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The English furniture trade and antique dealers in general form a large pyramid and have exceptional experience. It is Mallett's role to be close to the top of this pyramid, to offer and provide 'the very best'.
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M A L L E T 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 Mallet t & Son (Antiques) Ltd 141 N e w Bond Street L o n d o n VVIY OBS Telephone: 0171-499 7411 Fax: 0171-495 3179
Mallett Gallery 6O-71 Mallett & Son (Antiques) Ltd 141 New Bond Street L o n d o n W I Y OBS Telephone: 0171-499 7411 Fax: 0171-495 3179
Mallett at Bourdon House 72-99
Mallet t at Bourdon House Ltd 2 Davies Street London W I Y ILJ Telephone: 0171-629 2444 Fax: 0171-499 2670
Front co\ er: Detail f rom a car\ ed giltwood chinoiserie
overmantel mirror. English, circa 1 760 (See page 28)
Back cover: Detail f rom one of a set of four paintings of the Duke of Beaufort 's H u n t by J a m e s Ross. ^
{area \H)0-circa \750) (Seepage 61) ^ tf ^ '
Frontispiece: Detail f rom a late 18th century
Chinese mir ror picture. 'pylA 4 b b ^ Qianlong, circa 1 790 Framed: 4172 x 28'/2 in / 105 x 72 cm
Oppos i te page: A 19th century life-size cast iron model S C' 0 of a dee rhound . ' French, circa 1885 Length: 43 in / 109 cm
4
Foreword
c ^ .
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 muct more, please come and
visit us in Bond Street and at Mallett at Bourdon House in
Davies Street.
P "
Lanto Synge
Chief Executive
M A L L E T T in Bond Street
A Queen Anne giltwood centre table
A small gill gesso centre table, the top fab(A'ej with iiidenled corners and c a r \ c d w ith scrolling foliage and strapwork. the frieze with acanthus and a shell at the centre of each side, raised on cabriole legs with acan thus at the knees and scroll toes.
Knglish, circa 1710 Height: in / 76 cm Width: 31 in / 79 cm l)e |) th: 20 in / 51 cm
A Queen Anne walnut bureau
A Queen Anne walnut stool
Opposi te page: A walnut bureau of superb colour a n d pat inat ion, the interior fitted with pigeon holes and small drawers inlaid with stringing and with a well and secret drawer, the bureau cross-banded throughout with bu r r yew, raised on bun feet.
English, circa 1705 Height: 40 in / 102 cm Width: 36 in / 92 cm Depth: 20 in / 51 cm
Oppos i te page and below: A very fine walnut stool with slightly cur\ ed sides and rounded corners , on cabriole legs carved at the knees with shells and bellflowers a n d ending in d i a m o n d toes, the drop-in seat covered with per iod needlework, with petit point panels depict ing hounds in landscapes sur rounded by mult i-coloured arabesques on a dark b rown ground.
English, circa 1710 Height: 17'/2in / 44 cm Length: 21 in / 53 cm Width: 15 in / 38 cm
r VMVO Y O
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
This extremely well preserved carpet may have been made 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.
The 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.
10
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
Residenz, a late baroque masterpiece built
by Neumann in 1719. The style of
furniture in Wurzburg took its lead from
Johann Phillipp von Schonborn, Prince-
Bishop 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.
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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An early oval mirror
Right: A very rare William and Mary carved giltwood and gesso oval mirror in the manner 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 manner 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. The 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. The 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 Hampton 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.
The old gilding of this mirror frame has worn almost to the gesso in places, leaving it a soft and mellow tone. The 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 Qi iccn Anne 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 caned strapwork and Hanked by
eagles' heads clutching branches of fruit
and flowers, the di\ ided plate within a
beaded and leaf caned border w ith shell
and acanthus caned base.
English, circa 1710
Height: 80 in / 203 cm
Width: .38% in / 98 cm
I'R()\ K N A N C i :
Madinglcy Hall, near Clambridge.
Gerald Hochschild. Paris
mi
A magnificent pair of Berlin vases
O t M 1
A pair of very large Berlin faience circular vases with flared tops and bases and bulbous centres, decora ted with raised cockerels and cranes amid flowers and butterflies in blue a n d white enamels, heightened with gilded decorat ion of flowers and scrolls, birds and branches and with daisy motifs at the top and base, all on a scarlet g round .
G e r m a n , circa 1720 Height: 34 in / 86 cm Diameter : 14 in / 36 cm
BIBI.IOGRAPHY Margr i t Bauer, 'Europaische Fayencen', p 6 3
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A very rare set of fourteen mahogany dining chairs
Above a n d owr l ca f : A n i m p o r t a n t set of
fou r t een m a h o g a n y d in ing chai rs a f te r a
design by M a t t h e w Darly, 'consis t ing of
twelve ( Jeorge II single chai rs a n d two
19th cetUury a r m c h a i r s , the baci^s f o r m e d
of an intr icate p a t t e r n of in ter laced a n d
curved splats, the a r m c h a i r s with cu r \ ing
a rmres t s carved v\ith rosettes, all the
chai rs raised o n cai jr iole legs c a r \ e d at the
f ront with r i bbon , leaf a n d scroll motifs;
the seats now upho l s t e red in g reen silk
d a m a s k .
English, circa 1755
He igh t : 39 in / 99 c m
Wid th of a r m c h a i r : 26% in / 67 cm
W i d t h of single chair : 25 in / 6 4 cm
D e p t h of seat: 20 in / 51 c m
the latest fashions in fu rn i t u r e design. H e
s h a r e d T h o m a s C:hi]5]K-ndale's house at
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
n u m e r o u s designs for cab ine t -make r s
inc luding all th ree edi t ions of The Gentleman and (kbinet-Maker's Director. T h e
artist Francis H a y m a n , a ])upil of the
academy, o w n e d a similar but less
e l abora te set of chai rs that he
i n c o r p o r a t e d in some of his por t ra i ts .
