View allAll Photos Tagged CandleStand
Boudoir from the Hôtel de Crillon
•Designer: Pierre-Adrien Paris (French, 1747-1819)
•Date: ca. 1777-1780
•Culture: French, Paris
•Medium: Oak, painted and gilded
•Dimensions:
oOverall: 9 ft. 3½ in. × 15 ft. 5½ in. × 14 ft. 3 in. (283.2 × 471.2 × 435.6 cm)
•Classification: Woodwork
•Credit Line: Gift of Susan Dwight Bliss, 1944
•Accession Number: 44.128
On view at The Met Fifth Avenue in Gallery 546.
[Arabesques] are an inexhaustible source of ways to decorate in a beautiful style the interior and exterior of modern buildings, furniture, and even clothes.
—Charles-Louis Clérisseau, 1779
Delightful arabesques painted in pastel colors on a soft blue ground form the chief decoration of this paneling, which once lined the walls of a boudoir located next to the bedroom of Louis-Marie-Augustin, fifth duc d’Aumont (1709-1782), one of the four First Gentlemen of the King’s Bedchamber. In 1776 he rented an unfinished town house that had been constructed for the builder and entrepreneur Louis-François Trouard (1729-1794). It was one of several private mansions erected behind a facade built in a grand Neoclassical style by Jacques-Ange Gabriel (1698-1782) on the place Louis XV, now the place de la Concorde.
A man of taste as well as a significant art collector, the duc d’Aumont engaged the architect Pierre-Adrien Pâris to design the interior decoration for his new abode. Having studied in Rome, partly at the duke’s expense, Pâris would have been familiar with the early sixteenth-century decorative wall paintings executed by Raphael and his assistants in the Vatican loggias. Raphael’s work clearly served as inspiration for the embellishment of the Museum’s paneling, as it shows similar charming and lighthearted motifs, such as small animals balancing on garlands and rolling acanthus scrolls. The exterior windows of this intimate polyhedral boudoir, which was painted by an unknown artist, gave access to a balcony with views toward the rue des Champs-Élysées (now the rue Boissy d’Anglas). Set into the wall paneling are four mirrors angled to reflect the arabesque decoration. (The mirror inside the niche is a replacement for the original pane of clear glass that allowed light to shine into the stairwell behind the room.) According to the 1782 inventory drawn up after the duke’s death, the boudoir was furnished with four stools, two armchairs, and an ottomane, or comfortable sofa, described as having three backs. Each stool was most likely placed under one of the mirrors, and the ottomane, complete with cushions, pillows, and bolsters, must have stood inside the niche. All the seat furniture was upholstered in blue moiré silk, the same color as that of the gros de Tours (ribbed silk) curtains. Although most of the furnishings and collections of the duc d’Aumont were sold at a celebrated auction that took place in the house in 1782, the woodwork of this room stayed in the building. The hôtel was acquired six years later by François-Félix-Dorothée des Balbes de Berton, comte de Crillon (1748-1820), and it remained the property of his descendants until the early twentieth century.
Epigraph. Quoted in Hautecoeur 1912, p. 46.
Provenance
Hôtel de Crillon, 10, Place de la Concorde, Paris, France; Louis Trouard (by 1776); Félix François Dorothée Berton des Balbes, Comte de Crillon (1788-d. 1827); Marie Louise Amélie Berton des Balbes (duchesse de Polignac) (until d. 1904); Duc(s) de Polignac (until 1906; sold to Bliss, through Mme Gaëton Désache (née Flandin), January 13, 1906); Mrs. George T. Bliss (from 1906); Susan Dwight Bliss , New York (until 1944; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Art
•Period Rooms in The Metropolitan Museum of Art
•Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century
Candelstand and Worktable (Table à Ouvrage en Guéridon)
•Maker: Attributed to Roger Vandercruse, called Lacroix (French, 1727-1799)
•Factory: Porcelain plaques by Sèvres Manufactory (French, 1740-Present)
•Decorator: Porcelain plaques decorated by Charles Vandé (French, active 1785-91)
•Date: ca. 1785
•Culture: French, Sèvres
•Medium: Oak veneered with tulipwood, boxwood, holly and ebonized holly, sycamore, and other woods; soft-paste porcelain, gilt bronze, silk
•Dimensions:
oHeight: 31⅛ in. (79.1 cm)
oDiameter of Top: 14⅝ in. (37.1 cm)
•Classification: Woodwork-Furniture
•Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1976
•Accession Number: 1976.155.106
On view at The Met Fifth Avenue in Gallery 546.
