e n g t h : 21 in / 5 3 c m Width: 15 in / 38 c m

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A Louis XV needlework carpet A fine and rare French needlework table carpet in remarkable condition, worked in vibrant colours on a black background, with a central floral medallion surrounded by boldly scrolling leaves interspersed with flowers, the broad border with ribbon tied plumes and foliate arabesques, the inner and outer designs framed with gold borders entwined with oak leaves.

French, circa 1750 Length: 119 in / 302 cm Width: 89 in / 226 cm

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This extremely well preserved carpet may have been m a d e to hang on a table and is attributed to a French Carmelite workshop. At the corners are an heraldic heart emblem with flames, a symbol of Aphrodite and ardent love, while the arrows within it represent Eros's darts.

T h e variety of dyes is especially rich and seems never to have been exposed to daylight. T h e carpet has a silk fringe that appears to be the original, matching exactly the wools of the needlework.

A rare pair of giltwood torcheres A pair of early 18th century giltwood torcheres with trefoil shaped tops car\'ed with lambrequins and strapwork, raised on elaborate stems of curving 'S' shape, formed of double scrolls carved with flowers and leaves, the tripod bases hung with lambrequins and ending in scrolling foliate feet.

Wurzburg, circa 1720 Height: 39 in / 99 cm Width across feet: 18'/2 in / 47 cm

This magnificent pair of torcheres are remarkable examples of the high standards of carving and design which were produced in Wiirzburg in the first quarter of the 18th century. At this time, Wurzburg and Ansbach rapidly became the most important centres for early rococo furniture in Germany. Under the patronage of the Counts of Schonborn, Prince-Bishops of Wurzburg, the town gained a reputation for artistic exceOence that was centred around the celebrated

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Their design is fascinating as it incorporates strong naturalistic rococo forms, whilst also retaining earlier baroque elements such as the lambrequins and car\'ed gesso strapwork typically found on late 17th century furniture. It is this rich combination that began to typify Wiirzburg furniture.

Torcheres such as these would have acted as stands for highly prized Chinese vases or for candelabra. They are in themselves an early essay in rococo design that was so whole-heartedly embraced later by Germany.

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Residenz, a late baroque masterpiece built

by Neumann in 1719. The style of furniture in Wurzburg took its lead from Johann Phillipp von Schonborn, PrinceBishop from 1719 to 1729. His taste for Parisian design was shown by the fact that he employed French craftsmen to furnish the Residenz. Unlike the Court craftsmen, these Parisians did not work exclusively for the Prince-Bishop and some rare examples of a very high standard have survived, such as these torcheres.

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An early oval mirror

Right: A very rare William and M a r y carved giltwood and gesso oval mirror in the m a n n e r of Daniel Marot, the cresting in the form of a crown above a cipher, the frame richly adorned with acanthus carved strapwork, diamond pattern engraving and floral motifs, retaining its original bevelled plate.

English, circa 1700 Height: 53 in / 135 cm Width: 33 in / 84 cm

Heraldic devices were not an uncommon m a n n e r of embellishment of late 17th and early 18th century looking glasses made for the nobility, the frames designed to incorporate a family crest or even a complete coat of arms. In this instance, the coronet of the cresting is that of a marquess and the foliate scrolls and strapwork that fall from it represent the mantling. T h e cipher, however, appears to be merely a decorative ornament and not a true monogram, hence it has not been possible to identify the marquess for whom this mirror presumably was made.

To find an oval mirror of this early period, heraldic or otherwise, is exceptionally rare. T h e form of this example clearly derives from the design of Daniel Marot in his Nouveau Livre d'Ornements pour Lutillite des Sculpteurs et Orfevres of about 1700. Marot, a French Huguenot, had a deep influence on late 17th and early 18th century furniture design in England, after his arrival there in 1688 in the service of William III. He was much involved not only in the King's new interiors at H a m p t o n Court but also in the plans for the garden there. His designs for oval mirrors are illustrated in Peter Ward-Jackson's English Furniture Designs of the Eighteenth Century, 1958, pi 7.

T h e old gilding of this mirror frame has worn almost to the gesso in places, leaving it a soft and mellow tone. T h e original plate is gendy bevelled at the edge and the silvering has oxidised and darkened to give it that atmosphere unique to antique glass.

Right: Daniel Marot's designs circa 1700 14

A Q i i c c n A n n e gilt gesso j^ier glass Rio'ht: A lall gilt gesso jiicr mirror, the arclicd crcsting wiiii a central ciipid's head resting on flighted w ings. framed by aeanthus c a n e d strapwork and Hanked by eagles' heads clutching branches of fruit and flowers, the di\ ided plate within a beaded and leaf c a n e d border w ith shell and acanthus c a n e d base.

English, circa

1710

Height: 80 in / 203 cm Width: .38% in / 98 cm

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Madinglcy Hall, near Clambridge.

Gerald Hochschild. Paris

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A magnificent pair of Berlin vases A pair of very large Berlin faience circular

G e r m a n , circa 1720

vases with flared tops a n d bases a n d

Height: 34 in / 8 6 cm

bulbous centres, d e c o r a t e d with raised

D i a m e t e r : 14 in / 36 c m

cockerels a n d cranes a m i d flowers a n d butterflies in blue a n d white enamels,

BIBI.IOGRAPHY

heightened with gilded decoration of

M a r g r i t Bauer, 'Europaische Fayencen', p 6 3

flowers a n d scrolls, birds a n d b r a n c h e s a n d with daisy motifs at the top a n d base, all o n a scarlet g r o u n d .

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A very rare set of fourteen mahogany dining chairs A b o v e a n d o w r l c a f : A n i m p o r t a n t set of

t h e latest f a s h i o n s in f u r n i t u r e design. H e

e i g h t e e n t h century. A f t e r this ])eriod, a

fourteen m a h o g a n y dining chairs after a

s h a r e d T h o m a s C:hi]5]K-ndale's h o u s e at

specific r o o m for d i n i n g ex o h e d a n d a n

design by M a t t h e w Darly,'consisting of

N o r t h u m b e r l a n d Clourt a n d e n g r a \ e d

a d d i t i o n a l p a i r of a r m c h a i r s w a s m a d e to

twelve ( J e o r g e II single c h a i r s a n d t w o

n u m e r o u s designs for c a b i n e t - m a k e r s

c o m p l e t e this f o r m a l i s e d set a n d to

19th cetUury a r m c h a i r s , t h e baci^s f o r m e d

i n c l u d i n g all t h r e e editions of The

c o n f o r m to the n e w f a s h i o n . See overleaf.

of a n intricate p a t t e r n of i n t e r l a c e d a n d

Gentleman and (kbinet-Maker's

c u r v e d splats, the a r m c h a i r s with c u r \ ing

artist Francis H a y m a n , a ])upil of t h e

Director. T h e

[latterns b e g a n to fall f r o m ]30])ularity b u t

W i t h t h e a d v e n t of neo-classicism such

a r m r e s t s c a r v e d v\ith rosettes, all t h e

a c a d e m y , o w n e d a similar b u t less

even in 1765 v a r i a t i o n s w e r e still b e i n g

c h a i r s raised o n caijriole legs c a r \ e d at t h e

e l a b o r a t e set of c h a i r s that h e

p u b l i s h e d in R o b e r t M a n w a r i n g ' s The

f r o n t with r i b b o n , leaf a n d scroll motifs;

i n c o r p o r a t e d in s o m e of his p o r t r a i t s .

Chair and Chair-Maker's

the seats n o w u p h o l s t e r e d in g r e e n silk damask.

Real Friend and

T h e s e chairs are remarkable not only

Companion a n d e x a m p l e s m a y b e seen at

in surv iving as such a m a g n i f i c e n t l o n g set

the V i c t o r i a n a n d A l b e r t M u s e u m (\V.9-

b u t also in c o m b i n i n g p r a c t i c a l f o r m w i t h

1932) d a t e d 1765-70.

English, circa 1755

s o m e of t h e earliest e x a m p l e s of English

H e i g h t : 39 in / 9 9 c m

r o c o c o f u r n i t u r e design. It is i n t e r e s t i n g to

W i d t h of a r m c h a i r : 2 6 % in / 67 c m

n o t e t h a t the single c h a i r s w o u l d h a v e

H a y m a n r e p r o d u c e d by k i n d p e r m i s s i o n

W i d t h of single c h a i r : 25 in / 6 4 c m

b e e n u s e d as b o t h ' p a r l o u r ' a n d d i n i n g

of t h e Yale C e n t e r for British A r t , Paul

D e p t h of seat: 2 0 in / 51 c m

c h a i r s u p until t h e last q u a r t e r of t h e

Mellon Collection.

Below: Detail of p a i n t i n g by Francis

T h i s r e m a r k a b l e set of c h a i r s illustrate a pivotal c h a n g e of taste in English f u r n i t u r e . By t h e late 1 740's f u r n i t u r e ' s f -

d e p e n d e n c e o n a r c h i t e c t u r a l f o r m , as

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a d \ ' o c a t e d by t h e designs of William K e n t , w a s w a n i n g a n d t h e lighter a n d m o r e fluid designs i.ssuing f r o m the St M a r t i n ' s E a n e

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A c a d e m y , f o u n d e d by H o g a r t h in 1 735, w e r e increasingly a d o p t e d . The A c a d e m y , s i t u a t e d in t h e h e a r t of the c a b i n e t m a k i n g district in L o n d o n , w a s t h e c r a d l e

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of the English r o c o c o . Its t e a c h e r s f r e q u e n t e d O l d S l a u g h t e r ' s (Coffee H o u s e in St M a r t i n ' s L a n e w h e r e a n t i - P a l l a d i a n

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artists, c a b i n e t - m a k e r s a n d d e s i g n e r s gathered.

