Mallett Catalogue 2010

141 New Bond Street London W1S 2BS 929 Madison Avenue at 74th Street New York 10021

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Introduction

In 2007, we sold our second London shop Bourdon House and absorbed its unique identity into our galleries on Bond Street and Madison Avenue. Bourdon House always added a distinctive and individual flair to the more traditional Mallett taste, with its eclectic mix of furniture and objects that were not acquired essentially for their importance, but more for their combination of style, individuality and occasionally their charm and wit. In the current market we feel it is important to not only offer pieces that combine the elements of fantasy and originality, but also exhaustive sourcing. We have developed over the years an extensive network which allows us to offer pieces that are fresh to the market in every sense.

We are proud to offer you in this catalogue a treasure trove inspired by the unusual imagination that was the spirit of Bourdon House; mixing the last three centuries, antique through contemporary, from countries as far afield as Japan in the East, Spain in the South, Russia in the North and America in the West. It is truly a trans-global collection.

Over the last few years collecting has changed and these days it is increasingly important to find something that will, of itself, give a room focus and be individual. Mallett has for many years specialised in finding pieces that fill this role. This catalogue with its eclectic diversity continues that tradition. This, our Autumn catalogue hopes to reflect the energy of both the past and the present to inspire the new spirit of collecting.

Giles Hutchinson Smith Chief Executive

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A PAIR OF LOUIS XV PAINTED COMMODES

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Gilles Joubert (1689-1775) was a Parisian ébéniste who worked for the Garde-Meuble of Louis XV for two and a half decades, beginning in 1748, earning the title ébéniste ordinaire du Garde-Meuble in 1758, and finally that of ébéniste du roi (“royal cabinet-maker”) on the death of Jean-François Oeben in 1763. He produced case furniture in a robust Rococo style, but from the later 1760s his furniture increasingly shows a conservative compromise with the nascent neoclassical style.

Much of his furniture was produced before Parisian guild regulations required ébénistes to stamp their production, and pieces intended for the royal

A pair of Louis XV bombé vernis martin single door commodes decorated on a white ground with coral floral vignettes framed by interlocking scrolls.

The legs are painted in coral to echo the presence of mounts.

The commodes retain their original breche violette tops.

Attributed to Gilles Joubert.

France, circa 1760 Height: 30in (76cm) Width: 24in (60cm) Depth: 14in (36cm) F2J0349

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Garde-Meuble were exempt from such regulations; however, the minutely-detailed inventory descriptions of the GardeMeuble de la Couronne and inventory numbers stencilled on surviving furniture have enabled scholars to identify a number of pieces from Joubert’s workshop. In the decade following 1763 he supplied 2200 pieces of furniture to the court; under the pressure of such a volume of commissions, he was obliged to subcontract even some important pieces of furniture.

Not all the furniture delivered

by Joubert received a favourable reception: a bombé commode painted with flowers on a white vernis martin ground

(now yellowed), with silveredbronze mounts, delivered 11th January 1755 for Madame Adelaïde fourth daughter and sixth child of King Louis XV of France at Versailles, was returned to the Garde-Meuble the same day. Comparable to the Mallett commodes, it was purchased for Versailles in 1965, though the apartment for which it was intended no longer exists, replaced by Louis XVI’s library. In interior design, vernis martin is a type of lacquer named after the French brothers, Guillaume and Etienne-Simon Martin.

It is an imitation Chinese lacquer and was applied to a wide variety of items, from furniture to coaches.

Klauser and Carpenter Ed Carpenter originally trained as a sculptor at Kingston University, before studying Product Design at the Royal College of Art. Following numerous successful commissions, he established his design office in 2001.

Andre Klauser first studied design in Germany, before moving to London to join Jasper Morrison’s design studio. Andre

then pursued further studies at the Royal College of Art, where he has now taught since 2007.

Klauser & Carpenter collaborate in the field of furniture, product and interiors, and also allow each other to work on personal projects.

THE ‘CARINA’ DINING TABLE The table is constructed from three pieces of interlocking Carrara marble.

England, 2010 Height: 29in (74cm) Width: 118in (300cm) Depth: 43½in (110cm) C3A0266 Suitable for interior and exterior use.

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A CHARLES X WALNUT GUERIDON

A PAIR OF BRONZE GEESE

A Charles X walnut gueridon inlaid with fine boxwood stringing. The hexagonal baluster supported by a tripod plinth mounted with scrolls and terminating in castors.

The table retains its original Broccatelle marble top.

France, circa 1830

A pair of late nineteenth century oriental naturalistically modelled, bronze geese, each standing in life like form with head raised upwards with gilt enrichments.

China, circa 1880

Height: 29in (74cm) Diameter: 36in (92cm)

Height: 15in (38cm) Width: 15in (38cm) Depth: 7½in (19cm) O2I0380

F2J0347

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A REGENCY TÔLE CENTRE TABLE A very rare Regency period papier mâché, tôle and japanned centre table, the top decorated with a chinoiserie scene of courtiers in a landscape setting against a black japanned ground, the border decorated with a trellis and floral frieze and having a gilt-metal mount, supported on a turned stem and floral japanned decoration in red, resting on brass paw caps and castors.

England, circa 1810 Height: 27½in (70cm) Width: 41in (104cm) Depth: 34½in (87cm) F3A0150

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Similarly decorated japanned tôle goods were produced in the Pontypool factory owned by the Allgood family from the mid-18th century until circa 1820. However examples of furniture incorporating panels of Pontypool tôle are extremely rare, as the factory mainly produced small decorative objects such as urns and trays.

The present table also has affinities with the work of John and Frederick Crace, whose commissions included

work for the Prince Regent at Brighton Pavilion between 1800 and 1804, where they designed interiors in the Chinese style.

Their accounts for this period show that from the start the Craces were involved in much more than merely the applied decoration at Brighton. Not only did they amuse the Prince with a variety of Chinese curiosities, including costumes, ivory junks, and even ‘seven pounds’ of Chinese tobacco’, but large quantities of furniture

were supplied by them too.

Most of it seems to have been either Chinese - especially bamboo furniture - or English in the Chinese manner. In 1802 ‘One very Fine Japan India Cabinet...£14’ was invoiced, the following year five more, one costing £15, and in 1804 a charge was made for japanning a stand for a cabinet in black and gilt (see Megan Aldrich (Ed.), The Craces Royal Decorators, 1768-1899, 1989, pp. 21-26.

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A PAIR OF BRONZE PATINATED IRON CONSOLES

A CHINESE EXPORT WATERCOLOUR LANDSCAPE

A pair of French modernist bronze patinated iron console tables inspired by Louis XVI designs.

France, circa 1950

A large-scale late 19th century Chinese export watercolour landscape of Hong Kong merchants at the port of Canton. In the centre is the American flag flanked by those of Britain, France and Holland.

China, circa 1890

Height: 34½in (87cm) Width: 38½in (98cm) Depth: 17½in (45cm) F3A0106

Height: 38½in (98cm) Width: 51in (130cm)

쑯 A PAIR OF BOHEMIAN

GLASS AND GILT CHANDELIERS

A pair of twelve branch Bohemian gilded green and opaline chandeliers. The arms and stem fashioned as gilt bronze vines issuing from a basket set with boldly modelled glass vine leaves.

The arms and socles are mounted as naturalistically painted honeysuckle flowers.

Now electrified.

Bohemia, circa 1880

P3A0253 Height: 42in (107cm) Diameter: 24in (61cm) L2J0351

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A PAIR OF FAUTEUILS

BY HUTTUNEN A highly unusual pair of 1940's Finnish walnut armchairs. The chairs have rounded front legs which sweep up to a shaped armrest which in turn sweeps down to a square back leg with sharply carved corner mouldings. From the private apartment of Erkki Huttunen and the design attributed to him.

