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Lot Essay
This impressive chimneypiece is modelled after a design by William Chambers (d. 1796), executed for Joseph Damer, Lord Milton, 1st Earl of Dorchester (d. 1798). It was almost certainly executed by Thomas Carter the Younger (d. 1795) for Lord Milton’s London townhouse, Milton House, Park Lane, and is of the same pattern as another, possibly its pair, at Milton Abbey, Dorset, Damer’s country seat. It was probably moved to neighbouring Camelford House in 1852 during refurbishments by the wealthy building contractor Sir John Kelk of Bentley Priory, Milton House having been demolished the previous year.
Chambers’ drawing, which is virtually identical to the present chimneypiece with characteristic Corinthian columns, distinctively surmounted by a small patera, is in the RIBA Library Drawings Collection (RIBA37287), and is one of eighteen chimneypiece designs for Milton Abbey, Dorset, endorsed between December 1774 and November 1775 (Harris, op. cit., p. 60). However, with the exception of the design for the present chimneypiece, the other designs may not have been executed (op. cit.). The Milton Abbey chimney occupies the 'Prince’s State Room’.
WILLIAM CHAMBERS, LORD MILTON AND THE LATER HISTORY
Chambers, Controller of the King's Works, and, from 1782, Surveyor-General, was engaged by Lord Milton after John Vardy’s death in 1765 to design a new house in Dorset, a porter’s lodge, 'gothicize’ the west front of the Abbey church, and plan a new model village, but by March 29th, 1774, their relationship had broken down over his lordship’s refusal to pay travelling expenses (Harris, op. cit., pp. 236-238). On this date, Chambers wrote to Lord Milton stating that although he had been ill-used he would see the project through 'as far as relates the carcas’; he subsequently resigned to be replaced firstly by 'Capability’ Brown (d. 1783), and later, James Wyatt (d. 1813) (BL Ms. 41136, f. 14). Chambers' departure explains why many of his designs were superseded by those of Wyatt at Milton Abbey.
The design for the present chimneypiece was almost certainly executed at another Chambers’ commission for Lord Milton, Milton House, Park Lane, London (later renamed Dorchester House) where a new wing was designed from circa 1768-1771, a period that coincides with Chambers’ work at Milton Abbey (BL Ms. 41133).
In 1912, this chimneypiece was photographed in the Saloon on the ground floor at Camelford House, Park Lane (Bradbury, op. cit., p. 131, figs. 114-115). A detailed comparison of the 1912 images and the present chimneypiece reveals the same minor damages including missing beadings, and a corresponding small repair to the cornice.
CAMELFORD HOUSE, PARK LANE
Camelford House was built in circa 1773-74, designed by its owner, Thomas Pitt, M.P., of Boconnoc (d. 1793), from 1784, 1st Baron Camelford, nephew of William Pitt the elder, and 'an amateur architect of some ability’ (Survey of London, vol. 40). Sir Thomas also designed chimneypieces; in 1774, the chimneypiece in the Gallery at Strawberry Hill, Middlesex is described as being 'designed by Mr. John Chute and Mr. Thomas Pitt of Boconnoch’; Sir Thomas also had a house at neighbouring Twickenham (Walpole, op. cit., p. 65). It is not known to what extent Pitt was responsible for the interior decoration of Camelford House, but it seems more than likely that he designed some of his own chimneypieces. Furthermore, there is no indication that Chambers undertook any work for Sir Thomas, although as one of the preeminent architect-designers of the period undoubtedly Sir Thomas was aware of his work. A common link between Chambers and Pitt might have been Sir John Soane. Chambers was an early mentor to the young Soane, while Pitt later employed him, but Camelford House was completed and occupied before Soane oversaw minor works in the early 1780s. In 1785, Soane produced an ambitious (but unfulfilled) scheme to reconstruct the two houses closest to Camelford House in Hereford Street as a headquarters for the Society of Dilettanti.
So it is very possible that the Saloon chimneypiece at Camelford House was in fact a later addition. This is supported by images of two other chimneypieces photographed at the property in 1912, one of which is of the period (but not Chambers’ work), the other probably Italian and hence certainly not original. In 1852, the civil engineer contractor, Sir John Kelk of Bentley Priory is recorded as having refurbished Camelford House. Intriguingly, this date coincides with the demolition of Milton House, Park Lane in 1851. It seems very likely that the present chimneypiece was removed from Milton House, reclaimed by John Kelk and incorporated in neighbouring Camelford House in 1852.
JOHN KELK
John Kelk was the son of a Soho ironsmith, who 'without powerful or wealthy connections' but 'by a combination of industry, intelligence and integrity' achieved great riches and became a prominent figure in society (Hermione Hobhouse, Oxford Dictionary of National Biography). One of London's foremost building and public works contractors of the day, Kelk was greatly admired by contemporaries for landmark sites that included the Great International Exhibition (1862), later the Victoria and Albert Museum, the Albert Memorial (1864), Millwall Docks (1868), Victoria Station (1858-60) and Smithfield Market (1866-9).