The c h a i r s ' f o r m derives f r o m the p u b l i s h e d designs of M a t t h e w Darly in his .\'ew Hook of Chinese, Gothic and Modern

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Chairs i.)\' 1750-1. D a r l v w a s f a m i l i a r with

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An important Kentian fireplace

Three Chinese cache pots

O p p o s i t e page: A G e o r g e II C a r r a r a

Below: T h r e e o r a n g e faux bois porcelain

m a r b l e fire s u r r o u n d in the m a n n e r of

c a c h e pots, all with m o d e r n silvered liners.

William K e n t , the shelf with dentil cornice above a central tablet richly

C e n t r e d o n mantelpiece a n d below:

carved with a c a n t h u s leaves, berries a n d

Single cache pot

fruit a n d with sunflowers at either e n d , the

K a n g x i , 1720

j a m b s of scrolled f o r m , the inner b o r d e r

D i a m e t e r 6V4 in / 17 c m

with large egg a n d d a r t moulding.

Left a n d right o n m a n t e l p i e c e a n d below: English, circa 1740

Pair of c a c h e pots

H e i g h t : 56 in / 142 c m

J i a q i n g , circa 1800

Width: 69'/2in / 1 7 6 c m

D i a m e t e r 4'/2 in / 11 c m

H e i g h t of opening: 42 in / 107 c m W i d t h of o p e n i n g : 42% in / 108 c m Above the fireplace h a n g s a \'cr\' fine early 18th c e n t u r y needlework picture of rare, large size.

English, circa 1700 F r a m e d : 35 x 49 in / 89 x 124 cm

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A Chippendale period four poster bed Opposite page: A magnificent mid 18th centurs' mahogany four poster bed of grand proportions, with front posts of cluster column form, very finely carved with a running flower and ribbon motif and with acanthus leaves at the centre and the base, the square feet c a r \ e d with further acanthus and with shell motifs, the cresting formed of pierced foliate scrolls.

English, circa 1760 Height: 123 i n / 3 1 2 cm Overall length: 82 in / 208 cm 0 \ e r a l l width: 73 in / 185 cm Mattress length: 76 in / 193 cm Mattress width: 70 in / 178 cm PROVENANCE

Tablev House, Cheshire

A Louis XV wine cooler

Right: A magnificent mid 18th centuryoval wine cistern in breccia marble of deep red colour with grey and white veins, with moulded rim and base and large lion's masks at either end.

French, circa 1740 O n modern simulated marble stand Height: 12 in / 31 cm Length: 38 in / 97 cm Width: 22 in / 56 cm Height with stand: 26 in / 66 cm

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In his Director of 1754, T h o m a s Chippendale illustrates his design for a 'Canopy Bed' (plXXX), displaying the use of the cluster column form for the predominant posts at the foot of the bed.

Interestingly, whereas many of Chippendale's elaborate patterns were somewhat simplified upon actual execution, in this instance the simple cluster column of the original drawing has been greatly enhanced by the carver.

These posts have collars of rosette motifs and at the top, centre and base are boldly car\ed acanthus leaves. T h e \ertical mouldings arc further dccorated by carvcd flowers and ribbons running from top to bottom within the groo\ cs.

Tabley House, near Knutsford in Cheshire, is a Palladian mansion designed between 1760 and 1770 by the architect J o h n C a r r of York for Sir Peter Leicester, whose family lived at Tabley for o\'cr

seven centuries in all. It is not possible to pro\e, for lack of documentation, that this bed formed part of the original furnishings but it is most likely. The bed dates from exactly that period and Tabley was finely furnished with rooms enriched by splendid stucco work and fireplaces. It also housed a formidable art collection.

Another bed from Tabley House, with mahogany posts and a painted cornice, is illustrated in The Dicliotiary of English Furniture, Revised edition, p 64, fig 50.

T h e bed has been newly hung in rose coloured silk damask, v\ith hand made fringes and lined in cream silk. T h e carvcd wood cresting has been lined with the silk damask in the 18th centur\' manner. Some period beds are considered, by today's standards, to be rather small but this bed has grand proportions in every dimension and, al over six feet square, is truly king-size.

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A Chippendale period chest of drawers A mid 18th century chest of drawers of serpentine form, in mahogany of rich colour and grain, the canted corners with blind fret carv ing, the top drawer fitted as a dressing table, all the drawers with brass swan's neck handles, raised on ogee bracket feet.

English, circa 1760 Height: 32'//in / 82 cm Width: 41 in / KM cm Depth: 22% in / 57 cm

Worcester porcelain

Opposite, centred: A cache pot and stand of the Flight, Barr and Barr period, richly gilded and painted with flowers within a pale cerise ground with curling acanthus.

English, circa 1820 Height: 7% in / 19 cm Opposite, left: A pair of small column candlesticks of the Barr, Flight and Barr period.

English, circa 1810 Height: 5 in / 13 cm Opposite and right: A tri])le spill vase of the Barr, l''light and Barr ]3criod, decorated within a pale apricot ground, on claw feet.

English, circa 1810 Height: &/•• in / 17 cm

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Two 18th century Windsor chairs Two almost identical mid 18th century Windsor armchairs, the rounded backs and armrests in yevvwood with gothic arcading, one with an elm seat, the other with a walnut seat, both raised on cabriole legs with pad feet and curved stretchers.

English, circa 1760 Height: 37'/2 in / 95 cm Width: 23 in / 58 cm Depth of seat: 17'/2 in / 45 cm

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A pair of hall chairs

A pair of m a h o g a n y hall chairs of rare

PROX'ENAXCE

design, with pierced c a r t o u c h e s h a p e d

T h i s pair of chairs almost certainly c a m e

backs a n d dished w o o d e n seats, raised o n

frotn the e n t r a n c e hall of Tyttenhanger,

solid, s h a p e d supports j o i n e d by stretchers.

n e a r St A l b a n s in Hertfordshire, built for

P^nglish, circa 1770

larger set is shown in situ in H Avray

H e i g h t : 38 in / 97 c m

T i p p i n g , English Homes, 1920, Period IV,

Width: 15% in / 40 c m

vol l , p 77, ill 108a.

Sir H e n r y Blount in o r after 1654. T h e

D e p t h : 18 in / 4 6 c m I'M r

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A chinoiserie overmantel mirror An i m p o r t a m c a n e d giltwood chinoiscrie

PRO\i:\ANci:

b r a n c h \ \ o r k , chinoiserie canopy, icicles

ox'crmaiucl m i r r o r in the m a n n e r of

Formerly in the collection of Archibald

a n d fretwork. T h e conce])t of the central

William a n d J o i i n Linneii retaining its

Stirling of Kcir, Keir Mains, Perthshire

raised p l a t f o r m in the f o r m of a bridge a n d the a r r a n g e m e n t of tall, t u r n e d

original plates, the f r a m e f o r m e d of leafy b r a n c h e s a n d scrolls, h u n g with icicles,

l.rn-RATURE

c o l u m n s is most famously displaced o n the

rising to a ])agoda to]5 with carxed foliate

Alistair R o w a n , 'Keir, Perthshire I',

o x e r m a n t e l m i r r o r su])plied b\' William

cresting, the c e n t r e of the m i r r o r with

Country Life, 7 August 1975, p 3 2 7 ,

a n d J o h n Linnell to the 4th D u k e of

t u r n e d c o l u m n s rising f r o m a bridge with

illustrated in situ in the d r a w h i g r o o m

Beaufort for the C h i n e s e B e d r o o m at B a d m i n t o n House.

pierced fret iialustradcs.

English, circa 1 760

r h i s o \ e r m a n t e l incor|)orates m a n y of the

Height: 75 in / 190 cm

motifs that can be Ibund in the designs of

Width: 72 in / 183 c m

J o h n Linnell, notably the rustic

An 18th century Parisian liarp A \ e r y rare Louis X \ ' I lacqucr liarp l)y (Jodcfroi H o l t z m a n i i , with very fine ciiinoisfric polyciiromc dccoration o n a black g r o u n d a n d signed by the m a k e r at the to|) of the s o u n d i n g b o a r d , tiie yoke c a n e d ^^ ith giUwood Ibhate m o u l d i n g s a n d b e a d i n g a n d the (kited a n d car\'ed pillar s u r m o u n t e d by an u r n a n d flowers in two tones of gilding a n d silvering; signed at the top ol' the s o u n d i n g b o a r d .

French, circa 1775 Height: 6(5 in / 168 c m Width: 1 7 in / 4 3 c m D e p t h : 31 in / 79 c m

The design for this h a r p is illustrated in the Diderot d ' A l e m b e r t Encyclopedie as a ' H a r p e O r g a n i s e c ' . pp21()-212.

The m a k e r G o d e f r o i H o l t z m a n n was o n e of the leading h a r p m a k e r s in Paris in the 1 770's a n d this h a r p exemplifies t h e best of the Parisian luthiers' work of that period. H o l t z m a n n ' s w o r k s h o p was in t h e F a u b o u r g St H o n o r e above a wine s h o p called 'Au Roi de S i a m ' .

T h e colourful chinoiserie decoration is not only of very fine quality b u t also very rare, since h a r p s at this time were typically a d o r n e d with classical arabesques. T h i s i n s t r u m e n t is exactly the type for which M o z a r t c o m p o s e d his only m a j o r work for the h a r p , t h e Flutf and Harp Concerto, in Paris in 1778.

VN'hilst the h a r p retains its original m e c h a n i s m , it is not r e c o m m e n d e d to r e t u r n it to playing condition as this would put too great a strain o n the yoke a n d sounding board.