Finland, circa 1940 Height: 28½in (73cm) Width: 28½in (73cm) Depth: 28½in (73cm) F3A0344

AN EMPIRE MAHOGANY CONSOLE TABLE The Finnish architect Erkki Huttunen (born Alavus, Finland 1901), completed his training at the Technical University in Helsinki in 1927. Between 1928 and 1939 he was architect of the building department of Suomen Osuuskauppojen Keskuskunta (SOK; the Central Finnish Cooperative Society) and, from 1940 to 41, the department’s head. In 1931 Huttunen set up his own architect’s office which, in the 1930’s and 1940’s, was responsible for many of the important works of Finnish

modernism. Between 1943 and 1953 Huttunen was Director in Chief of the National Building Board. He died in Helsinki in 1956. A major figure of northEuropean Functionalism, he has designed furniture for some of his own buildings and also practiced as a painter and caricaturist.

A fine quality Empire mahogany console table. Throughout the veneers are of the finest quality and figuring. The table has gilt bronze mounts on the centre of the frieze drawer and on the knee of the scroll front legs and at the feet. Now with a replacement portor marble top.

France, circa 1810

LITERATURE

Jokinen, Teppo , Erkki Huttunen: 1901-1956 Arkkitehti. Helsinki: Abacus Ajankohta 3, 1993.

Height: 37in (94cm) Width: 48in (122cm) Depth: 19½in (50cm) F3A0131

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A CALAMANDER KIDNEY DESK A Victorian calamander and mahogany crossbanded kidney shaped desk in the manner of Gillows of Lancaster, the desk retains its original tooled leather top above a frieze with three drawers each pedestal has a further four drawers below.

The reverse has adjustable shelves for books. The whole supported on a plinth base.

England, circa 1870 Height: 29½in (75cm) Width: 51in (130cm) Depth: 25in (64cm) F3A0147

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PROVENANCE

The Longton family, Heathwold Stud, Burghclere, Berkshire.

This kidney desk came from the Longton family. The Heathwold Stud had been a two hundred acre farm and was transformed by the outstanding horsewoman and personality Ann Jenkins. Recruited from nearby Foxford House Stud in 1959 by Elizabeth Longton,

Jenkins spent forty five years building and developing the farm into the successful stud it is today. A photograph of the Irish mare Silver Aster taken in 1966 was found in the desk.

From Silver Aster was bred Sovereign Patu who became the second leading sire in England in 1970 and won four stakes including Lockinge and the Queen Elizabeth Stakes.

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A FRENCH ART DECO BEAD WORK LANTERN A highly unusual square lantern with a pyramid canopy, each face is decorated with strings of faceted beads forming geometric patterns, and roundels. The centre of each of the sides is further enriched with a high relief cast frosted medallion portrait.

France, circa 1925 Height: 19in (48cm) Width: 12in (30cm) Depth: 11in (28cm) L3A0099

The Maison Bagues was founded in 1840 by M. Noel Bagues, they were makers and retailers of unusual and stylish light fixers. Eugene Bagues joined his father in 1880. The business continued as both successful and pioneering until after the second world war, helped and supported by further generations of the original founding family.

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A SET OF TWELVE LOUIS XVI CHAIRS An unusual set of twelve mahogany lyre back Louis XVI dining chairs. Each chair precisely carved with a rectangular back with central splat carved in the form of a lyre. The square seats are set with paterae on the corners above turned tapering reeded legs. In the manner of Georges Jacob.

France, circa 1790 Height: 35½in (90cm) Width: 18in (46cm) Depth: 16½in (42cm) F3A0055

Louis XVI lyre back chair by Georges Jacob, one of four made for Marie Antoinette at Chantilly. Le Mobilier Français du XVIII Siècle, P. Kjellberg.

Les Éditions de l’Amateur, p. 425.

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The chairs though unstamped can be related to the work of the Jacob firm for the following reasons: they are constructed and carved in a manner known to be consistent with the oeuvre of Jacob. In addition they are closely related in design as examples illustrated in Le Mobilier Français du XVIII Siècle, page 425.

The JACOB family was one of the most famous of all cabinet-making ‘dynasties’.

There were three main generations who were active between 1765 and 1847, namely Georges Jacob, his two sons Georges II and FrancoisHonore-Georges and his grandson, Georges-Alphonse.

Georges Jacob was one of the most renowned and prolific 18th century French chair makers. Original designs and skilled construction meant the name JACOB became synonymous with quality and luxury. He was inspired by English chair making and became one of the first Frenchmen to use mahogany in seat furniture. His work spans the Louis XV period through to the Consulat. The orphaned son of a Burgundian farm worker, he went to Paris at the age of sixteen and was apprenticed to Jean-Baptiste Lerouge in 1756, who died the following year.

Jacob continued his six year apprenticeship with Lerouge’s widow and it was in this apprenticeship that he made friendships with Boucault, Forget and above all Louis Delanois, with whom he remained particularly close, becoming godfather to his second son. It seems that Jacob’s work was considerably influenced by this friendship.

Jacob started his workshops in the rue de Bourbon and then moved to the rue du Cléry where he stayed until 1775, one street away from

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Delanois’s workshop in the rue du Petit Carreau. He finally moved to the rue de Meslée from where some of his finest work was issued. Therefore, there is a period of about six years during the early 1770’s when the close friends, Georges Jacob and Louis Delanois, were working as neighbours in the joiners’ district of Paris.

He received his mastership in September 1765, and unusually set up on his own without succeeding a retiring maître, as was the norm. His two sons followed him into the firm with success and their father was appointed to various posts within the Corporation des Menuisiers-Ebénistes in 1781. He survived the Revolution but his royal commissions made him an enemy of the new administration. Luckily his friendship with the painter, Jacques-Louis David, deflected any suspicions. He was inspired by the current politics and the passion for all things Antique leading him to design and make several pieces that David used in some of his most famous Greek mythological paintings.

He was close also to the architects Percier and Fontaine and the four were instrumental in establishing the Antique style and worked together on the furnishing and decoration of the salle de la Convention.

The large rostrum, supported, by two gryphons, the writing desks, tiers and seating designed by Percier and Fontaine and executed by JACOB. This commission was followed in 1798 with the ‘CinqCents’ at the Palais-Bourbon.

After the death of his eldest son in 1803, Georges Jacob and his younger son, FrançoisHonoré-Georges, reformed the firm under the name of JacobDesmalter et Cie. Francois brought financial and

professional benefits to the firm through his marriage to Adélaïde-Anne, daughter of the famous bronze worker and cabinet marker, Marin-Eloi Lignereux.

Towards the end of the 18th century the firm started to make other pieces than seat furniture using woods such as fruitwood, maple and mahogany embellished with ebony, rosewood and ormolu mounts. JACOB exhibited at the Expositions des Produits de l’Industrie Française, and at the second Expositions in the revolutionary year IX they were awarded the gold medal. During the period from Louis XVI to the First Empire, JACOB produced some truly magnificent pieces, including many important State and Imperial commissions as principal supplier of furniture to the Emperor. In 1800 they were commissioned to furnish and decorate le château de Malmaison for the Empress Josephine, the bedroom of Madame Racamier at the hôtel de la rue de la Chausée-d’Antin, and a day bed executed for Napoleon’s bedroom at the château de Compiegne.