T h e s e chai rs a re r emarkab l e not only
in surv iving as such a magni f i cen t long set
bu t also in c o m b i n i n g prac t ica l f o r m wi th
s o m e of the earliest examples of English
rococo fu rn i t u r e design. It is in teres t ing to
no te tha t the single chai rs would have
b e e n used as b o t h ' pa r lou r ' a n d d in ing
chai rs u p until the last q u a r t e r of the
e igh teen th century. Af te r this ])eriod, a
specific r o o m for d in ing ex o h ed a n d an
add i t iona l pa i r of a r m c h a i r s was m a d e to
c o m p l e t e this fo rmal i sed set a n d to
c o n f o r m to the new fashion . See overleaf.
With the adven t of neo-classicism such
[ la t terns b e g a n to fall f r o m ]30])ularity bu t
even in 1765 var ia t ions were still be ing
publ i shed in Robe r t M a n w a r i n g ' s The Chair and Chair-Maker's Real Friend and Companion a n d examples m a y be seen at
the Vic to r ian a n d Alber t M u s e u m (\V.9-
1932) d a t e d 1765-70.
Below: Detai l of p a i n t i n g by Francis
H a y m a n r e p r o d u c e d by k ind pe rmiss ion
of the Yale C e n t e r for British Ar t , Paul
Me l lon Col lec t ion .
T h i s r e m a r k a b l e set of chai rs illustrate a
pivotal c h a n g e of taste in English
fu rn i tu re . By the late 1 740's fu rn i tu re ' s
d e p e n d e n c e on a rch i tec tura l f o r m , as
ad \ 'oca ted by the designs of Wil l iam Kent ,
was w a n i n g a n d the l ighter a n d m o r e fluid
designs i.ssuing f r o m the St Mar t i n ' s Eane
Academy, f o u n d e d by H o g a r t h in 1 735,
were increasingly a d o p t e d . The Academy,
s i tuated in the hear t of the cab ine t -
m a k i n g district in L o n d o n , was the c rad le
of the English rococo. Its t eachers
f r equen t ed O l d S laughter ' s (Coffee House
in St Mar t i n ' s Lane w h e r e ant i -Pal ladian
artists, cab ine t - m a k e r s a n d des igners
ga the red .
The chai rs ' f o r m derives f rom the
publ i shed designs of M a t t h e w Darly in his
.\'ew Hook of Chinese, Gothic and Modern Chairs i.)\' 1750-1. Dar lv was fami l iar with
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An important Kentian fireplace
Opposi te page: A George II C a r r a r a marble fire sur round in the m a n n e r of William Kent , the shelf with dentil cornice above a central tablet richly carved with acanthus leaves, berries and fruit and with sunflowers at either end, the j a m b s of scrolled form, the inner border with large egg and dar t moulding.
English, circa 1740 Height : 56 in / 142 cm Width: 69' /2in / 1 7 6 c m Height of opening: 42 in / 107 cm Width of opening: 42% in / 108 cm
Above the fireplace hangs a \ 'cr\ ' fine early 18th century needlework picture of rare, large size.
English, circa 1700 Framed: 35 x 49 in / 89 x 124 cm
Three Chinese cache pots
Below: T h r e e orange faux bois porcelain cache pots, all with m o d e r n silvered liners.
Cen t red on mantelpiece and below: Single cache pot Kangxi , 1720 Diamete r 6V4 in / 17 cm
Left and right on mantelpiece a n d below: Pair of cache pots
J iaqing, circa 1800 Diamete r 4'/2 in / 11 cm
F M B Z
OLIO LDOD
21
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 car \ed 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
P R O V E N A N C E
Tablev House, Cheshire
In his Director of 1754, Thomas 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. The \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 John Carr 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.
The bed has been newly hung in rose coloured silk damask, v\ith hand made fringes and lined in cream silk. The 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.
A Louis XV wine cooler
Right: A magnificent mid 18th century-oval 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
22
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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
cryvn h 2.5
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
26
A pair of hall chairs
A pair of mahogany hall chairs of rare design, with pierced car touche shaped backs and dished wooden seats, raised on solid, shaped supports jo ined by stretchers.
P^nglish, circa 1770 Height : 38 in / 97 c m Width: 15% in / 40 cm Depth : 18 in / 46 cm
PROX'ENAXCE This pair of chairs almost certainly came frotn the en t rance hall of Tyt tenhanger , nea r St Albans in Hertfordshire, built for Sir H e n r y Blount in or after 1654. T h e larger set is shown in situ in H Avray Tipping, English Homes, 1920, Period IV, vol l , p 77, ill 108a.
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A chinoiserie overmantel mirror
An impor t am c a n e d giltwood chinoiscrie ox'crmaiucl mir ror in the m a n n e r of William and Joi in Linneii retaining its original plates, the f rame fo rmed of leafy branches and scrolls, h u n g with icicles, rising to a ])agoda to]5 with carxed foliate cresting, the centre of the mir ror with turned columns rising f rom a bridge with pierced fret iialustradcs.
English, circa 1 760 Height: 75 in / 190 cm Width: 72 in / 183 cm
P R O \ i : \ A N c i :
Formerly in the collection of Archibald Stirling of Kcir, Keir Mains, Perthshire
l . r n - R A T U R E Alistair Rowan , 'Keir, Perthshire I', Country Life, 7 August 1975, p327, illustrated in situ in the drawhig room
rh i s o \ e r m a n t e l incor |)orates many of the motifs that can be Ibund in the designs of
J o h n Linnell, notably the rustic
b ranch\ \ork , chinoiserie canopy, icicles and fretwork. T h e conce])t of the central raised pla t form in the form of a bridge and the a r r angemen t of tall, t u rned columns is most famously displaced on the oxermante l mirror su])plied b\' William a n d J o h n Linnell to the 4th Duke of Beaufort for the Chinese Bedroom at Badminton House.
