A suite of George III white and gilt seat furniture, comprising five armchairs and a settee, circa 1785

the padded backs within moulded frames flanked by turned fluted uprights, the downswept moulded arms with spirally-turned supports with leaf carved baluster section, the padded buttoned seat with a moulded seat rail, on spirally-turned tapering legs headed by paterae, decoration restored

Overall in fair conserved condition and structurally sound. Of fine proportions with well carved decoration. The painted and gilded decoration restored and with small chips, scratches and rubbing consistent with age and use. One with a break to arm, one with a restoration to arm.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This suite of chairs relates closely to the work of 18^th century cabinet maker B Harmer. A versatile and prodigious chair maker Harmer’s output formed part of some of the most fashionable interior decoration firms designs of the late 18^th century. A magnificent suite of dolphin seat furniture, formerly attributed to Marsh and Tatham, at Powderham castle are perhaps Harmer’s finest known works (sold Christie’s, London, 5 July 1990, lot 50 and 51). However, a set of hall chairs at Petworth bearing his stamp suggest that Harmer’s work is perhaps more widely spread than the current scholarship is aware of.

The design of the chairs in this suite reflects the late 18^th century English taste for the Louis XVI Directoire style; reflected in Henry Holland’s decoration of Carlton House for the Prince of Wales. The rectilinear form, spiral fluted legs and back flanked by columnar styles all point to a more architectural form and relate closely to Thomas Sheraton’s designs in the newest taste printed in The Cabinetmaker and Upholsterers Drawing Book (1791-94).