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WILLY RIZZO LAMPS Pairs of stainless steel square, round, and triangular lamps each lined in copper with a dimmer at the base, the square and triangular lamps mounted on a lacquered brass plinth.

Each signed in manuscript ‘Willy Rizzo’.

Italy Height: 27in (70cm) Width: 14in (36cm) B Square lamps: L2J0374 Round lamps: L2H0099 Triangular lamps: L2J0117

Willy designed the first two forms of these lamps in the 1970s. The triangular lamp was created in 2009 to complete a long dreamt for trilogy.

“The ultimate love triangle.”

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“I love these lamps because the light is so favourable to flirting.

It’s also a progressive light. It moves between brightness and shadow and has a sense of mystery.” Willy Rizzo

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A PAIR OF PORCELAIN ELEPHANTS A rare pair of finely modelled white porcelain elephants each standing with left foot forward, trunks curled beneath tusks, the features naturalistically picked out in colours, each with impressed stamps under the front feet.

Elbogen, Austria, circa 1900

Comparative examples:

Height: 8½in (21cm) Width: 11in (28cm) Depth: 4in (10cm)

The Elbogen porcelain factory was founded on the Austrian / Czech border in 1815 by Rudolf K and Eugen K Haidinger. It was named Haideinger Brothers Porcelain Factory in Elbogen,

O3A0156

ILLUSTRATED

Spencer-Churchill, Henrietta Blenheim and the Churchill Family p139, The Duchess’s sitting room. The Duchess of Devonshire, Chatsworth The House p157, The Duchess’s sitting room.

and was also known as Vienna Porcelain and Earthenware Factory. The factory was located in the Czech city of Loket, which was known as Elbogen whilst under Austrian rule. Like Samson of France, the Elbogen workshops produced a number of designs in the eighteenth century manner inspired by Chinese and European models. Towards the end of the 19th century they specialised in producing finely modelled animalia and chinoiserie figures.

THIRTY FRENCH MODERNIST TÔLE CAFE CHAIRS Thirty Art Deco cafe chairs decorated on a brown ground with the stylised decoration of a military drum. The back and feet oil gilt.

(Available in sets of six).

France, circa 1940 Height: 34½in (88cm) Diameter: 19½in (50cm) F2J0359

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A GILT BRONZE TREE CANDELABRA A large scale modernist twelve branch candelabra in oil gilt bronze constructed as a stylized tree with elaborate intertwining roots and branches.

France, circa 1950 Height: 104½in (265cm) Diameter: 43½in (110cm) L2J0352

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A MAHOGANY BUREAU BOOKCASE A fine quality mid 18th century mahogany bureau bookcase, attributed to Gillows, with scrolled broken pediment carved with sun flowers and having a central parcel gilt armorial crest, the beautifully figured doors with shaped moulded panels flanked by fluted pilasters with Corinthian capitals revealing a fitted interior of drawers and pigeon holes, above a fall front opening to reveal more pigeon holes and fitted drawers on both sides and six secret document holders with gilt lead capitals, the base with three short drawers above three graduated drawers with unusual solid silver drop handles, raised on ogee bracket feet.

England, circa 1750 Height: 90in (229cm) Width: 48in (122cm) Depth: 24in (61cm) F3A0153 PROVENANCE

A Lancashire family

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Gillows of Lancaster This family firm was established in Lancaster as early as the 1730’s. Throughout the eighteenth century, a succession of Robert and Richard Gillows worked for and controlled the firm. Their success really began in 1769, when they opened their first London office. The history of Gillows is exceptionally complete, as nearly all the order books and salesman’s archives still exist. We know that the practice of stamping GILLOWS. LANCASTER started in around 1780 and continued until 1817.

Today, it is difficult to comprehend the range of Gillows’ business at this time.

They traded not only in finished furniture, but also in timber from the West Indies along with sugar and spirits from the same region. They undertook architectural joinery and fitted out entire buildings, providing wall papers, fixtures and fittings. Their salesmen toured the country with books of illustrations lavishly coloured to tempt buyers. Gilllows even pioneered ‘flat-packing’ in order

to offer their clients a reduced price. There was no corner of the furniture trade they did not thoroughly exploit. Between 1780 and 1830, they were the furniture trade, leading in price, fashion and even work practices.

This recent discovery shows marked similarities to the Sudley cabinet that once belonged to a branch of the Blundell family from Halsall, near Ormskirk. (see Gillows of Lancaster 1730-1840, Susan Stuart pp 20-21). The mouldings on the doors have similar shaped corners and the interior construction of the doors is very similar in both cases, also to the Inman clothes press, made for the West Indies merchant, Mr Charles Inman & Satterthwaite. (Stuart p 49) The interior of the fall front is almost identical to that of a mahogany bureau in The Judges’ Lodgings Museum, Lancaster, with a rare label in the prospect cupboard of ‘John Lowther Lancaster maker’.

(Stuart p 261) In 1759 Lowther was in partnership with Robert Haresnape, Robert Gillow’s ex partner.

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A LOUIS XVI TERRACOTTA BUST

A NEEDLEWORK BANQUET VIGNETTE

A Louis XVI terracotta portrait bust of Mme. Roland depicted wearing festive robes with a large bow at the front and a portrait medallion of M. Roland around her neck. Her hair is tied with a further ribbon, the whole standing on a grey St. Anne simulated marble turned plinth.

France, circa 1775

A late 17th century needlework depiction of a decadent banquet with figures in a lush bucolic setting. Seven figures sit beneath an arbour framed with flora and fauna.

England, circa 1690

Height: 34½in (88cm) Width: 23½in (60cm)

T3A0050

O2H0199

Height: 18in (46cm) Width: 15½in (39cm)

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A RUSSIAN BRASS OCCASIONAL TABLE A rare and unusual late 19th century Russian brass occasional table, the Swedish green marble top is framed by a fluted band, supported on a geometric stem standing on a curious tripod of interlocking elements, at the apex of the tripod, there is a stylised crowned bird.

Russia, circa 1870 Height: 29in (73cm) Diameter: 22in (56cm) F2J0198 The grammar of the design is loosely derived from Celtic ornament, the revival of which was highly prized in Russia at this time.

SIX CHARRON SWIVEL DINING CHAIRS A set of six late 1960’s aluminium rotating dining chairs each having a spade shaped seat and back, supported on a single faceted ‘S’ scroll support which is in turn supported on a chamfered tapering spade form plinth.

Designed and made by Charron, Paris (stamped on underside of the base).

France, circa 1960 Height: 36in (91cm) Width: 19½in (50cm) Depth: 24in (60cm) F2I0068

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A PITTI PALACE INTERIOR The Sala dell’lliade in the Galleria Palatine at the Pitti Palace in Florence.

Antonio Maria Aspettati (1880 -1949) Signed ‘A.M. Aspettati’ on the lower left side and inscribed ‘A.M. Aspettati Viale Milton 31 Firenze’.

Oil on canvas.

Italy, circa 1931 Framed Height: 45in (115cm) Framed Width: 59in (150cm) P2H0228

쑯 A WILLIAM IV

ROSEWOOD DRINKING COMPANION A most unusual William IV rosewood patent Drinking Companion. The dished top panels fold out and are supported by arms or can drop down flush with the sides.

The counter weighted central section has recesses for bottles and a leather surface for glasses. The pedestal form of the Companion is supported by three drawers on each face with blanks above.

England, circa 1825 Height: 29½in (75cm) Width: 42in (107cm) Depth: 28in (71cm) F2J0214

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A BRASS TELESCOPE

BY TULLY A very fine quality early 19th century brass solar and lunar telescope supported on a gun barrel stem standing on an articulated tripod. The whole with a subsidiary arm for fine adjustments. The main telescope has a small side lens for basic view finding. Signed ‘W. Tulley Brothers Islington.