An 18th century Parisian liarp
A \ e r y rare Louis X \ ' I lacqucr l iarp l)y (Jodcfroi Hol tzmani i , with very fine cii inoisfric polyciiromc dccorat ion on a black g round and signed by the maker at the to|) of the sounding board , tiie yoke c a n e d ^̂ ith giUwood Ibhate mouldings and beading and the (kited and car\ 'ed pillar su rmoun ted by an u rn a n d flowers in two tones of gilding and silvering; signed at the top ol' the sounding board .
French, circa 1775 Height: 6(5 in / 168 cm Width: 1 7 in / 43 cm Depth : 31 in / 79 cm
The design for this h a r p is illustrated in the Diderot d 'Alember t Encyclopedie as a ' H a r p e Organisec ' . pp21()-212.
The maker Godef ro i H o l t z m a n n was one of the leading h a r p makers in Paris in the 1 770's a n d this h a r p exemplifies the best of the Parisian luthiers ' work of that period. Hol tzmann ' s workshop was in the Faubourg St H o n o r e above a wine shop called 'Au Roi de Siam' .
T h e colourful chinoiserie decorat ion is not only of very fine quality but also very rare, since ha rps at this t ime were typically a d o r n e d with classical arabesques. Th i s ins t rument is exactly the type for which Mozar t composed his only m a j o r work for the ha rp , the Flutf and Harp Concerto, in Paris in 1778.
VN'hilst the h a r p retains its original mechan i sm, it is not r e c o m m e n d e d to re tu rn it to playing condi t ion as this would put too great a strain on the yoke and sounding board .
A George II mahogany bureau bookcase
Opposite page and overleaf: An important mid 18th century mahogany bureau booiccase in the manner of Thomas Chippeiidale, witli swan's neck pediment and central urn, car \ed 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.
English, circa 1755 Height: 106 in / 269 Cm Width: 44 in / 112 cm Depth: 24 in / 61 cm
P R O V E N A N C E
Formerly in the collection of Mr & Mrs Eric Moller at Thorncombe 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. The heart of this collection was a group of outstanding mid 18th century pieces, of which this bureau bookcase is one.
L I T E R . \ T U R E
RW Symonds, Timely Advice to Furniture Collectors, Antique Collector, October 1942 p l l 5 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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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 over-complicated. It is a classic piece of great English furniture from the eariy part of the
Chippendale period, combining the very-best craftsmanship with su]3erb timbers, now gendy faded to a wonderful patina.
The 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 i27, rigs 226-2'27, p l47 , fig 270).
32
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 manner 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
By the 1760's, the rather loosely interpreted rococo form, deri\ed from French designs, became more formally studied by cabinet-makers. Thomas Chippendale and John Cobb clandestinely imported French ])icces of furniture as models to satisfy the huge demand 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 John 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 Cobb 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 Croome Court, Worcestershire.
'I'he recent historv of these chairs is
fascinating. They 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. M̂ ^ V
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An English commode in the French style
Below: A mid 18th century bombe commode in the manner 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.
The 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. The 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. The dial signed 'Bouchet, Horloger du Roi'
French, circa 1 780 Height: 22 in / 56 cm Width: 10 in / 25 cm
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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 and 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: One from a set of twelve Spode armorial plates decorated in famille rose colours.
English circa 1805 Diameter 9 in / 23 cm
Right below: One from a set of six Coalport plates decorated with flowers by Baxter.
English circa 1800 Diameter 8% in / 21 cm
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A pair of Hepplewhite card tables
A very- fine pai r of Hepplewhi te period mahogany card tables, the serpent ine tops with guilloche car\ ' ing a round the edge and with flower and fruit car \ ing on the frieze, opening with concer t ina action to re\ eal a green baize playing surface, on cabriole legs in the French manner .
(3n the tables are shown two 18 carat gold table salts, par t of a magtiificent gold d inner ser\ ice consisting of 110 pieces in all.
Knglish, circa 1780. Height: 29 in / 74 cm Width: 36 in / 92 cm Depth : 17'/2in / 45 cm
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A su])erb pair of table
lustres by Blades
A |5air of Rrwcnc)- cm glass and ormolu
iwo-liglii liislrcs In John Hlaclcs ol" London,
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 John 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 \ ' i t ru\ ian scrolls.
Baccarat. Paris, circa 1878 Height of decanter: 11' : in / 29 cm
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 Universe He in 1878. As far as is known, this pattern was not made for commercial |)rocluction.
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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
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A Regency drum table
Opposi te page: A very smart early 19th century circular d r u m table in rosewood inlaid with brass stringing and with gilt metal mounts , with four drawers in the frieze, on octagonal stem and tr iangular base, the top lined with leather.
Engish, circa 1810 Height: 30'/2 in / 77 cm Diameter : 36 in / 91 cm
Porcelain cache pots
Below: An unusual and c h a r m i n g pai r of early 19th cen tur \ French porcelain cache pots with stands, with gold bands and lion's heads at each side a n d decora ted with o\'al panels of flowers on a black background , within gilt bead ing and a pale peach coloured ground .
French, circa 1830 Height : 7% in / 1 9 c m Diameter : 7'/2 in / 19 cm
0 47
A group of cut glass jugs
Below: Four cut glass water jugs showing ihe variety of cutt ing available dur ing the Regency period.
English or Irish, circa 1820 Maximum height: 7'/2 in / 19 cm
P R O V E N A N C E The three jugs on the left are f rom Cork or Dublin and were formerly in the collection of the 6th Marquess of Bute.
Opposi te page: The Blue R o o m at 141 N e w Bond Street, with a large o rmo lu musical au toma ton clock by H e n r y Borrell (see overkaj) shown on a Regency centre table (see page 56). T h e Osier chandel ier (see page 55) hangs above.
