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A PAIR OF GEORGE II OIL-GILT AND WHITE-PAINTED ARMCHAIRS CIRCA 1755
美国 北京时间
2022年10月23日 开拍 / 2022年10月21日 截止委托
拍品描述 翻译
A PAIR OF GEORGE II OIL-GILT AND WHITE-PAINTED ARMCHAIRS
CIRCA 1755
Each pierced back with arched crest rail and re-entrant corners, the outer frame with blind-fretwork, the interior filled with pierced Chinese palings and centered by an upright oval upholstered panel, with upholstered seats supported on square legs adorned with blind-fretwork and pierced corner brackets, with printed and inscribed Ann and Gordon Getty Collection inventory label
38 in. (96.5 cm.) high, 26 1/2 in. (67.3 cm.) wide, 23 in. (58.4 cm.) deep

A PAIR OF GEORGE II OIL-GILT AND WHITE-PAINTED ARMCHAIRS CIRCA 1755 Each pierced back with arched crest rail and re-entrant corners, the outer frame with blind-fretwork, the interior filled with pierced Chinese palings and centered by an upright oval upholstered panel, with upholstered seats supported on square legs adorned with blind-fretwork and pierced corner brackets, with printed and inscribed Ann and Gordon Getty Collection inventory label 38 in. (96.5 cm.) high, 26 1/2 in. (67.3 cm.) wide, 23 in. (58.4 cm.) deep With Simon Redburn. Acquired by Ann and Gordon Getty from Mallett, London, in 1979. E. Joy, English Furniture, London, 1978, p. 66, fig. 48. M. Schafer, ‘Christmas on a high note – Gordon Getty’s opera tree’, House and Garden, December 1985, p. 102. N. Harris, Chippendale, Hong Kong, 1989, p. 60. L. Synge, Great English Furniture, London, 1991, p. 162, fig.182. E. Lennox-Boyd, ed., Masterpieces of English Furniture - The Gerstenfeld Collection, London 1998, p. 218 (this pair discussed); the comparative pair in the Gerstenfeld Collection illustrated as no. 51 and also p. 43, fig. 28. San Francisco, San Francisco Fall Antique Show, Fort Mason, 24-31 October 2010. Please note lots marked with a square will be moved to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn) on the last day of the sale. Lots are not available for collection at Christie’s Fine Art Storage Services until after the third business day following the sale. All lots will be stored free of charge for 30 days from the auction date at Christie’s Rockefeller Center or Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Operation hours for collection from either location are from 9.30 am to 5.00 pm, Monday-Friday. After 30 days from the auction date property may be moved at Christie’s discretion. Please contact Post-Sale Services to confirm the location of your property prior to collection. Lots may not be collected during the day of their move to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Please consult the Lot Collection Notice for collection information. Please note lots marked with a square will be move… Read more
Lot Essay This beautiful pair of chairs, painted greyish-white in imitation of stone and with highlights picked out in gold, are part of a set of at least five chairs whose origin remains a mystery. A further pair of chairs is in the Gerstenfeld Collection, having been acquired from Simon Redburn in 1981 and later exhibited by Fleming & Meers in Washington in 1985 (E. Lennox-Boyd, op. cit., p. 43, fig. 28 and p. 218, no. 51); whilst a single chair is in a private collection in New York. These chairs are fantasies of chinoiserie trelliswork and epitomize the ‘Chinese’ taste which became popular from the second half of the 18th century. Promoted by William Chambers' Designs of Chinese Buildings (1757) and Charles Over's Ornamental Architecture in the Gothic, Chinese and Modern Taste (1758), the overwhelming interest in chinoiserie was espoused by Thomas Chippendale (d. 1779) in his Cabinet Maker’s Director, published in 1754, in particular his designs for Chinese lattice-style chair backs with straight legs noted as ‘…very proper for a Lady’s Dressing Room: especially if it is hung with India [Chinese] paper’ (Director, 3rd ed., 1762, pls. XXV and XXVII). The pierced back and sides are echoed in the blind-fretwork of the seat rails and legs, with the pattern of the latter also featuring in Chippendale’s design for a coffer, whilst the padded oval of the back, which was originally tufted, surrounded by paling can be related to his design for a fire screen featuring a chinoiserie scene to the center. Chippendale was by no means the only exponent of the fashionable taste for all things Chinese, with his contemporary John Linnell at the vanguard of the trend, having supplied the celebrated suite of furniture to the Duke of Beaufort at Badminton in the same year that Chippendale published his first edition of the Director. A pair of chairs from the Badminton suite is in the Ann & Gordon Getty Collection (see lot 20 in the Evening Sale).

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