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Architectural Heritage
Architectural Heritage
Architectural Heritage
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Design and typeset by etal-design.comPrinted by Cambridge University Press
Copyright – 2007. All rights reserved.
No part of this publication may be reproduced, transmitted, or stored in a retrieval system, in any form, or by any means, without permission in writing from Architectural Heritage.
isbn 0 9511198 5 0
isbn 978 0 9511198 5 3
Architectural Heritage
ByAlex Puddy
impress
Achitectural Heritage Reproduction
Taking inspiration from the antique originals, in which Arch it ectural Heritage has dealt for over thirty years, the company recreates the very best of 17th to 19th Century design, incorporating all the key elements required to furnish important focal points and vistas for the town and country house and garden.
The Architectural Heritage reproduction inventory cont-inues our commitment to produce items of the finest quality, employing the talents of Master Craftsmen working by hand in the disciplines of stone and marble masonry, bronze and lead casting, together with hand patinated artificial stone to the Victorian recipe, creating inspirational ornament for internal and external projects. Hand made with meticulous care employing traditional techniques resulting in unique, desirable pieces.
Architectural Heritage has a worldwide reput ation for quality, style and excellence. The collection is chosen by dis-cerning clients worldwide who value fine workmanship and personal service.
Fountains‘A spring of water, a jet, a structure for supplying drinking water, an ornamental structure with jets, spouts and basins of water.’ Water flows through the history of gardens with no boundaries of time or culture. At the birth of civilisation in Meso potamia, water and fountains were used extensively in the formal gardens and hieroglyphs in Egyptian tombs show the fountain in enclosed courtyards. From the imperial gardens of China and Japan, to the Persians, Moguls and Moors, the fountains of Al Hambra being the best known, all used the fountain in some form.
The Romans with their aqueducts moved water great distances, and from this ready supply the energy was provided for their many fountains. It is their technology of hydraulics, rediscovered in Vetruvius’s manuscript in the early 15th Cent ury, which helped Italian engineers to grasp how to raise water with the aid of machinery to high cisterns that would gravity feed water under pressure. This technique then al low ed small bronzes by the likes of Donatello and later Verrocchio, to more or less continually spout water. Prior to this, the spring would have been enhanced to provide power, as one would assume would have been the case in England for the simple 13th Century Medieval stand fountain. The Italian gardens of the latter half of the 16th Century took the use of water in the garden to exuberant heights. Although mostly spring fed, Villa d’ Este, had its terrace of one hundred fount ains, dragon fountain and manybreasted Diana of the Ephesians, the goddess of Fecundity, issuing water at every turn. The gardens of the Villa Albobrandini, started slightly later in 1598, also boasted cascades, jets and rills, as well as
joke fountains which were subsequently incorporated into the Villa d’Este scheme. On the translation around 1580 of Hero of Alexandria’s Pneumatica (1st Century A.D.) the wealth of Roman knowledge describing valves, siphons and vacuums helped create waterpowered singing birds, organs and even little boys peeing! These squirty jets were designed to catch the unsuspecting visitor as they sat, passed by walls and walked through arches.
The 17th Century saw this technology to wet or drench and spout spread throughout Northern Europe, and allowed designers to create ever larger spectacles, as in the case of Salomon de Caus’s fountain for Somerset House around 1610, which was some 80 feet in diameter, subsequently moved to Hampton Court in 1655.
It is to Versailles that we turn to see the most impressive use of water. After Louis XV saw Nicholas Fouquet’s garden in 1661 at Vaux le Vicomte, his envy was so great that he arrested Fouquet and took many of his statues and fountains. He then went on to transform out of all recognition the once mod erate Royal Chateau gardens and park at Versailles. When completed, at the time of Louis XV’s death around 50 years later, some 1400 fountains gushed ‘à gueule bée’, or full throated, and could be seen from every vista. Drawing water from the Seine the Machine de Marly, with its 14 water wheels, gave the force required. Previously however, due to the lack of pumping power, the King would have had to plan his route to allow fountains to be turned on and then off as he processed. Today we still marvel at the Sun Horses of Apollo and the Fountain of Latona, but one can only imagine the sight of all the fountains working à gueule bée.
Versailles, as one might have expected, did not go unnoticed
among the patrons of the great gardens of Europe and America. From Peterhoff to Middleton Place in Charleston, to Chatsworth with its Sea Horse and Triton fountains, the grand formal garden and fountain had arrived.
Another leap forward in hydraulics came in 1696 with the publication of Carlo Fonatna’s ‘The Most Useful Treatise on Moving Waters’. This coincided with the completion in 1703 of a grand cascade at Chatsworth, with the longest cascade completed in the Bridgmanesque landscape at Stanway House in 1730. It is worth noting around this time the Trevi Fountain in Rome was also completed.
The change in taste in 18th Century England meant the fountain on a grand scale was not so in fashion – the grottos, waterfalls and tranquil lakes were more in vogue in the ‘natural’ landscapes of Archadia and Capability Brown.
The 19th Century brought with it the Industrial Revolution, more technology and new materials. Repton in 1800 reintroduced the fountain to the garden at Harewood House inside a greenhouse. Chatsworth and Stanway competed for the highest gravityfed jet d’eau, the former reaching some 264 feet in 1844, though Stanway now holds this record at over 300 feet. The Great Exhibition in 1851 showcased the cast iron fountains from Handyside and Coalbrookdale, along with Blanchard, Blashfield, and Pulhams (Pulhamite) terracotta creations. Stone as a material was not ignored, with the Atlas Fountain carved in Portland stone by John Thomas being purchased from the Exhibition by the wealthy Seventh Earl of Carlisle for Castle Howard.
The end of the 19th Century saw the taste for the extravagant continue, with such fountains as the Fountain of Love by Waldo Storey at Clieveden, circa 1897, and the scandalous
Eros Fountain in Piccadilly by Alfred Gilbert, 1893, alongside Cheltenham’s very own Neptune Fountain designed by the Borough Surveyor, Joseph Hall, installed at the same time.
With the great social changes of the 20th Century, the fountain played in tune with the tastes and style of the time. The gardens of Jeckell often included an Italianate water feature, and the lead fountains by the Bromsgrove Guild and others provided both for public parks and private gardens. The fountain continues to be the main element in any garden scheme, adding life, movement and the sound of water playing.
The Two Tier Fountain [item 1]An elegant two tier fountain in age patinated artificial stone. Taken
from an 18th century original, each bowl having egg and dart carving to the rim, raised upon baluster pedestals with carved foliage.
The upper bowl is surmounted by a pineapple finial.Overall width 3´ 9½˝ [136 cm] Overall height 8´ 7˝ [262 cm]
The Decorative Circular Pool Surround [item 2] The circular pool surround having egg and dart decoration.
Age patinated artificial stone.External diameter 14´ [426 cm] Internal diameter 12´ [366 cm]
Overall height 8½˝ [22 cm]
The Circular Pool Paving Surround [item 3]An elegant addition to the circular pool surround in 16 sections,
or to use alone.External diameter 15´ 10˝ [482 cm] Internal diameter 14´ [426 cm]
Overall height 2¾˝ [7 cm]
The Lion Mask Wall Fountain [item 4]A wall fountain in age patinated artificial stone, having arched back
plate inset with a lead lion mask spout raised above a ‘D’ shaped bowl with stepped rectangular base.
Overall height 5´ [151 cm] Overall width 2´ 7˝ [80 cm]Overall Depth 1´ 8˝ [51 cm]
The Square Pool Surround [item 5]Age patinated artificial stone.
Overall width 8´ 7˝ [262 cm] Overall height 11˝ [28 cm]
The Parterre Pool Surround [item 6]This versatile pool surround has endless design possibilities, squares,
rectangles, rills and clover leaves to any size you require. Age patinated artificial stone. Illustration shows standard size.
Overall diameter 12´ [363.5 cm] Overall height 11˝ [28 cm]
The Single Tier Fountain [item 7]An elegant fountain in age patinated artificial stone, taken from an
18th century original. The bowl having egg and dart carving to the rim raised upon a baluster pedestal carved with acanthus
foliage, with circular foot and square base. The bowl is surmounted by a spout in the form of a pineapple.
Overall height 4´ 1˝ [125 cm] Overall diameter 2´ 7½˝ [80 cm]Square at base 1´ 6˝ [45 cm]
The Neptune Wall Fountain [item 8]A large hand carved natural limestone wall fountain having an elegant
carved wall plate with central mask of Neptune. The shaped bowl raised upon a step.
Overall height 6´ 5˝ [196 cm] Overall width 9´ 8˝ [295 cm]Overall depth 4´ 6˝ [137 cm]
The Neptune Wall Fountain with Grotesque Mask [item 9]
A large hand carved natural limestone wall fountain having an elegant carved wall plate with centred lead Grotesque mask.
The shaped bowl raised upon a step.Overall height 6´ 5˝ [196 cm] Overall width 9´ 8˝ [295 cm]
Overall depth 4´ 6˝ [137 cm]
The Neptune Wall Fountain with Lead Spout [item 10]
A large hand carved natural limestone wall fountain having an elegant carved wall plate with centred lead spout mounted on a circular
back plate. The shaped bowl raised upon a step.Overall height 6´ 5˝ [196 cm] Overall width 9´ 8˝ [295 cm]
Overall depth 4´ 6˝ [137 cm]
The River God Wall Fountain [item 11]An important Verona marble wall mask fountain in the form of a river
God surrounded by a pair of dolphins.Overall height 2´ 11˝ [89 cm] Overall width 2´ 8˝ [81 cm]
Overall depth 9˝ [23 cm]
The Wall Fountain with Dolphins [item 12]An exquisite carved Breccia Pernice marble wall fountain, raised upon
a pair of dolphins. Executed in Paonazzetto Marble, the stylised conch shell bowl and ornate back plate decorated with shells, acanthus
and lilies. It has at its centre a fine Byzantine lion mask spout in Fantistico Arni Marble.