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A very rare ormolu musical clock
An exceptional o rmolu au toma ton musical table clock by Henry Borrell, m a d e for the CJhinese market , the case finely chased with wheatshea\ es a n d geometr ic pa t te rns and raised on splayed feet; with repeat mechanism, the front slide opening to reveal a mar i t ime scene with sailing ships and playing two hornpipes; the engraved backplate signed 'Henry Borrell, Ix)ndon'.
English, circa 1820 Height: 23 in / 58 cm Width: 11 Vi in / 29 cm Depth : 11 in / 28 cm
H e n r y Borrell is recorded at two L o n d o n addresses between 1795 and 1840: 8 Aldersgate Buildings and 15 Wilderness Row. H e was a make r of musical clocks a n d watches a n d is known to ha\ e m a d e for the eastern market .
In the late 18th a n d early 19di centur ies there was a thri \ ing t rade in clocks m a d e in England for the Turkish and Chinese markets. The-se o rna te creat ions h a d elaborately cast a n d engraved o rmo lu cases, often encrus ted with paste stones to simulate jewels. Some be ing of qui te small size, o thers were m a d e on a vast scalc and of cjuite flintastical conce])t. T h e y were clearly highh ' pr ized in the palaces of powerful eas tern potentates . Imaginative a u t o m o t a were de\ ised to o |)erate in t ime \vith tunes played on a carillon and , in some, rods of glass re\'ol\ ed to create a waterfall effect.
T h e best known maker associated w ith such clocks was J a m e s Cox, recorded as working between 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. though less well known - recorded examples of his work are extremely rare -was. however, a c lockmaker in the same mould .
This large clock follows the fashion in a relati\'ely restrained fo rm a n d has the enchant ing , a n d possibly unicjue feature of a cur ta in of decora ted o rmo lu rising on the iiour to re \ea l a fleet of sailing ships r iding waves of spinning glass to the sound of sea shanties played on the bells. It seems to represent a c h a r m i n g tribute to the ever growing mar i t ime t rade between East and West at that time.
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A Victorian dressing set A rosewood sofa table DOO
Oppos i te page: A travelling dressing set of superb quality, compris ing a ca l amander and rosewood box with brass mouldings and recessed brass handles fitted with two tiers of leather lined trays conta ining a \ 'ariety of cut glass bottles and boxes, all with c n g r a \ e d silver gilt tops bear ing the m o n o g r a m L E H (see left), and an etui with scissors and other small gadgets in steel and mother-of-peari ; the lid fitted with a removable mir ror and enclosing a small leather folio. Hallmarks for I-ondon 1852, maker 's mark J H .
Height: 7 in / 18 cm Width: 14 in / 36 cm Depth : IO'/2 in / 26.5 cm
Above: A fine George III rosewood sofa table, the top of faded colour, cross-banded and with a border of satinwood and boxwood stringing, above two drawers in the frieze with star handles and ivory escutcheons, raised on double, r ing tu rned co lumn sujDports with splayed legs and ending in brass box castors.
English, circa 1800 Height: 28 in / 7 1 cm Length: 63 in / 160 cm Depth : 24 in / 61 cm
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A chandelier by Osier
()i)posite page: An exceptional chandelier by F & C Osier, with eight cut glass arms festooned with o\ al and ball drops, the receiver bowl of urn shape cut in a leaf pattern with a cut ball finial below, the centre of the stem of pineapple form surmounted by downcurving crooks hung with further pendants and strings of diamonds, the very lop with unique, upcur\ ing crooks with integral spires; the metal receiver plate stamped 'F&C Osier'.
English, circa 1860 Height: 45 in / 114 cm Diameter: 26'/2 in / 67 cm
F & C Osier was one of the most important glass manufacturers of the
Victorian era. From their factory in Birmingham, the firm produced glassware of e\'ery kind, from wine glasses and decanters to vast chandeliers for palaces throughout the world. They had showrooms not only in Birmingham and London's Oxford Street but also in Calcutta, where they displayed rooms of cut glass furniture which was keenly collected by the Indian Mahara jahs .
Osier were renowned for lighting fixtures of all kinds and were always the first to adapt to the new advances, from candlelight to oil, gas and eventually electricity. This delightful chandelier, though small in scale, is rich in features, notably the very rare, faceted crooks at the top. It was made to be, and still is, lit by candles.
A pair of marquetry etageres
Right: A pair of 19th century maple and satinwood three tier etageres, the shelves inlaid with scrolling marquetry in premier-parti and conlre-parli and with gilt metal borders and 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
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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 cross-banded with mahogany and palmwood and with reeded outer edge, raised on a triangular pedestal and base with fiirther reeded mouldings and bun feet.
English, circa 1820 Height: 29 in / 74 cm Diameter: 59'/2 in / 151 cm
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A double cased glass vase by Val Saint-Lambert
A flared vase in clear crystal, cased French blue on the outside a n d red on the interior, cut f rom both sides.
Belgian, circa 1926 Height: 10 in / 25.5 cm
T h e factory of V'al Sa in t -Lamber t was Europe 's leading producer of cased and cut glass dur ing the Art Deco period and this fo rm of double casing is amongst this company ' s most spectacular product ion. T h e company ' s catalogue of 1926 illustrates a bowl similarly decorated called ' T h e C a n a d i a n Bowl'.
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A set of Whitefriars glass Glass Exhibition
A group of glass by J a m e s Powell & Sons, Whitefr iars CJlassworks, London:
From left to right: A vase in sea green glass, pa t t e rn no 925, designed by Barnaby Powell. English, circa 1936-38
A wine glass in dark green glass, with optic ribbing, designed by H a r r y Powell. p:nglish, circa 1890
A wine glass in clear glass, decora ted with deep green threading, pulled down the bowl, with hollow stem, designed by H a r r y Powell. English, circa 1907
A tall vase with wavy rim in dark green glass, pa t te rn no 925, designed by Har ry Powell. English, circa 1880 Height : 12% in / 32.5 cm
Mallett 's are holding an impor tan t exhibition of the work of the Whitefr iars Glassworks, in April 1997, at 141 New Bond Street, London .