London’. Retaining its original carrying case and alternative lenses.

England, circa 1830 Height: 23½in (60cm) Length: 51in (130cm) O3A0214

A PAIR OF DOUBLE MAGNUM DECANTERS In boldly cut diamond faceted glass with collars around the neck and mushroom form stoppers. Liège.

Belgium, circa 1840 Height: 15½in (40cm) O3A0247

The signature relates to William Tulley who worked for most of his life with his brother Thomas and father Charles, in Territ’s Court in Islington. His father and he were pioneers in lens and telescope manufacture.

The early 19th century had witnessed the emergence of the taste for private observatories, discoveries were published constantly by the Astronomical Society of London (founded 1821) or in “philosophical transactions”.

The market leader was Dollond but Charles Tulley and his sons were very much in the vanguard of developing and catering to this taste.

Employing newly bright and clear imported lenses from Guinand in Switzerland the family supplied many highly regarded instruments to the Astronomical Society and its noble supporters. Sadly Charles died in 1833 and for a brief period William took over the business and was able to

trumpet his own name on his work. He too passed away in 1838 and his younger brother followed in 1846, thus ending the astronomical chapter in Islington, London. William’s greatest recognised personal contribution was to be the first in 1824 to make achromatic microscope object glasses, how much his father’s success was down to him we will never know.

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A REGENCE IVORY TABLE A very rare early 18th century ivory marquetry octagonal gueridon. The top inlaid with scrolls and fleur de lys.

Standing on a solomonic column supported on a tripod with bun feet.

Flanders, circa 1720 Height: 28½in (72cm) Width: 32½in (82cm) F3A0246

This highly unusual table relates most closely in form to German designs of the early 18th century. In particular the spiral or Solomonic stem above a tripod. At this time an ivory veneered table would have been an extraordinary luxury.

In addition, the spiral seems to echo a narwhal tusk more than a simple spiral.

With this table we have a marquetry top which seems at first glance to be a

symmetric pattern of abstract shapes but which reveals on closer examination to be a playful use of the fleur de lys, the emblem of the French crown. In the absence of a provenance it is difficult to be certain of the origin of this exceptional piece but it is perhaps reasonable to propose that the fusion of German form and a French emblem imply a Flemish origin.

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A PAIR OF APOTHECARY SCALES A highly unusual pair of ornamental scales in precisely fashioned lacquered brass supported by Asklepios in lead, the Greek god of medicine standing on a stepped plinth.

England, circa 1820 Height: 17½in (45cm) Width: 17½in (45cm) Depth: 5in (13cm) O2J0334 Asklepios was the god of medicine and reputed ancestor of Asklepiades, a prominent member of the ancient Greek doctors’ guild. Asklepios was depicted as a kingly, bearded man holding a serpententwined staff. He is almost completely absent from ancient Greek vase painting, but statues of the god are quite common.

A LARGE-SCALE REGENCY EBONISED TUB CHAIR The ebonised frame is mounted with brass ornamental neoclassical elements, the boldly scrolling back is echoed by the equally strong scroll of the arm.

The back legs are sabred. The front rail is reeded and supported by richly carved turned tapering baluster form legs terminating in brass castors.

England, circa 1810 Height: 43½in (110cm) Width: 25in (64cm) Depth: 32in (81cm) F2J0232

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A JAPANESE IVORY EAGLE RELIEF A fine quality late 19th century Japanese ivory and mother of pearl high relief panel depicting a crouching eagle and three doves, each shown in an arboreal stylised setting with gilt leaves and blossom, against an ebonised punched ground.

Japan, circa 1880 Height: 56in (142cm) Width: 38in (96cm) P2J0271

A MUSIC STAND BY ÉRARD An unusual Érard Regency music stand in the form of a pelta-shield decorated in brown and gold with neoclassical ornament supported by a stylised arrow in brass, standing on a triangulated plinth decorated with gilt anthemia on a black ground. The rest retains much of the original label.

England, circa 1810 Height: 51½in (131cm) Width: 19in (49cm) F2I0143 Sebastien Érard (1752-1831), was founder of the Érard firm.

It was on the estate of his patron the Duchess of Villeroi in 1777 that he built the first French square piano. Louis XVI granted him a licence to manufacture instruments.

Having established his reputation, notable commissions included a piano and organ combination for Marie Antoinette and many others.

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A MOLITOR MAHOGANY EMPIRE BUREAU A fine and rare mahogany parcel gilt Empire bureau plat having leather covered slides at each end and a double tier of citronnier lined drawers in the frieze. The table stands on four parcel gilt leopards head monopodia, each end joined by stepped plinth stretcher.

Signed Molitor and bearing the JME stamp.

France, circa 1820 Height: 32in (81cm) Width: 49in (125cm) Depth: 32½in (83cm) F2J0348

Bernard Molitor led a charmed life. He was born in Betzdorf, Luxembourg in 1755 and trained as a sculptor before tiring of provincial life and moving to Paris probably before 1778. He lived through the most turbulent of times and survived the French Revolution, the Terror, the Empire and even the Restoration without serious loss. On his death in 1833, at the then very senior age of seventy-eight, he left a substantial fortune. The great and famous ébénistes of the late 18th and 19th centuries rarely enjoyed a lifetime of financial stability, let alone the ability to survive political upheaval. The life and work of Bernard Molitor are exceptional from this perspective alone, before you even examine his prodigious output.

Early on in his career his business acumen came to the fore. In 1778, he is recorded in the ‘Petites Affiches’ advertising a patent insect killer. Later, in 1782, he advertised an ingenious patent hand warmer, fashioned as a small pile of books; the box in mahogany or walnut, had a metal liner which could be filled with hot coals.

However, Molitor’s output was not limited to innovative gadgets. He had a cabinetshop which he leased at the Arsenal and enjoyed considerable success, though it was not until 1787 that he was received as a maître.

In 1788, Bernard Molitor made the usual ‘political’ marriage to which successful cabinetmakers seem predisposed. He married Elizabeth Fessard, daughter of the charpentier du roi. Perhaps it is cynical to see this marriage as entirely motivated by career, as Molitor had already received a royal commission but he soon received frequent commissions from the Queen’s circle.

The Revolution brought ruin to many and death at the guillotine. The ace Molitor held

was that his cousin, Michel, had been actively involved in the storming of the Bastille; so with his help, Bernard, though interrogated, managed to avoid arousing serious Revolutionary suspicions. Over the following decades, he was honoured with commissions from the Emperor Napoleon, King Jerome of Westphalia and many private noble collectors including the duc de Choiseul-Praslin.

Molitor’s remarkable survival owes most to the fact that he managed to create a style that was both simple and original.

His work was clearly individual as well as not being too intrusive. Above all other factors, Molitor achieved success over this extended period because his work was reliably of outstanding quality.

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AN ART DECO PEDESTAL DESK A fine quality large scale Art Deco burr walnut partners desk.

With three drawers in the frieze with brass ring handles. Each pedestal has a door which opens to reveal slides. Each face is panelled both front and back and richly veneered.

England, circa 1930 Height: 30½in (78cm) Width: 73½in (187cm) Depth: 42in (107cm) F2J0109

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A PAIR OF PARCEL GILT BENCHES An exceptional pair of North Italian parcel-gilt two-seater benches. Each is carved on the top edge with foliate decoration above a recessed frieze with a scroll of applied foliate ornament. The benches are supported by gilt reeded ‘X’ frame legs enriched with further foliate ornament and joined by a boldly carved baluster stretcher.