A George II mahogany bureau bookcase Opposite page and overleaf: An important mid 18th century mahogany bureau booiccase in the m a n n e r of T h o m a s Chippeiidale, witli swan's neck pediment and central urn, c a r \ e d with egg and dart and dentil mouldings and leaf motifs, the upper part with glazed doors with geometric fenestration, enclosing adjustable shelves, the lower part with fall front opening to reveal a fitted interior, above four long, graduated drawers retaining their original cast brass handles, raised on ogee brackct feet.

LITER.\TURE

RW Symonds, Timely Advice to Furniture Collectors, Antique Collector, October 1942 pll5 R\V Symonds, Furniture Making in Seventeenth and Eighteenth Century England, 1955, p l 3 7 , p l s l 7 7 and 178 See overleaf.

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English, circa 1755 Height: 106 in / 269 Cm Width: 44 in / 112 cm Depth: 24 in / 61 cm PROVENANCE

Formerly in the collection of M r & Mrs Eric Moller at T h o r n c o m b e Park, Surrey.

Formed during the 1940's and 1950's, the Moller collection was one of the great 20th century collections of English furniture put together under the guidance of the furniture historian R\V Symonds.

T h e heart of this collection was a group of outstanding mid 18th century pieces, of which this bureau bookcase is one.

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As stated by RW Symoiids, 'this dignified bookcase is the work ol" a Ijondon cabinet maker of the first rank'. Its imposing and perfectly drawn proportions give it great stature but tlic carved detail is so restrained and meticulously comjDosed that in no way does it overpower or become overcomplicated. It is a classic piece of great English furniture from the eariy part of the

32

Chippendale period, combining the verybest craftsmanship with su]3erb timbers, now gendy faded to a wonderful patina.

T h e trellis pattern glazing bars, known as 'Chinese doors', show the strong influence of Chippendale's [^rector designs of 1754, where a number of v ariations on the theme appear on drawings for his 'Library

Bookcases'. Identical handles can be seen on a pair of commodes made by Chippendale for Daniel I^iscelles at CJoldsborough Hall, \brkshire, and the lock escutcheons match those on a single commode at Nostell Priory; \brkshire.

(See Christo])her Ciilbert, The Ufe and 11M' of Thomas CJiippmdale, 197«, vol II, p i 2 7 , rigs 226-2'27, p l 4 7 , fig 270).

A set of six armchairs attributed to John Cobb Below and overleaf: A set of six George III mahogany open armchairs of superb line and quality, in the French m a n n e r with cartouche shaped backs and serpentine seats, scrolled armrests and cabriole legs ending in scroll toes, the frame of each chair carved througiiout with gadrooned mouldings; now covered in green brocaded silk.

English, circa 1770 Height: 35% in / 90 cm Width: 24 in / 61 cm De]3th of seat: 19'/^ in / 50 cm

fascinating. T h e y were almost certainly part of a suite that, as at Erdigg, would probably have comprised six chairs and a settee, (possibly the one illustrated in RW Symonds, Masterpieces of English Furniture and Clocks, fig 7). O n various occasions over the years Mallett's have been fortunate enough to handle chairs of this design (see Great English Furniture, Eanto Synge, London, 1991, p. 127 fig 144). This set comprises a group of four plus another pair which had been separated and are now happily re-united here. See overleaf.

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By the 1760's, the rather loosely interpreted rococo form, deri\ed from French designs, became more formally studied by cabinet-makers. T h o m a s Chippendale and J o h n C o b b clandestinely imported French ])icces of furniture as models to satisfy the huge d e m a n d for the highly fashionable French taste.

I'he lightness and elegance of this form of chair is clearly deri\'ed from a French fauteuil, with its slender cabriole legs, serpentine rails and separated seat and back. However, the emphasis on its rich mahogany and the idiosyncratic, tightly gadrooned edging, a feature normally found on silver, is unmistakaljly English. The extremely fine carving, so]5histicated design and French in.spiration of these chairs can be attributed to the workshop of J o h n Cobb.

C>obb, who had worked with William Vile up until 1 765, had his workshops in St Martin's Eane and was seen as the most successful interpreter of the French style.

In the 1 770's C o b b supplied a suite of six of these chairs and a matching settee to Phili]) Yorke for Erdigg, near Wrexham, and these may be seen there to this day. CJobb counted the Royal family amongst his influential clients and was described as 'perhaps one of the proudest men in England and always appeared in full dress of the most su])erb and costly kind'. Despite this trait, C^obb was commissioned by many of the great collectors of the day and some of the finest examples of his work may be seen at Corsham C^ourt, Wiltshire, and C r o o m e Court, Worcestershire.

'I'he recent historv of these chairs is 3,3

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An English commode in the French style Below: A mid 18th century bombe commode in the m a n n e r of Pierre Langlois, the quarter veneered top with broad cross-banding, above two short and two long drawers in the deeply curved front, the drawers retaining their original, elaborately cast brass handles in a strapwork, leaf and flower design and escutcheons with female masks surrounded by ribbons, the corners also with fine brass mounts, foliate cast at the top and scrolling at the feet, the sides of the commode with geometric veneers.

English, circa 1760 Height: 33 in / 84 cm Width: 42'/2 in / 107 cm Depth: 24 in / 61 cm

This commode directly follows the French style of the mid 18th century, the greatest proponent of which in England was Pierre (or Peter) Langlois, who established himself in London in 1759. He

specialized in commodes and had an illustrious clientele; documented commodes by him were made, for example, for the Duke of Bedford at Woburn Abbey and for the Earl of Coventry at Croome Court. He later returned to Paris and became a maitre mennsier'm 1773.

Langlois influenced other, as yet anonymous, English cabinetmakers, one of whose work this piece most likely represents. As in Langlois' commodes, this has a veneered top rather than the marble of its continental counterparts.

In every other respect it is a clear reflection of the French manner: the curvaceous bombe shape, the geometric veneers with their emphasis on the diagonal, the ornate gilded mounts. In this case, these mounts combine the rococo shapes of the corner fitments with the masks and strapwork of the Regence.

T h e two French wall clocks shown opposite pro\ ide a fitting complement to this elegant commode.

Two French ormolu cartel clocks Opposite page left: A Louis X V ormolu cartel clock with circular enamelled dial, surmounted by a large urn finial and flanked by scrolls and hung with swags of husks, the lower case with an acanthus spray. T h e dial inscribed 'FOL.FILS'; the movement signed 'Fol le Fils A Paris', with alarm and repeat mechanisms.

French, circa 1 770 Height: 17'/2 in / 44 cm Width: 8 in / 20 cm

Opposite page right: A Louis X \ ' I ormolu cartel clock with ribbon cresting and musical trophies, the circular dial with beaded bezel and flanked by cornucopia, above a satyr's mask and wreath of vines.

T h e dial signed 'Bouchet, Horloger du Roi' French, circa 1 780 Height: 22 in / 56 cm Width: 10 in / 25 cm

38

A George III breakfront bookcase Left: A late 18th century inlaid mahogany breakfront bookcase with broken swan's neck pediment and central plinth above a dentil cornice, with trompe I'oeil fluted frieze, the upper section with glazed doors and astragals in the gothic manner, the lower section with cupboards panelled with flame figured veneers, the central doors enclosing sliding shelves a n d the sides each fitted with four drawers inside; all the door surrounds having the very unusual feature of marquetry decoration of paterae and trailing leaf motifs.

English, circa 1770 Height: 107 in / 272 cm Width: 100 in / 254 cm Depth: 23 in / 58 cm

Spode and Coalport porcelain plates Right: O n e from a set of twelve Spode armorial plates decorated in famille rose colours.

English circa 1805 Diameter 9 in / 23 cm

Right below: O n e from a set of six Coalport plates decorated with flowers by Baxter.

English circa 1800 Diameter 8% in / 21 cm

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39

A pair of Hepplewhite card tables A very- fine p a i r of H e p p l e w h i t e period

(3n the tables are shown two 18 carat gold

m a h o g a n y c a r d tables, the serpentine tops

table salts, p a r t of a magtiificent gold

with guilloche car\'ing a r o u n d the edge

d i n n e r ser\ ice consisting of 110 pieces in

a n d with flower a n d fruit car\ ing on the

all.

frieze, o p e n i n g with c o n c e r t i n a action to re\ eal a green baize playing surface, o n cabriole legs in t h e French m a n n e r .

Knglish, circa 1780.

Height: 29 in / 74 c m Width: 36 in / 9 2 c m D e p t h : 17'/2in / 4 5 c m

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41

A su])erb pair of table lustres by Blades A |5air of Rrwcnc)- cm glass and ormolu iwo-liglii liislrcs In J o h n Hlaclcs ol" L o n d o n , llic- fcntral stem w illi a cm\ed shell finial, eac h candk- arm wilh stallo]X'd sconces and di'i|) jians and luing willi faceted beads and |)endanls, raised on ormolu ]ia\\ feel.

Ijiglish. linn 1820 Height: 21'- in / 55 cm Width: I 7 in / 43 cm Depth: () in / 15 cm

For inlbrmation on J o h n Blades, •(".«/ -^/rt.v.v iiiaiiiifmturer lo !Us Majesty', see 1592.

A Baccarat decanter and carafe A Paris Il,xhil)iiion engrax cd glass decanter and stopper with carafe en suite, tile o\oid form witli wrytlien moulded neck witli trefoil rim, tiie body cngra\ed with riiibon tied garlands of flowers, the neck with Greek key ]5attern and the base \\ ith \'itru\ ian scrolls.

Baccarat. Paris, circa 1878

PR(j\I:X.\.\C:K Archiws de la Manufacture de Baccarat

This pattern is know as Ser\ ice A, which was made cxclusi\ely for the Paris Exposition UniverseHe in 1878. As far as is known, this pattern was not made for commercial |)rocluction.

