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A Marble and Glass chimneypiece
A GEORGE III STATUARY MARBLE BLUE-GROUND AND BLACK-GROUND VERRE EGLOMISE CHIMNEYPIECE
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A GEORGE III STATUARY MARBLE BLUE-GROUND AND BLACK-GROUND VERRE EGLOMISE CHIMNEYPIECE
136.5 cm high x 186 cm wide x 20.5 cm deep. Aperture: 103 x 120.5 cm.
A GEORGE III STATUARY MARBLE BLUE-GROUND AND BLACK-GROUND VERRE EGLOMISE CHIMNEYPIECE
136.5 cm high x 186 cm wide x 20.5 cm deep. Aperture: 103 x 120.5 cm.
Nicholas Gifford-Mead, London.
Chimneypieces were conceived as part of a room’s architecture, designed to harmonise with the interior design of a house and to embellish the opening of the fireplace. Elaborate designs for chimneypieces, sometimes incorporating mirrors or framed paintings above, were published in numerous 18th century builders’ pattern-books (for example see Batty Langley’s The City and Country Builder’s & Workman’s Treasury of Designs, 1741, pls 61-93 - which included three originally designed by Inigo Jones) and William Chambers wrote several pages on chimneypieces in his Treatise on the Decorative Part of Civil Architecture’ (3rd ed. 1791):
‘Chimneypieces, are either made of stone, of marble, or of a mixture of these with wood, scagliola, or-moulu or some other un-fragile substances. Those of marble are most costly, but they are also most elegant; and the only ones, used in high finished apartments: where they are seen either of white, or variegated marbles, sometimes seen and decorated, with the materials just mentioned. All their ornaments, figures, or profile, are to be made of the pure white sort, but their frizes, tablets, panels; shafts of columns, and other plain parts, may be of party-coloured marbles, such as the yellow of Sienna, the Brocatello of Spain, the Diaspers of Sicily, and many other modern as well as antique marbles, frequently to be had in England. Festoons of flowers, trophies and foliages, frets and other such decoration, cut in white statuary marble and fixed on grounds of these have a very good effect. But there should never be above two, or at the utmost three different sorts of colours in the same chimney pieces; all brilliant, and harmonising with each other’ (pp. 127-128)
This rare white statuary marble and verre églomisé chimneypiece is mounted with tablets in the 'antique' fashion. It is close in style to the architectural interiors designed by James Wyatt (1746-1813) in the 1770s and 1780s, including such English country houses as Fawley Court, Buckinghamshire; Heaton Hall, Lancashire; and Heveningham Hall, Suffolk (see J. M. Robinson, James Wyatt: Architect to George III, New Haven and London, 2012, pp. 79-94). Painted glass panels and medallions are accompanied by jasper-blue tablets, their particular design of scrolling foliage reflects the fashion popularised by the 1780s engravings of Jean-Demosthene Dugourc (1749-1825). Pompeian figures dance among roses and foliage and the medallions depict neo-classical scenes such as '', that derive from a 1784 engraving by Thomas Burke after Angelica Kauffman (Cupid disarmed by Euphrosine British Museum 1865,0812.1 )
It relates in particular to the elegant copper-painted chimneypieces with Kauffman scenes executed for Piercefield Park, Monmouthshire in the mid-1790s by the 'Peintre Ebeniste' George Brookshaw (L. Wood, 'George Brookshaw', Pt. 2, Apollo, June 1991, p.385 pl. II).
The painted landscapes relate to the verre églomisé work of the Amsterdam-based artist Jonas Zeuner (d.1814) who was amongst the most skilled masters.
A tea-caddy with related glass tablets featuring the triumph of the summer and harvest deity Ceres was sold by Robert Harman Cannell, Sotheby's, London, 12 November, 1999, lot 32 and is illustrated in A. Stevens, K. Richenburg, G. Walkling The Story of British Tea Chests and Caddies, London, 2022, p. 367-368, fig. 20.24.
This chimneypiece bears the name of the 'Brighton ware manufacturer' and fancy japanner Edward Connard, who was listed at 21 East Street in the Brighton Directory, 1822 and was amongst some twenty retailers of 'toys and fancy wares'. Its vignettes relate to prints on 'Brighton ware' boxes such as were executed by the 'Wise' family of Tunbridge and retailed at Donaldson's Library, the Steine, Brighton (B. Austen, Tunbridge Ware, London, 1992, pp. 97 and 32).
The method for transferring prints to glass surfaces was explained in J. Barrow's, Dictionarium Polygraphicum, 1735, vol. I, p.114). The taste for furnishings decorated in this manner was popular throughout Northern Europe, and the art of glass painting (verre églomisé) was also practised by 'amateurs' such as Isabella Beetham (neé Robinson), whose husband visited the Murano works to learn the technique in the 1770s.