Now upholstered in yellow damask.

Italy, circa 1800 Height: 17in (43cm) Width: 39½in (100cm) Depth: 19in (48cm) F2I0168

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TWO SETS OF ANGLO INDIAN WATERCOLOURS OF BIRDS A set of eight Anglo-Indian watercolour ornithological studies of indigenous birds, each achieved in naturalistic detail. Ornithological details on request. Gouache on English blue tinted paper.

Anglo-Indian, circa 1780 Framed height: 16in (40cm) Framed width: 18in (46cm) P2J0071

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A set of six Anglo-Indian watercolour ornithological studies of indigenous birds, each achieved in naturalistic detail. Ornithological details on request. Gouache on English blue tinted paper.

Anglo-Indian, circa 1780 Framed height: 17in (44cm) Framed width: 16in (41cm) P2J0073

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A JAPANESE BRONZE DOLPHIN Seido mono: A fine and unusual Japanese bronze sculpture in the likeness of a dolphin, cast bronze (seido) with patinated finish and silver wash, mottled patina. Early 20th century, early Showa period.

Japan, circa 1900 Height: 8in (20cm) Width: 27in (68cm) Depth: 7½in (19cm) O2I0679

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A GEORGE I WALNUT BUREAU BOOKCASE A fine quality George I burr walnut bureau bookcase.

Having a scrolled pediment flanking a gilt cartouche above doors retaining their original bevelled mirror plates with yew wood cross banding.

Doors open to reveal a fitted interior. The fall has a finely figured book-matched walnut and opens to reveal pigeon holes and drawers and secret drawers behind the pilasters.

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Below there are two short and two long drawers each retaining its original hardware.

The whole standing on bracket feet.

England, circa 1720 Height: 94in (238cm) Width: 39in (99cm) Depth: 23in (59cm) F3A0134

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A PAIR OF EMPIRE GILT BRONZE VASES An unusual pair of Empire gilt bronze vases having finely wrought machined neoclassical ornament and enriched with further applied foliate decoration, standing on rouge griotte plinths with paterae on three faces and swans drinking at a fountain on a front face, the whole standing on Belgian black stands terminating in gilt bronze bun feet.

France, circa 1810 Height: 19½in (50cm) Width: 5in (13cm) Depth: 5in (13cm) O2H0326

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A PAIR OF EMPIRE BRONZE AND GILT CASSOLETTES A rare pair of Empire bronze and gilt cassolettes taking the form of antique oil lamps with gilt bronze eagles, head scroll handles and flame finials. The bodies are enriched with finely chased neoclassical ornament.

The oil reservoir has a foliate cover, which reverses as the sconce, the whole standing on rouge griotte oval pedestals.

France, circa 1810 Height: 8½in (22cm) Width: 9in (23cm) Depth: 3½in (9cm) O2H0264

A PAIR OF BRONZE EWERS A large scale pair of Empire bronze and gilt ewers. The bodies are enriched with a bacchic mask and anthemion motif around the neck. The handles are fashioned as an ‘S’ scroll with acanthus leaf in the middle, an eagle’s head at the top and a scroll at the base, supported by a further bacchic head mask. Each ewer is supported by a base of high gadrooning standing on a small waisted stem in bronze with gilt capitals and feet.

The whole rests upon a rouge griotte block plinth.

After a design by AndréAntoine Ravrio (1759-1814) France, circa 1810 Height: 21in (53cm) Width: 4in (10cm) Depth: 4in (10cm) O2D0039

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THREE GIRAFFES IN A LANDSCAPE Abraham Bruiningh van Worrell (1787-died after 1833) Oil on canvas England, circa 1790 Framed height: 28½in (72cm) Framed width: 25in (64cm) P2J0088

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Abraham Bruiningh van Worrell was born at Middelburg, Zeeland, in Holland on 22nd March 1787, the son of Jan Roeland van Worrell (17631821) and his wife Adriana Jacoba, nee Krap. He received his artistic training there. He married Johanna Luberta Lans in that town on 15th October 1809; his second wife was Elizabeth Angel Coben whom he married on 10th January 1819 at St. Marylebone, London.

His technique is highly polished, reflecting the then current Dutch taste for fijnschilderei, the refined academic style which had developed in late 17th century Holland and which retained its influence for nearly 200 years.

Like many Continental painters, he moved to England after the end of the Napoleonic Wars, and established himself in the artistic milieu of Fitzrovia where he worked as an animal and landscape painter with a studio at 62 Warren Street, Fitzroy Square. Here he produced a large variety of paintings of various types, from topographical views of the Thames and London, idyllic rural scenes of a distinctly romantic nature, carefully observed domestic interiors and conversation pieces, and portraits of animals. He is frequently referred to as a member of the Royal Academy,

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though he is not listed amongst the official role of Academicians. He seems to have enjoyed an exalted patronage, and painted pictures for various members of the Royal family, though only one painting (acquired by King Edward VII in 1904) is now in the Royal Collection.

Van Worrell also collaborated with a group of booksellers and art-dealers to produce Van Worrell’s Tableau of the Dutch and Flemish Painters of the Old School. Dedicated, By Permission, To His Majesty (1832-3) which illustrated portraits of the major figures of Netherlandish art of preceding centuries.

The present picture is a rare record of a ‘nine-days wonder’, The Nubian Giraffe, which was presented to King George IV by the Ottoman Viceroy of Egypt in 1827. This animal was a most exotic edition to the royal menagerie, which had been established late in the previous century by the Prince Regent at Cumberland Lodge in Windsor Great Park. The animal created something of a sensation when it appeared in London, and was visited by large numbers of people. At least three artists, J-L Agasse, R B Davis and J B van Worrell painted its portrait.

Only the latter made an attempt at placing it in its

natural environment: hence the odd conjunction shown here of a creature of the African Savannah being depicted in a distinctly suburban landscape – with the addition of Palm Trees and (apparently) South American cacti!

After its early demise, the Nubian Giraffe (the English had early dubbed the species the Cameleopard, having imagined it a cross between a camel and a leopard) achieved a sort of immortality; by 1838 its skeleton was preserved at the Zoological Society of London.

A lecture on its anatomy by Owen is recorded in the Proceedings of the Zoological Society of London (Part VI, 1838 p.20 et seq.)

Worrell is last recorded in England in 1833; he had either died or departed by 1841, when neither his name nor his second wife’s are found in the census.

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A CHROME ÉTAGÈRE A Kim Moltzer chrome étagère of asymmetric form and having a central downlighter. The lower level with mirror shelves.

France, circa 1970 Height: 73in (185cm) Width: 36in (92cm) Depth: 12in (30cm) F3A0067 Kim Moltzer (born 1938).

His work is colourful and geometric (resembling an Ellsworth Kelly painting). His commissioners included the late French President George Pompidou and Italy’s Bulgari family. In the 1960’s and 1970’s, when Moltzer was designing works for Pompidou’s country house, his geometric pieces were highly coveted among Parisian society.

A PAIR OF TÔLE LAMPS A pair of Louis Philippe tôle column oil lamps decorated with a border of red enclosed anthemia with gilt acanthus leaf above a vitruvian scroll below, retaining their original etched glass shades.

France, circa 1845 Height: 26½in (67cm) Diameter: 7in (18cm) L2J0220

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A PAIR OF IRON ARMCHAIRS A pair of modernist iron X frame armchairs fashioned in delicate detail with a bowed back with two panels as reeded straps surmounted by finials.

The arms are constructed as a bound cluster of reeds above a traditional X frame support.

