A rare pair of George III gilt carton-pierre two-light girandoles Circa 1760

each with cartouche-shaped divided mirror plates within elaborate frames decorated with acanthus leaves, C-scrolls, fruit and centered by the figure of either a boy playing a tambourine or a girl with a lute, the pierced cresting in the form of a pierced foliate spray, the interlated apron mounted with two scrolling candle arms fitted with leaf-form metal nozzles.

Pelham Galleries, London

Pelham Galleries, Catalogue, 1989

Very good restored condition; later gilding; candle nozzles and drip pans appear to be original; each girandole with four small losses to the gilding and gesso to the sides of the frame where screws screw into the wall to fix the girandole. The girandole with the girl with a later wood support bracket to the back side of the pendant to the apron; candle arms possibly with a loss to one flower head; girandole with girl - top mirror plates replaced and modern. The girandole with boy with old glued repaired break to upper right foliate scroll; with modern mirror plates except for top right plate which is old. Old mirror plates with some minor losses, pitting and crystallization to silvering.
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.

These girandoles, executed in gilded carton- pierre, are a rare example of a medium which, owing to its fragile nature, has rarely survived, particularly in objects of this size. A technique often associated with the later London-based picture frame makers George Jackson & Sons, it was first introduced by the Parisian, J. Miziène. A paper-based technique like papier-mâché, it involved the reduction of paper pulp to a fine consistency before binding it with glue and whiting. The substance was then rolled out and pressed into molds to produce a light weight molding that would often be filled with dry plaster or sawdust.

Designed in the rococo manner with foliate and flower ornamented conjoined C-scroll frames, each one centered by either a figure of a boy playing a tambourine or a girl with a lute, the subjects are common in the romantic and idyllic pastoral scenes of French artists such as Boucher and Watteau.

An identical pair of carton-pierre girandoles from the collection of 7^th Lord Bolton, Bolton Hall, Yorkshire, was sold, Christie's London, November 27, 1980, lot 14, with the same measurements.  Bolton Hall, near Leyburn, North Yorkshire was built in 1678 by Charles Paulet (Powlett), 6^th Marquess of Winchester who was created 1^st Duke of Bolton in 1689 by William III and Mary II.  The house and bulk of the lands eventually passed to Jean Mary Powlett, illegitimate and only daughter of Charles Powlett, 10^th Marquess of Winchester and 5^th Duke of Bolton after the Dukedom became extinct. She married Thomas Orde in 1778 who eventually added the name Powlett becoming Thomas Orde-Powlett in 1795.  He was created 1^st Baron Bolton of Bolton Castle in 1797.

A related pair of carton-pierre girandoles from the Collection of the Earl of Rendlesham was sold in these rooms, October 16, 2008, lot 103.  Each was centered by a figure of a young boy, one holding a bird cage in one hand and a bird in the other, the other with a basket and a bird, these figures almost certainly derived from contemporary French engravings.