The top of this elegant worktable was meant to be used as a guéridon, to support a candelstick offering light when the owner, most likely an aristocratic woman, was working on her needlepoint or sewing at night.
Signatures, Inscriptions, and Markings
•Marking:
oGlazed on Back of Plaque and Painted in Gold: interlaced Ls enclosing GG with letter V below [Sèvres factory mark with date-letters for 1784]
Provenance
The Lords Hillingdon, London; Edith Chester Beatty, London; Mr. and Mrs. Charles Wrightsman, New York (until 1976; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Collection. Vols. 1 and 2, Furniture, Gilt Bronze and Mounted Porcelain, Carpets
The fine choir screen, paschal candlestand, and episcopal throne date from 1123, and are the work of the Cosmati family. The baldachino is from 1294, and was made by Deodatus, also of the Cosmati family. The altar itself is an ancient Roman porphyry bath.
The altar is adorned as for a Byzantine liturgy since this church is home to the Schola Græca.
Oh the indignity. This small ceramic owl candlestand has been painted by a previous owner. It is by Italian maker Bitossi and still features the original Rosenthal-Netter import sticker where the original mustard yellow glaze can still be found. Someday we'll clean her up.
Corsham Court is an English country house in a park designed by Capability Brown. It is in the town of Corsham, 3 miles (5 km) west of Chippenham, Wiltshire, and is notable for its fine art collection, based on the nucleus of paintings inherited in 1757 by Paul Methuen from his uncle, Sir Paul Methuen, the diplomat. It is currently the home of the present Baron Methuen, James Methuen-Campbell, the eighth generation of the Methuens to live there.
Early history
Corsham was a royal manor in the days of the Saxon kings, reputed to have been a seat of Ethelred the Unready. After William the Conqueror, the manor continued to be passed down through the generations in the royal family. It often formed part of the dower of the Queens of England during the late 14th and early 15th centuries, becoming known as Corsham Reginae. During the 16th century, the manor went to two of Henry VIII's wives, namely Catherine of Aragon until 1536, and Katherine Parr until 1548.
During the reign of Elizabeth I the estate passed out of the royal family; the present house was built in 1582 by Thomas Smythe. The owner of Corsham Court in the mid-seventeenth century was the commander of the Parliamentarian New Model Army in Wiltshire; his wife, Lady Margaret Hungerford, built what came to be known as the Hungerford Almshouses in the centre of town.
An entrance archway was built to the south of the house c. 1700–20. The arch, in baroque style. is flanked by massive ashlar piers with ball finials.[3]
Methuen family
The house was bought in 1745 by Sir Paul Methuen for his cousin, also named Paul Methuen, whose grandson became Baron Methuen. The house remains the seat of the Methuen family.
In 1761–64, Lancelot 'Capability' Brown was commissioned to redesign and enlarge the house and landscape the park.[4] Brown set the style of the present-day building by retaining the Elizabethan stables, the Riding School,[3] and the great gabled front to the house, which he doubled in depth and provided gabled wings at either end of the house, creating the Picture Gallery and State Rooms in the east wing and a library and new kitchens in the west wing. The Picture Gallery was designed as a triple cube and has a coffered plasterwork ceiling over a high cove stuccoed in scrolls, designed by Brown[5] and carried out by Thomas Stocking of Bristol (1763–66). The Long Gallery contains Italian Old Masters, with a notable marquetry commode and matching pair of candlestands by John Cobb (1772) and four pier glasses designed by Robert Adam (1770).