Overall height 5´ 9½˝ [177 cm] Overall width 3´ 3˝ [100 cm]Overall depth 2´ 1˝ [64 cm]
The Onslow Park Wall Fountain with Lead Spout [item 13]
A hand carved natural limestone wall fountain, having a lead spout centred to the classical back plate. A bespoke fibreglass liner,
tinted to match the stone, plus pump pack, are available.Overall height 5´ 5˝ [165 cm] Overall width 4´ 7˝ [140 cm]Height of bowl 1´ 7˝ [48 cm] Depth of bowl 2´ 10˝ [86 cm]
The Onslow Park Wall Fountain with Lead Lion Mask [item 14]
A hand carved natural limestone wall fountain having lead lion mask spout centred to the classical back plate. A bespoke fibreglass liner, tinted to match the stone, plus pump pack, are available.
Overall height 5´ 5˝ [165 cm] Overall width 4´ 7˝ [140 cm]Height of bowl 1´ 7˝ [48 cm] Overall depth 2´ 9˝ [84 cm]
The Renaissance Seat [item 15]An imposing hand carved natural limestone seat of curved form.
Having a panelled back, central lion mask and crested scroll work. The symbolic winged lion end supports are surmounted by
pineapple finials.Overall height at centre back 3´ 8˝ [112 cm] Overall width 13´ 3˝ [366 cm]
Seat depth 1´ 6˝ [46 cm]
The Baroque Seat [item 16]A highly carved natural limestone garden seat, after the 18th century
original having paw foot end supports with arabesque and acanthus decoration. The centre panel with armorial
plaque is flanked by blind strap work. The curved top rail has a central grotesque mask surrounded by profusely carved swags,
grapes and flowers.Overall height 4´ 2˝ [127 cm] Overall width 9´ 4˝ [285 cm]
Seat depth 2´ [61 cm]
The Curved NeoClassical Seat [item 17]An elegant hand carved natural limestone park seat of curved form
having panelled back with central roundel, scrolled arm supports and volute feet.
Overall height 3´ 3˝ [100 cm] Overall width 9´ 9˝ [313 cm]Overall depth 1´ 9˝ [53 cm]
The Georgian Seat [item 18]A hand carved natural limestone seat having classic corbel arm and
foot support. The inset centre tablet in lead bas relief depicts a goat with cherubs at play.
Overall height 3´ 5˝ [105 cm] Overall width 6´ [184 cm]Overall depth 2´ [60 cm]
The Garland Seat [item 19]An elegant garden seat, hand carved from natural limestone. The seat
has a panelled back and shaped arm supports displaying heavily carved garlands of fruit. The seat section is carved with rope twist
along a barrel and bead edging. The feet having inswept plinth bases.Overall height 3´ 4½˝ [103 cm] Overall width 5´ 9˝ [175 cm]
Overall depth 1´ 10˝ [56 cm]
The Westbury Court Seat [item 20]After the Georgian original, hand carved natural limestone seat having
an inset oval tablet in lead bas relief depicting Putti at play. The shaped back surmounted by a pair of spheres.
Overall height 4´ 8˝ [142 cm] Overall width 6´ [183 cm]Overall depth 1´ 10˝ [55 cm]
The Keswick Seat [item 21]A large, hand carved natural limestone seat having a central acanthus
roundel to the centre back, the arms supporting a pair of spheres. Raised upon three plain voluted feet.
Overall height 4´ 8½˝ [143 cm] Overall width 8´ [244.5 cm]Overall depth 1´ 9˝ [53 cm]
The NeoClassical Seat [item 22]After the 18th century original, this classic hand carved natural
limestone seat has a panelled back with central roundel, dentil moulded arm supports. The feet having inswept plinth bases.
Overall height 3´ 4˝ [102 cm] Overall width 5´ 3˝ [160 cm]Overall depth 1´ 8˝ [51 cm]
The Mask Seat [item 23]A hand carved natural limestone seat after the 18th century original
having shaped panelled back, the arms carved in the form of female masks, raised upon volute supports.
Overall height 3´ 2˝ [97 cm] Overall width 6´ [183 cm]Overall depth 2´ [61 cm]
The Shell Seat [item 24]A classic simple hand carved natural limestone seat raised on shaped
feet repeated in the arms. The back having a raised cartouche in the form of a scallop shell.
Overall height 4´ 1½˝ [125.5 cm] Overall width 6´ [183 cm]Overall depth 1´ 10˝ [55 cm]
The Rustic Root Seat [item 25]A charming seat constructed from old vine roots. By the nature
of the natural materials used each seat is totally unique.Overall height 3´ 3˝ [99 cm] Seat height 1´ 7˝ [49 cm]
Overall width 4´ 10˝ [147.5 cm] Overall depth 2´ [61 cm]
The Decorative Straight Stone Bench [item 26]A hand carved natural limestone bench having egg and dart decoration
to the seat with acanthus leaf supports.Overall height 1´ 7˝ [48 cm] Overall length 4´ 7˝ [140 cm]
Overall depth 1´ 4˝ [41 cm]
The Decorative Curved Stone Bench [item 27]A hand carved natural limestone bench having egg and dart decoration
to the seat with acanthus leaf supports.Overall height 1´ 7˝ [48 cm] Overall length 4´ 5˝ [135 cm]
Overall depth 1´ 4˝ [41 cm]
The Classic Straight Stone Bench [item 28]A hand carved natural limestone bench having rectangular top on
fluted shaped supports.Overall height 1´ 7˝ [48 cm] Overall width 4´ 7˝ [140 cm]
Overall depth 1´ 4˝ [41 cm]
The Classic Curved Stone Bench [item 29]A hand carved natural limestone bench having fluted supports and
shaped seat.Overall height 1´ 7˝ [48 cm] Overall width 4´ 7˝ [140 cm]
Depth of seat 1´ 4˝ [41 cm]
The Classic Circular Stone Table [item 30]A hand carved natural limestone circular table having baluster support
on a square base with shaped top to match the benches.Overall height 2´ 6˝ [76 cm] Diameter 3´ [91 cm]
The Acanthus Centre Table [item 31]A finely carved marble centre table of circular form having acanthus
border to the table top, raised upon a baluster pedestal on square base, both having carved acanthus decoration. Available in
Nero Marquina (as illustrated) and Giallo Reale.Overall height 2´ 6˝ [76 cm] Overall diameter 4´ 2˝ [127 cm]
The Lion Paw Centre Table [item 32]A massive ornate carved Giallo Reale marble table. The top having an acanthus carved border, the legs having scrolled acanthus decoration
and lion paw feet, resting upon plinth bases.Overall height 2´ 7˝ [79 cm] Overall width 7´ 10½˝ [240 cm]
Overall depth 3´ 6˝ [107 cm]
StatuaryStatue: ‘A representation (usually near or above life size) of human or animal form in the round’. As with Urns and Vases, the Statue has lineage to the Ancient and Classic civilisations. However, for the purposes of this piece, we will use as our starting point Renaissance Italy.
The creation in the early 1500s of an area designed by Bramante, specifically to house a collection of statues in the Belvedere (literally ‘beautiful view’) Court, revolutionised architecture and set the standard for the use of statuary in formal areas and the garden. Although previous to this time Leone Battista Alberti, writing in the mid 15th Century, put forward his Treatise de re Aedificatoria, explaining how a country villa should be built. He mentions that the garden is to be graced with statues and water nymphs, rough hewn stones becoming a setting hallowed by mythology favoured by the Greeks and Romans. This theme was taken to its most extravagant conclusion in the gardens and fantastic statuary of Sacro Bosco, (Sacred Wood) Bomarzo, in 1560. A repost to this paganism was made a hundred years later by the Cardinal Gregoria Barbarigo and his brother Antonio in the recently restored gardens of the Villa Barbarigo in support of the counter reformation. A note – this garden has in it a wonderful moated island built as a leporarium – known as Rabbit Island.
I digress – we return again to the Villa Medici (see Urns and Vases,) where a collection of antique and new sculptures were incorporated into the garden around 1584, including a copy of Giambologna’s Mercury. The tradition of statuary in the garden continued unabated with the Villas d’Este, Lante and Aldobrandini showing off the craftsmanship of the
age and classical sculpture, with the Villa d’Este procuring Roman sculpture from the ever bountiful Hadrian’s Villa, displaying all within a flamboyant but tightly linked iconographical scheme.
The 17th Century saw the advent of the more restrained French formal garden – statuary was placed symmetrically within the context of the parterre, clipped box and yew, Vaux le Vicomte being the first great exponent. Fountains and canals were used to enhance the architectural form designed by Le Notre, who also worked on adapting Chantilly and Fontainbleu. It is however, Louis XV’s Versailles that is the most glorious – statues and fountains were taken from Vaux le Vicomte and along with additional statues of Gods, God desses and Heroes, were interwoven throughout the garden to embellish the main theme of the Apollo myth or the Sun God ‘King’.
