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A PAIR OF GEORGE II WALNUT SIDE CHAIRS
england , circa 1745
Attributed to Giles Grendey
A very fine pair of George II walnut side chairs attributed to Giles Grendey. Each with an upholstered back and seat, the waved apron carved with a central shell and trailing acanthus, standing on foliate-carved cabriole legs ending in scrolled feet.
The exceptional shallow carving of the foliate tendrils on the seat apron and legs recalls the influence of Chinese export furniture created in Canton at the beginning of the 18th century. Examples of such pieces can be seen at Hatfield House Hertfordshire, Wilton House Wiltshire and Temple Newsam House Leeds. The Chinese incorporation of this shallow carving was itself influenced by English gilt gesso carved decoration of the late 17th and early 18th centuries.
A very fine pair of George II walnut side chairs attributed to Giles Grendey. Each with an upholstered back and seat, the waved apron carved with a central shell and trailing acanthus, standing on foliate-carved cabriole legs ending in scrolled feet.
The exceptional shallow carving of the foliate tendrils on the seat apron and legs recalls the influence of Chinese export furniture created in Canton at the beginning of the 18th century. Examples of such pieces can be seen at Hatfield House Hertfordshire, Wilton House Wiltshire and Temple Newsam House Leeds. The Chinese incorporation of this shallow carving was itself influenced by English gilt gesso carved decoration of the late 17th and early 18th centuries.
Stock number
AD.310
dimensions
More Details
Height: 38¹/₄ in (97 cm)
Width: 28 in (71 cm)
Depth: 26³/₄ in (68 cm)
Width: 28 in (71 cm)
Depth: 26³/₄ in (68 cm)
A set of six chairs of the model were sold at Christie's New York, Important English Furniture, 13 April 2000, lot 224 (sold $325,000) with a previous provenance to Norman Adams Ltd.
There is a set of six chairs in the Lady Lever Art Gallery, Port Sunlight that features closely comparable carving to the seat rails and have a similar, although not as good, side profile. The backs are different (the Lady Lever chairs have carved mahogany backs rather than upholstered backs). They are attributed to Giles Grendey on the basis of the maker's characteristic scallop shaped carved back and impressed journeyman's initials to the frame (ref: Lucy Wood, The Upholstered Furniture in the Lady Lever Art Gallery, Liverpool, 2008, no. 22, pp. 272-279).
Stylistically, the sparse raised foliate tendril deep carving recalls the influence of Chinese Export Furniture executed in Canton in the first half of the 18th century which was in turn itself originally inspired by English gilt-gesso prototypes. (Ref: C. L. Crossman, The China Trade, Woodbridge, 1991, p. 231, pl. 83).
There is a set of six chairs in the Lady Lever Art Gallery, Port Sunlight that features closely comparable carving to the seat rails and have a similar, although not as good, side profile. The backs are different (the Lady Lever chairs have carved mahogany backs rather than upholstered backs). They are attributed to Giles Grendey on the basis of the maker's characteristic scallop shaped carved back and impressed journeyman's initials to the frame (ref: Lucy Wood, The Upholstered Furniture in the Lady Lever Art Gallery, Liverpool, 2008, no. 22, pp. 272-279).
Stylistically, the sparse raised foliate tendril deep carving recalls the influence of Chinese Export Furniture executed in Canton in the first half of the 18th century which was in turn itself originally inspired by English gilt-gesso prototypes. (Ref: C. L. Crossman, The China Trade, Woodbridge, 1991, p. 231, pl. 83).
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