File:Corsham Court about 1880
Capability Brown also worked as a landscape architect for his commission at Corsham.[6] His 1761 plan for laying out the park separated it from the pleasure grounds using a ha-ha (sunken fence) so that the view from the house would not be obstructed. Brown planned to enlarge the fish ponds to create a lake and constructed an orangery (neither of which survive) and built a Gothic Bath House (which does survive).[7] He created a "Great Walk" stretching for a mile through clumps of trees. An ornamental arch was built so that the family and their guests could walk underneath the public right of way without having to cross it. Brown also planted screens of trees around the park to obscure roads and fields beyond, making the view more arcadian. The layout of grounds and gardens by Brown represents his most important commission after Blenheim Palace.[8]
In 1795, Paul Cobb Methuen commissioned Humphry Repton to complete the landscape, left unfinished at Brown's death with the lake still to be completed, and in 1796 commissioned John Nash to completely remodel the north façade in Strawberry Hill Gothic style, beating the experienced James Wyatt for the commission. Nash further embellished other areas of Brown's external building works, including Brown's Gothic Bath House in the North Avenue, as well as reorganising the internal layout to form a grand hall and a library, at the centre of which is the large library table associated with a payment to Thomas Chippendale's partner Haig, in 1779.[9] By 1808 much of Nash's work was replaced with a more solid structure, when it was discovered that he had used unseasoned timber in beams and joists; all of Nash's work at Corsham save the library was destroyed when it was remodelled by Thomas Bellamy (1798–1876) in 1844–49[4][10] during the ownership by Paul Methuen, 1st Baron Methuen, who was Member of Parliament for Wiltshire and Wiltshire North.
The Sham Ruin
Brown planned to include a 50,000 m2 lake. This lake, however, was not completed until some forty years later, by Repton, who formed his long working relationship with Nash at Corsham Court. They laid out avenues and planted the specimen trees, including American oaks, Quercus coccinea and Q phellos, and the magnificent oriental plane. The grounds also incorporate a folly ruin, built by Nash c. 1797, incorporating some medieval stonework and some material from the eighteenth-century Bath House built by Brown.[11]
In 1960, the house and the Bath House were recorded as Grade I listed[12][7] and the ensemble of stables, riding school and entrance arch as Grade II*.[3] The park was recorded as Grade II* on the Register of Historic Parks and Gardens in 1987. Wikipedia
My fascination with lamps is evident here. This is another old lamp that I picked up from an estate sale. Was originally designed as a candlestand, and after about 4 hours of drilling and threading wires, I was able to electrify it.
A pair of large gold-painted wooden altar candlesticks, to accompany a large freestanding altar crucifix.
From the Vecin Workshop.
I bought this screen in the 1980's. I was just about able to afford it... I dreamed of his full-size screens, but, of course, I couldn't afford them... The small notebooks are my favourite, "PaperBlanks". They produce nice old-fashioned notebooks. The brown papier mache bowl was made by me. The nesting balls are from a local charity shop. I bought the iron dish warmer ( it can contain a tea candle underneath ) in Amsterdam. The necklace was made by me.
Knole, one of the largest private houses in England, is a splendid example of medieval architecture with Jacobean embellishments.
The original palace was built between 1456 - 1486 for Thomas Bourchier on the site of a medieval house. Bourchier was Lord Chancellor and Archbishop of Canterbury.
On his death the house was bequeathed to the See of Canterbury and it remained the residence of four more archbishops before Thomas Cranmer was persuaded to give it to Henry VIII. The King spent money on the house but never actually lived there.
In 1566 Queen Elizabeth I granted Knole to her cousin Thomas Sackville, 1st Earl of Dorset, whose descendants, later Dukes of Dorset, have lived here ever since.
Between 1603 - 1608 the 1st Earl made extensive alterations and additions, transforming the interior. He added panelling and plasterwork in the Great Hall and other principal rooms and installed the magnificent Great Staircase.
At the same time he began the collection of Jacobean furniture for which Knole is notable today.
The 4th Earl supported the Royal cause during the Civil War and fought at the Battle of Edgehill, while his wife was for a time governess to the Royal children.
In 1642 Parliamentarian troops sacked Knole and in 1645, when the Parliamentary commissioners were installed at the house, much else was stolen.
In the next generation some of the deprivations suffered by Knole were put right when the 5th Earl married a great heiress, Lady Frances Cranfield. She inherited the estates of her father, the Earl of Middlesex, and much of the furniture, tapestries and paintings at Knole were brought from Copt Hall the Cranfield family home in Essex.
The collection of 17th century furniture and textiles at Knole was mostly acquired by the 6th Earl.
As Lord Chamberlain to William III the Earl was entitled to take away furnishings discarded from the Royal palaces. As a result the galleries at Knole are filled with state beds, chairs, stools and tapestries that once adorned Whitehall, Kensington and Hampton Court.
The King's Room contains a beautiful silver looking-glass, table and candlestands. The splendid great bed is embellished with cloth of silver and gold with matching chairs and stools.
The cultivated and romantic 3rd Duke of Dorset treasured Knole's venerable atmosphere and ensured that the house was not remodelled in the classical style during the 18th century.