In England, bringing with them their knowledge of Italian gardens, Saloman de Caus and his brother Isaac designed gardens for royalty in the early 17th Century, which influenced Court and thus fashion. Statuary and fountains were required, and one aptly named Mr Nicholas Stone (15871647) provided, followed in the second half of the century by Danish born Gabriel Cibber (16301700.) Sometimes working in keaton stone, which on close inspection looks like fish roe, fine examples of Cibber’s statuary can be seen at Belvoir Castle dating from 1680, and his Triton and Sea Horses at Chatsworth.
With the method of casting lead being introduced into England from the Low Countries towards the end of the 17th Century, one Arnaud Quellin from Antwerp is known to have been producing around 1670. His workshop trained John Van Nost the Elder, and it was he who later took over the workshop,
moulds and Quellin’s widow, with known statues by him to be seen at Melbourne, Rousham and Wilton House. The business then passed by descent to two other John Van Nosts, with an apprenticeship served by Andrew Carpenter to the first John. In this time parts of various moulds would be used to create ‘new commissions’ thus making attribution difficult, a situation exacerbated by the purchase of the moulds and yard now at Hyde Park Corner in 1737 by John Cheere (not to be mistaken for his famous sculptor brother Sir Henry) who continued to produce lead figures and ornament on a relatively large scale for the next fifty years. Without any aid to dating the lead itself, I have resorted to dating the internal iron supports imbedded in the grog to give the most accurate date possible. Sculpture yards around Hyde Park, including Andrew Carpenter’s, not only produced lead ornament, which incidentally was invariably painted in what we would perceive as garish colours (as did the Greeks), but for a price stone or marble figures, urns and fountains could be commissioned or bought off the peg. Themes were classical and statues of Farnese’s Hercules, Bacchus, Diana and Giambologna’s Mercury were supplied to the great houses of the day such as Castle Howard, Stowe and Wrest Park to name but a few.
Statuary buying and commissioning was by no means random, although no unifying theme can be found for Castle Howard. As with the Apollo scheme at Versailles, elaborate and complicated programmes can be seen at Rousham and Stowe. At Rousham we see the theme of conflict predominating with Scheemakers’ carved Stone Lion attacking Horse and Dying Gladiator, and at Stowe we see Sir Richard Temple expressing his Whig tendencies, with John Van Nost the Younger’s lead equestrian statue of George I, with a later disaffection with
‘modern virtue’ expressed through the Temple of Worthies, being a curved gallery designed by Kent to house portrait busts carved by Rysbrack and Scheemakers, the point being made by who was left out!
Coade stone, which began being produced in 1769, took a great deal of business from the traditional sculptors and lead makers, by imitating carved stone sculptures at a lower cost. Coade, with its own great sculptor John Bacon, was able to produce figures, urns and architectural element of the highest quality. This tradition was continued into the 19th Century with terracotta makers such as Blanchard, Blashfield, Doulton, Pulham and numerous others. Artificial stone produced by Austin and Seeley from the 1830s onwards further reduced the cost to replicate statues, fountains and ornament. It is worth noting that lead in England did not come back into common usage until the beginning of the 20th Century.
This was obviously not the end for garden statuary carved in stone or marble in the 19th Century as it was easier to import carved marble and stone sculpture from the Italian yards in Carrara and Vicenza. However, to commission was once again the preserve of the very wealthy. William Spencer Cavendish at Chatsworth was such a man, giving patronage in the mid 19th Century to many sculptors, one being Francesco Bienaime, who then went about replicating the works of contemporaries such as Thorvaldsen and Canova, along with copies of the Apollo Belvedere and Diana de Versailles to grace the gardens at Chatsworth.
Cast iron played its part in the mid to late 19th Century. It was however, the French foundries, like the collective of Val d’Osne, who produced more figures and of course animalia than our own foundries such as Coalbrookdale and Handyside.
The early 20th Century sees makers such as the Bromsgrove Guild producing statuary in both lead and composition alongside Martin & Co, J. P. White and the Compton Pottery. The latter half of the century belongs to Henry Moore, Barbara Hepworth, Frink and Caro, though lesser names are emerging from neglect to be appreciated once more.
The Donatello DavidDonatello (c.14201466) ranks as one of the most famous names in the history of Florentine Renaissance Art. The sculpture of David was commissioned by Cosimo De’ Medici for his palace in Florence and is exhibited today in the Bargello.
Cast in bronze this exquisite work is as close to the original as possible. Remarkably a cast was taken from the Renaissance Original by the Foundry in the 19th Century.
This is possibly Donatello’s most celebrated statue, being the first free standing life size nude of the Renaissance. David is depicted in a naturalist pose with a countenance of dreamy contemplation. His left foot rests upon the head of Goliath, he holds a sword in the right hand and a rock in the left, with a circlet of laurel leaves entwining the helmet. Made by the traditional ‘lost wax’ (cire perdue) method of casting in bronze, using Roman jointing.
The Donatello David [item 33]Cast in bronze this exquisite work is as close to the original as possible.
Remarkably a cast was taken from the Renaissance Original by the Foundry in the 19th Century.
Overall height 5´ 5˝ [165 cm] Diameter of base 1´ 8˝ [51 cm]
The Figure of Mercury [item 34]After the Italian Renaissance original by Giambologna, Circa. 1505.
A green patinated, fullsize figure of Mercury by Giambologna, made by the traditional ‘lost wax’ (cire perdue) method of casting in
bronze, using Roman jointing. Overall height 5´ 11˝ [180 cm] Diameter of base 1´ 3˝ [38 cm]
The Pair of Daini [item 35]The Deer, after the Roman originals, were discovered in the ruins of
the Grande Peristilio, Villa dei Papiri, Pompeii, Italy, and are now in the collection at the Museo di Nazionale di Napoli. Cast in
bronze by the lost wax method, in moulds taken from the originals, (they bear the medallion mark of the foundry on the base
plates.) The pair look to Dexter and Sinister.Overall height 3´ 1˝ [94 cm] Length of base 1´ 10˝ [56 cm]
Natural limestone pedestals available separately [item 35a]
The Narcissus [item 36]Narcissus fell in love with his own reflection and is portrayed gazing at
himself in a pool. After the original found in the excavations at Pompeii and now exhibited in the Museum of Naples. Made by the
traditional ‘lost wax’ (cire perdue) method of casting in bronze, using Roman jointing.
Overall height 2´ [62 cm] Diameter of base 9˝ [23 cm]
The Small Mercury [item 37]After the Italian Renaissance original by Giambologna, Circa. 1505.
A green patinated, reducedsize figure of Mercury by Giambologna, made by the traditional ‘lost wax’ (cire perdue) method
of casting in bronze, using Roman jointing. Overall height 2´ 8˝ [81 cm] Diameter of base 7˝ [18 cm]
The Pair of Winged Lead Putti seated upon Spheres [item 38]
A charming pair of winged lead Putti seated upon artificial stone spheres. After the 18th century originals. Each pair raises aloft
a wine goblet and bunch of grapes.Overall height including spheres 2´ 10˝ [86 cm]
Overall width 2´ [61 cm]
The Parthenon Horse Head [item 39]A magnificent marble horse head, after the antique removed from
the east pediment of the Parthenon by Lord Elgin, British Museum, London. Part of the Elgin Marbles Collection.
Overall height 2´ 3˝ [69 cm] Overall width 2´ 10˝ [86 cm]
The Lead Four Seasons on Inverted Pedestals [item 40]
A charming suite of four lead seasons raised upon natural limestone pedestals, having classical lead rams head festoon decoration
inset to the front elevation.Overall height 5´ [152 cm] Square at base 1´ 1½˝ [34 cm]
The Reclining Fawn [item 41]An artificial stone statue depicting a reclining fawn with raised head,
alert ears and small lead antlers. Taken from the 19th century French original.
Overall height 2´ 3˝ [69 cm] Overall length 3´ 4˝ [102 cm]Overall width 1´ 4˝ [41 cm]
The Statue of Fidelity [item 42]A classically draped maiden after the French 19th century adaption of
the Roman Goddess Fides. She is accompanied by her dog, Fido, from antiquity a symbol of loyalty and faithfulness. Illustrated with
the small neoclassical pedestal (without cap).Statue height 4´ 4˝ [132 cm] Square at base 1´ 4˝ [41 cm]
The Octagonal Vine Wellhead [item 43]After the 17th century originals, the hand carved natural limestone
wellheads are complete with stone step, wrought iron overthrow, pulley and chain.
Overall height 8´ 4˝ [254 cm] Overall width 4´ 8˝ [142 cm]
WellheadsAssociated strongly with Venice, wellheads from Northern Italy were used as decorative ornamentation for the English Garden in the 19th and early 20th Centuries. Until the aqueduct was built from the mainland, Venice’s 72 islands were supplied with fresh water from the river Brenta in the Provence of Padua, with contractors being employed to keep the cisterns filled to a minimum of 4½´ in depth.
All the many squares had their own well, or cistern heads, varying in both date and style, predominantly being carved from the local Istrian Stone or Verona Marble. The oldest Byzan tine types are cited near florid garland and cherub str ewn examples of the Baroque, with all shapes and styles in between. Rare early examples of Venetian wellheads are diffi cult to differentiate from the 19th and 20th Century copies produced for the large export trade in both Northern Europe and America. To gain a better price for an ‘original’ Venetian well, copies were faked to look old with the addition of well worn rope marks and old iron spikes that were fixed with lead into the stone (these iron spikes being remnants of old overthrows and fixings for the metal plates that capped original wells when mains water became available).