Height of decanter: 11': in / 29 cm

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A Sheraton satinwood tripod table A fine late 18th century small satinwood occasional table, the oval top with rich figuring and cross-banded in rosewood, raised on a turned column with an arched tripod base with small spade feet.

English, circa 1790 Height: 28 in / 7 1 cm Length: 23 in / 59 cm Width: 15% i n / 4 0 cm

45

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A Regency drum table

O p p o s i t e page: A very s m a r t early 19th c e n t u r y circular d r u m table in rosewood inlaid with brass stringing a n d with gilt metal m o u n t s , with four d r a w e r s in the frieze, on octagonal stem a n d triangular base, the t o p lined with leather.

Engish, circa 1810 Height: 30'/2 in / 77 c m D i a m e t e r : 36 in / 91 c m

Porcelain cache pots

Below: An unusual a n d c h a r m i n g p a i r of early 19th c e n t u r \ French porcelain cache pots with stands, with gold b a n d s a n d lion's h e a d s at each side a n d d e c o r a t e d with o\'al panels of flowers o n a black b a c k g r o u n d , within gilt b e a d i n g a n d a pale p e a c h coloured g r o u n d .

French, circa 1830 H e i g h t : 7% in / 1 9 c m D i a m e t e r : 7'/2 in / 19 c m

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47

A group of cut glass jugs Below: Four cut glass water jugs showing ihe variety of cutting available during the Regency period.

English or Irish, circa 1820 Maximum height: 7'/2 in / 19 cm PROVENANCE

The three jugs on the left are from Cork or Dublin and were formerly in the collection of the 6th Marquess of Bute.

48

Opposite page: The Blue Room at 141 New Bond Street, with a large ormolu musical automaton clock by Henry Borrell (see overkaj) shown on a Regency centre table (see page 56). The Osier chandelier (see page 55) hangs above.

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A very rare ormolu musical clock A n exceptional o r m o l u a u t o m a t o n musical table clock by H e n r y Borrell, m a d e for the CJhinese m a r k e t , the case finely chased with w h e a t s h e a \ es a n d geometric p a t t e r n s a n d raised o n splayed feet; with repeat m e c h a n i s m , t h e front slide o p e n i n g to reveal a m a r i t i m e scene with sailing ships a n d playing two hornpipes; the engraved backplate signed 'Henry Borrell, Ix)ndon'.

English, circa 1820 Height: 23 in / 5 8 c m Width: 11 Vi in / 29 cm D e p t h : 11 in / 28 c m

H e n r y Borrell is r e c o r d e d at two L o n d o n addresses b e t w e e n 1795 a n d 1840: 8 Aldersgate Buildings a n d 15 Wilderness Row. H e was a m a k e r of musical clocks a n d w a t c h e s a n d is k n o w n to h a \ e m a d e for the e a s t e r n m a r k e t .

In the late 18th a n d early 19di centuries t h e r e was a thri\ ing t r a d e in clocks m a d e in E n g l a n d for t h e Turkish a n d C h i n e s e markets. The-se o r n a t e creations h a d elaborately cast a n d engraved o r m o l u cases, often e n c r u s t e d with paste stones to simulate jewels. S o m e b e i n g of quite small size, o t h e r s were m a d e on a vast scalc a n d of cjuite flintastical conce])t. T h e y were clearly h i g h h ' prized in the palaces of p o w e r f u l e a s t e r n potentates. Imaginative a u t o m o t a were de\ ised to o|)erate in time \vith tunes played on a carillon a n d , in some, rods of glass re\'ol\ ed to create a waterfall effect.

T h e best known m a k e r associated w ith such clocks was J a m e s C o x , r e c o r d e d as working b e t w e e n 1760 a n d 1 788. most of whose a u t o m a t a went to Clhina. H e n r y Borrell. t h o u g h less well known - r e c o r d e d e x a m p l e s of his work a r e extremely rare was. however, a clockmaker in the s a m e mould.

This large clock follows the fashion in a relati\'ely restrained f o r m a n d has the e n c h a n t i n g , a n d possibly unicjue feature of a c u r t a i n of d e c o r a t e d o r m o l u rising on the iiour to r e \ e a l a fleet of sailing ships riding waves of spinning glass to the s o u n d of sea shanties played on the bells.

It seems to represent a c h a r m i n g tribute to the ever g r o w i n g m a r i t i m e t r a d e b e t w e e n East a n d West at that time.

50

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A Victorian dressing set

A rosewood sofa table

O p p o s i t e page: A travelling dressing set of

Above: A fine G e o r g e III rosewood sofa

s u p e r b quality, comprising a c a l a m a n d e r

table, the top of f a d e d colour, cross-

a n d rosewood b o x with brass mouldings

b a n d e d a n d with a b o r d e r of satinwood

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a n d recessed brass handles fitted with two

a n d b o x w o o d stringing, above two

tiers of leather lined trays c o n t a i n i n g a

d r a w e r s in the frieze with star handles a n d

\'ariety of cut glass bottles a n d boxes, all

ivory escutcheons, raised on double, ring

with c n g r a \ e d silver gilt tops b e a r i n g the

t u r n e d c o l u m n sujDports with splayed legs

m o n o g r a m L E H (see left), a n d an etui with

a n d e n d i n g in brass box castors.

scissors a n d o t h e r small gadgets in steel a n d mother-of-peari; the lid fitted with a

English, circa 1800

removable m i r r o r a n d enclosing a small

Height: 28 in / 7 1 cm

leather folio. Hallmarks for I-ondon 1852,

Length: 6 3 in / 160 c m

maker's m a r k J H .

D e p t h : 2 4 in / 61 c m

Height: 7 in / 18 cm Width: 14 in / 36 cm D e p t h : IO'/2 in / 26.5 cm

53

A chandelier by Osier

()i)posite page: An exceptional chandelier

Victorian era. From their factory in

by F & C Osier, with eight cut glass a r m s

B i r m i n g h a m , the firm p r o d u c e d

festooned with o\ al and ball drops, the

glassware of e\'ery kind, from wine glasses

receiver bowl of urn shape cut in a leaf

and decanters to vast chandeliers for

pattern with a cut ball finial below, the

palaces throughout the world. T h e y h a d

centre of the stem of pineapple form

showrooms not only in B i r m i n g h a m a n d

surmounted by downcurving crooks hung

London's O x f o r d Street but also in

with further pendants a n d strings of

Calcutta, where they displayed rooms of

diamonds, the very lop with unique,

cut glass furniture which was keenly

upcur\ ing crooks with integral spires; the

collected by the Indian M a h a r a j a h s .

metal receiver plate stamped 'F&C Osier'.

Osier were renowned for lighting fixtures of all kinds a n d were always the

English, circa 1860

first to a d a p t to the new advances, from

Height: 45 in / 114 cm

candlelight to oil, g a s a n d eventually

Diameter: 26'/2 in / 67 cm

electricity. T h i s delightful chandelier, though small in scale, is rich in features, notably the very rare, faceted crooks at

A pair of marquetry etageres Right: A pair of 19th century maple a n d satinwood three tier etageres, the shelves inlaid with scrolling marquetry in premierparti and conlre-parli and with gilt metal borders a n d gallery, on curving legs ending in hoof feet.

English, circa 1865 Height: 31 in / 79 cm Width: 17 in / 43 cm Depth: 13 in / 33 cm

54

F & C Osier was one of the most

the top. It was m a d e to be, and still is, lit

important glass manufacturers of the

by candles.

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A Regency centre table

An early 19th century circular library centre table in faded mahogany, the top with magnificent flame figured veneers radiating fi-om the centre and crossb a n d e d with mahogany and palmwood and with reeded outer edge, raised on a triangular pedestal and base with fiirther reeded mouldings and bun feet. ] 2 0

English, circa 1820 Height: 29 in / 74 cm Diameter: 59'/2 in / 151 cm

56

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57

A double cased glass vase

by Val Saint-Lambert A flared vase in clear crystal, cased French

T h e factory of V'al S a i n t - L a m b e r t was

blue o n the outside a n d red on the

Europe's leading p r o d u c e r of cased a n d

interior, cut f r o m b o t h sides.

cut glass d u r i n g the Art D e c o period a n d

Belgian, circa 1926

c o m p a n y ' s most spectacular p r o d u c t i o n .

Height: 10 in / 25.5 c m

T h e c o m p a n y ' s catalogue of 1926

this f o r m of d o u b l e casing is a m o n g s t this

illustrates a bowl similarly d e c o r a t e d called ' T h e C a n a d i a n Bowl'.

58

Glass Exhibition

A set of Whitefriars glass

A g r o u p of glass by J a m e s Powell & Sons, W h i t e f r i a r s CJlassworks, L o n d o n :

A wine glass in clear glass, d e c o r a t e d with

Mallett's are holding an i m p o r t a n t

d e e p green threading, pulled d o w n the

exhibition of the work of the W h i t e f r i a r s

bowl, with hollow stem, designed by

Glassworks, in April 1997, at 141 N e w

From left to right:

H a r r y Powell.

Bond Street, L o n d o n .

A vase in sea green glass, p a t t e r n n o 925,

English, circa 1907

designed by B a r n a b y Powell.

English, circa 1936-38

A tall vase with wavy rim in d a r k g r e e n glass, p a t t e r n n o 925, designed by H a r r y

A wine glass in d a r k g r e e n glass, with

Powell.

optic ribbing, designed by H a r r y Powell.