The pierced saddle seat now with a silk cushion.

France, circa 1930 Height: 31½in (79cm) Width: 22in (56cm) Depth: 16½in (42cm) F3A0129

A RED LACQUER BERLIN VASE A rare mid 18th century Berlin pottery vase decorated with polychrome chinoiserie on a red ground with raised enamel decoration. The cover surmounted by a silvered cockerel. Now mounted on a late 19th century neoclassical gilt bronze plinth.

Germany, circa 1740 Height: 32½in (83cm) O3A0143

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VAL SAINT LAMBERT ART DECO GLASS Below, from left to right:

Opposite, from left to right:

A pair of ‘Achille’ vases with ‘bleu Français’ casing.

Height: 9in (23cm) O3A0085

A ‘Brighton’ vase with ‘prune’ casing.

Height: 11½in (29cm) O3A0089

A ‘Cézanne’ vase with ‘prune’ casing.

Height: 9in (23cm) O3A0083

A ‘Cerbères’ vase with ‘bleu Français’ casing.

Height: 10in (25cm) O3A0048

A ‘Cerbères’ vase with ‘prune’ casing.

Height: 10in (25cm) O3A0098

Belgium, circa 1930

An Art Deco vase with ‘bleu Français’ casing.

Height: 6½in (17cm) O2J0282

A flared Art Deco vase with ‘prune’ casing.

Height: 10in (25cm ) O3A0084

Belgium, circa 1930

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The crystal glass company of Val Saint Lambert was founded at Seraing, near Liège in Belgium, in 1825 on the site of an old abbey. Amongst the early shareholders was King Guillaume I of Belgium, thus ensuring royal patronage of the company, which has continued until the present day.

Since 1839 the company has exported artistic crystal glass objects throughout the world and has been an enthusiastic exhibitor at world

fairs. At the Brussels Exhibition of 1897 the new Art Nouveau aesthetic was enthusiastically embraced by the company under their designer Leon Ledru. The company’s skill was in casing and cutting glass, producing particularly bold effects together with naturalistic designs in the École de Nancy. Their use of multilayered coloured glass was particularly distinctive and although this technique was used by other companies,

particularly Stevens and Williams in England, no other company produced such distinctive effects, cutting through both sides of objects.

Joseph Simon had succeeded Leon Ledru the year after the Paris Exhibition of 1925 had introduced Art Deco to the wider world. The technical abilities of the company were well suited to their new geometrical designs which are immediately recognisable and unique to the company.

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TWO PAIRS OF TÔLE APPLIQUES A pair of red painted Empire tôle colza wall appliqués. Each with a gilt removable female term reservoir supported by a column decorated in two shades of gold, the sides with a martial cartouche.

The front with a classical vase surmounting a foliate arabesque. The candle support is further decorated in the same style with a martial trophy. Each with a tôle shade and a glass drip pan.

France, circa 1810 Height: 18½in (47cm) Depth: 9in (23cm) F2C0271

쑯 A pair of green painted Empire

tôle colza wall appliqués. Each with a gilt removable female term reservoir supported by a column decorated in two shades of gold, the sides with a gilt swag and a Thyrsus. The front face depicts an armoured cupid. The candle support is further decorated in the same style with a martial trophy.

Each with a tôle shade and a glass drip pan.

France, circa 1810 Height: 18½in (47cm) Depth: 9in (23cm) O2E0314

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A MID 18TH CENTURY DUMBWAITER

A CHARLES X MANTEL CLOCK

A fine Chippendale period carved mahogany three tier dumbwaiter, the baluster turned stem supporting graduated tiers each with a ribbon-carved edge, the lower two tiers revolving, raised on three cabriole legs crisply carved with acanthus leaf decoration, ending in pad feet and castors.

England, circa 1760

A fine quality Charles X gilt bronze lyre clock. The dial bordered with cut paste. The gilt bronze enriched with scrolls and griffin surmounted by trumpet form cornucopia. The whole supported by claw feet on a stepped plinth, terminating in Belgian black marble.

France, circa 1820

Height: 45in (114cm) Diameter: 25in (64cm) F3A0325

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쑯 TEN ALUMINIUM

DINING CHAIRS

Height: 18½in (47cm) Width: 6½in (16cm) Depth: 5½in (14cm) A comparable clock signed Thomire et Cie is illustrated on page 379, item H. in La Pendule Française by Kjellberg.

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A set of ten French polished aluminium Regency style chairs.

Each with scroll back and front legs, with sabre legs at the back.

Design attributed to “La Maison Jansen”, each stamped by a foundry “NFK”.

France, circa 1955 Height of seat: 19in (48cm) Height: 36in (91cm) Width: 19in (48cm) Depth: 23in (59cm) F2I0260

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A ‘SPUTNIK’ BRASS CHANDELIER A mid 1960’s multi branch chandelier known as the ‘Sputnik’ in reference to the early Russian satellite design.

The central sphere is mounted with numerous rods, the ends of which form socles for the light fittings.

Italy, circa 1965 Height: 38½in (98cm) Diameter: 43½in (110cm) L3A0070

The so called Sputnik chandelier pays homage to the launch of Sputnik which was in 1957.

Italian design in the 1950’s and 1960’s was very much immersed in the excitement of modernity both in terms of materials and cultural history. Though brass could not be considered innovative as a material, the technical achievement of the chandelier’s construction and its design reference to the cutting edge of space exploration speak of design at its most contemporary.

A TORTOISESHELL CABINET ON STAND A mid 18th century tortoiseshell veneered and brass mounted cabinet with mahogany and ebony cross banding throughout, the panelled doors enclosing three long drawers and a central cupboard with two short drawers to either side, the internal cupboard with three secret drawers behind a false back, the drawers with brass drop ring handles and

mahogany lining. The cabinet is mounted on a modern giltwood stand.

Germany, circa 1740 Height: 21in (53cm) Width: 22in (56cm) Depth: 12in (31cm) F2H0384

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AN IRISH MAHOGANY SIDE TABLE An Irish George III mahogany and marble mounted side table, the later mottled green inset marble top, above a shaped frieze centred by a shell and flanked by scrolls, on cabriole legs carved with acanthus and trailing bell flowers, on claw and ball feet.

Ireland, circa 1760 Height: 31½in (80cm) Width: 44in (112cm) Depth: 27½in (70cm) F3A0148

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FOUR VIEWS OF THE CRIMEAN PENINSULA Each painting oil on canvas England, circa 1855 Framed height: 45½in (116cm) Framed width: 60in (152cm) P3A0254 This extraordinary set of topographical views dates from the period 1853-56 during the Crimean War, as evidenced by the presence of various soldiers in uniforms of the allied participants (English, Turkish and French) and the presence of defence works and artillery positions.

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Above, view looking south down the Western side of the Crimean Peninsula from Eupatoria towards Sevastopol; below, view looking north towards Sevastopol from Balaklava

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Above, view looking north-west from the heights behind Sevastopol, with Inkerman in the far distance to the East; below, view of across the great harbour towards Sevastopol, looking from Severnaya on the north side

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THREE PAIRS OF EMPIRE MAHOGANY FAUTEUILS

A WHITE MARBLE RETRIEVER

Six mahogany Empire fauteuils each with square backs carved with reeding. The scroll arms terminate in stylised foliate ornament above blocks carved in low relief. The bow front seat rail is supported by sabre legs.

France, circa 1810

A white marble model of a seated retriever shown with his tail tucked in and head turned to the left. The whole carved with an integral oval shaped plinth. R. Rigolas statuaire Lyon.

