An important set of nine Chinese painted paper panels in their original papier-mâché frames from Stoneleigh Abbey circa 1765

variously depicting Chinese lakeside scenes, with mountains in the background and with pavilions amidst trees, courtly figures with their attendants and servants, the English papier-mâché frames retaining their original white-painted and parcel-oil-gilt decorations, the inner guilloche moldings within pierced borders edged with a design of joined C-scrolls.  The reverse of two frames signed Wm Akenhead in pencil.

Supplied by Bromwich and Leigh in 1764 to Edward, 5th Lord Leigh (d.1786) for Stoneleigh Abbey, Warwickshire, for Miss Leigh's Bedchamber

By descent

Sold, Christie's, London, Property of The Trustees of the Stoneleigh Settlement, The Executors of the late 4^th Lord Leigh and the Stoneleigh Abbey Preservation Trust Ltd., October 15-16, 1981, lot 67, the two largest panels illustrated

Thomas Bromwich's bill in the Shakespeare Centre Library and Archive, Stratford-upon-Avon, Warickshire, invoice  (DR18/5/4402), dated 10th December 1765 for Miss Leigh`s Bedchamber

W. A. Thorpe, 'Stoneleigh Abbey and Its Furniture-II,' The Connoisseur, March 1947, p. 19, a photograph of the 'Chinese Room' with several of the present pictures in their papier-mâché frames

In their original frames; Blue pigment to sky and water has been lost; inpainting and restorations throughout; Painted decoration and gilding to the frames refreshed, losses; slight warpage to frames; please note all inpainted restorations to pictures almost certainly 19th century. No 13 – shrinkage to panel with inpainting and losses to top edge of picture, rubbing; tears to left side starting below the balcony going through the side of the building continuing down, a tear to the roof continuing to the terrace below with two figures seat on the wall through the moon gate and the columned pavilion; tear along bottom left corner; water staining drip to left side from top to bottom; small tears to upper right corner; small tears to right wall to right of door and figures along pavement; stains to upper right corner, probably water damage. No 14 – singed Wm Akenhead; blue pigment to sky faded and with inpainting, water stains; cracks and tears to middle left section of lake; small tear to bottom left corner; tear through figures of boy and woman to right side under columned portico; small tear to wall; small tear to top right corner; bottom left corner of frame warped outwards. No 10 – upper left corner with tear and inpainting; inpainting to sky throughout; inpainting to tear to sky and left tree; lifting and rippling to paper at seam along top and bottom; small tear between left and center tree; join at top and bottom of picture width-wise; rockwork to bottom left corner applied. No 2 – tear to sky of left top corner; inpainting; fading to blue of sky; tear to center of picture in columned porch and down through steps and foreground; tear and creasing through right standing figure; scratch to left bottom corner; water stains along bottom edge. No – 3 – frame severely warped; inpainting top edge; loss to blue color of sky and lake; water stains at center of picture; left side with water stains and scratches; small tear to bottom left corner; small circular repairs to lower middle left section with water stains; a tear to the bow of the boats; flaking and losses to left side of left building above window; inpainting to robes of standing figures at pavilion, and with later highlighting; inpainting to bottom edge. No 11 – inpainting along top edge; loss to blue color of sky and lake; landscape and trees pieced together with sky along the horizon continuing up to the roofline; tears to upper porch and through house at right; inpainting and a small puncture at right bottom corner to wall; frame is warped outward at bottom left corner. No 17 – inpainting to sky throughout with tear and inpainting to roof at top left; scratches and water stains; inpainting to left standing figure through tear of coat; spotting; frame warped outward at left bottom corner. No 9 - with three losses to tips of frame - the pieces available in a bag - two elements to frame loose, but attached; the frame is slightly warped; top right corner of frame with small losses; the picture with joins at top and bottom with somme inpainting top of picture and probably to the pond to the bottom left corner; the center of the picture with numerous cracks and separations with inpainting and with later paper patches to the backing to stabilize, various small tears throughout with inpainting.
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.

Stoneleigh Abbey was founded by Henry II in 1154, and after the Reformation became a secular building and was acquired by Sir Thomas Leigh. The earlier building was considerably expanded circa 1600.  Between 1714 and 1726, Edward 3^rd Lord Leigh, who had married a great heiress, Mary Holbeck of Fillongley, commenced building the Baroque west wing to the designs of Francis Smith of Warwick.  In 1763, the 5^th Lord Leigh came of age and commenced a considerable period of modernization at Stoneleigh at which time the firm of Thomas Bromwich and Leonard Leigh was responsible for some of the decoration.   In 1764, the firm  supplied five Chinoserie paper panels, 78 yards of  fine green Pea paper, 252 feet of Papier Mache borders and 193 feet of Papier Mache Vine Cornice Ornamt [sic] for Lord Leigh's sister's bedroom (see C. Aslet, 'Stoneleigh Abbey – Warwickshire II,' Country Life, December 20, 1984, p. 1935).  The present group of nine Chinese painted panels in papier-mâché borders was from that bedroom, with seven of the remaining eight in a private collection.  The Bromwich and Leigh bill for work done from May 28, 1763 to June 16, 1764 totalled £356 7s. 0½ d.

The receipt for the work, dated December 10, 1765, includes the following description for 'Indian' (Chinese) pictures in Miss Leigh's Bechamber:

2 Large Indian Pictures in Party gold frames                     £4  12s

6 Smaller D°.                                                                                                £6   6s          

9 D°                @ 13/-                                                                        £5  17s

The word 'party' is used frequently to describe both the wall paper & borders installed by Bromwich and Leigh and the figures listed are probably for the labor charges in hanging them.

Thomas Bromwich, paper stainer and upholsterer, supplied 'the new furniture wallpaper' to Horace Walpole in 1754.  He was Master of the Painter-Stainers' Co. in 1761 and appointed 'Paper-hanging Maker in Ordinary to the Great Wardrobe' in 1763.  Thomas Bromwich and Leonard Leigh were a firm of paper-stainers and upholsterers at 'The Golden Lyon,' Ludgate Hill, London, circa 1758-65, after which the firm became Bromwich and Isherwood in 1766,  Bromwich, Isherwood & Bradley, Paperhangers, at 35 Ludgate Hill. The various firms' commissions included Chinese paper for Lord Darnley at Cobham Hall in 1773 (still in situ), Corsham Court and Shelburne House, London.