An important matched pair of George IV monumental lacquered brass vase ornaments, formerly chandeliers dated 1823, supplied by William Collins, made by Johnston Brookes & Co.

each tazza shaped top with foliate molded edge above a foliate-cast stem flanked by acanthus-molded C-scrolls supported by rampant lions, the other with five, each holding a foliate and flowering wreath above a spreading base, the lower section in the form of an urn with leaf-form rim the body cast with foliate gadroons on a spreading circular foot with palmette-molded socle on a wood plinth with giltwood foliate-carved edge, the five-lion vase inscribed on the interior of the bowl MANUFACTURED by JOHNSTON BROOKES & CO., 32 New Street Square / FOR WM COLLINS, 227 Strand, 1823.

Supplied to Hugh Percy, 3rd Duke of Northumberland for Northumberland House, London, by descent to Henry Percy, 11th Duke of Northumberland
Christie's London, November 17, 1988, lot 102

Originally chandeliers, modified in the 19th century; please note that these are lacquered brass and as such do not have the same color or lustre of ormolu, the color in the catalogue illustration is a little brighter than in reality; They are monumental in size and are nicely cast, molded and chased. The first one with five lions in good condition; the lions showing their seams and with minor patches of oxidation on two lions; the vase with some small areas of pitting and tarnishing mainly to the rim above the body of the vase; the gilt-composition acanthus leaves with losses to corners and to tips; some losses to black painting to plinth base; please note the plinths have been painted numerous times. The other vase with four lions in fair condition; the upper section from the vase upward in good condition; the spreading foot appears to have sunk a little and is slightly lop-sided, now with small blocks to one side to make the vase level; the foot with some small tearing at seam with socle; the collar to the top of the spreading foot with some dents and a small tear; the foot in need of some restoration; otherwise the whole is sturdy and level; the plinth base with losses to the gilt-composition moldings at the corners and with some small chips and nicks; some areas of black inpainting to the black painted base.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

When the present vase ornaments were sold by the Duke of Northumberland at Christie's in 1988, there were a total of four: the present two in lacquered brass and the other two in 'ormolu' or gilt-brass/bronze.  There is little doubt that the present ornaments were two of originally four large chandeliers mentioned by Collins in his account of 1823, which survives in the Northumberland Archive at Alnwick Castle (U.111.8d): 'May 23 4 Superb Chandelier executed in Grecian Metal in the Drawing Room, Saloon, Anti Room and Grand Staircase' cost £2700.0.0, 'To Cost of Various alterations to the branches bearing the Lamps the heads of the Chandeliers, Suspending Chain.  Husk in the Ceiling & c & c' cost £168.10.0.'  The branches were probably attached to the main bowls where there are screw holes and notches where they were supported.  The 1847 inventory makes it possible to work out where each chandelier hung (Northumberland Archive H. VIII;l.b.).  The six-lion vase with twelve branches hung in the Grand Stair Case, the four-lion eight-light chandelier hung in the Ante Room (present lot).  The other two each had ten branches, though one has six lions and the other (present lot) has five lions.  Therefore the five-lion chandelier (present lot) probably hung in the drawing room and the six-lion chandelier which was slightly larger probably hung in the larger Saloon.  It also appears that the chandeliers were made together with a set of four gas-light standing candelabra, which originally were made to complement the Grand Staircase.  Two of the set of four currently are in the collection of the Bowes Museum, (acquisition number FW.71.A & B) and the other two are still in the possession of the Duke of Northumberland at Syon House.

Northumberland House was open to the public during the Great Exhibition of 1851 where the Grand Staircase and subsequently one of the chandeliers were illustrated in Illustrated London News, 23 August, 1851; however, by 1874, when the Duke was forced to sell Northumberland House to the Metropolitan Board of Works, it appears that the chandeliers had been dismantled, the bases having been turned into jardinières.  This leaves the question at what point were these no longer used as chandeliers?  One theory is that the enormous weight of the chandeliers made them unsafe, especially after the fire on August 29, 1868 which badly damaged the Ball Room.  Another theory is that they may have been deemed unsafe because of the gas.  Two watercolors of the Ball Room and the Glass Drawing Room exist showing jardinières with their new plinths in 1874, which are identical to the bottom halves of the present ornaments.

NORTHUMBERLAND HOUSE

One of the greatest private palaces in London, Northumberland House originally stood on The Strand over-looking the Thames in the late 16^th and 17^th centuries.  Originally built by the Earl of Northampton from 1605-1609, it came into possession of Algernon Percy, 10^th Duke of Northumberland through his marriage to Lady Elizabeth Howard, second daughter of the Earl of Suffolk, great-nephew of Northampton.

The house eventually passed to Algernon Seymour, Duke of Somerset, who was created Earl of Northumberland in 1749.  Somerset, with his architect Daniel Garrett continued to make alterations, his wife writing to Lady Luxborough in 1749 'My Lord will do a great deal to the front of the house, in order to make it appear less like a prison.'  After his death in 1750, the house was inherited by his son-in-law Sir Hugh Smithson, Bt., who took the name of Percy and was created 1^st Duke of Northumberland of the third creation in 1766.  With his wife, the first Duke carried out many improvements employing Robert Adam, who designed the famous Glass Drawing Room between 1773 and 1775 (a portion of this is now at the Victoria and Albert Museum (W.3-1955).

By 1817, the 3^rd Duke, grandson of the 1^st Duke, embarked on an extensive remodeling of the South Front employing Thomas Cundy to enlarge it, change its fenestration and to create a marble Grand Stair Case to the interior which lead to three large and refurbished Drawing rooms the cost of which exceeded £160,000.  He also employed Morel and Hughes, two of the most fashionable cabinet makers favored by George IV, the furniture and furnishings costing £34,111 9s 7d.

By 1874, the Duke was forced to sell Northumberland House, the last of the great Palaces which stood on the Strand, to the Metropolitan Board of Works. The house was demolished paving the way for a road which would connect the new roads along the Embankment.  Before leaving his ancestral home, the Duke stripped the house of its fittings and furniture, and spread them among his various other properties including Syon House, Alnwick Castle and Albury Park.