A GEORGE III (1738-1820) NEOCLASSICAL PAINTED ELM AND BEECH ARMCHAIR, after designs by THOMAS SHERATON (1751-1806), the oval back centering a hand painted paterae issuing a blue ground band with pink and blue flower blooms and delicate buds on leafy tendrils, and a laurel leaf and berry garland hung within a dado joint constructed web or wheel form back, each spoke painted with a carrot spear pointing to an oval medallion with a figure of Ceres, crowned with flowers in sparse landscape, the contoured seat covered in yellow ground floral upholstery within bowed arms painted with grape leaf and berry vines, on restrained swan neck form supports with whimsical stylized strawberry plants, raised on square, tapered legs with repeating blue ground flower bloom tendril bands, ending on spade feet, joined by a rose bloom tendril painted flat front rail. Note: In Ralph Edwards' Sheraton Furniture Designs, from the Cabinet-Maker's and Upholsterer's Drawing-Book 1791-94, printed by The Compton Printing Works Ltd., London, 1946, he reproduces illustrations from the posthumous printings of Thomas Sheraton's designs. The present chair crest rail is painted with a paterae design that evokes the central detail of a chair rail design on page 43. On pages 18-19 Cornices with Ornamented Friezes, detail a vertical ornament with entwining serrated leaf and berry tendril, which when compared to the fruiting tendrils painted on the present chair arms, a remarkable likeness is evident. The back construction is something only a seasoned carpenter could execute, the mark of quality is subtle but quite apparent. Tracery examples on pages 7-9 likely gave the carpenter a variety of sinuous forms from which to work from while executing the chair back. Finally on page 68 a selection of vegetal flourishes ends with a rose bud dotted spray, which when compared to the front seat rail and back supports, are simply intentionally modeled after Thomas Sheraton's brilliant designs. The cabinetry publications produced in the 18th/19th centuries by designers and carpenters such as the Adams Brothers, Thomas Sheraton, and George Hepplewhite persist in informing cabinetmakers on unsurpassed woodworking trends. The simplicity of Sheraton's design, well suited for hand painted details, appealed to the economic sensibility and tastes of the burgeoning merchant class. The joyous theme of abundance, beauty, and spring is clearly conveyed here. Height: 37 3/4" Width: 24" Depth: 20"
Condition
Apparent repairs, glue residue, some losses of original supports, later upholstery, evidence of second paint decoration which has now deteriorated to reveal original paint decoration, expected losses of paint throughout, rubbing, but overall in very good condition, wear commensurate with age and use. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."