A PAIR OF GEORGE III GILTWOOD BERGÈRES, ATTRIBUTED TO THOMAS CHIPPENDALE |

upholstered in white calico, frieze with alterations including later tablet, re-gilt

Acquired from Mallett & Son (Antiques) Ltd., London, 1968.

Overall in excellent restored condition. Re-gilt and now covered in white calico and would benefit from recovering according to taste, although calico is in immaculate condition. Please note that the frieze tablet to seat rail is a later augmentation, otherwise carving and gilt surface with minor chips and losses consistent with age and use.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This pair of bergères is a fine example of what Christopher Gilbert describes as the ‘uniform character’ of Thomas Chippendale’s neo-Classical designs from the 1770’s. The combination of motifs resonates closely with a suite of eight armchairs ordered for the library at Harewood House, circa 1771[1]. The acanthus cresting and husk border, classically fluted seat rail and anthemion headed cabriole legs, all conform closely to the Harewood suite, although the central frieze tablets of the present bergères are later augmentations. In addition to these stylistic affinities, the present bergères also have the constructional characteristics associated to Chippendale's workshop, including V-shaped notches and baton-holes to the seat rails. [1] Christopher Gilbert, The Life and Work of Thomas Chippendale, London, 1978, 2 Vols, Vol. II, pl.197. p.114.