English, circa 1880

p:nglish, circa 1890

H e i g h t : 12% in / 32.5 c m

59

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The Duke of Beaufort's

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A set of four paintings

The Meet Signed and dated 1729 Oil on canvas, 36 x 57 in / 91 x 145 cm First in series of four paintings

Drawing the Covert s Signed and dated 1733 Oil on canvas, 36 x 57 in / 91 x 145 cm Second in series of four paintings

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Full Cry Signed O i l o n canvas, 36 x 57 in / 91 x 145 c m T h i r d in series of f o u r p a i n t i n g s

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O i l o n canvas, 36 x 57 in / 91 x 145 c m F o u r t h in series of f o u r p a i n t i n g s

Opposite page:

Drawing the Covert (detail) PROVENANCE

four superbly worked landscapes, detailing

e x c e p t i o n a l c h r o n i c l e of 18th c e n t u r y

P u r c h a s e d by Sir W i l l i a m B e a u c h a r n p -

the h o u s e , the estate a n d the S c \ e r n \ a l l c y

s p o r t i n g life b u t also a delightfully w o r k e d

Proctor, 1st Bt {circa 1722-1773) for

s t r e t c h i n g a w a y in the distance, a r e

set of classical l a n d s c a p e p a i n t i n g s of the

L a n g l e y Park, N o r f o l k , a n d by d e s c e n t to

c o n t r a s t e d b\ n u m e r o u s c h a r m i n g a n d

English counti'yside.

Sir C h r i s t o p h e r B e a u c h a m p , 9 t h Bt.

witty vignettes of the h o u n d s a n d

The p i c t u r e s w e r e p u r c h a s e d by

h u n t s m e n in t h e f o r e g r o u n d . These small

W i l l i a m B e a u c h a m p , later Sir William

b u t richly c o l o u r e d details e m p h a s i s e the

B e a u c h a m p - P r o c t o r , a n d h u n g at L a n g l e y

S u c h a set of this g e n r e is rarely to b e

c o n t r a s t with the large, m o r e t o n a l countr\-

Park n e a r N o r w i c h , in N o r f o l k , w h i c h

f o u n d intact. It illustrates f o u r different

\-iews w h i c h f o r m t h e b a c k g r o t u i d .

estate h a d passed to h i m f h j m his g r e a t

scenes of t h e B e a u f o r t H u n t , all d e p i c t e d

J a m e s Ross's work, w h i c h is

uncle, G e o r g e Proctor, a n a c c l a i m e d

o n the D u k e of B e a u f o r t ' s estate at

r e p r e s e n t e d in the M e l l o n C o l l e c t i o n , h e r e

c o n n o i s s e u r a n d c o l l e c t o r L a n g l e y Park

B a d m i n t o n in G l o u c e s t e r s h i r e . B a d m i n t o n

shows the i n f l u e n c e of J o h n W o o t t o n ,

w a s o n e of the m o s t sophisticated of

h a s b e e n p a i n t e d by m a n y f a m o u s artists,

himself in t u r n i n f l u e n c e d by C^laude.

English Palladian m a n s i o n s , long

T h e s e p a i n t i n g s a r e n o t only a n

c e l e b r a t e d for its p i c t u r e collection.

a m o n g t h e m C a n a l e t t o in 1 748. T h e s e

62

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Mary Moser 1744-1819

Still Lifes of Flowers Both inscribed on labels attached to the stretcher: 'From Mr Sharp's collections of the early part of the 18th century and broughtfrom his seat at Brockley Hill, Middlesex, on the demolition of the house in 1830, 21 Nov. 1840 Mrs Margaret Smith'.

A pair, oil on canvas 21 X 14% in / 53 X 36 cm PROVENANCE

M r Sharp, Brockley Hall, from whom bought in 1830 by Lord Duveen, by whom given to the father of the last owner.

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64

Mary Moser was the daughter of (Jeorge Michael Moser, RA (1 704-1 783), who was primarily a gold chaser and eiiameliist but also drawing master to George III. Mary was a llovver painter in both oil and watercolour. She exhibited at the Society of Artists from 1760-1768 and, like her father, was a Foimdation M e m b e r of the Royal Academy. She was a|)pointed Flower Painter to Queen Charlotte, for whom she decorated a room at I'Vogmore.

In 1793 she married Captain Hugh Lloyd.

There are examples of her work in the British Museum, the Victoria and Albert Museum, the Leicestershire Art Galleryand the Ulster Museum.

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Benjamin Killingbeck fl 1 7 6 3 - 1 7 8 9

Three Pointers in a Ljindscape S i g n e d a n d d a t e d 1777 Oil on canvas 4 2 x 6 0 in / 107 x 152 e m PROVENANCE M i c h a e l Szell, C h e l s e a P r i v a t e collection, U S A EXHIBITED T h e Free Society of Artists, L o n d o n , 1779, as Three Pointers, the property of a Gentleman, in a landscape by the edge of a wood, c a t a l o g u e n o 104.

B e n j a m i n Killingbeck was a Y o r k s h i r e m a n , p r o b a b l y b o r n at P o n t e f r a c t . In 1769, h e w a s called in t h e local n e w s p a p e r ' a n eminent painter a n d limner' a n d he was e x h i b i t i n g at t h e m a j o r L o n d o n v e n u e s of t h e Society of Artists, t h e Free Society of Artists a n d the Royal A c a d e m y f r o m t h a t year. H e e n j o y e d early p a t r o n a g e of t h e M a r q u i s of R o c k i n g h a m , t h e Earl of E g l i n t o n , t h e Tattersalls a n d t h e W e n t w o r t h families. T h i s w a s d i s t i n g u i s h e d c o m p a n y , for these p e o p l e w e r e likewise m a j o r p a t r o n s of the d e v e l o p i n g g e n i u s of G e o r g e S t u b b s .

Killingbeck's best k n o w n w o r k s a r e of a s p o r t i n g n a t u r e , t h o u g h h e also p r o d u c e d landscapes a n d portraits. His paintings often exhibited an engaging t r a c e of e c c e n t r i c i t y a n d b e t r a y a n i d i o s y n c r a t i c ability in e y e - c a t c h i n g c o m p o s i t i o n . His t e c h n i q u e is e x t r e m e l y s o u n d a n d t h e f r e s h n e s s of p a l e t t e , crispness of e x e c u t i o n a n d eye for fine detail a r e n o t a b l e . T h e c o m p o s i t i o n of t h e p r e s e n t p a i n t i n g owes little to Killingbeck's a p p a r e n t m e n t o r , G e o r g e S t u b b s , a n d is entirely of his o w n i n v e n t i o n . T h e diversity of t h e d o g s ' poses a n d t h e circular r h y t h m of t h e c o m p o s i t i o n is c o u n t c r l ) a l a n c c d by the t e n s i o n i m p l i e d by llie d o g s ' c o n c e n t r a t i o n on the l o w e r right h a n d c o r n e r , w h e r e w e suspect a p a r t r i d g e o r a ]3heasant s h o u l d c r o u c h . T h e artist l e a \ e s this a r e a as u n d e r g r o w t h , e s c h c w i n g wliat w o u l d b e a c o n v e n t i o n a l idea, a n d leaves u n r e s o l \ e d the c|uestion of w h e r e a n d at w h a t the p o i n t e r s a r e pointing. T h i s a m u s i n g c o n c e i t is exactly t h e sort of m i l d e c c e n l r i c i t y w h i c h m a k e s this regrcttaliK r a r e artist so e n d e a r i n g to m o d e r n eyes.

66

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Charles Parker area 1828

A still life of Bell's Life in London and other Sporting and Gambling Accessories Oil o n canvas 2 0 x 23% i n / 5 1 x 6 0 c m

T h i s p a i n t i n g is o n e of several k n o w n

seems r e a s o n a b l e that C h a r l e s Parker

versions of a s p o r t s m a n ' s i r o m p e I'oeil

m i g h t have b e e n active f r o m as early as

p a i n t e d by the artist (Uiarles Parker. T h i s

1826. T h e S a n d r i n g h a m version is a little

version is very similar, in handling,

earlier t h a n this one, which shows Bell's

c o n t e n t a n d c o m p o s i t i o n , to t h e o n e in

Life in Ijondon d a t e d D e c e m b e r 23 1827,

t h e Royal Collection at S a n d r i n g h a m ,

while the Amah of Sporting is the April

w h i c h was a gift to E d w a r d V I I d u r i n g

1828 edition. Full in c o n t e n t a n d rich in

his reign.

colour, such .sporting still lifes are not only

W h i l e little is k n o w n of t h e artist, all

for t h e publications a n d objects that they

publications d a t e d in t h e late 1820's, so it

depict.

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decorative but also historically interesting

r e c o r d e d versions of the subject include

nV

John Rubens Smith 1775-1849

The

\ 'icar of

I

family interest in t h e art world.

Vakefield

Thomas

( J e o r g e M o d a n d , J o h n R a p h a e l |)as.sed o n

h a d b e e n b o t h painter, d r a u g h t s m a n a n d

t h e f a m i l y talents to his son a n d J o h n

Oil on canvas

e n g r a v e r , m u l t i f a r i o u s activities w h i c h h e

R u b e n s w a s a l r e a d y e x h i b i t i n g at t h e

22 X 2 8 in / 5() X 71 c m

p a s s e d o n to his son, J o h n R a ] ) h a e l S m i t h .