The rectangular moulded shelf above a frieze centred by an oval panel of a pastoral scene signed 'E. CONNARD' flanked by scenes of classical maidens bearing foliage, each linked to a central scene of a classical figure in a leaf-wrapped and beaded circular border, with two further oval panels at each end, on pilaster supports conformingly decorated with classical figures amidst arabesques and foliage the centre tablet signed 'E. CONNARD', circa 1790
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.svg)
A GEORGE III STATUARY MARBLE BLUE-GROUND AND BLACK-GROUND VERRE EGLOMISE CHIMNEYPIECE
136.5 cm high x 186 cm wide x 20.5 cm deep. Aperture: 103 x 120.5 cm.
Nicholas Gifford-Mead, London.
Chimneypieces were conceived as part of a room’s architecture, designed to harmonise with the interior design of a house and to embellish the opening of the fireplace. Elaborate designs for chimneypieces, sometimes incorporating mirrors or framed paintings above, were published in numerous 18th century builders’ pattern-books (for example see Batty Langley’s The City and Country Builder’s & Workman’s Treasury of Designs, 1741, pls 61-93 - which included three originally designed by Inigo Jones) and William Chambers wrote several pages on chimneypieces in his Treatise on the Decorative Part of Civil Architecture’ (3rd ed. 1791):
‘Chimneypieces, are either made of stone, of marble, or of a mixture of these with wood, scagliola, or-moulu or some other un-fragile substances. Those of marble are most costly, but they are also most elegant; and the only ones, used in high finished apartments: where they are seen either of white, or variegated marbles, sometimes seen and decorated, with the materials just mentioned. All their ornaments, figures, or profile, are to be made of the pure white sort, but their frizes, tablets, panels; shafts of columns, and other plain parts, may be of party-coloured marbles, such as the yellow of Sienna, the Brocatello of Spain, the Diaspers of Sicily, and many other modern as well as antique marbles, frequently to be had in England. Festoons of flowers, trophies and foliages, frets and other such decoration, cut in white statuary marble and fixed on grounds of these have a very good effect. But there should never be above two, or at the utmost three different sorts of colours in the same chimney pieces; all brilliant, and harmonising with each other’ (pp. 127-128)
This rare white statuary marble and verre églomisé chimneypiece is mounted with tablets in the 'antique' fashion. It is close in style to the architectural interiors designed by James Wyatt (1746-1813) in the 1770s and 1780s, including such English country houses as Fawley Court, Buckinghamshire; Heaton Hall, Lancashire; and Heveningham Hall, Suffolk (see J. M. Robinson, James Wyatt: Architect to George III, New Haven and London, 2012, pp. 79-94). Painted glass panels and medallions are accompanied by jasper-blue tablets, their particular design of scrolling foliage reflects the fashion popularised by the 1780s engravings of Jean-Demosthene Dugourc (1749-1825). Pompeian figures dance among roses and foliage and the medallions depict neo-classical scenes such as '', that derive from a 1784 engraving by Thomas Burke after Angelica Kauffman (Cupid disarmed by Euphrosine British Museum 1865,0812.1 )
It relates in particular to the elegant copper-painted chimneypieces with Kauffman scenes executed for Piercefield Park, Monmouthshire in the mid-1790s by the 'Peintre Ebeniste' George Brookshaw (L. Wood, 'George Brookshaw', Pt. 2, Apollo, June 1991, p.385 pl. II).
The painted landscapes relate to the verre églomisé work of the Amsterdam-based artist Jonas Zeuner (d.1814) who was amongst the most skilled masters.
A tea-caddy with related glass tablets featuring the triumph of the summer and harvest deity Ceres was sold by Robert Harman Cannell, Sotheby's, London, 12 November, 1999, lot 32 and is illustrated in A. Stevens, K. Richenburg, G. Walkling The Story of British Tea Chests and Caddies, London, 2022, p. 367-368, fig. 20.24.
This chimneypiece bears the name of the 'Brighton ware manufacturer' and fancy japanner Edward Connard, who was listed at 21 East Street in the Brighton Directory, 1822 and was amongst some twenty retailers of 'toys and fancy wares'. Its vignettes relate to prints on 'Brighton ware' boxes such as were executed by the 'Wise' family of Tunbridge and retailed at Donaldson's Library, the Steine, Brighton (B. Austen, Tunbridge Ware, London, 1992, pp. 97 and 32).
The method for transferring prints to glass surfaces was explained in J. Barrow's, Dictionarium Polygraphicum, 1735, vol. I, p.114). The taste for furnishings decorated in this manner was popular throughout Northern Europe, and the art of glass painting (verre églomisé) was also practised by 'amateurs' such as Isabella Beetham (neé Robinson), whose husband visited the Murano works to learn the technique in the 1770s.
The rectangular moulded shelf above a frieze centred by an oval panel of a pastoral scene signed 'E. CONNARD' flanked by scenes of classical maidens bearing foliage, each linked to a central scene of a classical figure in a leaf-wrapped and beaded circular border, with two further oval panels at each end, on pilaster supports conformingly decorated with classical figures amidst arabesques and foliage the centre tablet signed 'E. CONNARD', circa 1790
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