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A pair of George III carved giltwood armchairs, circa 1775, attributed to Thomas Chippendale
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Description
A pair of George III carved giltwood armchairs, circa 1775, attributed to Thomas Chippendale
the oval upholstered backs with ribbon-tied husk decoration, with scrolled arms on lappeted supports, with serpentine fluted seat rails and reeded tapering legs, with pearled toupie feet, the undersides of the seat frames with cramp cuts, re-gilt
Catalogue note
Thomas Chippendale (1718-1779) is arguably the greatest English cabinetmaker of the eighteenth century, but like most makers of the period, he did not stamp his works in the way that French ébénistes usually did. As a result, any attributions that are not part of recorded commissions of furniture rest on stylistic comparisons with other Chippendale pieces, of which there are numerous for the various decorative elements on the present pair of armchairs. Ultimately, this style derives from the ‘French chairs’ that are illustrated in the third edition of The Gentleman & Cabinet-Maker’s Director, pl. XIX.1The example by Chippendale most closely related to these chairs can be found at Petworth House, West Sussex, in a set of 8 (NT 483451.5). This set combines the legs, armrests and cresting that are found separately across Chippendale’s oeuvre and so are the nearest match to the present lot. The scrolled and channelled treatment of the arms on the present lot can be seen on the Petworth chairs, and also an armchair in the Royal Collection (RCIN 100201), with additional beaded carving to reflect the more luxurious carving overall. Additional Chippendale examples with similar arms from Newby Hall and Harewood House are also illustrated in Gilbert’s monograph on Chippendale,1 and an example of the Royal Collection model also sold at Sotheby’s London, 27th September 2012, lot 135.
In addition to the distinctive arms, other features of the present lot are observable on Chippendale models. The combination of a straight front leg and a gently scrolled cabriole back leg marks Chippendale’s awareness of the transition in taste from the Rococo to the Neoclassical, and Gilbert’s monograph includes photographs of numerous extant models with a similar combination.2 An unusual feature of the present lot is the continuously curved seat rail, since most of the Chippendale chairs close to this model take the lead from the Louis XVI manner and have rosette-centred blocks at the corners. Chippendale examples of a continuously-curved rail can be seen on the suite in the Tapestry Room of Newby Hall,4 and also on the Saloon chairs at Nostell Priory (NT 959736). All of the above-mentioned comparable examples feature seat backs centred by a carved decoration, though varying in size and complexity depending on the mode.
1 Thomas Chippendale, The Gentleman & Cabinet-Maker’s Director, 3rd edn, Toronto, 1966 reprint, pl. XIX.
2 Christopher Gilbert, The Life & Work of Thomas Chippendale, London, 1978, vol II, p.107, figs. 180-181.
3 Idem., figs. 183, 187, 189-196, 201.
4 Idem., fig 180
the oval upholstered backs with ribbon-tied husk decoration, with scrolled arms on lappeted supports, with serpentine fluted seat rails and reeded tapering legs, with pearled toupie feet, the undersides of the seat frames with cramp cuts, re-gilt
Catalogue note
Thomas Chippendale (1718-1779) is arguably the greatest English cabinetmaker of the eighteenth century, but like most makers of the period, he did not stamp his works in the way that French ébénistes usually did. As a result, any attributions that are not part of recorded commissions of furniture rest on stylistic comparisons with other Chippendale pieces, of which there are numerous for the various decorative elements on the present pair of armchairs. Ultimately, this style derives from the ‘French chairs’ that are illustrated in the third edition of The Gentleman & Cabinet-Maker’s Director, pl. XIX.1The example by Chippendale most closely related to these chairs can be found at Petworth House, West Sussex, in a set of 8 (NT 483451.5). This set combines the legs, armrests and cresting that are found separately across Chippendale’s oeuvre and so are the nearest match to the present lot. The scrolled and channelled treatment of the arms on the present lot can be seen on the Petworth chairs, and also an armchair in the Royal Collection (RCIN 100201), with additional beaded carving to reflect the more luxurious carving overall. Additional Chippendale examples with similar arms from Newby Hall and Harewood House are also illustrated in Gilbert’s monograph on Chippendale,1 and an example of the Royal Collection model also sold at Sotheby’s London, 27th September 2012, lot 135.
In addition to the distinctive arms, other features of the present lot are observable on Chippendale models. The combination of a straight front leg and a gently scrolled cabriole back leg marks Chippendale’s awareness of the transition in taste from the Rococo to the Neoclassical, and Gilbert’s monograph includes photographs of numerous extant models with a similar combination.2 An unusual feature of the present lot is the continuously curved seat rail, since most of the Chippendale chairs close to this model take the lead from the Louis XVI manner and have rosette-centred blocks at the corners. Chippendale examples of a continuously-curved rail can be seen on the suite in the Tapestry Room of Newby Hall,4 and also on the Saloon chairs at Nostell Priory (NT 959736). All of the above-mentioned comparable examples feature seat backs centred by a carved decoration, though varying in size and complexity depending on the mode.