In 1863, on the back of his success, he purchased Bentley Priory, Middlesex, from James Hamilton, the 2nd Marquess (later Duke) of Abercorn. This 18th Century house had been significantly extended and enhanced by Sir John Soane in 1788-98, and John Kelk spent extravagantly both inside and out adding a picture gallery, library, clock tower and a Tuscan portico to the south front. In the grounds he built an orangery described as 'one of the most magnificent buildings of its kind in the country' together with an indoor lawn tennis court and a skating rink. He retained the estate until 1882 though in 1877 he had also acquired another country seat, Tedworth House, at Tidworth, Hampshire, which also saw extensive refurbishment. The 1897 auction catalogue for the contents of Tedworth suggests Kelk was emulating the fashionable aristocratic taste of the period in his choice of giltwood furniture in Louis XV and XVI styles. In the six principal reception rooms there were a number of 'carved and richly gilt' side tables, and 'fluted circular ebony pedestals...with wrought and chased ormolu wreath...enrichments'.
In 1875, in keeping with his improved status, he also purchased 3 Grosvenor Square, London (at a cost of £15,000), for some nineteen years of the existing lease (the property had previously been occupied for a short time by Viscountess Ossington née Cavendish-Bentinck, daughter of the 4th Duke of Portland). Kelk declared his intention 'to make the house the handsomest on the estate'. In fact he almost completely rebuilt the house and, as at Bentley, proceeded to furnish it in lavish style.
THOMAS CARTER THE YOUNGER
The present chimneypiece was almost certainly executed by Thomas Carter the younger (Harris, op. cit., p. 60). Carter the younger also supplied three designs for chimneypieces for Milton Abbey albeit for secondary bedrooms, and a photograph of a very similar chimneypiece, whereabouts unknown, attributed to him, and described as 'designed by Robert Adam’, is at the Courtauld Institute, London (RIBA Library).
The Carter family were London-based sculptors who established themselves primarily as carvers of chimneypieces in the mid-eighteenth century. Initially founded by two older brothers, Thomas and Benjamin, who often worked together, the former was later replaced by his nephew and son-in-law, Thomas Carter the younger. He inherited the business upon the death of Thomas the elder in 1756 and formed a more solid partnership with his uncle Benjamin. The firm was considered amongst 'the first statuaries of the Kingdom', and was one of the most important 'artificers' engaged by Chambers’ rival, Robert Adam (d. 1792). Among their principal craftsmen were P.M. van Gelder, of Amsterdam, and John Eckstein, who was later appointed sculptor to Frederick the Great of Prussia. Other notable commissions included Croome Court, Worcestershire, and Bowood, Wiltshire (the latter two to Adam designs), Lansdowne House, London, and Woburn Abbey, Bedfordshire.
We would like to thank John Davis for his assistance in the compilation of this note.
Chambers’ drawing, which is virtually identical to the present chimneypiece with characteristic Corinthian columns, distinctively surmounted by a small patera, is in the RIBA Library Drawings Collection (RIBA37287), and is one of eighteen chimneypiece designs for Milton Abbey, Dorset, endorsed between December 1774 and November 1775 (Harris, op. cit., p. 60). However, with the exception of the design for the present chimneypiece, the other designs may not have been executed (op. cit.). The Milton Abbey chimney occupies the 'Prince’s State Room’.
WILLIAM CHAMBERS, LORD MILTON AND THE LATER HISTORY
Chambers, Controller of the King's Works, and, from 1782, Surveyor-General, was engaged by Lord Milton after John Vardy’s death in 1765 to design a new house in Dorset, a porter’s lodge, 'gothicize’ the west front of the Abbey church, and plan a new model village, but by March 29th, 1774, their relationship had broken down over his lordship’s refusal to pay travelling expenses (Harris, op. cit., pp. 236-238). On this date, Chambers wrote to Lord Milton stating that although he had been ill-used he would see the project through 'as far as relates the carcas’; he subsequently resigned to be replaced firstly by 'Capability’ Brown (d. 1783), and later, James Wyatt (d. 1813) (BL Ms. 41136, f. 14). Chambers' departure explains why many of his designs were superseded by those of Wyatt at Milton Abbey.
The design for the present chimneypiece was almost certainly executed at another Chambers’ commission for Lord Milton, Milton House, Park Lane, London (later renamed Dorchester House) where a new wing was designed from circa 1768-1771, a period that coincides with Chambers’ work at Milton Abbey (BL Ms. 41133).
In 1912, this chimneypiece was photographed in the Saloon on the ground floor at Camelford House, Park Lane (Bradbury, op. cit., p. 131, figs. 114-115). A detailed comparison of the 1912 images and the present chimneypiece reveals the same minor damages including missing beadings, and a corresponding small repair to the cornice.
