A Very Fine Pair of Chippendale Carved Mahogany Side Chairs, probably Rhode Island, circa 1770

Appear to retain the original surface and original webbing and sack cloth under upholstery.  One slip seat with pencilled inscription Christian E. Stanhope.  The chairs are marked VII and III, the slip seats are marked VII and I.

Marguerite Riordan, Stonington, Connecticut

Appearing to retain original surface; the secondary wood is maple; some old scratches and nicks to extremities.
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.

Chairs with a Gothic arched interlaced splat like the pattern represented here were most popular in Colonial Philadelphia but also made throughout New England.  With a pointed arch defined at the top and an open trefoil and two pierced daggers at the base, the splat of this pair closely follows a design published in plate XVI of The Gentleman & Cabinet-Maker’s Directorby Thomas Chippendale (London, 1762).  

These chairs are distinctive for their serpentine crest rail with boldly flaring ears, nice dark finish and fine proportions . One displays the number III on its seat frame and retains a slip seat numbered I. The other chair is numbered VII with a slip seat of a corresponding number. Similar side chairs made in Rhode Island include one of mahogany ascribed to Rhode Island formerly owned by Israel Sack has a maple slip seat frame with pinned through tenons (see John Kirk, American Chairs: Queen Anne and Chippendale, New York: Alfred A. Knopf, 1972, no. 183, p. 140). Two other mahogany examples attributed to Newport retaining their original maple slip seat frames are published by Israel Sack in American Antiques from Israel Sack Collection, Volume VI, P4624, p. 1553.  A cherrywood armchair of a similar pattern attributed to Aaron Chapin was made as part of a larger set of chairs for Nathaniel Patten (1752-1834), a Hartford bookbinder (see Joseph Lionetti and Robert Trent, “New Information about Chapin Chairs,” The Magazine Antiques, May 1986, fig. 21, p. 1093).