It is the lack of alteration which makes Knole such a precious survival amongst the great houses of Britain.
Knole was the birthplace of Vita Sackville-West, whose father was Lionel, 3rd Lord Sackville.
Virginia Wolfe's historical fantasy 'Orlando' was inspired by Knole and her friendship with Vita Sackville-West.
In 1946 Vita's uncle, Charles, 4th Lord Sackville, passed Knole into the care of the National Trust much to her distress. However, the contents of the house and the park remain the property of the Sackville family.
Knole's furniture, embroidered textiles and tapestries, ornate plaster ceilings and carved chimneypieces are a reflection of the superb craftsmanship which created the house.
Family paintings include work by Van Dyck, Kneller, Lely, Hoppner and Wootton. There is a whole room devoted to the work of Sir Joshua Reynolds.
The beautiful 1,000 acre park where herds of Sika and fallow deer graze is incised by deep valleys and planted with ancient oaks, chestnuts and beeches.
Peter Howson's painting of St. John Ogilvie - Scotland's only Roman Catholic martyr ofthe Reformation - in the Eucharist chapel of St. Andrew's Cathedral, Glasgow.
I do have thiswith reversed bokeh so that the painting's in focus; but you'll have to take my word for it that it's best like this.
A Silver Candelero (Candleholder)
Mexican silver 80% of Filipino workmanship
1875 - 1900
1,383 g
20" x 5" x 5" (51 cm x 13 cm x 13 cm)
Opening bid: P 300,000
by Augusto Marcelino Reyes Gonzalez III
These candleholders of worked Mexican silver 80 (Filipinas, unlike Spain’s Latin American colonies, did not have silver mines) usually stood on the two levels (gradillas) of traditional Roman Catholic church altars, three on either side of the tabernacle (where the all–important Blessed Sacrament is stored) alternating with three ramilletes (artificial flower bouquets in paper, silk, or silver). That meant twelve candleholders and twelve ramilletes on the two levels of the altar.
A rich church like the seven churches of Intramuros --- San Agustin, Recoletos, San Francisco, Venerable Orden Tercera, Santo Domingo, San Ignacio, Lourdes --- and rich parishes like those of Binondo, Santa Cruz, Tondo, Quiapo, Antipolo, Binan (Laguna), Majayjay (Laguna), et al meant that all of the altar frontals, candleholders (small and large), and ramilletes were all crafted out of exquisitely worked Mexican silver 80%, usually post–1764 (post–British Occupation 1762–64). Such was the staggering wealth of
Spanish Catholic Filipinas.
This engraved Mexican silver 80% candleholder of Filipino workmanship is a rare survivor of a confused culture that has allowed many of its greatest masterpieces in silver and other metals to be destroyed and melted down in the crucibles of Meycauayan, Bulacan. As mentioned beforehand, it once adorned a magnificent altar in a great church. Today, it becomes an exquisite lamp base in an expensively–appointed residence.
Lot 116 of the Leon Gallery auction on September 11, 2021. Please see leonexchange.com and leon-gallery.com for more details.
Salvaged concrete core samples turned candle stands....
On sale at: www.etsy.com/view_listing.php?listing_id=40453818
Onderdeel van een van mijn vier poppenhuizen
The babydoll and the carriage are by Hantel. The furniture are kits by Mini Mundus and the candlestand and toytrain and toyhouses are by Bodo Hennig. Dolls are by Fritz Canzler Caco.
Soapstone Candle Holder 4″
This statue is carefully handmade of best-quality soapstone, rendering it extremely durable and long-lasting. The statue is unpolished and the carvings done on the statue are completely defined and clear. The statue is perfect for any indoor placement.
This candle holder is created of stone. This makes the statue durable, and esthetically unique. This tulip-shaped candle holder can be a beautiful and unique piece for your mini gardens and table tops. The stone candle holder is also perfect for puja room daily use.
To know more about the product: www.thestonestudio.in/product/soapstone-candle-holder/
To check our website: www.thestonestudio.in
Phone No: +91-7008222943
Email Id: info@thestonestudio.in
A photograph of the Atholl Suite with the colour theme of my daughter's wedding. I hope the pretty colours will give some inspiration to many future brides to be. Happy Wedding Planning xx
The blue patterned pot has no signature but we optimistically hope to be "William De Morgan", because we bought as "William De Morgan ?" from e-bay... But I like the colour and pattern. The brown pot was made by Michael Cardew, close colleague of Bernard Leach at St. Ives, Cornwall. The cup and saucer is made by his son Seth Cardew. The adjustable brass candle stand is from an antique- bric-a-brac shop in Amsterdam.
