A PAIR OF REGENCY CREAM-PAINTED AND SIMULATED-ROSEWOOD KLISMOS CHAIRS
A PAIR OF REGENCY CREAM-PAINTED AND SIMULATED-ROSEWOOD KLISMOS CHAIRS
A PAIR OF REGENCY CREAM-PAINTED AND SIMULATED-ROSEWOOD KLISMOS CHAIRS
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A PAIR OF REGENCY CREAM-PAINTED AND SIMULATED-ROSEWOOD KLISMOS CHAIRS

CIRCA 1810

细节
A PAIR OF REGENCY CREAM-PAINTED AND SIMULATED-ROSEWOOD KLISMOS CHAIRS
CIRCA 1810
The deeply curved backs with central anthemion motif on sabre legs the seats covered in green cut-velvet, batton carrying holes to underside
33 in. (84 cm.) high; 23 in. (58 cm.) wide; 23 in. (58 cm.) deep
来源
Part of a set of eight chairs almost certainly commissioned by Edward ‘Beau’, Viscount Lascelles (1764-1814) for the Egyptian Hall, Harewood House, Yorkshire, and by descent to the Earls of Harewood, Harewood House, Yorkshire.
Five chairs from the set sold by the 7th Earl of Harewood, Christie’s, London, 1 April 1976, lot 53
Of these, two pairs sold from a private collection, Christie’s, London, 23 May 2013, lot 35 (£25,000 incl. premium) and 36 (£25,000 incl. premium).
出版
J. Jewell, The tourist’s companion; or, The history and antiquities of Harewood in Yorkshire, Leeds, 1819, p. 21: ‘A magnificent room of the Doric order, forty feet four inches, by thirty-one feet five inches, nineteen feet two inches high; lately fitted up in the Egyptian style, here are some elegant Grecian stools and chairs…’.
P. Macquoid, The History of English Furniture: The Age of Satinwood, London and New York, 1908, pp. 248-9, fig. 239.
A.T. Bolton, ‘Harewood House, Yorkshire: the seat of the Earl of Harewood’, Country Life, 4 July 1914, p. 19.
H. Avray Tipping, ‘Harewood House, Yorkshire: the home of the Lascelles’, Country Life, 25 February 1922, p. 246, fig. 6.
Christie, Manson & Woods, The Estate of the Rt. Hon. Henry George Charles Lascelles, 6th Earl of Harewood: Valuation for Probate, January 1948, vol. 4, p. 41, no. 2:
‘The Passage
Eight English lacquer chairs, with semi-circular backs on curved legs, decorated with medallions and foliage on a black ground, the seats covered in cut green velvet
Illustrated in A History of English Furniture: Age of Satinwood by Percy Macquoid, fig. 239
(One in the Work Room and one in Servants Rooms, East Wing)’
G. Beard, J. Goodison, English Furniture 1500-1840, Oxford, 1987, p. 261, fig. 7.
E. Harris, The Genius of Robert Adam: His Interiors, New Haven and London, 2001, p. 137, fig. 199.
A.L.H. Moore, Imagining Egypt: The Regency Furniture Collections at Harewood House, Leeds and Nineteenth Century Images of Egypt (unpublished doctoral thesis, University of Southampton, 2001), fig. 76.
注意事项
This lot will be removed to Christie’s Park Royal. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage and our fees for storage are set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere. Please call Christie’s Client Service 24 hours in advance to book a collection time at Christie’s Park Royal. All collections from Christie’s Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

拍品专文

These chairs form part of a set of eight klismos chairs formerly in the Entrance Hall at Harewood House, Yorkshire where they were photographed by Country Life in 1914 and 1922. The set was probably supplied by the ‘Royal’ cabinet-makers, Marsh & Tatham, to Edward ‘Beau’, Viscount Lascelles (1764-1814) as part of a Regency refurbishment, which included fitting up the hall in the Egyptian style; they were possibly intended to accompany the mahogany and bronzed centre table sold at Christie’s in 2019 (1), another pair of closely related tables (2), now in the Banqueting Room at the Royal Pavilion, Brighton, and a pair of cross-frame stools still at Harewood, also attributed to Marsh & Tatham. The Harewood archive records three substantial generic payments to Marsh & Tatham. The earliest for £109 is dated August 1800, and appears in the 'Cash Account' of ‘Beau’ Lascelles’ father, Edward, 1st Earl of Harewood (1740-1820) (3). The second and third payments are in ‘Beau’ Lascelles’ personal account books: in 1801, Elward Marsh & Tatham Payment for furniture, £172 10s (4), and in 1811, Marsh & Tatham Payment of £65 7s 6d (5). The present chairs are almost certainly inspired by klismos chairs in Thomas Hope’s mansion/museum at Duchess Street, illustrated in Household Furniture and Interior Decoration, 1807, plate 24, no. 4. Interestingly, the deep curved tablet-backs of these chairs recall chairs supplied by Thomas Chippendale Junior (1749-c. 1822) to Stourhead, Wiltshire - the latter was also supplying furniture to the Lascelles in 1800 – illustrating the importance of Hope’s designs to fashionable cabinet-makers of the day (6).

Marsh & Tatham (subsequently Tatham, Bailey & Sanders) was a partnership between William Marsh (active 1775-1810) and Thomas Tatham (1763-1818). From the 1780s, Marsh & Tatham were associated with fashionable architects such as Henry Holland (1745-1806), celebrated for the remodelling of Carlton House, London, and the Royal Pavilion, Brighton for the Prince of Wales/George IV, and for commissions for Samuel Whitbread II at Southill, Bedfordshire, and John Russell, 6th Duke of Bedford at Woburn Abbey, Bedfordshire (7). In the mid-1790s, Holland employed Charles Heathcote Tatham (1772-1842), the elder brother of Thomas Tatham, to visit Rome and Naples to sketch ancient architecture and ornament, in addition to assembling a collection of architectural fragments. C.H. Tatham returned to England in 1797, and published his drawings two years later in Etchings, representing the best examples of ancient ornamental architecture drawn from the originals in Rome, and other parts of Italy, during the years 1794, 1795 and 1796. The book was extremely popular and became a vital source of material for many of his contemporaries like Hope working in the new spare archaeological neoclassical style; it went into a third edition in 1810. Undoubtedly, Marsh & Tatham benefitted from the family connection to become Principal Cabinet-Maker to the Prince of Wales, supplying furniture for Carlton House and the Royal Pavilion, much of which is in the Royal Collection. It seems likely that furniture based on C.H. Tatham’s designs was made by Marsh & Tatham.

(1) Sold ‘The Exceptional Sale’, Christie’s, London, 4 July 2019, lot 129, £75,000 inc. premium.
(2) The pair was bought from Blairman’s in 1952. Blairman’s bought them at Christie’s sale of contents from Harewood House 28 June 1951 (lots 67 and 68). The Museum numbers are DA 340437/8
(3) A.L.H. Moore, Imagining Egypt: The Regency Furniture Collections at Harewood House, Leeds and Nineteenth Century Images of Egypt (unpublished doctoral thesis, University of Southampton, 2001), p. 147.
(4) WYL250/3/Acs/190.
(5) WYL250/3/Acs/192.
(6) NT 731545; NT 731560; NT 731566.
(7) The firm of Marsh & Tatham underwent a significant number of name changes as partners joined or retired. Although Marsh & Tatham is listed in trade directories from 1803-11, the period when these tripods were executed, they appear as Tatham & Bailey in rate books from 1807-10, and in this guise the firm took out insurance in 1808 suggesting that William Marsh had retired by this date.

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