A James I carved oak and inlaid panel back armchair early 17th Century

the later cresting rail above a guilloche frieze, the back carved with an applied arch and centred with an inlaid architectural panel with swans to the apron, the lower front back rail branded with one letter 'B', the scroll arms with carved roundels and the top of the arms with incised trailing foliage, the boarded seat with reinstated later square cut, the carved apron rail above baluster turned legs, the square feet joined by peripheral stretchers.

Good. Some old minor chipping, losses and wear commencorate with age and use. Slight movementon cresting rail join. The front of the back with horizontal splits in arch and some old worm and partial splits to inlaid section. The reverse of the back with moulding to the panel and a vertical separation near the centre. The left arm with an old burn mark on the outer side. Seat with partial splits, indents and with a fillet on a separation. The later square cut in the seat was probably to accomodate a later commode and now the seat with sympathetic re-instatement with matching colour and patina to timber. Some old fragmenting and indents on rear stiles. Underside of seat with later batons on border of replaced seat section. Fragmenting to feet. Of firm stance. Very decorative.
"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 marquetry panels, with their architectural detailing echo designs by Hans Vredeman de Vries (1527-1604) a Netherlandish commercial artist whose engravings were widely circulated in England, similar work is seen in other pieces and notably in the back panels of The Great Bed of Ware at The Victoria and Albert Museum, London, this type of inlay is often attributed to immigrant German craftsman working in the Southwark area of London during this period. For an overmantel with similar inlay see The Oak and Country Sale, Sotheby's Olympia, 27th April 2004, lot 49.