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拍品專文
The chairs follow a pattern for ‘Ribband Back Chairs’ published in Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director, 3rd edn., 1762, pl. XV. Chippendale observes of the three designs featured: ‘Several Sets have been made, which have given entire satisfaction. If any of the small ornaments should be thought superfluous, they may be left out, without spoiling the design. If the seats are covered with red Morocco, they will have a fine effect.’
Certain construction features of these chairs, notably the laminate construction of the back-splats, are inconsistent with eighteenth century cabinet-making. They were therefore likely made in the early nineteenth century, during a revived interest in Georgian rococo design. This revival is evident in John Weale’s publication of Chippendale’s Designs for Sconces, Chimney and Looking-Glass Frames in the Old French Style, circa 1833, which reissued mid-eighteenth century copper plates by Matthias Lock and Thomas Johnson (though none by Chippendale himself) (M. Heckscher, ‘Lock and Copland: A Catalogue of the Engraved Ornament’, Furniture History, 1979, p. 8). Two further editions were issued in 1834 and 1835 (C. Gilbert, The Life and Work of Thomas Chippendale, p. 311).
Other examples of this pattern, likely from the same set, are also thought to be nineteenth century in date. Four side chairs and a settee at the Victoria and Albert Museum, London (bequest of Mr. C.B.O. Clarke, Wiston Park, Sussex, 1935) were profiled in Apollo Magazine the same year. The V&A pieces are illustrated in several publications: one chair appears in G. Wills, Craftsmen and Cabinet-Makers of Classic English Furniture, New York, 1974, p. 49, fig. 36; and in F.L. Hinckley, Masterpieces of Queen Anne and Georgian Furniture, New York, 1991, p. 72, pl. 43, fig. 104.
Certain construction features of these chairs, notably the laminate construction of the back-splats, are inconsistent with eighteenth century cabinet-making. They were therefore likely made in the early nineteenth century, during a revived interest in Georgian rococo design. This revival is evident in John Weale’s publication of Chippendale’s Designs for Sconces, Chimney and Looking-Glass Frames in the Old French Style, circa 1833, which reissued mid-eighteenth century copper plates by Matthias Lock and Thomas Johnson (though none by Chippendale himself) (M. Heckscher, ‘Lock and Copland: A Catalogue of the Engraved Ornament’, Furniture History, 1979, p. 8). Two further editions were issued in 1834 and 1835 (C. Gilbert, The Life and Work of Thomas Chippendale, p. 311).
Other examples of this pattern, likely from the same set, are also thought to be nineteenth century in date. Four side chairs and a settee at the Victoria and Albert Museum, London (bequest of Mr. C.B.O. Clarke, Wiston Park, Sussex, 1935) were profiled in Apollo Magazine the same year. The V&A pieces are illustrated in several publications: one chair appears in G. Wills, Craftsmen and Cabinet-Makers of Classic English Furniture, New York, 1974, p. 49, fig. 36; and in F.L. Hinckley, Masterpieces of Queen Anne and Georgian Furniture, New York, 1991, p. 72, pl. 43, fig. 104.