France, circa 1890

Height: 36½in (93cm) Width: 23in (58cm) Depth: 23in (58cm)

Height: 22in (56cm) Width: 43in (109cm) Depth: 16in (41cm) O2H0455

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A TRAVERTINE DINING TABLE BY WILLY RIZZO Of eliptical form fashioned from the finest Travertine marble, the top edged in steel, the base of similar outline with a steel foot.

France, 2010 Height: 29½in (75cm) Width: 98½in (250cm) Depth: 43½in (110cm) F3A0224

The travertine table was first created in 1969.

“I was interested in the geometry of the ellipse.

One of my first clients for this piece was a bank in Berne, Switzerland, and was exhibited at MOMA in NY in an exhibition of Italian art.” Willy Rizzo

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A SECESSIONIST ÉTAGÈRE A highly unusual late 19th century secessionist circular étagère in steel and brass with red lithyalin glass tops.

Hungary, circa 1900 Height: 30½in (77cm) Diameter: 17½in (44cm) F2I0605

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A PAUL LÁZSLÓ ROSEWOOD AND GREY SYCAMORE DESK

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A nine drawer desk in Indian rosewood and grey sycamore.

Inside of drawers in natural white sycamore, original white leather top. Eight silver-plated steel capped feet and two silver-plated and steel plated top drawers. Metal plaque inside one drawer bearing the inscription: Laszlo Inc. Beverly Hills.

Matching chair in grey sycamore and black leatherette.

America, circa 1950 Height: 28½in (72cm) Width: 80in (203cm) Depth: 24in (61cm) F3A0251

Paul László (1900-1993) was a Hungarian-born modern architect and interior designer who built his reputation while designing interiors for houses, but in the 1960s, largely shifted his focus to the design of retail and commercial interiors.

László completed his education in Vienna before moving to Stuttgart, where he rapidly established himself as a prominent designer. He then established an office in Beverly Hills, where he was popular with the wealthy political and acting elite, including Ronald Reagan, Gary Cooper, Cary Grant, and the Vanderbilts. His opulent but never over stated designs were executed with impeccable taste. He would design all aspects including furniture, fabrics, drapes, rugs, lamps, and other fixtures.

In 1948, László joined with George Nelson, Charles Eames and Isamu Noguchi to design

for the Herman Miller company.

The furniture lines presented by Herman Miller from 1948 have been called the most influential groups of furniture ever manufactured. Time magazine (August 18, 1952) described him as “the Millionaire’s Architect”.

He had an ability to combine colours which might seem irreconcilable, yet when seen as a whole, were incredibly warm and beautiful. It was this use of colour along with the large scale but gentle and

flowing lines to his designs and the integration of an entire project which made his work memorable. His designs were uniformly simple, but never simplistic.

His work is occasionally displayed at the Museum of Modern Art in New York City and is frequently seen in national and international retrospectives on 20th century design.

In 1854, Eli Terry, Jr. formed the Eagle Lock Company. It

became a major enterprise and the main industry of Terryville, CT. In the late 1800’s two dams were constructed to hold water from the Pequabuck River to help provide power for the lock factory. Eagle Locks eventually enjoyed a worldwide reputation and employed 1800 persons at its peak. The Eagle Lock Company was active until it closed in 1975. The Lock Museum of America now resides in Terryville, CT.

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A PAIR OF EMPIRE PERIOD JARDINIÈRES A pair of fine quality mahogany octagonal jardinières on stand.

The sides are veneered in boldly figured mahogany, as is the top face. It is supported on a tall baluster stem inset with fine gilt bronze collars. They stand on concave sided rectangular stepped plinths with enclosed acanthus leaf gilt bronze mounts.

Attributed to Johannes Klinckerfuss.

Germany, circa 1810 Height: 35in (89cm) Diameter: 19in (48cm) F2E0295

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A MODERNIST GILT METAL STOOL A full research document available on request, showing comparisons and biographies.

A highly unusual French modernist ‘X’ frame multiple scroll stool, the end supports having a rusticated punched surface. Now having a red silk velvet cushion.

France, circa 1940 Height: 26in (66cm) Width: 34½in (87cm) Depth: 17in (43cm) F3A0145

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A POLLARD OAK CHEST OF DRAWERS

A PAIR OF EILEEN GRAY END TABLES

A mid 19th century pollard oak rectangular chest of drawers, having five drawers the lowest of which is a double. Each drawer is mounted with richly cast foliate lacquered brass handles and each drawer is fitted with bramah locks. The sides, pilasters and central splat are mounted with lacquered brass mouldings.

England, circa 1860

A pair of mid 20th century chrome and black lacquered wood two tiered end tables, the double column chrome support incorporates a carrying handle, each of the tiers is rectangular with rounded corners.

France, circa 1950

Height: 32in (81cm) Width: 54½in (139cm) Depth: 22½in (57cm)

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Height: 19½in (50cm) Width: 14in (36cm) Depth: 15½in (40cm)

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Eileen Gray was born in 1878, she attended the Slade School of Fine Art in London and also worked at a furniture makers, where she became acquainted with Asian lacquers, which would prove very influential on her life’s work. After moving to Paris in 1907 she attended courses at the École Colarossi and the Academie Julian.

The Japanese artisan Seizo Sougawara taught her

lacquering techniques, and her own work was strongly influenced by contemporary architecture resulting in her designing stringently functional furniture. In 1937 Eileen Gray exhibited her work in Le Corbusier’s ‘Pavilion des Temps Nouveau’. After that little more was heard about Eileen Gray; her work was not discovered until around 1970.

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A SICILIAN PARCEL GILT SIDE TABLE A late 18th century Sicilian carved and parcel gilt side table, the frieze is decorated with a central oval cartouche of figures within a band of ribbon tied laurel leaves, flanked with carved giltwood scrolling acanthus and classical urns against a white painted ground, the sides are similarly decorated and there are elaborate carved giltwood masks on each corner. The table stands on turned, tapering, and fluted legs with a collar of bound leaves and swags of laurel leaves, all terminating in topie feet.

The table retains its original marble top.

Italy, circa 1780 Height: 36½in (93cm) Width: 54in (137cm) Depth: 27in (68cm) F2G0406

A PAIR OF CHARLES X RED LACQUER END TABLES A pair of Louis-Philippe circular red japanned end tables. The tops have recessed panels of scagliola simulating porphyry and are bordered in gilt with a motif of acanthus leaves. They stand on three legs decorated with Thyrsus and rest on a stepped plinth further decorated in gilt with neoclassical motif.

France, circa 1825 Height: 30in (76cm) Diameter: 16in (41cm) F2J0212

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A PROTOTYPE TUBULAR ARMCHAIR An Art Deco steel armchair.

The sides and front decorated on the upper edge with rustication and pin holes on the underside of each element.

Now upholstered in blue suede.

France, circa 1930 Height: 28½in (72cm) Width: 25½in (65cm) Depth: 31½in (80cm) F3A0058

A CHROMIUM PLATED FLOOR LAMP The decoration and finish of this robustly made armchair raise many questions. The exact function of the pin holes is unclear, as is the reason for the weight of the material employed. The finish to the arms and lower frame indicate

a completed prototype rather than an experimental model, therefore, the presence of the holes is deliberate rather than accidental. No chair of this design has hitherto come to light.

A highly unusual Italian mid century polished steel floor lamp in the form of a rocket with six up and down lights, by and stamped ‘Reggiani Lampadari’.

