A George III carved giltwood bergère, circa 1770

Regilt with areas of later inpaint. Rubbing to gilding to expose red bole and gesso beneath. Some chips to gesso at extremities and feet. Age cracks to gesso mainly along lines of construction. The silk damask is in good order.
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.

There are stylistic details in the finely carved frame of this bergère that relate to the workshops of both master cabinetmakers John Linnell and Thomas Chippendale. The front cabriole legs are headed by stylized anthemion motifs which also appear on a group of seat furniture commissioned from Linnell by William Drake of Shardeloes in 1768 and now in the Royal Collection, London. And for an armchair with similar detailing by Thomas Chippendale see a painted example produced for the Library at Harewood, Yorkshire in circa 1771. These chairs, like the offered lot, also feature finely moulded frames and foliate motifs in the 'French taste' a style for which both makers were key exponents. See Hayward & Kirkham, William and John Linnell, New York, 1980, fig. 61, p. 34 and Christopher Gilbert, The Life and Work of Thomas Chippendale, New York, 1978, p. 114.