A set of ten pale blue painted armchairs in the manner of Linnell, comprising eight George III chairs circa 1790, and a pair of modern armchairs matching

some re-painting of decoration, some bearing a label for Spink & Son Ltd, September 1994

The Property of a Private Collector

Ralph Edwards and Percy Macquoid, The Dictionary of English Furniture, London 1954, rev. ed., 3 vols, vol. I, pl.281, p.312.

Generally these chairs are in extremely good condition with re-caned seats. All have had some re-painting of the arms and touching up in places, all have minor chips and losses consistent with age and use. One chair has a repaired frontrail. Most have minor worm damage to the rails and added angle brackets. Some repairs to rails which have been done in most cases without disturbing the painted decoration. They are a very rare and appealing set of chairs. Only four have squab seats and these are stained and faded. Six cushions will have to be made.
"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."

Certain aspects of the present armchair's design correlate with documented examples by the Berkley square cabinet-making partnership of William and John Linnell. In particular the triple arched toprail is paralleled on a set of eight armchairs made by the firm for Robert Child for Osterley Park (see Helena Hayward and Pat Kirkham, William and John Linnell, 1980, 2 vols., vol. II, p. 38, pl. 71).  In addition the shape of the down swept arms and tapered square legs headed by a waisted section surmounted by a patera is found on a set of ten armchairs also at Osterley Park and a drawing for an armchair illustrated in Hayward and Kirkham, op. cit., p. 39, pl. 72 and p. 43, pl. 83. Although the unusual design of splat featuring opposed sphinxes does not appear on any examples of Linnell's seat furniture, one of their patterns for a pier glass intended for the Drawing Room at Shardeloes for William Drake, employs a similar motif to its cresting (see Hayward and Kirkham, op. cit., p. 110, pl. 213). Furthermore, the painted ribbon-tied floral garland is echoed on a drawing for a carved armchair and pier mirror (see Hayward and Kirkham, op. cit., p. 42, pl. 80 and p. 108, pl. 209).

In the light of the design similarities, the offered armchairs have with examples by Linnell at Osterley, it is interesting to note Robert Adam's repeated use of opposed sphinx motifs on the Etruscan Room walls at the same house (see Arthur T. Bolton, The Architecture of Robert and James Adam, 1984 rev. ed., 2 vols., vol. I, pp. 298-299).