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A WILLIAM IV LACQUERED BRASS NINE-LIGHT GASOLIER, attributed to WILLIAM COLLINS, circa 1835, a pair.

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A WILLIAM IV LACQUERED BRASS NINE-LIGHT GASOLIER, attributed to WILLIAM COLLINS, circa 1835, a pair.
A WILLIAM IV LACQUERED BRASS NINE-LIGHT GASOLIER, attributed to WILLIAM COLLINS, circa 1835, a pair to the previous lot, of large size, with single chain suspension above a stiff-leaf corona issuing nine berried suspensions on scrolled supports with lotus-leaf arms with two-tier centre of domed
ogee-arcaded canopies above a tapering lappeted and berried boss, the later gasolier fitments stamped 'Bray's Paten't', minor losses, lacking three scrolled foliate cups
approx 152.5cms diameter.
e50,000/80,000
LITERATURE: Sean O'Reilly, 'Lissadell, Co Sligo', Country Life, 25 September, 2003, p.112 (illustrated in situ)

NOTE: To be removed at the purchasers risk and expense before delivery deadline expires
A particularly distinctive feature of these chandeliers/gasoliers is their original and rare 'Grecian' matt gilding, with occasional contrasting areas of burnished gold. This technique was first invented in Paris by the ciseleur-doreur Pierre Gouthière in the 1770's, but became more widespread during the Empire period when the method became known as 'mat sablé'.
This French fashion was swiftly adopted during the Regency period in England, particularly in Birmingham, which was
a centre of casting and manufacture of lighting in England. Considerable light on how this 'Grecian' gilding was achieved
is given by W.circa Aitken, a former superintendent of R.W. Wingfield and Son of Birmingham's Metal Manufactory in 1867:- 'the discovery of the rich, dead, goldlike colour given to brasswork, and which has been introduced within the last thirty years, was the result of an accident. To produce it, the work is first scaled (or roughly cleaned) by immersion in a weak solution of acid. It is then what is technically called 'fezzed', viz passed through a stronger solution; 'deadening'
follows; and this is effected by means also of acid, but of such a degree of strength that the action of the metal though recognisable is not of a violent nature. Attention is necessary at this point, otherwise the work when finished will present
a mottled appearance. It is dried in sawdust, and is then passed through acid of ordinary strength and dipped into water,
of which there should always be an abundance at hand, until the acid be removed. The bright parts on the metal are
produced by steel burnishers. Gall is used in connection with them to prevent their scratching; and the article being
burnished, is from time to time plunged into argol (crude tartar) and water. When finished from the burnisher, it is dried out in box-wood dust and then lacquered' (J.B. Waring, Masterpieces of Industrial Art and Sculpture, London, 1862).
A set of four late Regency eight-light chandeliers of similar scale, also attributed to William Collins and measuring 65in by 49in (165 by 125cm.) were with John Hobbs, London in 2001.

NOTE: To be removed at the purchasers risk and expense before delivery deadline expires.