Royal A c a d e m y as early as 1 79() w h e n

In its original c a m ' d a n d gilt IVanic

The S m i t h s w e r e a m b i t i o u s a n d successful

a g e d o n l y t w e n t y - o n e . The ])resent

a r t e n t r e p r e n e u r s , with a taste for n a m i n g

p a i n t i n g w a s e.xecuted t h e following year,

E X I I I B I TKl)

their c h i l d r e n a f t e r the g r e a t e s t of t h e O l d

t h e s e c o n d of .some forty-five |)aintings

Royal A c a d c n i y , 1 797, n o 5 6 0

M a s t e r s . Thus J o h n R u b e n s w a s b o r n as

w h i c h h e s u b m i t t e d to t h e A c a d e m y u|) to

the third, b u t first s u r v i v i n g son. His

1811.

p a r e n t s c h r i s t e n e d their o t h e r c h i l d r e n

T h o u g h e n j o y i n g r e a s o n a b l e success

T h i s p a i n t i n g dc|)icts a s c e n e f r o m O l i v e r

with such n a m e s as L e o n a r d o , A n g e l i c a

as a portraitist a n d l a n d s c a p e jjainter, the

G o l d s m i t h ' s The Vicar of Wakefield. T h e

R t j s a l b a a n d R a p h a e l Claesar.

years of t h e N a p o l e o n i c w a r s w e r e d e e p l y inimical to the n o u r i s h i n g of t h e arts in

V i c a r a n d his f a m i l y sit in a b o w e r by

This p r e p o s t e r o u s h a b i t , t h o u g h , w a s

t h e i r f a v o u r i t e iioneysuckle h e d g e a n d

]5erhaps j u s t i f i e d by t h e success that t h e

England a n d Smith eventually emigrated

listen to O l i v i a singing ' W h e n lovely

family e n j o y e d . J o h n R a i ) h a e l S m i t h w a s

to t h e U n i t e d States, w h e r e h e settled in

w o m a n stoo]3s to folly'. S h e s w o o n s as she

doubtless the most com|5etent, a n d

N e w York. Like his father, his tastes w e r e

sees the a])])roach of S q u i r e

occasionally brilliant, m e z z o t i n t e r of t h e

as m u c h for c o m m e r c e as for j)ainting a n d

late 18th c e n t u r y a n d a n o c c a s i o n a l b u t

h e s e e m s to h a \ e e n j o y e d a steady succcss

g e n e r a t i o n artist, w h o s e g r a n d f a t h e r ,

h u g e l y t a l e n t e d p a i n t e r in oils. Best

in his newly ado|5ted c o u n t r y . H e died in

T h o m a s S m i t h of D e r b y , h a d s t a r t e d t h e

r e m e m b e r e d t o d a y as t h e p u b l i s h e r of

N e w York in 1849.

rhornhill.

John R u b e n s S m i t h w a s a t h i r d

John Atkinson Grimshaw 1836-1893

Greenock Harbour at Might

186()'s and 1870's are often considered his most creative and formative years but it is his dock scenes of Li\'crpool and the area around Glasgow, which he began painting in the 1880's, that are perhaps for most people the quintessential Grimshaw.

Signed and dated 1893 011 on canvas 12 X 18 in / 30.5 x 36 cm

The paintings of the Leeds artist J o h n Atkinson Grimshaw are well known and loved, particularly in the north of England where he did so much of his work. T h e

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Greenock H a r b o u r on the Firth of Glyde was, like Glasgow, a rich and prosperous area in the 19th century and, as with his Liverpool views, Grimshaw produced several versions of these pictures

oO

0

to satisfy the strong demand for them from local businessmen. As was typical of this period, (Jreenock H a r b o u r at Night captures the damp, moonlight atmosphere of this northern port, the tangle of ships' masts and rigging drawing our attention to the water on the left. Opposite, the row of gas-lit shops cast their radiance on to the wet road and pavement. This scene is a superb example of this celebrated phase in (irimshaw's life.

J o h n Atkinson Grimshaw 1836-1893

Newlay Woods, Leeds

both strongly suggest the influence of the Pre-Raphaelite Brotherhood.

shows that he did take on-the-spot notes for use in finished paintings.

Signed; on the reverse signed, inscribed and dated 1861 Oil on board

T h e inspiration for this and other nature studies of this date probably came from when Grimshaw and his wife I heodosia used to walk from the town centre in Leeds, along the Meanwood Valley to Adel, picking up moss covered stones, leaves, twigs, flowers and feathers to take home and arrange in the studio in order to paint. At this point in his very early career, like the Pre-Raphaelites, Grimshaw seldom produced preliminary studies for his pictures, nor would he have worked out of doors, although one of his sur\'iving sketchbooks - now in the Leeds City Art Gallery - contains a study which

Grimshaw's early still lifes were probably much influenced by William Henry Hunt, who was known for his detailed bird's nests and flowers, and Grimshaw produced similar compositions with bird's nests in the years between 1861 and 1863, the year he began painting landscapes, (irimshaw would have learned of the Pre-Raphaelites through fellow Leeds artist William Inchbold. Inchbold's connections with the Brotherhood, particularly with Rosetti and also Ruskin from around 1854, would have made him ideally well placed to communicate their ideas.

10% X 15 in 7 25.5 x 38 cm

T h e earliest known paintings by Grimshaw date from 1861, the year in which he painted this exquisitely detailed still life nature study of Newlay Woods, near Leeds.The painstaking way in which he has depicted the detail of rocks and ferns, the richness of colour and luminosity, usually achieved by painting pure colours on to a wet white ground.

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MALLET T in Bourdon House

A Louis XV Figure of Ceres A large scale Louis X V standing

T h e goddess C-eres has been a p o p u l a r

t e r r a c o t t a sculpture of the goddess Ceres,

subject since Anticjuity In medieval R o m e

R o c o c o period. In particular there is a

retaining most of its original patination,

there was a cult of C e r e s the c o r n goddess

figure by J e a n Thierr)- (1669-1739) m a d e

the figure h o l d i n g a b u n d l e of wheatsheafs

a n d f r o m the Renaissance she has been

for Philip V of Spain, in the gardens of

a n d dressed in bolclK' modelled flowing

considered a link b e t w e e n Christian

L;i ( i r a n j a , illustrated in French Sculptors of

robes, possibly a d a p t e d f r o m a Ixjuis X I \ '

female icons a n d the mythologv' of the

the 17th and 18th CenlMies by Fran<;ois

figure.

Ancients. T h i s figure stand.s, in style,

Souchal.

between the 17th a n d 18th centuries. H e r France, circa 1740

contrapposto f o r m looks back to the great

Height: 5 9 in / 150 c m

masters of the court of I.ouis X I V whilst

also looking f o r \ \ a r d to the f r e e d o m of the

.

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A Regency lacquer writing table A very rare R e g e n c y l a c q u e r two d r a w e r writing table having boldly modelled brass m o u n t s a n d mouldings, the l a c q u e r b e i n g a very rare a u b e r g i n e colour. In t h e m a n n e r of J o h n M c L e a n .

E n g l a n d , circa 1815 Height: 29 in / 74 c m W i d t h : 42 in / 107 c m D e p t h : 24 in / 61 c m

After the e n d of the N a p o l e o n i c Wars, m a n u f a c t u r e r s of decorative arts in E n g l a n d h a d to c o n t e n d with an influx f r o m E u r o p e , a n d particularly France, of highly fashionable a n d desirable articles.

T h i s writing table reflects the influence of such i m p o r t e d taste. T h e refined sofa table end-supports derive f r o m the earlier elegance of Sheraton's designs, with the high a r c h e d stretcher increasing the lightness of its outline, however, the use of Chinese l a c q u e r as the decorative veneer is extremely rare a n d copies the vogue in France for this f o r m of decoration.

In the early 19th c e n t u r y the a d a p t a t i o n of the Chinese taste was a c o n t i n u a t i o n f r o m t h e fashionable w h i m of the English rococo d u r i n g t h e m i d d l e of the 18th century. T h e personal taste of the Prince of Wales, w h e n d e c o r a t i n g Brighton Pavilion in 1802, greatly influenced this taste for 'the fantastic a n d uncouth...which were universally a d m i r e d because they b o u g h t to m i n d those images of Eastern magnificence a n d splendour'.

However, most of this furniture, w h e t h e r cabinets or chairs, were d e c o r a t e d with chinoiseries a n d j a p a n n e d , imitating C h i n e s e lacquer, r a t h e r t h a n utilising actual oriental lacquer panels. Tiie skill in applying a n d b e n d i n g the lacquer as a veneer is very rarely f o u n d in English f u r n i t u r e of this p e r i o d a n d m a k e s this writing table most unusual. l " h e one c a b i n e t - m a k e r w h o advertised on his trade c a r d as s]3ecialising in 'elegant Parisian f u r n i t u r e ' w a s j o h n M c L e a n , w h e n he moved his workshop to U p p e r M a r y l c b o n e Street in 1809. Although this table c a n n o t be directly attributed to M c L e a n , the f o r m is very similar to known tables f r o m his workshop. The use of highly polished metal m o u n t s a n d r u n n i n g gallery a r o u n d the writing surface are also typical of this cabinet-maker's designs.

74

75

76

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A Charles X iron chair

A Louis X I V boulle commode

Opposite page: A French wrought iron and gih metal desk chair having an arcaded coved back, scroll arms and gently splaying back legs, with a removeable seat. Attributed to GaudUlot Preres & Roy.

0\erleaf with detail below: A late 17th century boulle commode of traditional form having three short drawers with three long drawers below, the top having a gilt brass border framing a spectacular Berainesque design with the Birth of Venus at its centre, the drawers and sides similarly decorated with premier-parti and contre-parti masks and floral arabesques, the drawers having richly cast lacquered mounts and handles. Attributed to Nicolas Sageot.

France, circa 1835 Height: 36 in / 91 cm Width: 21 in / 53 cm Depth of seat: 18 in / 46 cm

France, circa 1700 Height: 32 in / 81 cm Width: 45 in / 114 cm Depth: 21 in / 53 cm

f

v7

Nicolas Sageot worked at the end of the 1 7th century in the Faubourg SaintAntoine and his workshop was continued by his widow throughout the reign of Louis XV. He is most renowned for furniture covered in leather marquetry and boulle work.

