An important pair of George II tapestry-upholstered giltwood armchairs in the manner of Thomas Chippendale Circa 1755

Mallett, London (possibly the pair covered with red damask upholstery)

Lanto Synge, Mallett Millennium, Woodbridge, 1999, p. 150, fig. 176 (possibly the pair covered with red damask upholstery)

Good restored condition, re-gilt; tapestry covers are contemporary with the chairs but are not the original upholstery. The first chair with sun-fading to the tapestry cover and with some restorations; the tapestry is stable; the gilding with some flaking and losses mainly around the apron, legs and feet; the feet with some old worm damage and with minor chips and losses; originally fitted with casters, the underside of the feet now fitted with small blocks; the top of the left side rail spliced with a reinforcement batten approximately 1 ½ inches deep and running almost the length of the rail. The left side rail with old worm damage and appears to have been sanded down slightly to the interior edge; the other rails with minor worm damage; the back right leg with possible old repaired break join with the back rail. It appears that there are reinforcements to the backrest which can be seen when one looks at the underside of the chair where the back legs join with the back and side rails. The second chair maintaining strong colors to the tapestry and with some restorations; the tapestry is stable; the gilding with some flaking and losses mainly around the apron, legs and feet; the feet with some old worm damage and with minor chips and losses; originally fitted with casters, the underside of the feet now fitted with small blocks; the top of the right side rail spliced with a reinforcement batten approximately 1 ½ inches deep and running almost the length of the rail; the right side armrest support extends slightly more into the rail which probably occurred when it was re-attached to the rail after the rail was restored – however, this does not affect the external proportions; the other rails with minor worm damage. It appears that there are reinforcements to the backrest which can be seen when one looks at the underside of the chair where the back legs join with the back and side rails.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The form of the present chairs is strongly influenced by the designs for 'French Chairs' published by Thomas Chippendale in The Gentleman and Cabinet-Maker's Director, 1st ed., 1754, as well as an unpublished manuscript drawing of a 'French Chair' circa 1760.  The fluidity of form with the boldly outswept and scrolled arms with the scrolled leaf and cabochon clasps with rising acanthus leaf supports, the molded paneled seat frame centered by a foliate cartouche, and the conforming cabriole legs with scrolled acanthus enriched toes, indicate an original design conceived and executed by an exceptional craftsman.

The present chairs are nearly identical to a suite of seat furniture, part of which is shown in a photograph of the White Drawing Room at Moor Park, illustrated in H. Avray Tipping, English Homes, Period V, vol. I, Early Georgian, 1714-1760, London, 1921, fig. 219, p. 179, and The English Interior, by A. Stratton, London, 1920, pl. LXXXII, which also shows a sofa. This suite was acquired by Sir Everard Radcliffe, Bt. at an unknown date for the Drawing Room at Rudding Park, Harrogate, (C. Hussey, English Country Houses Late Georgian 1800-1840, London, 1955, figs. 141-142). These, together with a further pair of chairs and a sofa being sold at Sotheby's, London, November 17, 1989. Another armchair from the suite was sold, Sotheby's, New York, October 23, 1998, lot 344.  Two pairs of chairs were in the Collection of Mr. and Mrs. Saul P. Steinberg and sold in these rooms, May 26, 200, lots 153 ($159,750) and 154 ($159,750); these chairs were with Tony Ingrao and sold in these rooms, October 20, 2006, lot 81 ($168,000 and lot 82 ($168,000).

Moor Park

Moor Park was rebuilt on the site of an earlier house for Sir Benjamin Styles after 1720, and was then acquired by Admiral Lord Anson in 1754. It was then purchased by Sir Lawrence Dundas, Bt., in 1763, who also owned other houses at Aske, near Richmond in Yorkshire, and Kerse in Scotland. Sir Lawrence commenced extensive alterations to Moor Park, and also to his London house at 19 Arlington Street under the architect Robert Adam in the fashionable neo-classical taste, employing the finest craftsmen, and using some of the most important cabinetmakers and upholsterers in London, including Thomas Chippendale, William France, William Vile and John Cobb and Samuel Norman.  It is also worth comparing a suite of seat furniture including a set of ten 'French Chairs' and three sofas which Chippendale made for Dundas at his 19 Arlington Street residence.  Like the present chairs, and the ones at Moor Park, the Arlington chairs are rococo in manner rather than neoclassical though they were supplied in 1766 and are markedly different from the suite of furniture which Robert Adam designed for Dundas at Aske Hall which Chippendale executed the previous year in 1765. (illustrated in Christopher Gilbert, The Life and Works of Thomas Chippendale, New York, 1978, p. 105, fig. 177)