Garden Ornament dealers, such as the early 20th Century company J.P. White, imported some originals and many copies, along with hollowed out monumental antique capitols, which closely replicated original well heads when ornate iron overthrows were added.
The Circular Vine Wellhead [item 44]After the 17th century originals, the hand carved natural limestone
wellheads are complete with stone step, wrought iron overthrow, pulley and chain.
Overall height 8´ [244 cm] Overall diameter 4´ 2˝ [127 cm]
The Arcaded Wellhead [item 45]After the 17th century originals, the hand carved natural limestone
wellheads are complete with stone step, wrought iron overthrow, pulley and chain.
Overall height 7´ 9˝ [236 cm] Overall diameter 4´ 6˝ [137 cm]
Urns, Planters & Finials‘A vase with a rounded body, usually a narrowed mouth and often a foot’. The Urn, alongside Statues and Fountains, is one of the key elements in any classic garden and as such can be traced back to Antiquity. It is here that many of the models we are familiar with today were conceived and with the rebirth in the Italian Renaissance of interest in the classical world, newly discovered (excavated) models laid the foundations for the designs of the preceding centuries.
The most famous and much copied examples are the Vases Borghese, discovered around 1569 near the present day Casino Massimo in Rome, and Medici, discovered around the same time at the Villa Medici also in Rome.
The Borghese Vase came to its namesake Villa in 1645 and there it stayed for 150 years until purchased by Napoleon and transported back to Paris around 1809, eventually being on permanent display at the Louvre.
The Medici Vase, now in the Uffizzi Florence, is often paired with the Borghese Vase. One sees these models being copied in Terracotta by Coade and then Blashfield, in the late 18th and early 19th Centuries. However, they were not only copied in terracotta – stone, marble, lead, bronze, and cast iron versions have been made by many makers, such is the iconic power of these beautiful urns.
The Warwick and Townley vases, both discovered by Gavin Hamilton, the former at Hadrian’s Villa in 1770, have also been much copied. Their stories give a sense of how it was in the 18th Century with the great collecting wealth of the English Country House and the Grand Tour that developed the English love of Neo Classical ornamentation in the garden.
The Warwick vase was excavated damaged and missing its socle (base), however the cost of restoration was so high that Hamilton was forced to sell it to Sir William Hamilton who on completion of the restoration then offered it at a price that was too high even for the British Museum. The Warwick vase was then bequeathed to Sir William Hamilton’s nephew, the Second Earl of ‘Warwick’ and by descent until sold in 1977 to form part of the Burrell collection in Glasgow. The Townley vase however did make it to the British Museum after it was bequeathed by Charles Townley who had purchased it from Gavin Hamilton in 1773 for the princely sum of £250. Again we see copies of these vases made by the makers of the day, most noticeably in terracotta Blashfield and in artificial stone in the mid 19th Century by Austin and Seeley.
With our interest in the classic designs discovered, urn, vase and finial designs were developed further by the great artists and craftsmen of the 17th – 19th Centuries in all materials seen fit for the garden. Delvaux and Scheemaker’s marble vases for Anglesey Abbey, circa 1725, show a clear homage to the Borghese vase, whereas designs by Lord Burlington and William Kent develop further the classic look that belongs to the English Country House, as seen for example at Castle Howard, Chiswick House, Rousham to name but a few.
Stone and marble urns were expensive to have carved in the 18th Century, so lead was also employed as a more affordable and flexible alternative medium to create garden ornament. The vase of the Four Seasons by John Van Nost the Elder, circa 1705, at Melbourne, shows his artistry and skill on a grand scale. Wrest Park has some fine examples of lead urns dating around 1735 to designs by Cibber. However urns and vases were produced in greater numbers by John Cheere working
out of his Hyde Park yard formerly owned by Van Nost.The industry for urns and vases in all materials continued
in earnest. However, we see a slight dip in demand in the late 18th Century when the likes of Capability Brown cleared the way for nature to take centre stage.
Urns and vases following along the lines of the Campana, tall and thin, and the Tazza, wide and low, designs, were carved in styles and designs dictated by the fashions of the time as with art and furniture. This nod to fashion can clearly be seen in the cast iron urns by the Victorian maker Coalbrookdale through to the early 20th Century designs produced by the Bromsgrove Guild and the Compton Pottery.
Throughout the 20th Century the classic designs have been reproduced and are still produced today, however many other makers from the bronze foundries of Naples to the great 19th Century French cast iron foundries of Val d’Osne also produced designs too numerous to mention.
The Lidded Finial Urn [item 46]An elegant lidded urn having circular socle and square base. The
campana shaped body having lobed decoration to the bowl with medallions to the rim. The shaped lid surmounted by a finial.
Age patinated artificial stone. Shown raised upon the large NeoClassical Pedestal.
Overall height 2´ 9½˝ [84 cm] Overall width 1´ 10˝ [56 cm]Square at base 1´ [30 cm]
The Hevingham Hall Terrace Urn [item 47]A classical age patinated artificial stone Tazza urn having semilobed
body with everted rim, raised upon a fluted socle on a square base. After the original 19th century terrace urns formerly at
Hevingham Hall, Suffolk. Illustrated with the large pedestal with raised top section.
Overall height 2´ [61 cm] Overall diameter 2´ 3˝ [69 cm]Square at base 1´ [30 cm]
The Gothic Stone Planter [item 48]An age patinated artificial stone planter, in four sections, of hexagonal
form pierced with Gothic trefoils, after the original element from the Palace of Westminster. The original formed part of a spire section of
the Gothic revival work of Wyatt on the Houses of Parliament, circa. 1805, and was probably removed following the disastrous fire of
1834 and the rebuilding by Sir Charles Barry. The architectural elements were given to prominent political figures of the day and were used
to decorate the grounds of the great estates. Height 2´ 1˝ [63½ cm] External diameter 4´ 7˝ [140 cm]
Internal diameter 2´ 11˝ [89 cm]
The Tazza Urn [item 49]An elegant hand carved natural limestone Tazza Urn having egg and
dart carved rim, lobed body with a ribbed foot and square base.Illustrated with the slim limestone pedestal.
Overall height 1´ 11˝ [58 cm] Overall diameter 2´ 8˝ [81 cm]Square at base 1´ 1½˝ [34 cm]
The Lion Mask Planter [item 50]After the antique original, a fine quality lead urn, of oval form having
applied lion masks below the rim. Drainage holes to base.Overall height 1´ 8˝ [51 cm] Overall diameter 1´ 10˝ [56 cm]
Diameter at base 10˝ [25 cm]
The Renaissance Urn [item 51]A fine cast lead urn having foliate handles surmounting the main body
which depicts a scene from antiquity. The underside of the urn has leaf motifs with a decorative circular socle.
Overall height 2´ [61cm] Diameter at top 1´ 3˝ [38cm]Diameter at base 11˝ [28cm]
The Square Cistern [item 52]A classical hand made English square lead cistern having inset decorative elements to each elevation. The decorative elements
enclosed within the panels depict a lion mask, mythical sea creature, mermaid, female mask, wheat sheaf and grotesque mask.
Overall height 1´ 8˝ [51 cm] Overall width 1´ 9˝ [53 cm]Overall depth 1´ 9˝ [53 cm]
The Rectangular Cistern [item 53]A classical hand made English rectangular lead cistern having inset
decorative elements to each elevation. The decorative elements enclosed within the panels depict a lion mask, mythical sea creature,
mermaid, female mask, wheat sheaf and grotesque mask.Overall height 1´ 8˝ [51 cm] Overall width 3´ 4˝ [102 cm]
Overall depth 1´ 8˝ [51 cm]
The Obelisk [item 54]A classic hand carved natural limestone obelisk of tapering square form raised upon a panelled square base supported by four spheres.
Overall height 6´ 1½˝ [186 cm] Overall width 1´ 2˝ [36 cm] square
Bespoke natural limestone obelisks can be commissioned.
The Tall Inverted Pedestal [item 55]An elegant natural limestone pedestal of tapering form.Overall height 3´ 5˝ [104 cm] Square at top 1´ 1¼˝ [33 cm]
Square at base 1´ 1¼˝ [33 cm]
Bespoke natural limestone pedestals can be commissioned.
The Wide Carved Limestone Pedestal [item 56]Classic natural limestone pedestals having carved decorative panels to
each elevation.Overall height 2´ ½˝ [62 cm] Square at base 1´ 5½˝ [44 cm]
Bespoke natural limestone pedestals can be commissioned.
The Slim Carved Limestone Pedestal [item 57]Classic natural limestone pedestals having carved decorative panels to
each elevation.Overall height 2´ 4˝ [71 cm] Square at base 1´ 3½˝ [40 cm]
Bespoke natural limestone pedestals can be commissioned.
The Small NeoClassical Pedestal with Cap [item 58]An elegant pedestal having laurel circlet embellishments to the centres.
The top section retains the original distressing to the egg and dart moulding. Available with or without raised top section. Age
patinated artificial stone.Overall height 2´ 10˝ [86 cm] Overall width 1´ 7˝ [48 cm]
The Small NeoClassical Pedestal [item 58a]An elegant pedestal having laurel circlet embellishments to the centres.
