A set of eight George III fruitwood armchairs circa 1760, in Chinese Chippendale style

the drop-in seats covered with later individual needlework, extensive restorations to some back splats and angle brackets

Overall the chairs in basically good condition with restorations to inevitable breaks that have occurred to the fragile fretwork backs and angle brackets. Some of these have been replaced with mahogany instead of fruitwood. One chair has damage to the fretwork and the upright in the top right corner of its back. Another chair has a break to the seat rail at the join with an arm, this has been caused by old wood worm damage. Tips of all feet water-stained and with some wear. Minor losses to feet including noticable chips to two of the back legs. Some old worm. Generally good colour with some variations in tone due to uneven fading. Some minor age cracks to legs and rails. Needlework seats each of a different pattern
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The design of the offered lot clearly reflects the influence of the Chinese taste which had become highly fashionable during the period 1750-1760. Pattern books of this time such as W. Halfpenny, Twenty New Designs of Chinese Lattice, 1750, and J Crunden and J. Morris, The Carpenter`s Companion for Chinese Railings and Gates, 1765, were now purely devoted to this trend. The pattern of this chair back has marked affinities with designs for Chinese Chairs in Thomas Chippendale's Director, First Edition, 1754 and also plates 26 and 27 in the third edition. Similar designs are also shown in Robert Manwaring, The Cabinet and Chair-maker`s Real Friend and Companion, 1765, plates 10-12. In the Director Chippendale observes that they ``have commonly cane bottoms with loose cushions, but if required, they have stuffed seats and brass nails''.

Related lattice back chairs are illustrated in F. Lewis Hinckley,  A Directory of Antique Furniture, 1953, p.176, fig.545, and Ralph Edwards and Percy Macquoid, The Dictionary of English Furniture, 3 vols. rev.d Edition 1954, vol. I, p. 286, fig. 191.

A set of chairs which relate to the offered lot in terms of style were commissioned by the 4th Duke of Beaufort for Badminton House, Gloucestershire, and remain at the house to this day, (cf. C. Hussey, English Country Houses: Early Georgian, 1955, p.163, pl.281). A further related example is shown illustrated in Country Life, 21 April 1977, p.995.

These chairs could probably have been designed for a bedroom in the Chinese style, for which Chippendale considered chairs of this type very suitable, especially if the room was hung with an appropriate 'Indian' wall paper.

William Halfpenny in his New Designs for Chinese Temples 1750, also illustrates several designs for chairs and benches in this Chinese style ( pl. 38-40, 46, 47 and 48) one of which is captioned, 'A chair in the Chinese taste - 'Perspective designs for Chairs, partly in the Chinese manner, most suitable Banqueting houses, Rural Buildings etc.' It is possible therefore that these chairs may also have been conceived for use in such a building.

For further comparison see Sotheby's London, 6 June 2006, lot 253.