A set of four George II walnut side chairs, circa 1730

each splat painted with the crest of Vaughan of Courtfield, the drop in seats upholstered with later floral gros point needlework, the front seat rail of each incised II, V, VIII and XII respectively

Possibly supplied to John Vaughan (1676-1754) for Courtfield, Welsh Bicknor;
Thence by descent

Overall in reasonable conserved condition with typical restorations consistent with age and use. The back rests with areas of re-veneering and some repaired breaks. Surface cracks, lifting and repairs to some walnut veneers consistent with age. Painted crests with minor losses and areas of retouching but with a nice craquelure to the surface. There are replaced sections to the carving, notably to the scroll of one of the vase-shaped back spats and to some of the acanthus carved ears of the front legs. One front leg with a crude splice repair. Some loses to the claw feet. Signs of old worm which no longer appears to be active. Old marks and scratches throughout commensurate with age and use. The later drop in seats with fabric covers. Sound and sturdy and ready to use.
"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."

The painted crest to each back splat is that of the Vaughan's of Courtfield who hailed from Welsh Bicknor. As its name suggests, it has close ties with Wales, having been a detached parish of Monmouthshire. The manor house and surrounding land of Welsh Bicknor belonged to the Vaughan family, although in 1651 Richard Vaughan, who was a Catholic, had his land sequestered and given to Phillip Nicholas of Llansoy, in Monmouthshire. Religious dissension within the Vaughan families continued for several generations. In 1715, a John Vaughan - presumably one of Richard's descendants - refused the oath of allegiance to George I. He had estates in the several counties of Monmouthshire, Radnorshire, Herefordshire, and Gloucestershire valued at £1,000 per annum. In 1719 he was fined for not attending church.

The chairs share much in common with Giles Grendy's labelled oeuvre, making him a possible candidate for their authorship. Technically, they are very accomplished. The curved back was a product of some complexity requiring additional timber for the thicknessing of the back rest. The chairs would have belonged to a much larger suite - possibly up to twelve chairs corresponding with the incised numerals to the seat rails - and would have been intended to complement the emerging neo-Palladian iconography of the interior decoration. The dominant theme here is Venus, goddess of love, which is expressed emphatically with the scalloped shell cresting and apron. The leafy scrolled knee is a vestige from chair design of the 1720s, but the claw and ball foot is a distinctive Palladian device, thought to evoke Jupiter, supreme ruler of gods and mortals whose symbol was the eagle. Through the work of William Kent, Lord Burlington and his circle, these classical motifs soon became universal and epitomise the early Georgian aesthetic.