A pair of George II carved mahogany and limewood open armchairs circa 1760

each with an over-upholstered back with a serpentine crest rail above padded arm rests the square down-swept supports with panels of applied foliate and ruffled edged C-scrolls enclosing flower heads carved in limewood, the upholstered seats within conforming paneled seat rails with similarly applied limewood carved C-scrolls, foliate scrolls and flower heads, the square tapered legs also paneled with applied carved limewood foliate scrolls and graduated pendant flower heads, the block toes inset with carved flower heads.  The later upholstery appears to retain the original canvas lining and webbing.

Commissioned by Sir George Lyttleton , 5^th Bt., and 1^st Baron Lyttleton of Frankley (d. 1773), for The Gallery, Hagley Hall, Worcestershire

Thence by descent to John William Leonard Lyttleton, 11^th Viscount Cobham (1943-2006), at Hagley, by whom sold, Christie's, London, June 14, 2001, lots 52, 53

In "country house" and unrestored condition, the chairs are made from very fine mahogany, with applied carving in limewood which has oxidized to a soft golden/gray color. The mahogany has an old dry patination and it appears that the limewood carving was probably originally lightly varnished, and is now in a very dry state, that on the arms having a smoother "oiled" surface due to use than the legs. Overall there are a number of losses to the carvings, together with losses to the molded collars to the legs and toes which require a competent and sympathetic carver. The legs were originally fitted with sunken casters, the holes now being filled. The inner frames show signs of old worm damage. Some of the cross corner brackets are old replacements, but other than this, the chairs do not appear to have had any restorations since the 18th century. As noted in the catalogue, lot 46 appears to retain 18th century canvas and webbing, the other under-upholstery probably dating from the early 20th century. There are a number of tack-holes at the base of each arm which were obviously made when the chairs were incorrectly covered at some point; these need sympathetic in-filling. Height back 40 in. Height seat 17 1/2 in. Height armrests 26 in. Width seat 29 1/2 in. Depth seat 22 in.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present chairs are part of a larger suite, which also included sofas, which were commissioned by Sir George Lyttleton, Bt.,  from an unknown cabinet-maker to furnish The Gallery at Hagley Hall, Worcestershire. Hagley was the ancestral home of the Lyttleton family who had lived there since the 1560s, Horace Walpole describing the original house as 'immeasurably old and bad'. As Christopher Hussey remarks in English Country Houses, Early Georgian 1715-160, London 1955, the new house erected by Lyttleton in the mid 1750's displayed 'the eclecticism displayed by a leading intellectual in the architecture of Hagley generally, and the empirical designing of the house by a group of clever amateurs, illustrates the conflicts of thought underlying the rococo manner, of which the interior (and the simplified exterior) are notable examples, and reflect closely the informed taste of the decade 1750-1760'. Lyttleton was indeed considered to be an intellectual by his peers who included Horace Walpole, John Chute of the Vine in Hampshire, Thomas Prowse M.P., and the architect Sanderson Miller. Author of Observations on the Reign of Queen Elizabeth, he served as secretary to Frederick, Prince of Wales, and was also a politician, being appointed to the office of Cofferer in 1754, a position which provided him with an income of some £2,200 per year, Lyttleton remarking that 'if I hold it for 3 or 4 years will build my new house without my being obliged to borrow'. He was, in fact, appointed to the Exchequer, being raised to the peerage in 1756, 'applying himself to literature and landscape till his death in 1773' (Hussey, op. cit.).           

The Gallery, which adjoined the Drawing Room and  Saloon, ran the whole length of one side of the house, being divided by two screens of columns, 'The general lightness is relieved by green on the walls and in the frieze; and in the central compartment of the ceiling the rococo is anglicized by floral naturalism' (Husset, op. cit.) The suite of furniture, of which the present lots are part, were designed to occupy this room, and it is interesting to observe that their relatively severe, angular frames, are enriched with light and playful rococo carving, again emphasizes 'the conflicts of thought underlying the rococo manner, of which the interior(and the simplified exterior) are notable examples'.

Unfortunately, no building accounts or documents relating to Lytlleton's building san furnishing of Hagley in the 1750's appear to have survived, but the suite of furniture does have several parallels which were commissioned at approximately the same time, although perhaps the earliest parallel is a chair at Rousham designed by William Kent and supplied by an unknown cabinet maker. As with the present chairs, the square tapered column legs are applied with carved detail, although in this example it is in gilt wood. (See: Hayward and Kirkham, William and John Linnell, London, 1980, p. 36, p. 67). These include the suite commissioned by Anthony Ashley-Cooper, 4^th Earl of Shaftesbury (1711-1770) for the tapestry room at St. Giles's House, Dorset, the suite commissioned by Paul Methuen for the Picture gallery at Corsham Court, and the one commissioned by for the Gallery at Osterley Park by Francis Child, possibly from a design by William Chambers. Unfortunately, as with the present suite, contemporary documentation appears to be lacking which could confirm the actual maker of any of these chairs.

See:

H. Avray Tipping, English Homes, period V, vol. 1, 'Early Georgian, 1714-1760', London 1921, 'Hagley Hall, Worcestershire', pp. 323-330, pl. 389, The Hall. Pl. 391, The Gallery

Edwards and Macquoid, The Dictionary of English Furniture, London, 1953, vol. III, p. 94, fig. 54, a St. Giles's House chair   

Christopher Hussey, English Country Houses - Early Georgian 1715-1760, London, 1955, 'Hagley Hall, Worcestershire, pp. 195-199, figs. 352, 354

Helena Hayward and Pat Kirkham, William and John Linnell London, 1980, p. 153, fig 60, an Osterley Park chair, p. 36, fig. 67, a Rousham Park chair