A George III giltwood window seat in the manner of François Hervé circa 1770

Overall good condition. Re-gilded. Appears to have pegged construction. Sturdy.
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 carving of the legs, seat rails and armrest supports of this window seat is nearly identical to a sofa attributed to François Hervé which sold in these rooms, October 16, 2008, lot 191. This sofa which has an inner back seat rail inscribed in an 18th century hand in ink 3875 Hubberd was probably made en suite with pair of chairs inscribed 3071 Hubberd which were sold at Christie's, London, November 17, 1983, lot 49.  Another settee with the inner back seat rail inscribed with the a four-digit number, also starting with 7 and signed Herve was sold in these rooms, April 18, 2002, lot 652.  This name probably refers to François Hervé (fl. 1781-1796) who is recorded at 32 Johns Street, off Tottenham Court Road, and appears to have formerly been in partnership with John Meschain at the same address. Hervé, who was presumably of French origin, is known to have worked for a number of fashionable patrons, including the Prince of Wales, Earl Spencer and the Duke of Devonshire, as Beard and Gilbert remark, Dictionary of English Furniture Makers 1660-1840, Leeds, 1986, pp. 423-424, `his style is now best represented by the documented pieces at Chatsworth where it can be seen as a light, elegant and adroit mixture of English and French detail', a statement that can be clearly related to the present settee; see Burlington Magazine, June 1980, `A Neoclassical episode at Chatsworth', Ivan Hall, pp. 400-414. He is also known to have worked in conjunction with several leading architects including Henry Holland, John Carr and James Wyatt at Heveningham Hall. A number of pieces survive with this latter provenance and are conceived in a similar fashion with delicately carved gilded detail.