1 Thomas Chippendale, The Gentleman & Cabinet-Maker’s Director, 3rd edn, Toronto, 1966 reprint, pl. XIX.
2 Christopher Gilbert, The Life & Work of Thomas Chippendale, London, 1978, vol II, p.107, figs. 180-181.
3 Idem., figs. 183, 187, 189-196, 201.
4 Idem., fig 180
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A pair of George III carved giltwood armchairs, circa 1775, attributed to Thomas Chippendale
the oval upholstered backs with ribbon-tied husk decoration, with scrolled arms on lappeted supports, with serpentine fluted seat rails and reeded tapering legs, with pearled toupie feet, the undersides of the seat frames with cramp cuts, re-gilt
Catalogue note
Thomas Chippendale (1718-1779) is arguably the greatest English cabinetmaker of the eighteenth century, but like most makers of the period, he did not stamp his works in the way that French ébénistes usually did. As a result, any attributions that are not part of recorded commissions of furniture rest on stylistic comparisons with other Chippendale pieces, of which there are numerous for the various decorative elements on the present pair of armchairs. Ultimately, this style derives from the ‘French chairs’ that are illustrated in the third edition of The Gentleman & Cabinet-Maker’s Director, pl. XIX.1The example by Chippendale most closely related to these chairs can be found at Petworth House, West Sussex, in a set of 8 (NT 483451.5). This set combines the legs, armrests and cresting that are found separately across Chippendale’s oeuvre and so are the nearest match to the present lot. The scrolled and channelled treatment of the arms on the present lot can be seen on the Petworth chairs, and also an armchair in the Royal Collection (RCIN 100201), with additional beaded carving to reflect the more luxurious carving overall. Additional Chippendale examples with similar arms from Newby Hall and Harewood House are also illustrated in Gilbert’s monograph on Chippendale,1 and an example of the Royal Collection model also sold at Sotheby’s London, 27th September 2012, lot 135.
In addition to the distinctive arms, other features of the present lot are observable on Chippendale models. The combination of a straight front leg and a gently scrolled cabriole back leg marks Chippendale’s awareness of the transition in taste from the Rococo to the Neoclassical, and Gilbert’s monograph includes photographs of numerous extant models with a similar combination.2 An unusual feature of the present lot is the continuously curved seat rail, since most of the Chippendale chairs close to this model take the lead from the Louis XVI manner and have rosette-centred blocks at the corners. Chippendale examples of a continuously-curved rail can be seen on the suite in the Tapestry Room of Newby Hall,4 and also on the Saloon chairs at Nostell Priory (NT 959736). All of the above-mentioned comparable examples feature seat backs centred by a carved decoration, though varying in size and complexity depending on the mode.
1 Thomas Chippendale, The Gentleman & Cabinet-Maker’s Director, 3rd edn, Toronto, 1966 reprint, pl. XIX.
2 Christopher Gilbert, The Life & Work of Thomas Chippendale, London, 1978, vol II, p.107, figs. 180-181.
3 Idem., figs. 183, 187, 189-196, 201.
4 Idem., fig 180
the oval upholstered backs with ribbon-tied husk decoration, with scrolled arms on lappeted supports, with serpentine fluted seat rails and reeded tapering legs, with pearled toupie feet, the undersides of the seat frames with cramp cuts, re-gilt
Catalogue note
Thomas Chippendale (1718-1779) is arguably the greatest English cabinetmaker of the eighteenth century, but like most makers of the period, he did not stamp his works in the way that French ébénistes usually did. As a result, any attributions that are not part of recorded commissions of furniture rest on stylistic comparisons with other Chippendale pieces, of which there are numerous for the various decorative elements on the present pair of armchairs. Ultimately, this style derives from the ‘French chairs’ that are illustrated in the third edition of The Gentleman & Cabinet-Maker’s Director, pl. XIX.1The example by Chippendale most closely related to these chairs can be found at Petworth House, West Sussex, in a set of 8 (NT 483451.5). This set combines the legs, armrests and cresting that are found separately across Chippendale’s oeuvre and so are the nearest match to the present lot. The scrolled and channelled treatment of the arms on the present lot can be seen on the Petworth chairs, and also an armchair in the Royal Collection (RCIN 100201), with additional beaded carving to reflect the more luxurious carving overall. Additional Chippendale examples with similar arms from Newby Hall and Harewood House are also illustrated in Gilbert’s monograph on Chippendale,1 and an example of the Royal Collection model also sold at Sotheby’s London, 27th September 2012, lot 135.
In addition to the distinctive arms, other features of the present lot are observable on Chippendale models. The combination of a straight front leg and a gently scrolled cabriole back leg marks Chippendale’s awareness of the transition in taste from the Rococo to the Neoclassical, and Gilbert’s monograph includes photographs of numerous extant models with a similar combination.2 An unusual feature of the present lot is the continuously curved seat rail, since most of the Chippendale chairs close to this model take the lead from the Louis XVI manner and have rosette-centred blocks at the corners. Chippendale examples of a continuously-curved rail can be seen on the suite in the Tapestry Room of Newby Hall,4 and also on the Saloon chairs at Nostell Priory (NT 959736). All of the above-mentioned comparable examples feature seat backs centred by a carved decoration, though varying in size and complexity depending on the mode.
1 Thomas Chippendale, The Gentleman & Cabinet-Maker’s Director, 3rd edn, Toronto, 1966 reprint, pl. XIX.
2 Christopher Gilbert, The Life & Work of Thomas Chippendale, London, 1978, vol II, p.107, figs. 180-181.
3 Idem., figs. 183, 187, 189-196, 201.
4 Idem., fig 180
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