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James Ross circa 1 IQQ-circa 1 750
The Duke of Beaufort's Hunt
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
Opposite [Jage:
The Meet (detail)
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Full Cry Signed
Oi l o n canvas, 36 x 57 in / 91 x 145 c m
T h i r d in series of four pa in t ings
The Ml Signed a n d d a t e d 1730 Oil o n canvas, 36 x 57 in / 91 x 145 c m
Four th in series of four pa in t ings
O p p o s i t e page :
Drawing the Covert (detail)
PROVENANCE
Purchased by Sir Wil l iam Beaucha rnp -
Proctor, 1st Bt {circa 1722-1773) for
Langley Park, Norfo lk , a n d by descent to
Sir C h r i s t o p h e r B e a u c h a m p , 9 th Bt.
Such a set of this genre is rarely to be
f o u n d intact . It illustrates four different
scenes of the Beaufor t H u n t , all dep ic ted
on the D u k e of Beaufor t ' s estate at
B a d m i n t o n in Gloucestershire . B a d m i n t o n
has been pa in t ed by m a n y f a m o u s artists,
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
four superb ly worked landscapes , deta i l ing
the house, the estate a n d the S c \ e r n \a l lcy
s t re tching away in the distance, a re
con t ras ted b\ n u m e r o u s c h a r m i n g a n d
witty vignet tes of the h o u n d s a n d
h u n t s m e n in the fo reg round . These small
but richly co loured details emphas i se the
cont ras t with the large, m o r e tonal countr \ -
\-iews which f o r m the backgro tu id .
J a m e s Ross's work, which is
r ep resen ted in the Mel lon Col lect ion, he re
shows the inf luence of J o h n W o o t t o n ,
himself in t u rn inf luenced by C^laude.
T h e s e pa in t ings a re not only an
except iona l chronicle of 18th cen tu ry
spor t ing life but also a delightfully worked
set of classical l andscape paint ings of the
English counti 'yside.
The pic tures were pu rchased by
Wil l iam B e a u c h a m p , later Sir Wil l iam
Beauchamp-Proc to r , a n d h u n g at Langley
Park n e a r N o r w i c h , in Norfolk , which
estate h a d passed to h im f h j m his great
uncle, G e o r g e Proctor, an acc la imed
connoisseur a n d col lec tor Langley Park
was one of the most sophist icated of
English Pal ladian mans ions , long
ce lebra ted for its p ic ture collection.
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A, n %
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 18 th century and brought from 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
P R O V E N A N C E
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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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 Member 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 Gallery-and the Ulster Museum.
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Benjamin Killingbeck fl 1763-1789
Three Pointers in a Ljindscape
Signed a n d d a t e d 1777
Oi l o n canvas
4 2 x 6 0 in / 107 x 152 e m
PROVENANCE
M i c h a e l Szell, Che l sea
Pr ivate col lect ion, U S A
E X H I B I T E D
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, ca ta logue n o 104.
B e n j a m i n Kil l ingbeck was a Yorksh i reman,
p r o b a b l y b o r n at Pontef rac t . In 1769, he
was called in the local n e w s p a p e r ' a n
e m i n e n t pa in t e r a n d l imner ' a n d he was
exhib i t ing at the m a j o r L o n d o n venues of
the Society of Artists, the Free Society of
Artists a n d the Royal A c a d e m y f r o m tha t
year. H e en joyed early p a t r o n a g e of the
M a r q u i s of R o c k i n g h a m , the Earl of
Egl in ton , the Tattersal ls a n d the
W e n t w o r t h families. T h i s was
d is t inguished company , for these peop le
were likewise m a j o r pa t rons of the
deve lop ing genius of G e o r g e Stubbs.
Kil l ingbeck 's best k n o w n works a re of
a spor t ing na tu re , t h o u g h he also
p r o d u c e d l andscapes a n d por t ra i ts . His
pa in t ings o f t en exhib i ted an engag ing
t r ace of eccentr ic i ty a n d be t r ay an
idiosyncrat ic ability in eye-ca tching
compos i t ion . His t e c h n i q u e is ex t remely
s o u n d a n d the f reshness of pale t te ,
cr ispness of execut ion a n d eye for fine
detai l a re notable . T h e compos i t ion of the
presen t pa in t i ng owes little to Kil l ingbeck 's
a p p a r e n t men to r , G e o r g e S tubbs , a n d is
entirely of his own invent ion. T h e
diversity of the dogs ' poses a n d the
c i rcular r h y t h m of the compos i t ion is
coun tc r l ) a l anccd by the tens ion implied by
llie dogs ' concen t r a t i on on the lower r ight
h a n d corner , whe re we suspect a pa r t r idge
or a ]3heasant should c rouch . T h e artist
l ea \es this a r ea as u n d e r g r o w t h , e schcwing
wliat would be a convent iona l idea, a n d
leaves u n r e s o l \ e d the c|uestion of whe re
a n d at w h a t the po in te rs a re point ing. T h i s
a m u s i n g concei t is exactly the sort of mild
eccenlr ic i ty which makes this regrcttaliK
ra re artist so e n d e a r i n g to m o d e r n eyes. l O
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Charles Parker area 1828
A still life of Bell's Life in London and other Sporting and Gambling Accessories
Oil on canvas 2 0 x 23% i n / 5 1 x 60 c m
T h i s pa in t ing is one of several known versions of a spor tsman 's i rompe I'oeil pa in ted by the artist (Uiarles Parker. Th i s version is very similar, in handl ing, conten t a n d composi t ion, to the one in the Royal Collect ion at S a n d r i n g h a m , which was a gift to E d w a r d VII du r ing his reign.
