Lot 105
A set of three George III carved giltwood open armchairs in the manner of Thomas Chippendale
6 March 2013, 14:00 GMT
London, New Bond StreetSold for £11,250 inc. premium
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A set of three George III carved giltwood open armchairs
in the manner of Thomas Chippendale
The oval moulded padded backs with anthemion carved crestings above outswept scrolled padded arms and serpentine seats, with shaped moulded seatrails centred by paterae on turned fluted legs headed by stiff leaves, on lobed feet, with 'V' cut cramp marks and baton holes to the underside.(3)
The oval moulded padded backs with anthemion carved crestings above outswept scrolled padded arms and serpentine seats, with shaped moulded seatrails centred by paterae on turned fluted legs headed by stiff leaves, on lobed feet, with 'V' cut cramp marks and baton holes to the underside.(3)
Footnotes
Provenance: Lord Ardilaun (Arthur Guinness, 1840-1915) at Ashford Castle, Co. Mayo and then at St. Anne's his home in Dublin:
Thence by descent to the present owner
Certain elements in the design of the present armchairs including the anthemion cresting and patera to the seat-rail, can be associated with the repertoire of ornament commonly employed by a group of London furniture makers such as Thomas Chippendale and Ince and Mayhew and William and John Linnell. Related features and closely comparable legs are exhibited on one of a pair of bergères belonging to a suite of seat furniture supplied by Thomas Chippendale in 1772, for the drawing room of Garrick's house in Royal Adelphi Terrace, London. The use of horizontally orientated oval paterae and a similar form of leg with leaf-carved cap and reeded gadrooned foot are again paralleled on one of a set of six 'library chairs' supplied by the same maker for Roland Winn at Nostell Priory in 1768 (see Christopher Gilbert, The Life and Works of Thomas Chippendale, 1978, pp. 92 and 98, pls. 150 and 160). In addition to the ornament, the underside of the seatrails here feature slots for securing cramps and baton holes which are also characteristic of workshop practises associated with Thomas Chippendale (see Gilbert op. cit. p. 113, pls. 195 and 196)