A Pretty George III Chippendale Period Giltwood Single Chair c.1760
SOLD
Origin: English
Period: George III
Provenance: Unknown
Date: c.1760-70
Width: 21”
Height: 35”
Depth: 16.5” (all at extremities)
The George III carved giltwood neo-classical single salon chair in the manner of Thomas Chippendale, the oval shaped back having an exposed back strut, the front with a guilloche pattern surmounted by a laurel wreath tied with ribbon, the seat and back upholstered in the original gold silk damask, the frieze fluted, the front legs with floral patterae to each surviving from the third quarter of eighteenth century England.
The chair is in very original though tired condition, the giltwood beautifully worn in the right areas with some chipping and loss. The original upholstery is shot to the seat but in tact to the back. There are two sections of loss to the reverse of the chair where the middle section strut joins the two flanks. One of the bun feet to the rear legs is lacking. This entire ensemble is original and proves charming as a tired but wonderfully authentic country house piece, which remains completely in ‘as found’ order. It could of course be restored if so desired but as stands it represents the natural decay and wonderful elegance that comes with faded grandeur.
Features of this chair have strong similarities to chairs by Thomas Chippendale. Most of the Chippendale furniture from stately homes is in restrained neo-classical style, much like this chair, owing much to the architect Robert Adam. The book of designs made Chippendale's reputation, but it was only after his fame had spread that aristocratic clients began to commission furniture from him, by which time, rococo was out and neo-classical was in.
Chippendale may be the best known of all British furniture makers but his work is hard to collect. He didn't sign or label his furniture, so only the pieces made for stately homes, whose stewards kept the bills, can demonstrably be described as his very own. Most 'Chippendale' furniture was made by other cabinetmakers, using Chippendale's designs with both clients and craftsman owning Chippendale's book, with the clients picking their favoured designs and the craftsman executing them.
Very pretty and resplendently English country house.
Period: George III
Provenance: Unknown
Date: c.1760-70
Width: 21”
Height: 35”
Depth: 16.5” (all at extremities)
The George III carved giltwood neo-classical single salon chair in the manner of Thomas Chippendale, the oval shaped back having an exposed back strut, the front with a guilloche pattern surmounted by a laurel wreath tied with ribbon, the seat and back upholstered in the original gold silk damask, the frieze fluted, the front legs with floral patterae to each surviving from the third quarter of eighteenth century England.
The chair is in very original though tired condition, the giltwood beautifully worn in the right areas with some chipping and loss. The original upholstery is shot to the seat but in tact to the back. There are two sections of loss to the reverse of the chair where the middle section strut joins the two flanks. One of the bun feet to the rear legs is lacking. This entire ensemble is original and proves charming as a tired but wonderfully authentic country house piece, which remains completely in ‘as found’ order. It could of course be restored if so desired but as stands it represents the natural decay and wonderful elegance that comes with faded grandeur.
Features of this chair have strong similarities to chairs by Thomas Chippendale. Most of the Chippendale furniture from stately homes is in restrained neo-classical style, much like this chair, owing much to the architect Robert Adam. The book of designs made Chippendale's reputation, but it was only after his fame had spread that aristocratic clients began to commission furniture from him, by which time, rococo was out and neo-classical was in.
Chippendale may be the best known of all British furniture makers but his work is hard to collect. He didn't sign or label his furniture, so only the pieces made for stately homes, whose stewards kept the bills, can demonstrably be described as his very own. Most 'Chippendale' furniture was made by other cabinetmakers, using Chippendale's designs with both clients and craftsman owning Chippendale's book, with the clients picking their favoured designs and the craftsman executing them.
Very pretty and resplendently English country house.