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ENGLISH FURNITURE & ASIAN ART

Seating

Open a larger version of the following image in a popup: THE SPETCHLEY PARK SUITE OF EIGHT GEORGE II MAHOGANY ARMCHAIRS, ENGLISH, CIRCA 1755 - 60
Open a larger version of the following image in a popup: THE SPETCHLEY PARK SUITE OF EIGHT GEORGE II MAHOGANY ARMCHAIRS, ENGLISH, CIRCA 1755 - 60
Open a larger version of the following image in a popup: THE SPETCHLEY PARK SUITE OF EIGHT GEORGE II MAHOGANY ARMCHAIRS, ENGLISH, CIRCA 1755 - 60
Open a larger version of the following image in a popup: THE SPETCHLEY PARK SUITE OF EIGHT GEORGE II MAHOGANY ARMCHAIRS, ENGLISH, CIRCA 1755 - 60
Open a larger version of the following image in a popup: THE SPETCHLEY PARK SUITE OF EIGHT GEORGE II MAHOGANY ARMCHAIRS, ENGLISH, CIRCA 1755 - 60

THE SPETCHLEY PARK SUITE OF EIGHT GEORGE II MAHOGANY ARMCHAIRS

ENGLISH, CIRCA 1755 - 60
H: 97.8 cm
W: 70.5 cm
D: 68.6 cm

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Provenance

Suite of eight supplied to Robert Berkeley (1713-1804) of Spetchley Park, Worcestershire; thence by descent

Sold as four pairs, Sotheby’s London, 11 December 2019, lots 47-50, GBP 100,000, 62,500, 143,750, 118,750

Important Private Collection: West Coast, USA

Publications

One of the armchairs photographed in the Drawing Room, ‘Spetchley Park - I. Worcestershire, The Seat of Mr. R. V. Berkeley’, Country Life (8 July 1916), p. 46

Undoubtedly one of the finest of its type, this suite of eight mahogany armchairs retains its original needlework seat covers, each of which is unique in design with an individual pattern and colour scheme.

 

The undulating top rails of the chairs are decorated with crisply-formed C-scrolls and the shaped arms and cabriole front legs with acanthus and scrolled toes. Notably, the splats are stencilled and, amongst further C-scrolls, carved with pointed ornament, resembling ogival forms in Gothic architecture. In this context, the nibs of the C-scrolls - particularly when they meet - are crockets, enhancing this sublte impression of the style intended by the designer.1 The lower half of the splats derive from the preceding generation of walnut chairs.

 

The suite was probably acquired by Berkeley, a writer and activist for Catholic emancipation, shortly after he inherited Spetchley in 1756. In his lifetime he would make many changes to the house, inluding remodel the Dining Room in the newly-popular Adam style. These chairs were likely installed as part of his early work to the house.   

 

It is interesting that Berkeley's library included a copy of Chippendale’s first Director (1754). Interesting though not suprising, for a fashion-conscious man keen to acquire an example of the latest ‘French’ Rococo style. Whether or not they can be ascribed to Chippendale, by whose patterns however they were certainly influenced, they were crafted by one of the best workshops fully conversant in the latest styles and with access to the very finest draughtsmen, carvers and materials.

 

The present chairs were listed in the 1893 inventory of Spetchley and in the 1949 take, when they were given the highest value of any piece in the house of £2,000. 

 

1 Francis Spar (ed.), Le Style Anglais 1750-1850 (Paris, 1959), p. 88; c.f. also Anthony Coleridge, Chippendale Furniture (London, 1968), fig.168 & C. Claxton Stevens and S. Whittington, 18th Century English Furniture: The Norman Adams Collection (Woodbridge, 1994) rev. ed., p. 51 for further gothic chairs

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