The top section retains the original distressing to the egg and dart moulding. Available with or without raised top section. Age
patinated artificial stone.Overall height 2´ 8˝ [81 cm] Overall width 1´ 7˝ [48 cm]
The Large NeoClassical Pedestal with Cap [item 59]An elegant pedestal having laurel circlet embellishments to the centres.
The top section retains the original distressing to the egg and dart moulding. Age patinated artificial stone.
Overall height 3´ 1½˝ [95 cm] Overall width 1´ 7˝ [48 cm]
The Large NeoClassical Pedestal [item 59a]An elegant pedestal having laurel circlet embellishments to the centres.
The top section retains the original distressing to the egg and dart moulding. Available with or without raised top section. Age
patinated artificial stone.Overall height 2´ 11½˝ [90 cm] Overall width 1´ 7˝ [48 cm]
The Thatched Edwardian Summer House [item 60] Hand built in English oak, the interior lined in herringbone pine with
builtin banquet seating to the rear and side elevations. The fire retarded wheat straw roof is constructed by our local master
thatcher. The window latches and hinges have been recreated using original Victorian foundry techniques. Hand painted and fired,
stained and leaded glass windows to the front elevation, with randomhand blown bottle glass to the side elevations. The rustic oak
plank exterior will weather down to a silver grey over time.Overall height 12´ 2˝ [371 cm] Overall width 11´ 8˝ [354 cm]Overall depth 9´ 6˝ [291 cm] Internal width 8´ 4˝ [254 cm]
Internal depth 6´ 3˝ [191 cm]
GazebosGazebo, a Belvedere, being ‘A pavilion or a summer house on an eminence’. Known variously as a Temple, Rotunda, Belvedere and Pagoda a Gazebo is essentially a folly placed within a garden to provide a vantage point to take in the surrounding views. It may be set in an open situation or ‘discovered’ at the end of a walk.
One of the earliest references to a garden pleasure building can be seen in Egypt in hieroglyphs on a tomb dating to the reign of King Amenhotep around 1400 B.C. It is however in common with other elements that make up the garden, such as Urns and Statues, that we follow the well worn path to the classical world. Here Pliny the Younger, writing around 62 A.D. describes two Gazebos built at a friend’s villa in Como, erected for no other purpose than to gaze into the grounds of his neighbour to watch the comings and goings! Emperor Hadrian’s great villa at Tivoli replicated, on a smaller scale, monuments encountered on campaign such as the temple of Seraphis in Egypt, and Sto Poikile, Greece. As we will see, this replication of classical monuments is not far removed from what happened in England in the 18th Century.
From this point we leave Europe in its dark ages and move onto Persia, where mosaic tiled summer houses with marble columns decorated with precious metals were cooled with constantly flowing water. This tradition was then continued by the conquering Moguls from the 13th Century onwards.
Around the same time, China experienced a period of enlightenment during the Sung Dynasty (9601280) with various garden buildings affording views and seclusion in harmony with the garden and surroundings.
Temples arrive on a grand scale in 18th Century England taking their inspiration from the great villa gardens of Renaissance Italy, the villas d’Este and Lante being just two of many fine examples. These in their turn harked back to the classical world, for their inspiration.
There were of course simple structures in earlier English gardens and even elaborate tree houses were much in vogue during the early 17th Century. However, it is in the theories of the Picturesque and in the work of its artists and poets, such as Claude Lorraine and Alexander Pope that we see the romantic vision of the Gazebo taken to new heights within the garden.
Temples of neo classical design were placed within arcadian landscapes, an example being Sir John Vanbrugh’s domed Rotunda at Stowe (circa 1720) positioned by Charles Bridgman to be arrived upon via a carefully constructed series of walks and vistas. Another example was Vanbrugh’s famous Temple of the Four Winds built around 1724 at Castle Howard. This was not so much a gazebo, more a distillation of architectural highlights from the classical world. The architects Kent, Flitcroft and Adam to name a few all designed and built great temples at Holkham Hall (The Temple, 173035), Stourhead (The Temple of Apollo, 1765) and Audley End (The Temple of Victory, built to celebrate the conclusion of the Seven Years’ War, 177172), respectively.
For the most extravagant garden building we need to cross the border to see the great Pineapple House built in 1761 at Dunmore Park, Stirlingshire. This 50 foot pineapple shaped building is an architectural one off and can now be stayed in courtesy of the Landmark Trust.
Wyatt and Walpole’s Strawberry Hill Gothic influenced
taste towards the end of the 18th Century, as did the fashion for all things Chinese and Egyptian in the preceding decades, and one can even consider the outrageous Regency Brighton Pavilion to be a large garden pleasure house.
The Victorians’ love of cast iron enabled great pavilions for all to enjoy in public parks, with various styles and materials used for gazebos in private gardens. This tradition continues to the present day. There was a fashion in the Edwardian era for rustic, wooden, summer houses, the main manufacturer being Julius Caesar & Co. ‘Hut makers to the King’.
The Estate Temple [item 61]Hand carved from solid natural limestone, the domed wrought iron
roof, surmounted by tulip and rose finials, rests upon a highly sculpted frieze having carved swags of fruit and flowers. The Corinthian
capitals support six decorated columns with integral seats, the bases carved with garlands of fruit resting upon a stone base ring.
Overall height 13´ [400 cm] Diameter 9´ [270 cm]
The Park Temple [item 61a]Hand carved from natural limestone, the wrought iron domed roof,
with spear finial rests upon a highly decorated frieze having carved ribbon floral swags and shields. The Corinthian capitals
support five columns with integral seats, the bases decorated with garlands of fruit and resting upon a stone base ring.Overall height 11´ 6˝ [350 cm] Diameter 6´ 5˝ [165 cm]
SundialsAn ‘instrument showing time by shadow of pointer, cast by sun on graduated plate’. The earliest reference to a Sundial was in Egypt around 1300 B.C., the Greeks then significantly developed the art of dialing by introducing a slanting indicator, known as a gnomon, pointing it towards the North Star.
The earliest example of a Sundial in the British Isles dates from the late 7th Century and can be seen on the Anglo Saxon Bewcastle Cross in Cumbria. This vertical sundial had a peg made from either metal or wood, casting a shadow on the radiating lines below. Derivatives of this, the Scratch or Mass Sundial, can be seen on the walls of our very own Tythe Barn here at Taddington, known locally as ‘Church Barn’, dating from 1632. These Scratch dials could have related to canonical hours or the three hour praying intervals.
Sundials can be split into 5 main categories; Vertical, Pillar, Horizontal, Multiple and Equinoctial. Sundials for the garden are mainly the horizontal type and placed on a decorative pedestal, usually carved from stone. We also come across the Armillary Sphere, which falls into the Equinoctial category and the rare, but interesting, Multifaceted sundials. These are strange, multidialled arrangements with many gnomons protruding like fins that cast shadows on well worn lines. 17th Century examples are still in existence, and are found mainly in Scotland. A littleknown but interesting area is the Stained Glass Sundial, dating predominantly from the 17th Century. These Dials were fitted into the windows of Churches or Manors to read the time during the cold winter months from the warmth of the inside – the gnomon being fixed outside to cast the shadow. An extant painted dial can be seen at Berkeley Castle.
A horizontal sundial in the garden can be seen to be coming to the fore in the 17th Century with makers honing their talent with ever more complex engraving, showing not only the time but also the position of the planets and star systems. Thomas Tompinon, 16391713, is considered one of the best makers of his time. A fine example of his work can be seen on display at Hampton Court.
The Armillary Sphere falls into the Equinoctial dial category. A central rod (sometimes in the form of an arrow) casts a shadow onto one of the rings engraved with the hours, with all the other rings acting as both support and a representation of the Celestial sphere. Other designs such as a Hemispherical Equinoctial act in a similar way by casting a shadow from a rod into a halfsphere, either onto a band of numbers or into a bowl delineated with the hours.
One last area is the Heliochronometer (or Sun Clock) much loved by the early train timekeepers in France, although they were extant in a cruder form in the 18th Century. Greater accuracy is obtained as the plate can be elevated and rotated to allow for the Latitude and Longitude variations, and this accuracy was again increased by the sunlight coming through a slit rather than using a shadow. In fact one maker, Pilkington and Gibbs, probably took the manufactured sundial to its Zenith after 2500 years of development, but sadly even these technically advanced sundials are still only accurate on just four days of the year!
William the IV Sundial [item 62]An elegant age patinated artificial stone sundial having baluster
pedestal base surmounted by a verdigris bronze armillary sphere calibrated with the hours.
Overall height 5´ 5˝ [165 cm] Overall width 2´ 3˝ [68 cm]
The Inverted Pedestalwith Armillary Sphere [item 63]
A verdigris bronze armillary sphere pierced with an arrow, calibrated with the hours. Mounted on an elegant natural limestone
inverted pedestal.Overall height 5´ 9½˝ [176 cm] Square at base 1´ 1½˝ [34 cm]
The Swagged Georgian Pedestalwith Dial Plate [item 64]
An ornately carved natural limestone sundial having grotesque mask and swagged garland decoration to the pedestal, raised upon
an octagonal step. The square top inset with bronze Thomas Wright dial plate.
Overall height 4´ 5˝ [135 cm] Square at top 2´ [61 cm]Overall diameter of base step 2´ [61 cm]
The Swagged Georgian Pedestalwith Armillary Sphere [item 65]
An ornately carved natural limestone armillary sundial having grotesque mask and swagged garland decoration to the pedestal, raised
upon an octagonal step, surmounted by a verdigris bronze armillary sphere calibrated with the hours.
