ATTRIBUTED TO CHRISTOPHER DRESSER (FOR THE COALBROOKDALE IRON FOUNDRY) | Pair of Chairs

London, The Fine Art Society, British Design, 2017-18, no.21

A weighty and highly decorative pair of cast-iron chairs in overall reasonable condition. Chips, rubbing and wear to painted and gilt surface, which could possibly be later, entirely 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."

For a further example, see that illustrated Jeremy Cooper, Victorian & Edwardian Furniture & Interiors, Hong Kong, 1998, p. 34, pl. 70. The attribution of Christopher Dresser is based not solely on the style of the present chairs, but through his work with the manufactures as well as a love of designing objects in new materials, in this case cast-iron. Dresser was particularly interested in this material which was robust, could be fabricated easily and meant his designs could be exposed to a wide audience.

Dresser produced designs for Coalbrookdale which were patented from 1867 (his first design being number 206162, bench-ends which relate to the present lot¹). He eventually became the foundry's lead designer and produced work in an array of forms. He was not only inspired by the Aesthetic movement of which he was a keen exponent, having worked with Owen Jones on The Grammar of Ornament (1856) but also the natural world, especially botany. The present chairs demonstrate this through the use of highly stylised leaves and tendrils. For comparison also see his 'Medieval' pattern garden seat of 1880 which features Gothic flourishes, another stylistic device evidenced in this pair of chairs.

For a pair of 'BOREAS' Coalbrookdale chairs by Dresser, which have stylistic parallels and the same high backs, see Christopher Dresser: A Design Revolution, exh. cat., Victoria & Albert Museum, London, 2004, p. 112

^{1Christie's, London, 19 July 1989, lot 119}