CAMELFORD HOUSE, PARK LANE
Camelford House was built in circa 1773-74, designed by its owner, Thomas Pitt, M.P., of Boconnoc (d. 1793), from 1784, 1st Baron Camelford, nephew of William Pitt the elder, and 'an amateur architect of some ability’ (Survey of London, vol. 40). Sir Thomas also designed chimneypieces; in 1774, the chimneypiece in the Gallery at Strawberry Hill, Middlesex is described as being 'designed by Mr. John Chute and Mr. Thomas Pitt of Boconnoch’; Sir Thomas also had a house at neighbouring Twickenham (Walpole, op. cit., p. 65). It is not known to what extent Pitt was responsible for the interior decoration of Camelford House, but it seems more than likely that he designed some of his own chimneypieces. Furthermore, there is no indication that Chambers undertook any work for Sir Thomas, although as one of the preeminent architect-designers of the period undoubtedly Sir Thomas was aware of his work. A common link between Chambers and Pitt might have been Sir John Soane. Chambers was an early mentor to the young Soane, while Pitt later employed him, but Camelford House was completed and occupied before Soane oversaw minor works in the early 1780s. In 1785, Soane produced an ambitious (but unfulfilled) scheme to reconstruct the two houses closest to Camelford House in Hereford Street as a headquarters for the Society of Dilettanti.
So it is very possible that the Saloon chimneypiece at Camelford House was in fact a later addition. This is supported by images of two other chimneypieces photographed at the property in 1912, one of which is of the period (but not Chambers’ work), the other probably Italian and hence certainly not original. In 1852, the civil engineer contractor, Sir John Kelk of Bentley Priory is recorded as having refurbished Camelford House. Intriguingly, this date coincides with the demolition of Milton House, Park Lane in 1851. It seems very likely that the present chimneypiece was removed from Milton House, reclaimed by John Kelk and incorporated in neighbouring Camelford House in 1852.
JOHN KELK
John Kelk was the son of a Soho ironsmith, who 'without powerful or wealthy connections' but 'by a combination of industry, intelligence and integrity' achieved great riches and became a prominent figure in society (Hermione Hobhouse, Oxford Dictionary of National Biography). One of London's foremost building and public works contractors of the day, Kelk was greatly admired by contemporaries for landmark sites that included the Great International Exhibition (1862), later the Victoria and Albert Museum, the Albert Memorial (1864), Millwall Docks (1868), Victoria Station (1858-60) and Smithfield Market (1866-9).
In 1863, on the back of his success, he purchased Bentley Priory, Middlesex, from James Hamilton, the 2nd Marquess (later Duke) of Abercorn. This 18th Century house had been significantly extended and enhanced by Sir John Soane in 1788-98, and John Kelk spent extravagantly both inside and out adding a picture gallery, library, clock tower and a Tuscan portico to the south front. In the grounds he built an orangery described as 'one of the most magnificent buildings of its kind in the country' together with an indoor lawn tennis court and a skating rink. He retained the estate until 1882 though in 1877 he had also acquired another country seat, Tedworth House, at Tidworth, Hampshire, which also saw extensive refurbishment. The 1897 auction catalogue for the contents of Tedworth suggests Kelk was emulating the fashionable aristocratic taste of the period in his choice of giltwood furniture in Louis XV and XVI styles. In the six principal reception rooms there were a number of 'carved and richly gilt' side tables, and 'fluted circular ebony pedestals...with wrought and chased ormolu wreath...enrichments'.
In 1875, in keeping with his improved status, he also purchased 3 Grosvenor Square, London (at a cost of £15,000), for some nineteen years of the existing lease (the property had previously been occupied for a short time by Viscountess Ossington née Cavendish-Bentinck, daughter of the 4th Duke of Portland). Kelk declared his intention 'to make the house the handsomest on the estate'. In fact he almost completely rebuilt the house and, as at Bentley, proceeded to furnish it in lavish style.
THOMAS CARTER THE YOUNGER
The present chimneypiece was almost certainly executed by Thomas Carter the younger (Harris, op. cit., p. 60). Carter the younger also supplied three designs for chimneypieces for Milton Abbey albeit for secondary bedrooms, and a photograph of a very similar chimneypiece, whereabouts unknown, attributed to him, and described as 'designed by Robert Adam’, is at the Courtauld Institute, London (RIBA Library).
The Carter family were London-based sculptors who established themselves primarily as carvers of chimneypieces in the mid-eighteenth century. Initially founded by two older brothers, Thomas and Benjamin, who often worked together, the former was later replaced by his nephew and son-in-law, Thomas Carter the younger. He inherited the business upon the death of Thomas the elder in 1756 and formed a more solid partnership with his uncle Benjamin. The firm was considered amongst 'the first statuaries of the Kingdom', and was one of the most important 'artificers' engaged by Chambers’ rival, Robert Adam (d. 1792). Among their principal craftsmen were P.M. van Gelder, of Amsterdam, and John Eckstein, who was later appointed sculptor to Frederick the Great of Prussia. Other notable commissions included Croome Court, Worcestershire, and Bowood, Wiltshire (the latter two to Adam designs), Lansdowne House, London, and Woburn Abbey, Bedfordshire.
We would like to thank John Davis for his assistance in the compilation of this note.