Whi le little is known of the artist, all recorded versions of the subject include publicat ions da ted in the late 1820's, so it
seems reasonable that Char les Parker might have been active f rom as early as 1826. T h e S a n d r i n g h a m version is a little earlier than this one, which shows Bell's Life in Ijondon da ted D e c e m b e r 23 1827, while the Amah of Sporting is the April 1828 edit ion. Full in conten t and rich in colour, such .sporting still lifes are not only decorat ive but also historically interest ing for the publicat ions a n d objects that they depict .
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John Rubens Smith 1775-1849
The \ 'icar of I Vakefield
Oil o n canvas
22 X 28 in / 5() X 71 c m
In its or iginal c a m ' d a n d gilt IVanic
E X I I I B I T K l ) Royal Acadcniy, 1 797, no 5 6 0
T h i s pa in t i ng dc|)icts a scene f r o m Ol iver
Go ldsmi th ' s The Vicar of Wakefield. T h e
Vicar a n d his family sit in a b o w e r by
the i r favouri te i ioneysuckle hedge a n d
listen to Ol iv ia s inging ' W h e n lovely
w o m a n stoo]3s to folly'. She swoons as she
sees the a])])roach of Squ i re r h o r n h i l l .
John R u b e n s Smi th was a thi rd
gene ra t ion artist , whose g rand fa the r ,
T h o m a s Smi th of Derby, h a d s tar ted the
family interest in the art world. T h o m a s
h a d been b o t h painter , d r a u g h t s m a n a n d
engraver , mul t i fa r ious activities which he
passed on to his son, J o h n Ra])hael Smi th .
The Smi ths were amb i t i ous a n d successful
ar t en t r ep reneu r s , with a taste for n a m i n g
their ch i ldren a f te r the greates t of the O l d
Mas te rs . Thus J o h n R u b e n s was b o r n as
the third, but first surviving son. His
pa ren t s chr i s tened their o t h e r chi ldren
with such n a m e s as L e o n a r d o , Angel ica
Rt jsa lba a n d R a p h a e l Claesar.
This p r e p o s t e r o u s habi t , t h o u g h , was
]5erhaps jus t i f ied by the success that the
family en joyed . J o h n Rai)hael Smi th was
doubt less the most com|5etent , a n d
occasional ly bril l iant, mezzo t in t e r of the
late 18th c e n t u r y a n d an occasional bu t
hugely t a len ted pa in t e r in oils. Best
r e m e m b e r e d today as the publ i sher of
( Jeorge M o d a n d , J o h n R a p h a e l |)as.sed on
the fami ly ta lents to his son a n d J o h n
R u b e n s was a l ready exhib i t ing at the
Royal A c a d e m y as early as 1 79() w h e n
aged only twenty-one . The ])resent
pa in t i ng was e.xecuted the fol lowing year,
the second of .some forty-five | )aint ings
which he submi t t ed to the A c a d e m y u|) to
1811.
T h o u g h en joy ing reasonab le success
as a portrai t is t a n d l andscape jjainter, the
years of the N a p o l e o n i c war s were deep ly
inimical to the nour i sh ing of the ar ts in
E n g l a n d a n d Smi th eventual ly e m i g r a t e d
to the U n i t e d States, w h e r e he settled in
N e w York. Like his father, his tastes were
as m u c h for c o m m e r c e as for j )a int ing a n d
he seems to ha \ e en joyed a s teady succcss
in his newly ado|5ted country . H e died in
N e w York in 1849.
John Atkinson Grimshaw 1836-1893
Greenock Harbour at Might
Signed and dated 1893 011 on canvas 12 X 18 in / 30.5 x 36 cm
The paintings of the Leeds artist John Atkinson Grimshaw are well known and loved, particularly in the north of England where he did so much of his work. The
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.
Greenock Harbour 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
to satisfy the strong demand for them from local businessmen. As was typical of this period, (Jreenock Harbour 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.
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John Atkinson Grimshaw 1836-1893
Newlay Woods, Leeds
Signed; on the reverse signed, inscribed and dated 1861 Oil on board 10% X 15 in 7 25.5 x 38 cm
The 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.
both strongly suggest the influence of the Pre-Raphaelite Brotherhood.
The 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
shows that he did take on-the-spot notes for use in finished paintings.
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, ( ir imshaw 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.
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MALLET T in Bourdon House
A Louis XV Figure of Ceres
A large scale Louis X V standing terracot ta sculpture of the goddess Ceres, retaining most of its original pat inat ion, the figure holding a bundle of wheatsheafs and dressed in bolclK' modelled flowing robes, possibly adap ted f rom a Ixjuis X I \ ' figure.
France, circa 1740 Height: 59 in / 150 cm
T h e goddess C-eres has been a popu la r subject since Anticjuity In medieval R o m e there was a cult of Ceres the corn goddess and from the Renaissance she has been considered a link between Chris t ian female icons and the mythologv' of the Ancients. Th i s figure stand.s, in style, between the 17th and 18th centuries. H e r contrapposto fo rm looks back to the great masters of the court of I.ouis X I V whilst
also looking for \ \a rd to the f reedom of the Rococo period. In par t icular there is a figure by J e a n Thierr)- (1669-1739) m a d e for Philip V of Spain, in the gardens of L;i ( i r a n j a , illustrated in French Sculptors of the 17th and 18th CenlMies by Fran<;ois Souchal .
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A Regency lacquer writing table
A very rare Regency lacquer two drawer writ ing table having boldly model led brass moun t s a n d mouldings, the lacquer being a very rare aubergine colour. In the m a n n e r of J o h n M c L e a n .
England , circa 1815 Height: 29 in / 74 cm Width: 42 in / 107 cm Dep th : 24 in / 61 c m
After the end of the Napoleonic Wars, manufac ture rs of decorative arts in England h a d to con tend with an influx f rom Europe, and particularly France, of highly fashionable and desirable articles. This writ ing table reflects the influence of such impor ted taste. T h e refined sofa table end-supports derive f rom the earlier elegance of Sheraton 's designs, with the high arched stretcher increasing the lightness of its outline, however, the use of Chinese lacquer as the decorative veneer is extremely rare a n d copies the vogue in France for this fo rm of decorat ion.