Overall height 6´ 6˝ [198 cm] Square at top 2´ [61 cm]Overall diameter of base step 2´ [61 cm]
The Jekyll Pedestalwith Dial Plate [item 66]
An elegant hand carved natural limestone sundial, of quartered baluster form, having dentil carving to the dial support, raised upon a
square base. The replica engraved circular bronze dial plate, signed ‘Tho’s Wright, Instrument Maker to His Majesty’ with
engraved armorial coat of arms and Prince of Wales Feathers, calibrated with the hours, minutes and compass points.
Height [excluding gnomon] 3´ 4˝ [102 cm] Square at base 1´ 8˝ [51 cm]
The Jekyll Pedestalwith Armillary Sphere [item 67]
An elegant hand carved natural limestone pedestal of quartered baluster form, having dentil carving to the top plate, raised upon a square
base surmounted by a verdigris bronze armillary sphere, pierced by an arrow and calibrated with the hours.
Overall height 5´ 8˝ [173 cm] Square at base 1´ 8˝ [51 cm]
The Baluster Pedestal with Dial Plate [item 68]
A hand carved natural limestone sundial of fluted baluster form raised upon an octagonal plinth. The circular top inset with the bronze
Thomas Wright dial plate.Overall height 3´ 9˝ [114 cm] Overall diameter of top 1´ 8˝ [51 cm]
Overall diameter of plinth 2´ 1˝ [64 cm]
The Baluster Pedestal with Armillary Sphere [item 69]
A hand carved natural limestone fluted baluster raised upon an octagonal plinth surmounted by a verdigris bronze armillary sphere
calibrated with the hours.Overall height 5´ 11½˝ [181 cm] Overall diameter 1´ 8˝ [51 cm]
Overall diameter of plinth 2´ 1˝ [64 cm]
The Thomas Wright Dial Plate [item 70]A faithful copy from the antique original. The engraved circular bronze
dial plate, signed ‘Tho’s Wright, Instrument Maker to His Majesty’ with engraved armorial coat of arms and Prince of Wales Feathers,
calibrated with the hours, minutes and compass points.Height [including gnomon] 8˝ [20 cm] Diameter 1´ [31 cm]
The Zenith Armillary Sphere [item 71]A verdigris bronze armillary sphere, pierced with an arrow and calibrated with the hours. Mounted upon a bell shaped support.
Overall height 2´ 4½˝ [72 cm] Overall width 1´ 6˝ [46 cm]Diameter at base 6 ½˝ [17 cm]
The Equatorial Bird Bath [item 72]An unusual age patinated artificial stone bird bath, the shallow circular
bowl supports a verdigris copper equatorial dial calibrated with the hours. Raised upon an ornate pedestal having acanthus decorations
with a circular foot and a square base.Overall height 4´ 6˝ [137 cm] Overall diameter 2´ 7½˝ [80 cm]
Square at base 1´ 6˝ [45 cm]
The Sphere [item 73]An age patinated artificial stone sphere having a slightly rough
texture. Perfect for driveway edging.Diameter 15˝ [38 cm]
The Pergola [item 74]A beautiful natural limestone and oak garden pergola; the classical
columns hand carved from solid natural limestone are surmounted by a traditional Trelliage constructed from green oak. In
past centuries, the pergola was constructed to support vines, in recent years it has become a feature that has added greatly to the
beauty and interest of our gardens. Rose, Wisteria, Jasmine, Clematis, Honeysuckle and Laburnum are only some of the many
climbers planted to embellish the pergola.Overall height 7´ 4˝ [224 cm] Overall width 8´ 8˝ [264 cm]
Overall length 23´ [699 cm]
A recent commission to carve in stone a pair of lions after Canova.
A recent commission copied in stone from a 19th Centuary original urn.
A recent installation of a pair of cherubs on spheres, with a bronze Bacchus on inverted pedestal in the background.
A recent commission to carve four massive pillars in natural limestone with finials.
[item 75]“IN HIS BLUE GARDENS, MEN AND
GIRLS CAME AND WENT LIKE MOTHSAMONG THE WHISPERING AND THE
CHAMPAGNE AND THE STARS”F. Scott Fitzgerald
[item 75a]“LARK, SKYLARK, SPILLING YOUR RUBBED AND ROUND PEBBLES OF
SOUND IN AIRS STILL LAKE”C. Day Lewis
[item 75b]“TO SEE THE WORLD IN A GRAIN OF SAND
AND A HEAVEN IN A WILD FLOWERHOLD INFINITY IN THE PALM OF YOUR HAND
AND ETERNITY IN AN HOUR”William Blake
[item 75c]“WITH STATUES ON THE TERRACESAND PEACOCKS STRUTTING BY, BUTTHE GLORY OF THE GARDEN LIES IN
MORE THAN MEETS THE EYE”Rudyard Kipling
[item 75d]“I WALK IN ALL MY SUMMERS INIMMENSE NOONHALTED TIME”
John Pudney
Poetry Wall Plaques & Letter Cutting [item 75]A collection of hand carved natural limestone plaques offering a
selection of garden related verses. Each plaque measures height 12˝ [30 cm], width 1´ 11½˝ [60 cm], depth 2˝ [5 cm]
and is costed on individual letter content. Bespoke letter cutting commissions undertaken.
Three Stages of Stone Patination
Hand Carved Natural Limestone
Architectural Heritage’s hand carved natural limestone garden ornament takes its inspiration from the rare 18th and 19th Century antique originals in which we have dealt for the past 30 years.
To carve our extensive range of seats, benches, urns and temples we first take a large solid block of limestone and cut this into smaller sections. These smaller blocks are then ‘squared off’ in readiness for a template. Once the shape within the stone to be carved is described, our highly skilled masons chisel, at this stage with the aid of compressed air, to find the required shape. Once completed, further templates are used to describe detail and finer chisels are employed by the Master Mason, working freehand to carve the intricate detail required to complete the piece.
Natural stone, when first carved, will look new, to soften this appearance we apply a toned wash. You see adjacent three stages of natural weathering on a limestone urn which has been achieved over a period of 18 months. Unfortunately, the English climate is particularly suited to weathering stone ornament. However should a piece be sited away from greenery, or in a hot climate, this natural weathering process will take longer to achieve.
Age Patinated Artificial Stone
Continuing a tradition begun in the 19th Century by Austin and Seeley, our artificial stone ornament, hand made at the Taddington manufactory, is frequently mistaken for weathered natural stone. Our mixture is comprised of Cotswold stone dust, small stone chippings and cement, and closely resembles stone when cast.
This unique look is achieved by hand finishing and age pat in ating to our own formula. After curing and finishing, we apply patination in a four stage process, which when com pleted effects the look akin to old, weathered garden ornament. Architectural Heritage’s age patinated artificial stone ornament is well suited for water features due to its strength and resilience in extreme temperatures.
ChimneypiecesThe Chimneypiece Collection has been carefully selected to include the finest examples from the early Tudor period, through the Georgian era, to the Mid 19th Century Gothic revival. Traditional stone masonry techniques are used to achieve the highest standards in quality and workmanship, working with natural limestone.
Bespoke Commissions. Chimneypiece designs can be adapted to bespoke dimensions. We undertake commissions to carve, in natural limestone, bespoke chimneypieces to your specification and design.
Armorials. Personal armorial devices can be incorporated into Great Sir Hugh’s Court, Normanshurst Old Hall and Tattershall Castle.
Stone Colour Washing. Our chimneypieces are carved in natural limestone. A colour wash can be applied as requested.
Stone Colourwash Samples
Umber Rustic Umber
AntiqueNatural
The Guildhall Cloister Chimneypiece [item 76]
A substantial hand carved natural limestone chimneypiece having circular compound pillars supporting the jambs with an internal four
centred arch. The strapwork frieze having a central armorial shield flanked by Tudor rosettes enclosed by quatrefoils. Stylised
leaf motif crockets decorate the under mantel and frieze. This chimneypiece can be adapted to bespoke dimensions as requested.
Overall height 4´ 9½˝ [146 cm] Overall width 6´ 1˝ [185.5 cm]Internal height 3´ [91.5 cm] Internal width 3´ 5½˝ [105.5 cm]
Maximum depth 1´ 2˝ [35.5 cm]
The Lypiatt Square Chimneypiece [item 77]
A classical 18th century style hand carved natural stone chimneypiece having egg and dart moulding to the jambs and frieze, an intricate
swagged garland to the centre tablet flanked by scrolls.Inspired by the original George II circa 1760. This chimneypiece can
be adapted to bespoke dimensions as requested.Overall height 5´ [152 cm] Overall width 5´ 8˝ [173 cm]
Internal height 3´ 6˝ [106 cm] Internal width 3´ 6˝ [106 cm]Maximum depth 9½˝ [24 cm]
The Palace of Westminster Chimneypiece [item 78]
A wellproportioned hand carved natural limestone chimneypiece in the style of the Gothic revival. The fluted jambs support a four centred arch. The spandrels decorated with a wellrealised ivy leaf
motif. The entablature in the form of a series of quatrefoils having leaf crockets to the under mantle. This chimneypiece can be adapted to
bespoke dimensions as requested.Overall height 4´ 8¼˝ [143 cm] Overall width 5´ 9˝ [175.5 cm]Internal height 3´ [91.5 cm] Internal width 3´ 8¼˝ [112 cm]
Maximum depth 1´ 1˝ [33 cm]
An insitu image of the Tattershall Castle Chimneypiece.