Italy, circa 1960 Height: 59in (150cm) L2J0353

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A SECRÉTAIRE ABBATANT A highly unusual large scale Empire secrétaire abbatant in acajou moucheté and ebony inset with brass. The secrétaire section, which opens to reveal an elaborately fitted interior with drawers and cabinets in flame veneer mahogany and innumerable secret compartments. One drawer in the secrétaire is inscribed “as restored by Lesage in 1858”.

Attributed to Bernard Molitor Continental, circa 1800 Height: 79in (200cm) Width: 49in (125cm) Depth: 18in (46cm) F2H0218 For a short biography of Bernard Molitor, see page 49.

One drawer in the secrétaire at Mallett is inscribed “as restored

by Lesage in 1858". Antoine Nicolas Lesage (1784-1841) was one of the most important Paris merchants, though frequently recorded as a cabinet maker.

The clerk of the Royal ‘GardeMeuble’ Veytard noted in 1823 that he was a dealer, not a maker. He started and directed a shop for furniture and objets d’art at 2 Boulevard des Italiens from 1812 to 1821. He also became Director of the ‘Union des Arts’ at 2 rue Grange-

Batelière. These shops offered clients a remarkable range of products and services, furniture, objects and a complete upholstery and decorating service. He counted The Duchesse de Berry, who bought for the Chateau de Rosny, amongst his clients.

However the inscription may relate to a wholly different Lesage as the date is 1858.

However it would be most unlikely if the workshops were unconnected.

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A LOUIS XVI MAHOGANY CONSOLE DESSERTE

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A Louis XVI brass and ormolu mounted mahogany console desserte with concave sides and a single drawer in the frieze. The top is framed with a pierced gilt bronze gallery.

The drawer and side panels are of finely figured mahogany and bordered with ebony stringing and a gilt bronze mount. The upper section is supported on brass fluted column legs, the lower tier is supported on turned tapering topie feet. Retaining its original marble tops.

France, circa 1790 Height: 33½in (85cm) Width: 38½in (98cm) Depth: 14½in (37cm) F3A0119

JACOB PETIT VASES A pair of porcelain vases in the form of Medici, sitting on square bases. Enriched with handles in the form of bearded masks. Decorated throughout with palmette swags and trellage in gold on an alternate dark blue and white ground, attributed to Jacob Petit.

France, circa 1840 Height: 14½in (37cm) F3A0121

PROVENANCE

From the Daniel Carasso collection Jacob Petit (1796-1868) was the greatest exponent of innovation in nineteenth century Parisian porcelain.

A self-taught painter, he

launched a modest porcelain manufacturing business in 1830. By 1839 Petit employed about 200 craftsmen and enjoyed great success. His prodigious production included vases, urns, clocks, figures, inkwells and perfume bottles.

LONDON

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A PAIR OF EMPIRE TÔLE VASES With swan head handles, decorated with male and female bucolic figures on one side and landscapes on the reverse.

France, circa 1810 Height: 12in (31cm) O3A0123

AN ART DECO GAMES TABLE An unusual late Art Deco style gaming table in parchment and walnut. The stepped top has an inset parchment playing surface bordered in walnut with parchment covered slides on each face. The table stands on square legs which are cut to a sabre at the foot.

In the manner of Jules Leleu.

France, circa 1935 Height: 30½in (78cm) Width: 30½in (78cm) Depth: 30½in (78cm) F2J0216

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“DIAMONDS” LANTERN Diamonds 1 is constructed from 102 different angles of Paktong, encasing 24 blown glass panes. The lantern is lit by an internal hanging pendant of a similar shape, and is suspended by a custom Paktong chain with a unique repeating master link design.

England, circa 2009 The lantern is available in two sizes, as well as matching sconces: LARGE

Height: 31½in (80cm) Width: 23½in (60cm) C2J0265 SMALL

Height: 28in (71cm) Width: 14in (35cm) C2J0246

Sconces

SCONCE

Height: 18½in (47cm) Width: 12in (31cm) C2J0250

Paktong is a unique, nontarnishing metal which first appeared in China in the 12th Century and disappeared in the 19th Century. Paktong has been recreated with the help of Oxford University’s archaeological material sciences unit and a small, specialist foundry with a particular expertise in complex alloys. The new Paktong formulation is based upon a 1720 candlestick, made of Chinese-sourced Paktong.

Matali Crasset After graduating from École National Supérieure de Création Industrielle in Paris in 1991, Matali Crasset worked with the designer Denis Santachiara in Milan and with Philippe Starck in Paris. In 1997 she received the Grand Prix for design from the city of Paris and opened her own design studio in 1998, focusing her attention on domestic rituals and the creation of objects and furniture for Artemide, Authentics, Cristal Saint Louis, DIM, Domodinamica, Domeau&Peres, Dornbracht, Edra, Lexon, Moeve, Orangina, s.m.a.k. and Thomson.

Crasset has participated in and created the designs for many exhibitions. Recent exhibitions include a solo exhibition Soundscapes at the Cooper Hewitt National Design Museum in New York and as a selector for 25/25 – celebrating

25 Years of Design at the Design Museum in London.

In 2001, Matali completed her first residential project, La Maison du Lac. In 2003, she completed her design of the award winning HI Hotel in Nice and a pigeon house at Caudry followed by L’annexe du BHV, a department store in Thiais, France.

More recent projects include creating the identity, website, exterior and interior design for ‘SM’s’ (the Stedelijk Museum in Hertogenbosch, the Netherlands); Végétable, a restaurant for Alain Passard at Printemps de la Maison; Lieu commun, a Paris retail boutique with F communications, Veja and Misericordia; and Tout’ouvert, a pet grooming paradise in Nice.

Crasset is a regular visiting lecturer at design schools in France (Paris, Bordeaux and Reims) and abroad (in Denmark,

Milan, Lausanne and Amsterdam). Many of her creations are in private collections and international museums including Centre Pompidou, Paris, the Victoria and Albert Museum, London and The Museum of Modern Art, New York.

Matali shared her constructed and deconstructed world with Meta as well as her passion for vibrant colours.

Her maturity pared with Meta’s timeless philosophy gave birth to already celebrated design classics such as Diamonds are a Girl’s Best Friend 1, setting "the lights on the passion that nurtures the soul of each object".

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MALLETT PLC DIRECTORS

The Lord Daresbury* Chairman Giles Hutchinson Smith Chief Executive Michael Smyth-Osbourne Financial Director James Heneage* Henry Neville Thomas Woodham-Smith *Non executive

MALLETT & SON (ANTIQUES) LTD 141 New Bond Street London W1S 2BS Telephone +44 (0)20 7499 7411 Fax +44 (0)20 7495 3179

MALLETT INC 929 Madison Avenue at 74th Street New York N.Y. 10021 Telephone 001 212 249 8783 Fax 001 212 249 8784 Henry Neville President Joao Magalhaes Ana Gutierrez-Folch

Telephone +44 (0)20 7495 5375 Fax +44 (0)20 7495 3197 Email: hello@madebymeta.com www.madebymeta.com

Giles Hutchinson Smith Chief Executive Thomas Woodham-Smith Managing Director Michael Smyth-Osbourne Financial Director Richard Cave Director Felicity Jarrett Director Nicholas Wells Associate Director Justin Evershed-Martin Associate Director

Eleonore Halluitte Production Manager

JAMES HARVEY BRITISH ART 15 Langton Street London SW10 0JL Telephone/Fax +44 (0)20 7352 0015 Email: info@jhba.co.uk www.jamesharveybritishart.com James Harvey Director

VISIT OUR WEBSITE www.mallettantiques.com Email: info@mallettantiques.com

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© Mallett & Son (Antiques) Ltd 2010 Designed by Sinclair Communications Printed in England by Butler, Tanner and Dennis