In the early 19th century the adapta t ion of the Chinese taste was a cont inuat ion f rom the fashionable wh im of the English rococo dur ing the middle of the 18th century. T h e personal taste of the Prince of Wales, when decorat ing Brighton Pavilion in 1802, greatly influenced this taste for ' the fantastic a n d uncouth. . .which were universally admired because they bought to mind those images of Eastern magnif icence and splendour ' . However, most of this furni ture, whe ther cabinets or chairs, were decorated with chinoiseries a n d j a p a n n e d , imitating Chinese lacquer, ra ther than utilising actual oriental lacquer panels. Tiie skill in applying and bending the lacquer as a veneer is very rarely found in English furni ture of this per iod and makes this writing table most unusual . l"he one cabinet -maker who advertised on his t rade card as s]3ecialising in 'elegant Parisian furni ture ' w a s j o h n M c L e a n , when he moved his workshop to U p p e r Mary lcbone Street in 1809. Although this table cannot be directly at tr ibuted to McLean , the fo rm is very similar to known tables f rom his workshop. The use of highly polished metal moun t s and runn ing gallery a round the writ ing surface are also typical of this cabinet-maker 's designs.
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A Charles X iron chair A Louis XIV 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.
France, circa 1835
Height: 36 in / 91 cm
Width: 21 in / 53 cm
Depth of seat: 18 in / 46 cm
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0\er leaf 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 1700
Height: 32 in / 81 cm
Width: 45 in / 114 cm
Depth: 21 in / 53 cm
Nicolas Sageot worked at the end of the
1 7th century in the Faubourg Saint-
Antoine 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 June 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 in June 1987.
The marquetry top of the commode
with its central panel of Venus is taken
from an engraving after Jean Berain
(1640-1711), illustrated above. See overleaf.
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A pair of Regency overmantels
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.
England, circa 1810 Height: 36 in / 92 cm Width: 70 in / 178 cm
A pair of Chinese cloisonne hoopoe
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.
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. The 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. The 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 XV giltwood bergeres
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.
France, circa 1750 Height: 37 in / 94 cm Width: 27 in / 70 cm Depth of seat: 21 in / 53 cm
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A Charles X jardiniere
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 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 Saint-Antoine until his death in January 1838. In 1831 he was registered as an ouvrier-ebeniste, 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. The following year he was commissioned by the Garde Meubles as a designer-cabinet maker to supply a
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 made 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)-Neapol i tan marlile console tables, \ cneered in jasper and Siena marble.
Italy, circa 1 750 Height: 34 in / 86 cm \Vidth: 46 in / 117 cm Depth : 1 7 in / 43 cm
The mixture of highly skilled marb le carx ing combined with freely achieved mosaic marble \ eneer seems to be txpical of lapidary crafts of the south of Ilah- at this time. ' l \vo teams of artisans would h a \ e created these tables, one to c a n e , the o ther to prcjoare and inlay the jasper and Siena marbles.
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A Regency japanned music stand
An unusual large scalc Regency music stand in the form of a peita-shield decorated with black and gold with neo-classical o rnamen t , suppor ted by a stylised ar row in brass, s tanding on a tr iangulated plinth decora ted with gilt an thcmia on a black ground. Attr ibuted to Erard .
England, circa 1810 Height: 54 in / 137 cm Width: 19 in / 48 cm
T h e r e is an almost identical Regency music s tand in the Victoria a n d /Mbert M u s e u m (M46-194) da ted 1810 by Sebastian Erard of 18, Grea t Mar lborough Street, London . H e had opened the premises in 1792. T h e X'ictoria and Albert example came f rom Char lecote Park a n d is marked with Erard 's n a m e and address on the front of the music shelf.
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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
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A 17th century scagliola table top
Right: A ver\' fine and rare mid 17th centurv' rectangular polychrome scagliola table top profusely decorated with birds and flowers, and ha\ ing at its centre a coat of arms.
Signed indistinctly 'Januarius Man...Carpiggano' {almost certainly for Mannel l i f rom Carpi) .
Italy circa 1650 Now standing on a pair of 1 7th century French giltwood pedestal bases.
Height: 29 in / 74 c m Length: 73 in / 186 cm Width: 38 in / 97 cm
i'Mthough nothing is known of Mannell i , this part icular style of scrolling foliate arabesques inlaid as scagliola is characteristic of the work produced in Carp i , outside M o d e n a , dur ing the late 17 th and early 18th centuries. Examples of such work can be seen in the Ca thedra l at M o d e n a and also at St Mar ia 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 \ \ i th only the central panels a n d most p rominent strapwork finished in colour.
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A William IV satinwood
chiffonier
Left: An unusual salinwood chiironier, the
shaped to|3 ha\'ing amaranth cross-
banding and a band of rosewood,
sujjported by three l)ronzed columns, tlie
central one being a winged caryatid, the
two drawers each with a lion's head
cscutcheon plate, standing on topic feet.
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.
A pair of Chinese export
chargers
Below: A very rare pair of C^hinese export
mid 18lh century famille rose scallo]5cd
chargers having finely painted floral
decoration with gill enrichments, the
design taken from Eurojjean silver.
Qianlong, circa 1760
Diameter: 14 in / 37 cm
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A chandelier attributed to John Blades
A Regency chandel ier of tradit ional fo rm, su rmoun ted by two gothic o rmolu coronets, the uppe r coronet decorated with stars and p e n d a n t buttons, the lower decora ted with gothic arches, the r ing suppor t ing twelve o rmo lu branches in the fo rm of gargoyles with cut pans h u n g with rule drops a n d cut nozzles.