The St. Elmo’s Fire Chimneypiece [item 79]
A simple Gothic style hand carved natural limestone chimneypiece having quatrefoil spandrels with a pointed trifoliated arch.
After the original circa 1860. This chimneypiece can be adapted to bespoke dimensions as requested.
Overall height 4´ 9˝ [145 cm] Overall width 6´ 2½˝ [189 cm]Internal height 3´ 8˝ [112 cm] Internal width 3´ 7˝ [110 cm]
Maximum depth 11½˝ [28 cm]
The Tattershall Castle Chimneypiece [item 80]
A massive hand carved natural limestone chimneypiece in the style of the Tudor period having spandrels incorporating armorial devices,
quatrefoils to the frieze and a crenellated shelf.Adapted from the original, circa 1500. This chimneypiece can be
adapted to bespoke dimensions as requested.Overall height 5´ [153 cm] Overall width 7´ 10˝ [239 cm]
Internal height 3´ 6½˝ [108 cm] Internal width 5´ 9˝ [176 cm]Maximum depth 9½˝ [24 cm]
The Great Sir Hugh’s Court Rusticated Chimneypiece [item 81]
An imposing hand carved natural limestone chimneypiece, the chamfered jambs terminate in carved male and female masks,
the frieze having strap work and rosette roundels in the Gothic manner. The shaped mantelshelf is surmounted by a troumeau with
central armorial shield. The top cornice displays Gothic rosettes. After the 16th century original. This chimneypiece can be
adapted to bespoke dimensions as requested.Overall height 8´ 8˝ [2640 cm] Overall width 6´ 1˝ [185 cm]
Internal height 3´ [92 cm] Internal width 3´ 6˝ [106 cm]Maximum depth 1´ 4˝ [40 cm]
The Great Sir Hugh’s CourtNatural Chimneypiece [item 82]
An imposing hand carved natural limestone chimneypiece, the chamfered jambs terminate in carved male and female masks,
the frieze having strapwork and rosette roundels in the Gothic manner. The shaped mantelshelf is surmounted by a troumeau with
central armorial shield. The top cornice displays Gothic rosettes. After the 16th century original. This chimneypiece can be
adapted to bespoke dimensions as requested.Overall height 8´ 8˝ [2640 cm] Overall width 6´ 1˝ [185 cm]
Internal height 3´ [92 cm] Internal width 3´ 6˝ [106 cm]Maximum depth 1´ 4˝ [40 cm]
The Little Aston Hall Chimneypiece [item 83]
An elegant hand carved natural limestone chimneypiece having Bolection mouldings, recessed centre tablet and moulded mantelshelf.After a George I original circa 1720. This chimneypiece can be adapted
to bespoke dimensions as requested.Overall height 4´ 7½˝ [141 cm] Overall width 5´ 2˝ [157 cm]
Internal height 3´ 4½˝ [103 cm] Internal width 3´ 2½˝ [98 cm]Maximum depth 10˝ [25 cm]
The Kings Beaumont Park Chimneypiece [item 84]
A superb early 18th century style hand carved natural limestone chimneypiece, the jambs in the form of caryatids with scroll
end brackets. Swagged floral garlands flank the centre tablet displaying a shell and acanthus leaf motif. The segmented mantel having
egg & dart moulding to the underside. Inspired by the original, circa 1730. This chimneypiece can be adapted to bespoke dimensions
as requested.Overall height 5´ [153 cm] Overall width 7´ [214 cm]
Internal height 3´ 4½˝ [103 cm] Internal width 3´ 6˝ [107 cm]Maximum depth 1´ 2½˝ [37 cm]
The Adam’s Leaves Chimneypiece [item 85]
An elegant hand carved natural limestone chimneypiece having egg and dart moulding to the jambs & head. The barrel shaped frieze
profusely decorated with laurel leaf and ribbon garland. The mantel having a dental frieze with bead and reel to the underside.
After a George II original circa 1740. This chimneypiece can be adapted to bespoke dimensions as requested.
Overall height 4´ 9˝ [145 cm] Overall width 5´ 7˝ [171 cm]Internal height 3´ 3˝ [100 cm] Internal width 3´ 9˝ [114 cm]
Maximum depth 9½˝ [24 cm]
The Normanshurst Old Hall Chimneypiece [item 86]
A Gothic style hand carved natural limestone chimneypiece having a three centred arch embellished with carved crockets. The
spandrels having carved armorial and acanthus decorations, the mantel displays rosettes to the underside. Adapted from the
original, Henry VII circa 1500. This chimneypiece can be adapted to bespoke dimensions as requested.
Overall height 4´ 3˝ [130 cm] Overall width 5´ 8˝ [173 cm]Internal height 6´ 7˝ [199 cm] Internal width 3´ 8½˝ [113 cm]
Maximum depth 8¾˝ [22 cm]
An insitu image of an adapted Hardwicke Manor Chimneypiece.Photograph by Robin Chanda
The Hardwicke Manor Chimneypiece [item 87]
A large imposing 18th century style hand carved natural limestone chimneypiece having moulded jambs, a carved strapwork frieze
to the head with a massive cornice above. Dentil moulding under head and cornice. After the original, circa 1730. This chimneypiece can
be adapted to bespoke dimensions as requested.Overall height 6´ 2½˝ [189 cm] Overall width 7´ 1˝ [216 cm]
Internal height 3´ 6˝ [107 cm] Internal width 4´ 5½˝ [136 cm]Maximum depth 3´ 3½˝ [100 cm]
The Royal Oak Fire Back [item 88]Cast iron fire back.
Height 2´ 6˝ [76 cm] Width 2´ 11˝ [89 cm]
The Swans Nest Fire Basket with Dogs Cast iron fire basket with dogs.
Small [item 89]Basket width 2´ 6˝ [76 cm] Basket depth 1´ 5˝ [43 cm]
Large [item 89a]Basket width 3´ 6˝ [107 cm] Basket depth 1´ 7˝ [48 cm]
Fire DogsHeight 1´ 11˝ [59 cm]
A recent bespoke commissioned chimneypiece.
A recent bespoke commissioned chimneypiece.
A recent bespoke commissioned pannelled room.
Antique Garden OrnamentTo view the complete inventory of Antique Garden Ornaments
please visit www.architecturalheritage.co.uk or contact us directly for a copy of our latest
Antique Catalogue.
Antique ChimneypiecesTo view the complete inventory of Antique Chimneypieces
please visit www.architecturalheritage.co.uk or contact us directly for a copy of our latest
Antique Catalogue.
Antique Panelled RoomsTo view the complete inventory of Antique Panelled Rooms
please visit www.architecturalheritage.co.uk or contact us directly for a copy of our latest
Antique Catalogue.
The Chelsea Flower ShowLocation – London, May annually.
Architectural Heritage exhibits annually at the Chelsea Flower Show, displaying a wide selection of antique and reproduction garden
ornament. 2010 will celebrate the company’s 30th consecutive year showing at Chelsea. Planting by Katie Guillebaud.
The Olympia Fine Art & Antique ExhibitionLocation – London, June and November annually.
A prestigious vetted Antiques Fair, Architectural Heritage exhibits a collection chosen from their extensive stock.
Garden design by Katie Guillebaud.
Katie Guillebaud Garden Design
Katie is a garden designer based in Gloucestershire who special ises in herbaceous planting schemes for gardens with a con temporary feel. She uses a combination of grasses and perennials with natural materials such as wood and stone to create peaceful, atmospheric gardens.
Projects include gardens for The Cheltenham Ladies College, Nuffield Hospital, and the Architectural Heritage stand at The Chelsea Flower Show (19992009). She has also designed gardens of varying sizes for several private clients, both in rural and urban situations.
Before setting up her own company she worked in the London office of Christopher BradleyHole, where she wrote the Plant Directory for his book ‘The Minimalist Garden’.
Horticulture. After studying Art History at Nottingham University Katie decided to pursue her interest in horticulture and gained some work experience at New College gardens in Oxford, before going on to study for a National Certificate in horticulture at Lackham College. She went on to work in the garden and design office of the garden designer Jane FearnleyWhittingstall.
Landscape architecture. After a move to London and three years spent working for Christopher BradleyHole, Katie decided to further her design training by studying for a Post Graduate Diploma in Landscape Architecture. This she gained with a Distinction, and went on to work for a local firm of Landscape
Architects, where she worked on schemes for schools and hospitals, and gardens for a large corporate headquarters.
Current projects. Current projects include an Arts and Crafts style garden for an hotel in Cardiff, a large traditional country garden in Wiltshire, and a modern garden for a new village house in rural Gloucestershire.
ServicesAntique garden ornament valuation
Chimneypiece installation service
National and international transportation arranged
Garden ornament restoration in materialsLead
TerracottaStone
MarbleBronze
Cast IronComposition Stone
Consultancy forLandscaping
Garden LightingGarden Ornament Security
Architectural Heritage is a member of ACID,Anti Copyright in Design.