Follow up about De Morgan ? pot...
www.flickr.com/photos/kotomi-jewelry/2718378958/in/set-72...
end up as...in the style of....
Those candle stands are "left-overs" from my event decorating business. I added pearl strands, hanging moss, and ribbon!
After this comes the Eating Room. Dining Rooms were still something of a novelty in England when the Dutch-born William III came to rule. He also disliked the traditional, but stuffy, ceremony of dining in front of a crowd. So this room may only have been used on a few formal occasions, when tables and food were brought in along a winding route from the old kitchens. The wheat ears and fruit in Grinling Gibbons’s limewood carvings above the fireplace are a sign of the room’s use.
A Ruin in a Landscape
Rousseau was the brother-in-law of Hermann van Swanevelt (1600-55, see RCIN 402637, 402800, 403529 and 404009) and a successful French architectural and decorative painter, who had visited Italy as part of his training and worked at Versailles. As a Huguenot he was driven into exile in England in the 1680s, where he worked for the Duke of Montagu and King William III.
This is one of a set of five landscapes (RCIN 402923, 402925, 402927, 402930, 402933), which now occupy the spaces above the doors in the wood-paneled interiors of the “Eating Room” and “Presence Chamber” of the King’s Apartments at Hampton Court, where they were recorded in the reign of Queen Anne. Unfortunately these interiors were completed after Rousseau’s death in 1693 and his canvases have obviously been enlarged to fit spaces other than those for which they were conceived. Furthermore one of the set of five (RCIN 402925) is not by Rousseau but the Flemish artist, Achtschellinck. The original purpose of Rousseau’s four landscapes remains obscure, but they would presumably have been part of some similar interior probably also serving as overdoors.
•Provenance: First recorded in the Royal Collection during the reign of Queen Anne; probably painted for William III in c. 1688-93
•People Involved:
oCreator(s): Jacques Rousseau (1630-93) (artist)
oAcquirer(s): William III, King of Great Britain (1650-1702)
•Physical Properties:
oMedium and Techniques: Oil on canvas
oil paint; lined canvas; augmented (canvas)
oMeasurements: 187.0 × 134.6 cm (support, canvas/panel/str external)
The Acts of the Apostles: The Miraculous Draught of Fishes
Nine panels of Brussels tapestries depicting scenes from the Acts of the Apostles, woven in the 17th century by the workshop of Jan Raes and Jacob Geubels after cartoons by Raphael (1483-1520), depicting: the Miraculous Draught of Fishes, Christ’s charge to St. Peter, Peter and John at the Beautiful Gate of the Temple (healing the paralytic), the Death of Ananias, Elymas the Sorcerer struck blind before Sergius Paulus, the Sacrifice at Lystra, St. Paul preaching at Athens, the Martyrdom of St Stephen and the Conversion of St. Paul.
The working cartoons for this weaving would have been copied from the originals, or from copies of the originals, with several changes visible. The foliage and landscapes, for example, have been redrawn. Unusually, several of the scenes were woven in two parts, now joined. A second set by the same workshop is in the Spanish royal collection, in which some of the panels have been produced in the same way. The tapestries were repaired sometime between 1877 and 1905, when, presumably, the sections were joined. (Thomas P. Campbell, 2002.)
The original Raphael cartoons for the tapestries, acquired by Charles I in 1623, have been on loan to the Victoria & Albert Museum since 1865.
•Provenance: Originally in the collection of the Duke of Berwick & Alba. Sold in 1877. Acquired by Baron d’Erlanger who presented them to King Edward VII in 1905. From this time until 1986, seven pieces were hung in the Cartoon Gallery at Hampton Court Palace, with two in the Queen’s Public Dining Room.
•People Involved:
oCreator(s): Brussels (place of production)
oAfter: Raphael (Urbino 1483-Rome 1520) (artist); Jacob Geubels (active 1624-27) (maker); Jan Raes (active 1610-31) (maker); Flemish (nationality)
oAcquirer(s): King Edward VII, King of the United Kingdom (1841-1910)
•Physical Properties:
oMedium and Techniques: Woven wool tapestry
wool
woven; tapestry
oMeasurements: 475.0 × 544.0 cm (whole object)
•References:
oAlternative Title(s): The Miraculous Draught of Fishes
Candlestand
Eight giltwood torchières made in 1701, each with a circular top with gadrooned edge molding, on a spreading acanthus leaf neck supported by three griffins’ heads on a triangular-section tapering shaft with descending husks, with three female masks above foliage, on a shaped tripartite base with scrolled legs.
