A Pair of George III painted and parcel-gilt carved ornaments in the manner of Thomas Chippendale Senior or Junior circa 1775

the backs of each bearing a painted number, W.A. 1950.671A. and W.A.1950.671B., respectively.  Losses, fragmentary elements.

Collection of William B. and Mary Babella Goodwin

Wadsworth Athenaeum Museum of Art, Hartford, Connecticut, 1950

Deaccessioned in 2002

Northeast Auctions, Portsmouth, New Hampshire

Overall fair condition; appears to retain much of the original gilding; losses, chips and flaking to gilding and to gesso layer throughout; gilding not stable; the first with loss the Greek key carving on the bottom right corner; old glue to circular pendant of the socle, the left goat's head with loss to tips of both horns; the right goat's head with loss to tip of one horn; old repaired breaks to floral garlands with large loss to the end of each swag; the oval frame with slight separation above lines of construction with small subsequent loss to one bead; the other cresting with loss to the Greek key carving on the bottom right corner; leaf carving of bottom left swag with restored section and with a later small block to the back to stabilize; the right side goat's head with replaced section to the tip; loss to end of right side floral swag; the oval frame with slight separation at lines of construction with small loss to one bead; overall with losses and flaking to the gilding, which is not stable. marked 5748 in later paper label cardboard back to mirror pencilled 2091 and with red painted number W.A. / 1950,671A.; the other with W.A. / 1950.671B.
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 extremely fine carving of the present giltwood ornaments is very similar to the documented work of Thomas Chippendale.  Almost certainly made as crestings for tall pier mirrors or frames, they were possibly thought to be unfashionable at a later date, removed when put into a smaller space or became separated when dismantled.  Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, vol. II, pp. 70-76, figs. 108-119, illustrates carved ornaments removed and crated during Charles Barry's alterations in the 1840s at Harewood House, Yorkshire.  The present pair of elements feature characteristics of Chippendale's work, especially at Harewood.  This was Chippendale's most substantial commission from his patron, Edwin Lascelles, lasting from 1767-1778.  As with the present ornaments, a pair of pier mirrors in the dining room at Harewood is surmounted by a rectangular panel centered by a bearded goat's head, the same carved element shared with the pair of pier tables below, made en suite; this motif is found on crestings of mirrors at other Chippendale houses, including Brocket Hall, Burton Constable.  Overdoors in the Green Drawing Room at Harewood House, possibly once crestings for pier mirrors, are centered by framed oval medallions of identical form to the present pair and are carved with lamb's tongue; see C. Gilbert, 'Chippendale's Harewood Commission',  The Journal of the Furniture History Society, vol. IX, 1973, pl. 1.  The Greek key motif is found throughout Chippendale's furniture, including chairs, (Goldsborough Hall, Yorkshire), sold Christie's, London, July 4, 1996, lot 340), firescreens (Harewood House), Beard, op. cit., p. 185, fig. 335, as well as on two manuscript designs for commodes form the Chippendale Albums in The Metropolitan Museum.   The most compelling argument for a Chippendale attribution is the exceptionally fine, naturalistic carving and deep undercutting to the ornaments, matched by very few of Chippendale's contemporaries.