Location Architectural Heritage is situated in the grounds of Taddington
Manor, in the tiny hamlet of Taddington. The Galleries and Garden at Taddington are open year round
displaying the extensive collection of fine Antique and Reproduction Garden Ornament, Chimneypieces,
Panelled Rooms and Summer Houses.We are two hours from central London.
a424
a429
To
Stra
tfor
d
Cheltenham
Winchcombe
BourtonontheWater
Burford
To Oxford and London
Ford
Broadway
Toddington
Teddington
To
Birm
ingh
am
Cutsdean
Taddington
Snowshill
To
Bris
tol
a46
a40
a436
a435
m5
m5
11
Tewkesbury
m50
a40
b4077
a435
b4632
a4091
To C
irenc
este
rb4077
a429
10
9
11
10
9
MoretoninMarsh
StowontheWold
a44
Gloucester
a429
a40
Opening Times9.00am – 5.00pm MondayFriday
10.30am – 4.00pm SaturdayClosed Sundays and Bank Holidays
Architectural Heritage Reproduction Price List 2010
FountainsThe Two Tier FountainThe Two Tier Fountain Pump PackThe Decorative Circular Pool SurroundThe Circular Pool Paving SurroundThe Lion Mask Wall FountainThe Lion Mask Wall Fountain Pump PackThe Square Pool Surround – Standard SizeThe Parterre Pool Surround – Standard SizeThe Parterre Pool Corner SectionThe Parterre Pool Quarter SectionThe Parterre Pool Straight Section (1 metre)The Single Tier FountainThe Single Tier Fountain Pump PackThe Neptune Wall Fountain – Stone MaskThe Neptune Wall Fountain – Grotesque MaskThe Neptune Wall Fountain – Lead SpoutThe Neptune Wall Fountain Pump PackThe Fibre Glass Liner for The Neptune Wall FountainThe River God Wall FountainThe Wall Fountain with DolphinsThe Onslow Park Wall Fountain – Lead SpoutThe Onslow Park Wall Fountain – Lead Lion MaskThe Onslow Park Wall Fountain Pump PackThe Fibre Glass Liner for The Onslow Park Wall Fountain
SeatsThe Renaissance SeatThe Baroque SeatThe Curved Neo-Classical SeatThe Georgian SeatThe Garland SeatThe Westbury Court SeatThe Keswick SeatThe Neo-Classical SeatThe Mask SeatThe Shell SeatThe Rustic Root Seat
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
££££££££££££££££££££££££
££££££££££ £
6,400.00
350.00
4,000.00
2,400.00
2,200.00
250.00
2,800.00
4,000.00
200.00
400.00
250.00
2,200.00
300.00
7,600.00
7,600.00
7,600.00
250.00
1,000.00
5,400.00
16,400.00
4,400.00
4,400.00
250.00
500.00
9,600.00
9,800.00
5,400.00
3,600.00
3,800.00
4,000.00
4,200.00
3,400.00
3,800.00
3,800.00
1,250.00
££££££££££££££££££££££££
£££££££££££
7,520.00
411.25
4,700.00
2,820.00
2,585.00
293.75
3,290.00
4,700.00
235.00
470.00
293.75
2,585.00
352.50
8,930.00
8,930.00
8,930.00
293.75
1,175.00
6,345.00
19,270.00
5,170.00
5,170.00
293.75
587.50
11,280.00
11,515.00
6,345.00
4,230.00
4,465.00
4,700.00
4,935.00
3,995.00
4,465.00
4,465.00
1,468.75
Item No. Price Net Inc. Vat
Benches & TablesThe Decorative Straight Stone BenchThe Decorative Curved Stone BenchThe Classic Straight Stone BenchThe Classic Curved Stone BenchThe Classic Circular Stone TableThe Acanthus Centre TableThe Lion Paw Centre Table
StatuaryThe Donatello DavidThe Figure of MercuryThe Pair of DainiThe Pair of Bespoke Carved Stone Plinths for The DainiThe NarcissusThe Small MercuryThe Pair of Winged Lead Putti seated upon SpheresThe Parthenon Horse HeadThe Lead Four Seasons on Inverted PedestalsThe Reclining FawnThe Statue of Fidelity
WellheadsThe Octagonal Vine WellheadThe Circular Vine WellheadThe Arcaded Wellhead
Urns, Planters & FinialsThe Lidded Finial UrnThe Hevingham Hall Terrace UrnThe Gothic Stone PlanterThe Tazza UrnThe Lion Mask PlanterThe Renaissance UrnThe Square CisternThe Rectangular CisternThe Obelisk
26
27
28
29
30
31
32
33
34
35
35a
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
£££££££
£££££££££££
£££
£££££££££
780.00
830.00
680.00
730.00
730.00
3,600.00
4,600.00
18,000.00
12,800.00
6,000.00
1,000.00
2,000.00
2,000.00
4,000.00
3,800.00
6,600.00
950.00
2,200.00
4,800.00
4,800.00
4,800.00
850.00
850.00
2,200.00
1,800.00
1,600.00
1,200.00
1,000.00
1,800.00
1,200.00
£££££££
£££££££££££
£££
£££££££££
916.50
975.25
799.00
857.75
857.75
4,230.00
5,405.00
21,150.00
15,040.00
7,050.00
1,175.00
2,350.00
2,350.00
4,700.00
4,465.00
7,755.00
1,116.25
2,585.00
5,640.00
5,640.00
5,640.00
998.75
998.75
2,585.00
2,115.00
1,880.00
1,410.00
1,175.00
2,115.00
1,410.00
Item No. Price Net Inc. Vat
PedestalsThe Inverted PedestalThe Wide PedestalThe Slim PedestalThe Small Neo-Classical Pedestal with CapThe Small Neo-Classical PedestalThe Large Neo-Classical Pedestal with CapThe Large Neo-Classical Pedestal
The Summer HouseThe Thatched Edwardian Summer House
The TemplesThe Estate TempleThe Park Temple
SundialsThe William IV Pedestal with Armillary SphereThe Inverted Pedestal with Armillary SphereThe Swagged Georgian Pedestal with Dial PlateThe Swagged Georgian Pedestal with Armillary SphereThe Jekyll Pedestal with Dial PlateThe Jekyll Pedestal with Armillary Sphere The Baluster Pedestal with Dial PlateThe Baluster Pedestal with Armillary SphereThe Thomas Wright Dial PlateThe Zenith Armillary Sphere
The Bird Bath & SpheresThe Equatorial Bird BathThe Sphere
The PergolaThe Pergola
55
56
57
58
58a
59
59a
60
61
61a
62
63
64
65
66
67
68
69
70
71
72
73
74
£££££££
£
££
££££££££££
££
£
750.00
500.00
500.00
700.00
700.00
800.00
800.00
22,000.00
17,600.00
9,800.00
2,200.00
1,600.00
4,200.00
4,300.00
1,900.00
2,000.00
3,300.00
3,400.00
750.00
850.00
2,200.00
200.00
14,000.00
£££££££
£
££
££££££££££
££
£
881.25
587.50
587.50
822.50
822.50
940.00
940.00
25,850.00
20,680.00
11,515.00
2,585.00
1,880.00
4,935.00
5,052.50
2,232.50
2,350.00
3,877.50
3,995.00
881.25
998.75
2,585.00
235.00
16,450.00
Item No. Price Net Inc. Vat
Poetry Wall Plaques & Letter CuttingThe F. Scott Fitzgerald PlaqueThe C. Day Lewis PlaqueThe William Blake PlaqueThe Rudyard Kipling PlaqueThe John Pudney Plaque
Hand Carved Natural Limestone ChimneypiecesThe Guildhall Cloister ChimneypieceThe Lypiatt Square ChimneypieceThe Palace of Westminster ChimneypieceThe St. Elmo’s Fire ChimneypieceThe Tattershall Castle ChimneypieceThe Great Sir Hugh’s Court ChimneypieceThe Great Sir Hugh’s Court Rusticated ChimneypieceThe Little Aston Hall ChimneypieceThe Kings Beaumont Park ChimneypieceThe Adam’s Leaves ChimneypieceThe Normanshurst Old Hall ChimneypieceThe Hardwicke Manor ChimneypieceThe Hardwicke Manor Chimneypiece Reduced in DepthThe Royal Oak Fire BackThe Swans Nest Fire Basket with Dogs – SmallThe Swans Nest Fire Basket with Dogs – Large
Hearthstones, Slips and Liners Please order hearthstones, fire box liners and slips at the same time as the chimneypiece to ensure matching stone and synchronized delivery.
Delivery All Chimneypieces are made to order; please allow a minimum of 7 weeks to carve from drawing approval and payment of deposit.
75
75a
75b
75c
75d
76
77
78
79
80
81
82
83
84
85
86
87
88
89
89a
£££££
££££££££££££££££
650.00
650.00
650.00
650.00
650.00
6,800.00
5,600.00
7,200.00
2,800.00
6,800.00
9,800.00
9,800.00
2,800.00
14,000.00
5,800.00
5,800.00
7,800.00
7,000.00
500.00
400.00
500.00
£££££
££££££££££££££££
763.75
763.75
763.75
763.75
763.75
7,990.00
6,580.00
8,460.00
3,290.00
7,990.00
11,515.00
11,515.00
3,290.00
16,450.00
6,815.00
6,815.00
9,165.00
8,225.00
587.50
470.00
587.50
Item No. Price Net Inc. Vat
Quotation on request
Quotation on request
Taddington Manor, Taddington, Nr. Cutsdean, Gloucestershire, England gl54 5ry
Email: [email protected] www.architectural-heritage.co.uk
Tel: +44 [0] 1386 584 414 Fax: +44 [0] 1386 584 236
