A pair of Russian Neoclassical brass-mounted mahogany armchairs circa 1800

With scattered age and construction cracks. Very minor chips and some abrasions and dents to mahogany; not extensive. Refinished. Brass mounts lifting in one area on one chair, mounts generally with minor dents, oxidation and light surface dirt. In good condition.
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.

A pair of identical armchairs is conserved in the 'Little' Lantern Room at Pavlovsk Palace, see illustrated, Anatoli Kuchumov, Pavlovsk Palace & Park, Leningrad, 1975, p. 252.  Regarded as one of his best works, this room was built in 1807 by Andrey Voronikhin and it is furnished with furniture by David Roentgen along with decorative objects produced by the St. Petersburg Imperial Porcelain Factory.  A matching side chair is in the Oval Boudoir at Pavlovsk, see Kuchumov, op.cit. pl. 221.

Other armchairs have identically designed fan-shaped medallions which are executed on a vertical plane within a circular border, rather than on the horizontal plane and oval border found on the present lot; a set of dining chairs with the former medallion was in the collection of Mrs. Marella Agnelli, Sotheby's New York, October 23, 2004, lot 71.  Another, one of a pair from Pavlovsk Palace is illustrated Antoine Chenevière, Russian Furniture, The Golden Age 1780-1840, New York, 1988, p. 115, pl. 95.

It is of interest to note that the design of the present lot, with its elongated oval shaped medallion, quite closely resembles an Italian model said to be inspired by the Roman architect Antonio Asprucci (1723-1808).  From 1782, he worked more or less exclusively for Marcantonio Borghese on the Villa Borghese.  The chair which he designed circa 1780 is still conserved in the Villa Borghese, illustrated, Giuseppe Morazzoni, Il Mobile Neoclassico Italiano, Milan, 1955, pl. XII.