This commode is identical to a commode in the Wallace Collection, except for the legs and bottom frieze. The top, the drawers, the sides and the mounts are otherwise the same. In Peter Hughes' recent publication, The Wallace Collection: Catalogue of Furniture, \-ol II, he discusses the attribution to Nicolas Sageot (1666-1 731), who worked as an ouvrier libre before becoming a maitre in 1706. The marquetry on the sides and on the outer panels of the drawer fronts is identical to a commode sold in Monaco in J u n e 1986.

However, the marquetry on the top is different. This marquetry is in turn identical to a kneehole wridng table, which is stamped by Sageot and is now in the Royal Collection, Stockholm.

Moreover, the marquetry on the sides of the commode is identical to that on the lower halves of the doors of two armoires, one of which is stamped Nicolas Sageot, sold at Versailles in March 1988 and later in Paris in December of the same year. The second armoire is stamped and was sold in London i n J u n e 1987.

The marquetry top of the commode with its central panel of Venus is taken from an engraving after J e a n Berain (1640-1711), illustrated above. See overleaf.

77

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y

T

i

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m

m

m

A pair of Regency overmantels

A pair of Chinese cloisonne hoopoe

Opposite page: A very fine quality pair of Regency parcel gilt o\ermantel mirrors with convex plates supported by drapery, the tops with eagle supports atiove fluted columns.

Below: A very rare pair of Chinese early 19th century cloisonne hoopoe, each bird having the typical attriljutes of a long beak and serrated cresting, the wings decorated with subtly graded tones of blue and white, the bodies being yellow.

England, circa 1810 Height: 36 in / 92 cm Width: 70 in / 178 cm

Jiaqing, circa 1820 Height: 6 in / 15 cm

These highly unusual overmantels combine great theatricality with technical prowess. Around the convex plate there is carved a half pulled curtain, perhaps playfully alluding to the idea that something is revealed when we look at ourselves. Beyond the curtain there is carved a traditional bat wing motif, yet the scale with wMch it is conceived belies the formality. T h e flanking columns with their boldly modelled eagles also refer to often seen motifs and yet once again the effect is one which is extreme and therefore beyond expectation. T h e carving is highly intricate and detailed, which turns overmantels from theatre into something more exciting. These must have been a special commission and are perhaps to be associated with the circle of the Prince of Wales, the creator of Brighton Pavilion. He self-consciously took the classic forms of the Regency period and adapted them to his own flamboyant style. These mirrors are a particularly good example of the real fantasy of the high Regency period.

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A pair of Louis X V giltwood bergeres

A Charles X jardiniere

Below: A pair of Louis X V giltwood bergere chairs, having waisted backs surmounted by floral carving in low relief, with scroll arms, the serpentine front rail carved with floral motif, standing on cabriole legs.

Opposite page: A most unusual Charles X mahogany oval jardiniere on stand in the form of a lit en bateau, the base in the form of a colonnaded oval in the gothic manner, inlaid with boxwood stringing and standing on a shaped plinth.

Attributed to Jean-Josse Caron the Elder.

France, circa 1750 Height: 37 in / 94 cm Width: 27 in / 70 cm Depth of seat: 21 in / 53 cm

A

X'

France, circa 1825 Height: 38 in / 96 cm Width: 31 in / 80 cm Depth: 19 in / 49 cm

Jean-Josse Caron the Elder (1773-1838) worked at 123 rue de Faubourg SaintAntoine until his death in J a n u a r y 1838.

In 1831 he was registered as an ouvrierebeniste, but by the end of his life only seven years later, his firm had achieved wide renown.

In 1836 he wrote to the Garde Meubles de la Couronne offering a bureau de dame in rosewood. T h e following year he was commissioned by the Garde Meubles as a designer-cabinet maker to supply a

82

number of pieces of furniture. At this time he published a series of small books illustrating furniture designs for cabinet makers, while also supplying furniture in France and abroad.

In the Bibliotheque Nationale in Paris there is a copy of his Manuel de L'Ebeniste which contains sixty plates illustrating a wide diversity of furniture, many of gothic or renaissance inspiration, with elaborate linear geometric inlays in light boxwood on a dark ground. These particular stylistic elements can be clearly seen in this jardiniere, with the gothic trefoil arches separating each leg and the contrasting boxwood stringing punctuating the finely figured mahogany ground.

Caron explains this eclectism of design thus: 'Many people are looking for furniture of simple design which is todays fashionable taste but other people prefer furniture m a d e in the gothic manner. We have to say, that the number of the latter grow so fast that the Gothic style is today one of the mainstays of the cabinet making trade'.

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A pair of inlaid marble console tables A \'t'ry (inc pair of mid IHili ( cniur)-

The mixture of highly skilled m a r b l e

N e a p o l i t a n marlile console tables,

carx ing c o m b i n e d with freely achieved

\ c n e e r e d in jasper a n d Siena marble.

mosaic m a r b l e \ e n e e r seems to be txpical of lapidary crafts of the south of Ilah- at

Italy, circa

1 750

this time. 'l\vo teams of artisans would

Height: 34 in / 86 cm

h a \ e created these tables, one to c a n e , the

\Vidth: 4 6 in / 117 cm

o t h e r to prcjoare a n d inlay the jasper a n d

D e p t h : 1 7 in / 4 3 cm

Siena marbles.

OQ

A Regency japanned music stand An unusual large scalc Regency music stand in the f o r m of a peita-shield d e c o r a t e d with black a n d gold with neoclassical o r n a m e n t , s u p p o r t e d by a stylised a r r o w in brass, standing o n a triangulated plinth d e c o r a t e d with gilt a n t h c m i a o n a black g r o u n d . Attributed to E r a r d .

E n g l a n d , circa 1810 Height: 54 in / 137 c m Width: 19 in / 4 8 c m

T h e r e is a n almost identical R e g e n c y music stand in the Victoria a n d /Mbert M u s e u m (M46-194) d a t e d 1810 by Sebastian E r a r d of 18, G r e a t M a r l b o r o u g h Street, L o n d o n . H e h a d o p e n e d the premises in 1792. T h e X'ictoria a n d Albert e x a m p l e c a m e f r o m C h a r l e c o t e Park a n d is m a r k e d with Erard's n a m e a n d address o n the front of the music shelf.

t

-.ft

•If

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V^V

Two face screen mirrors

Ix'ft: An excc])tional late 18th century face screen mirror, the frame in cut and ptjlishccl steel, the cresting decorated with faceted stubs and stylised floral motifs, the hack with engraved and punched vignette of roses and a floral border bearing the inscription 'souvenir de Plomhikes', with rope twist support and circular base.

Right: A very rare and unusual Austrian simulated porphyry face screen mirror of adjustable height, with cut steel m(junls and anthemion motif.

Austria, circa 1810 Height: 17 in / 44 cm

Prance, circa 1790 Height: 13 in / 33 cm

^mmmm. w

8 M I 01 toSOO

iS i^'-V..

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A 17th century scagliola table top Right: A ver\' fine a n d rare mid 17th centurv' rectangular polychrome scagliola table top profusely decorated with birds a n d flowers, a n d ha\ ing at its centre a coat of a r m s .

Signed indistinctly 'Januarius Man...Carpiggano'

{almost certainly for

M a n n e l l i f r o m Carpi).

Italy circa 1650 N o w standing on a pair of 1 7th c e n t u r y French giltwood pedestal bases.

Height: 29 in / 74 c m Length: 73 in / 186 c m Width: 38 in / 97 c m

i'Mthough n o t h i n g is known of Mannelli, this particular style of scrolling foliate arabesques inlaid as scagliola is characteristic of the work p r o d u c e d in C a r p i , outside M o d e n a , d u r i n g the late 17 th a n d early 18th centuries. Examples of such work can be seen in the C a t h e d r a l at M o d e n a a n d also at St M a r i a in Porto at Rax'cnna. It is a rare luxury for all the scagliola work to be so highly coloured.

M u c h early scagliola work was completed in grisaille \\ith only the central panels a n d most p r o m i n e n t strapwork finished in colour.

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A William I V satinwood chiffonier

A pair of Chinese export chargers

Left: An unusual salinwood chiironier, the

Below: A very rare pair of C^hinese export

shaped to|3 ha\'ing amaranth cross-

mid 18lh century famille rose scallo]5cd

banding and a band of rosewood,

chargers having finely painted floral

sujjported by three l)ronzed columns, tlie

decoration with gill enrichments, the

central one being a winged caryatid, the

design taken from Eurojjean silver.

two drawers each with a lion's head cscutcheon plate, standing on topic feet.

Qianlong, circa 1760 Diameter: 14 in / 37 cm

England, circa 1830 Height: 35 in / 90 cm Width: 49 in / 124 cm Depth: 14 in / 36 cm

The unusual car\ ing of the ccntral caryatid figure and the large scale used for other elements in the ])iecc have been interpreted as a possible indication of Irish manufacture.

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A chandelier attributed to John Blades A R e g e n c y c h a n d e l i e r of traditional f o r m ,

Prince R e g e n t employed at C a r l t o n H o u s e

s u r m o u n t e d by two gothic o r m o l u

a n d is similar to the chandelier illustrated

coronets, the u p p e r coronet d e c o r a t e d

here. D u r i n g the early 19th century.

with stars a n d p e n d a n t buttons, the lower

Blades e x p a n d e d his business into the

d e c o r a t e d with gothic arches, the ring

M i d d l e E a s t e r n m a r k e t a n d India,

s u p p o r t i n g twelve o r m o l u b r a n c h e s in t h e

f u r n i s h i n g lustres, c a n d e l a b r a a n d even a n

f o r m of gargoyles with cut p a n s h u n g with

e x t r a o r d i n a r y g r e e n glass gothic t o m b for

rule drops a n d cut nozzles.

the N a b o b of O u d h .