England , circa 1825 Height: 72 in / 183 cm Diameter : 40 in / 102 cm
J o h n Blades was first recorded in the London Guide for 1783 at 5 Ludgate Hill, where he remained until his death in 1829. H e achieved early success, be ing recognised as 'Cut-glass manufac tu re r to His Majes ty ' in the record of his marr iage in April 1789. T h e first recorded survi\ ing pieces by Blades are two chandeliers for the Drape r s C o m p a n y which h a n g in their C o u r t r o o m , m a d e in August 1797. These chandeliers were one of the earliest examples using a cascade of drops f rom the top to the bo t tom, anticipat ing the ' founta in ' style of chandelier, which the
Prince Regent employed at Car l ton House and is similar to the chandel ier illustrated here. D u r i n g the early 19th century. Blades expanded his business into the Middle Eastern market and India , furnishing lustres, cande labra and even an ext raordinary green glass gothic t o m b for the N a b o b of O u d h .
T h e shop in London expanded rapidly as Blades developed new designs to compete with France in this luxury-market . H e employed the architect, J B Papworth to design his suites of light fixtures, vases a n d even dessert ser\ ices, in the neo-classical taste. Papworth was responsible for the introduct ion of long, oblong drops in 1822 which were described as being 'full of prismatic beauty ' by con tempora ry commenta tors . These drops can be seen h u n g f rom the pans and rings on this chandelier. It is the quality of the metalwork and crispness of the glass cutt ing which, together with the new designs, enabled Blades to be at the forefront of glass manufac tu re dur ing the early years of the 19th century a n d to be known at the t ime of his dea th as ' the great glass m a n of Ludgate Hill ' .
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A George III mahogany trestle table
An extremely rare late 18th century m a h o g a n y folding butler's table of unusually large size, s tanding on its original pai r of tu rned ' X ' f r ame supports, the t imber th roughout of a part icularly rich colour.
England, circa 1800 Height : 28-31 in / 71-79 c m Length: 78 in / 198 c m Width: 40 in / 103 cm
Towards the end of the 18th century, the style of dining in England became more elaborate with larger surfaces a n d more glass appear ing on the tables. T h e quant i ty of food eaten by the English appal led m a n y foreign visitors a n d without the same quant i ty of household staff, the
spectacle at d inner concent ra ted more on the settings of the table than the elaborate ritual of service. It is unusual for a folding table to be suppor ted by such finely tu rned legs a n d also to be m a d e out of such good quality C u b a n mahogany. T h e reason for this is that the table here illustrated would have been set up, probably in the dining room, as an essential addit ion for the more elaborate formal dinners, facilitating the arrival of the new dishes for the table, as well as for the clearing of the previous course.
T h e complexity of serving required a fine quality support a n d large scale surface. Th i s buder 's table has bo th and could now be used as a dining table in its own right, either outside for a picnic, or inside for occasional addit ional seating, or 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
Height of spaniel: 19 in / 48 cm
Length of spaniel: 27 in / 68.5 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 foundry-
appears to have ceased production during
the mid 1870's.
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Paper reliefs of game birds
Right: A pair of unusual cut pape r relief pictures of g a m e birds fashioned f rom engrav ings, h a n d coloured and set on a gouache ground. By Edouard Tra \ ies, an imal pa in ter a n d l i thographer, exhibitor at the Paris Salon between 1831 and 1866.
France, circa 1860 Framed: 22 x 26 in / 57 x 66 cm
A pair of German side cabinets
Opposi te page: A pair of early 19th century side cabinets dccora ted to simulate tooled leather, the tops being stepped with a stylised tr iangular pediment , suppor ted by giltwood columns flanking a concave door abo\ 'e a single drawer te rminat ing in block feet.
Germany , circa 1820 Height: 31 in / 80 cm Width: 28 in / 7 1 cm Depth : 16 in / 4 ! cm
Tiiese cabinets de r i \ e their form f rom the architecture and furn i ture designs of Clarl Friederich Schrinkel (1 781 -1841), whose use of classicism harks back to the boldness and simplicity of Nicholas Hawksmoor in the 1 7th century. T h e decorat ion is referential to bookbinding and is again t \pical of the age's preoccupat ion with using elements out of context.
O n the cabinets are shown a ])air of o rmulu candlesticks from a design by Sir William Clhambers.
I'^nglish, circa 1 805 Height: lO'/^ HI / 27 cm
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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 manner to the occasional table here illustrated. Both tables are decorated with elaborate eglomise work.
The suite was made for Marie-Louise, Queen of Spain, to a design by N H Jacob. The 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 Madame Desarnaud-Charpentier in 1802. Madame Desarnaud-Charpentier was the first person in France to mount crystal items in a similar manner to porcelain and in 1813 patented a technique for using cut glass in furniture. The Qiieen of Spain's suite was undoubtedly her most audacious creation. The pieces were constructed on an iron structure with ormolu mounted panels and tubes decorated with diamond cuts, flutings and gadroons. The table even had
a musical mechanism and its eglomise glass top was decorated in black and gold designs on a rich blue ground. The 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 Madame 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 Ledoux-Lebard 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
D l R I X n O R S R f x (hooper* Chairman Lanio Synge Chief Executive "fhe H o n Peter Dixoii Paula H u m David Wackett*
*Xon-execut i \e
Ivory handled walking stick
T h e top of a 19th century walking stick in the form of" a hare 's head c a r \ e d in i\'or)'.
English, circa 1880
Mallett & Son (Antiques) Ltd 141 New Bond Street London W I Y OBS Tel: 0171-499 7411 Fax: 0171-495 3179
DIRECTORS Lan to Synge Managing Director T h e H o n Peter Dixon Paula H u n t
Giles Hutch inson Smith
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Mallett at Bourdon House Ltd 2 Da\ ies Street London W I Y ILJ Tel: 0171-629 2444 Fax: 0171-499 2670
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© ^L^llett & Son (Antiques) Ltd 1997 Designed b\ T h e o Hodges Business Design C^onsultants Printed in F^ngland by Saunders and Williams
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