•Provenance
The Pelletier family of carvers and gilders left France in the early 1680s, probably to escape persecution as Huguenots, and settled in Amsterdam. By 1682 Jean Pelletier was established in London and by the end of the decade his two sons René and Thomas, had joined him. Their introduction to royal service was due to the patronage of the Francophile Duke of Montagu, the courtier responsible, as Master of the Great Wardrobe, for the furnishing of all royal palaces. Montagu held office from 1671 to 1685 and from 1689 to 1709.
For tables, mirrors and stands—the principal furniture types in which they specialized—the Pelletiers drew heavily on the designs of French contemporaries employed by Louis XIV; the engraved furniture of Jean Le Pautre (1618-82) and his son Pierre (1660-1744), for example, finds numerous echoes in the Pelletiers’ work for the English Crown. On the technical side, the Pelletiers introduced many subtleties and refinements to the preparation, cutting, gilding and burnishing of carved surfaces. In the rare cases where gilded surfaces survive unscathed, such innovations suggest an attempt to simulate the decorative effect of gilded metal.
These candle-stands form part of the important commission to furnish William III’s State Apartments at Hampton Court Palace which Montagu obtained for Jean Pelletier. Between 1699 and 1702 furniture costing nearly £600 was delivered. Towards the end of the commission, Pelletier supplied a pair of gilded table frames costing £35 each and two pairs of stands costing £35 per pair for the “New Gallery” (i.e. the Queen’s Gallery) at Hampton Court, left unfinished at the time of Queen Mary II’s sudden death in 1694. The tables and stands are shown by Pyne, still in situ over a century later.
•People Involved:
oCreator(s): Jean Pelletier (active c.1681-d. 1705) (furniture maker); English (nationality)
oAcquirer(s): William III, King of Great Britain (1650-1702)
oCommissioner(s): Montagu, Ralph, 1D (1638-1709)
•Physical Properties:
oMedium and Techniques: Carved and Gilded Oak and Lime Wood
oak; limewood
carved; gilded
oMeasurements: 155.5 × 56.0 × 48.5 cm (whole object)
Rechter gedeelte van Kerstkamer met uitzicht poppenhuizen miniaturen 1:12
The view is a Christmas card we once received and looked useful for my hobby. The red stars on the cookies, the white stars on the cake and the Christmas trees are cake decorations. The chocolate cookies are made of silk clay and so is the cake with a coloured glass finding to look like jelly. The cookies under the red stars are punched out of coloured card board with a hole punch. I made the candlestand of a champagne cork cage wrapped with green bottle brush, a red bell, a copper ring and a part of a fake Christmas piece. The candle is made of a red twisted bead with a piece of toothpick coloured orange looking like a flame.
An old one from St. Andrew's: the cathedral of the Roman Catholic Metropolitan Archdiocese of Glasgow.
The spectacular Great Bedchamber wasn’t for sleeping in but for the King to be dressed in public. In the Great Bedchamber the king might receive senior courtiers and ministers while dressing, a French royal custom, known as the levée. The King was attended by Gentlemen of the Bedchamber in this room, which is appropriately one of the most sumptuous in the Palace.
The Great Bedchamber was William III’s inner sanctum; access was strictly controlled by the Groom of the Stool. Those privileged to attend while the king was dressed were kept at a suitable distance behind a gilded rail.
Barometer
A free standing, portable barometer made c.1695-1705 contained in an ivory tapering tube with a screw-type portable cistern on a stand supported by four gilt bronze male terms. The dial at the top in three stages with inscriptions in English and French and in engraved gilt brass frames. Traces of the Royal Monogram “ЯWR” on each side.
•Provenance: Acquired by William III c. 1700. Daniel Quare made several clocks, watches and barometers for William III. He was a clockmaker and instrument maker who invented a repeating watch movement in 1680 and a portable barometer in 1695. He was a Quaker, born in Somerset c.1647, who became a Brother in the Clockmakers’ Company in London in 1671 and Master of the Company in 1708. Quare was offered but declined the Royal Warrant as a practicing Quaker he was unable to sign an oath of allegiance. Notwithstanding he was “free of the back stairs” at royal residences.