E n g l a n d , circa 1825

as Blades developed n e w designs to

Height: 72 in / 183 c m

c o m p e t e with France in this luxury-

T h e shop in L o n d o n e x p a n d e d rapidly

D i a m e t e r : 4 0 in / 102 c m

market. H e employed t h e architect, J B P a p w o r t h to design his suites of light fixtures, vases a n d even dessert ser\ ices, in

J o h n Blades was first r e c o r d e d in the

the neo-classical taste. P a p w o r t h was

L o n d o n G u i d e for 1783 at 5 L u d g a t e Hill,

responsible for the introduction of long,

w h e r e he r e m a i n e d until his d e a t h in

oblong drops in 1822 which were

1829. H e achieved early success, b e i n g

described as b e i n g 'full of prismatic

recognised as 'Cut-glass m a n u f a c t u r e r to

b e a u t y ' by c o n t e m p o r a r y c o m m e n t a t o r s .

His M a j e s t y ' in the record of his m a r r i a g e

T h e s e drops can be seen h u n g f r o m the

in April 1789. T h e first r e c o r d e d survi\ ing

p a n s a n d rings on this chandelier. It is the

pieces by Blades are two chandeliers for

quality of the metalwork a n d crispness of

the D r a p e r s C o m p a n y which h a n g in their

the glass cutting which, together with the

C o u r t r o o m , m a d e in August 1797. T h e s e

n e w designs, e n a b l e d Blades to be at the

chandeliers were o n e of the earliest

forefront of glass m a n u f a c t u r e d u r i n g the

examples using a cascade of drops f r o m

early years of t h e 19th c e n t u r y a n d to be

the top to the b o t t o m , anticipating the

k n o w n at the time of his d e a t h as 'the

' f o u n t a i n ' style of chandelier, which the

great glass m a n of L u d g a t e Hill'.

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A George III mahogany trestle table A n extremely rare late 18th c e n t u r y

spectacle at d i n n e r c o n c e n t r a t e d m o r e o n

m a h o g a n y folding butler's table of

the settings of the table t h a n the elaborate

unusually large size, s t a n d i n g on its

ritual of service. It is unusual for a folding

original p a i r of t u r n e d ' X ' f r a m e supports,

table to be s u p p o r t e d by such finely

the t i m b e r t h r o u g h o u t of a particularly

t u r n e d legs a n d also to be m a d e out of

rich colour.

such g o o d quality C u b a n m a h o g a n y . T h e reason for this is that the table h e r e

E n g l a n d , circa 1800

illustrated would have b e e n set up,

H e i g h t : 28-31 in / 71-79 c m

probably in t h e dining r o o m , as a n

Length: 78 in / 198 c m

essential addition for the m o r e elaborate

Width: 4 0 in / 103 c m

f o r m a l dinners, facilitating the arrival of the n e w dishes for the table, as well as for the clearing of the previous course.

T o w a r d s the e n d of the 18th century, the style of dining in E n g l a n d b e c a m e m o r e

T h e complexity of serving required a fine quality s u p p o r t a n d large scale

elaborate with larger surfaces a n d m o r e

surface. T h i s buder's table has b o t h a n d

glass a p p e a r i n g on the tables. T h e

could n o w be used as a dining table in its

quantity of food eaten by the English

o w n right, either outside for a picnic, or

appalled m a n y foreign visitors a n d w i t h o u t

inside for occasional additional seating, or

t h e same q u a n t i t y of h o u s e h o l d staff, t h e

as a p e r m a n e n t side table.

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A pair of cast iron dogs

by Ducel A fine quality large scale pair of Napoleon III cast iron models of sporting dogs, a spaniel and a labrador, each lying on an integral rectangular plinth.

Bearing the maker's stamp JJ DUCEL France, circa 1865 Height of labrador: 20 in / 51 cm Length of labrador: 28 in / 71 cm

J ] Ducel were a foundry specialising in large scale animals of particularly fine quality, nearly always cast in iron. The production was very seldom signed by the sculptor and only the finer pieces carried any foundry mark. Their work was most prolific during the 1860's and the foundryappears to have ceased production during the mid 1870's.

Height of spaniel: 19 in / 48 cm Length of spaniel: 27 in / 68.5 cm

m

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Paper reliefs of game birds

Right: A pair of unusual cut p a p e r relief pictures of g a m e birds fashioned f r o m engrav ings, h a n d coloured a n d set on a g o u a c h e g r o u n d . By E d o u a r d T r a \ ies, a n i m a l p a i n t e r a n d lithographer, exhibitor at the Paris Salon b e t w e e n 1831 a n d 1866.

France, circa 1860 F r a m e d : 22 x 26 in / 57 x 66 cm

A pair of German side cabinets O p p o s i t e page: A pair of early 19th c e n t u r y side cabinets d c c o r a t e d to simulate tooled leather, the tops b e i n g stepped with a stylised triangular p e d i m e n t , s u p p o r t e d by giltwood c o l u m n s flanking a concave d o o r abo\'e a single d r a w e r t e r m i n a t i n g in block feet.

G e r m a n y , circa 1820 Height: 31 in / 80 cm Width: 28 in / 7 1 c m D e p t h : 16 in / 4 ! c m

Tiiese cabinets d e r i \ e their f o r m f r o m the architecture a n d f u r n i t u r e designs of Clarl Friederich Schrinkel (1 781 -1841), whose use of classicism harks back to the boldness a n d simplicity of Nicholas H a w k s m o o r in the 1 7th century. T h e decoration is referential to b o o k b i n d i n g a n d is again t\pical of the age's p r e o c c u p a t i o n with using elements out of context.

O n the cabinets are shown a ])air of o r m u l u candlesticks from a design by Sir William Clhambers.

I'^nglish, circa 1 8 0 5 Height: lO'/^ HI / 27 cm

97

A Charles X cut glass table

Opposite page: A very rare cut glass and ormolu occasional table having an eglomise top decorated with styhsed foliate ornament on a green ground, the stem and foot being diamond cut, the top supported by three ormolu 'S' scrolls standing on an ormolu triangulated plinth, supported by three richly ornamented ormolu pad feet.

France, circa 1835 Height: 28 in / 71 cm Diameter: 18 in / 46 cm

Probably the most famous pieces of glass furniture in Europe form the Queen of Spain's suite now in the Musee du Louvre, Paris. This dressing table and chair, together with a footstool which is now missing, were constructed of glass and

mounted with metal work in a similar m a n n e r to the occasional table here illustrated. Both tables are decorated with elaborate eglomise work.

T h e suite was made for Marie-Louise, Queen of Spain, to a design by N H Jacob.

T h e glass for this furniture was blown by Voneche in Belgium, and the cutting and metal work were carried out by L'Escalier de Cristal, founded by M a d a m e Desarnaud-Charpentier in 1802. M a d a m e Desarnaud-Charpentier was the first person in France to mount crystal items in a similar m a n n e r to porcelain and in 1813 patented a technique for using cut glass in furniture. T h e Qiieen of Spain's suite was undoubtedly her most audacious creation.

T h e pieces were constructed on an iron structure with ormolu mounted panels and tubes decorated with diamond cuts, flutings and gadroons. T h e table even had

a musical mechanism and its eglomise glass top was decorated in black and gold designs on a rich blue ground. T h e designer Jacob found his inspiration in Antiquity, following the neo-classical language of the painter Jacques-Louis David, to whom he was a pupil.

I'hese designs in glass found considerable favour in Paris at the time and M a d a m e Desarnaud-Charpentier won a gold medal at the Exhibition Des Produits de L'Industrie of 1819 for a crystal table de toilette and its armchair of a similar design to the Spanish suite. These two pieces were purchased by the Duchesse du Berry after the exhibition and sold from her collection in 1836.

Another example with similar ormolu 'S' scrolls to the table illustrated here, also

by Jacob, is discussed by Denise LedouxLebard in IJ: Mobilier Frangais du XIX Sieck.

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An opaline spirit or scent barrel Right and on opposite page: A very fine quality Charles X white and gold opaline spirit or scent barrel, the ormolu base decorated with swans and vases.

France, circa 1820 Height: 9 in / 22 cm Width: 5 in / 14 cm

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MALLET T DlRIXnORS

Ivory handled walking stick

R f x (hooper* Chairman L a n i o Synge Chief Executive " f h e H o n Peter Dixoii Paula H u m David Wackett* *Xon-executi\e

Mallett & Son (Antiques) Ltd 141 N e w Bond Street L o n d o n W I Y OBS Tel: 0 1 7 1 - 4 9 9 7411 Fax: 0 1 7 1 - 4 9 5 3 1 7 9 DIRECTORS L a n t o Synge Managing Director T h e H o n Peter Dixon Paula H u n t Giles H u t c h i n s o n Smith MANAGER O F THE GEASS DEPAREMEN T J o h n Smith .NEWAGER OE THE .\E\EEETT GAEEERY James Har\ey

Mallett at Bourdon House Ltd 2 D a \ ies Street L o n d o n W I Y ILJ Tel: 0 1 7 1 - 6 2 9 2 4 4 4 Fax: 0 1 7 1 - 4 9 9 2 6 7 0

DIRECTORS L a n t o Synge T h e H o n Peter Dixon Paula H u n t Thomas Woodham-Smith Henr^- Ne\ ille J a n e C h a r l t o n Associate Director

© ^L^llett & Son (Antiques) Ltd 1997 Designed b\ T h e o H o d g e s Business Design C^onsultants Printed in F^ngland by S a u n d e r s a n d Williams

T h e top of a 19th century walking stick in the f o r m of" a hare's h e a d c a r \ e d in i\'or)'.

English, circa 1880

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