A fine George II mahogany armchair, the shaped toprail carved with a rosette between C-scrolls and acanthus leaves above an open-work vase-shaped splat looped and carved with rosettes and shaped, out-sweeping arms ending in scrolls of acanthus. The drop in seat covered with colourful floral petit-point eighteenth-century needlework, inside plain front and side rails with a top moulding of ovolo bead, standing on two cabriole front legs also carved with acanthus terminating in claw and ball feet and two rear down-sweeping legs ending in pads.

This chair is a fine example with high quality carving and an exceptionally rich warm colour and patina.

This chair is of pure and classic design, representative of the early Chippendale school pre the publication of the Director in 1754. The manner in which the acanthus leaves travel down the legs is typical of Chippendale design between 1740-50, and other features bear resemblance to chairs produced by his workshop at this time, namely the plain perforated splat and undulating serpentine top rail which both suggest a date between 1745 and 1750. The elegant splat is here of simple strap-work, preserving the outline and vase shape that was the base for Chippendale’s prodigious carvings.

The bold cabriole front legs and claw and ball feet bestow the chair great presence and stature and are also typical of taste circa 1745-50. The breadth of the acanthus on their knees and earpieces represents a slight departure from Chippendale’s preference for a narrower, more concise motif and is reminiscent of the work of other eminent makers of the time.

Alongside its form and proportions and high quality design and carving, the chair is made from particularly well-selected timber, another hallmark of Chippendale’s work. The mahogany is dense and tightly grained and has a wonderfully rich colour and patina.