•People Involved:
oCreator(s): Daniel Quare (1649?-1724) (manufacturer); English (nationality)
oAcquirer(s): William III, King of Great Britain (1650-1702)
•Physical Properties:
oMedium and Techniques: Ivory, gilt metal, glass
ivory; animal materials; bronze; brass; glass (material)
turned; gilded; cast; engraved (incised)
oMeasurements: 95.0 × 11.0 cm (whole object)
Candlestand
Each with circular top with gadrooned edge, on a central tripartite shaft carved with scrolls, foliate and husks, the whole of the central shaft on three scrolled legs. The Pelletier family of carvers and gilders were of French origin and by 1682, Jean Pelletier had arrived in London. His workshop also comprised his two sons, Thomas and Rene. It was in all likelihood due to the patronage of the francophile Master of the Great Wardrobe, Ralph, Duke of Montagu, that the Pelletier family came to enjoy royal patronage. The candlestands, or torcheres, form part of the commission to furnish the King’s Apartments at Hampton Court Palace that Montagu obtained for Jean Pelletier. Between 1699 and 1702, furniture costing nearly £600 was delivered. A warrant dated October 25, 1701 included a quantity of tables and stands for “ye Drawing Room, Privy Chamber, Eating Room, Gallery, &c., at Hampton Court”, comprising “six pair of large stands at £30 p. pair”, ten of which survive [RCIN 1002.1-8 & RCIN 1015.1-2]. Within this set, one pair is of very slightly lesser quality in their carved detail [RCIN 1015]. A further four candlestands of more elaborate design were also supplied [RCIN 57029].
•Provenance: Supplied to William III, October 25, 1701; for the State Apartments, Hampton Court Palace.
•People Involved:
oCreator(s): Jean Pelletier (active c.1681-d. 1705) (furniture maker); English (nationality)
oAcquirer(s): William III, King of Great Britain (1650-1702)
•Physical Properties
oMedium and Techniques: Carved and gilded oak and lime wood
oak; limewood
carved; gilded
oMeasurements: 154.0 × 57.5 × 50.5 cm (whole object)
Fireback
Square fireback with arched crest. Central scene depicts a nude with a putto embracing a warrior in armor (Venus & Adonis?) with a dog. Surrounded by a thick border of fruit, flowers and shells, topped by a crown flanked by two dolphins.
•People Involved:
oCreator(s): English (nationality)
•Physical Properties:
oMedium and Techniques:
iron
cast
oMeasurements: 118.0 × 84.0 cm (whole object)
Pair of Firedogs
Pair of baluster-shaped, silver plated firedogs.
•People Involved:
oCreator(s): English (nationality)
•Physical Properties:
oMedium and Techniques:
metal
cast; silver plated
oMeasurements: 46.5 × 32.5 cm (whole object)
Fire Screen
A cheval firescreen on a gilded wood swivel stand with a carcase of oak. The upright rectangular frame has a panel of crimson velvet and silver galon borders. Pierced carved cresting with, in the center on either side, male and female masks flanked by foliate scrolling. The baluster shaped supports are surmounted by pineapple motifs and carved with floral and foliate motifs. The border at the base of the screen is also pierced and incorporates H-motifs and eagle heads. All mounted on square blocks decorated with pateræ and square section reeded s-scroll tripod feet.
•Provenance: R. Macquoid & R. Edwards in The Dictionary of English Furniture, London, 1927, vol. III, pp. 67 & 71 suggest that the fire screen is “strongly imbued with French influence”. Edwards & Jourdain suggest that the screen was made by John (Jean) Pelletier, a Huguenot French immigrant craftsman (Georgian Cabinet-Makers, London, 1944, p. 16 & fig. 4). Made c.1695-1705 and supplied to William III, c.1700, for Hampton Court Palace.
•People Involved:
oCreator(s): English (nationality)
Attributed to: Jean Pelletier (active c.1681-d. 1705) (furniture maker)
oAcquirer(s): William III, King of Great Britain (1650-1702)
•Physical Properties:
oMedium and Techniques: Carved and pierced giltwood, with velvet and woven silver (galon)
oak; velvet; metal
carved; pierced; gilded; woven (silver)
oMeasurements: 141.0 × 110.0 × 34.5 cm (whole object)