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              <text>This chair, called ‘Little Albert’, was designed by Ron Arad in 2000 as part of a range called Victoria and Albert, which includes settees and other chairs. Made of rotationally-moulded polyethylene with integral colour, it is waterproof and fade-resistant, and therefore suitable for outdoor use. Another version, with a steel frame, padded with polyurethane foam and with a cloth cover, is made for indoor use.&lt;br /&gt;&lt;br /&gt;Ron Arad was born in Israel in 1951 and studied at the Jerusalem Academy of Art before coming to London to study architecture, graduating in 1979. He started his own practice in 1981, opening an office/showroom in Covent Garden called One Off Ltd. The practice later moved to Chalk Farm, in north London, and the name changed to Ron Arad Associates in 1998. He was Professor of Design Product at the Royal College of Art from 1997 to 2009. He is primarily known for his furniture designs, particularly the ‘Rover’ chair, designed in 1981 using a salvaged car seat from a Rover mounted within a tubular steel frame made of scaffolding poles. In 1988 he designed an armchair made of bent and formed stainless steel sheet, called The Big Easy. &lt;br /&gt;&lt;br /&gt;For another Ron Arad chair in the Collection see FPF471.</text>
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              <text>Good, some scuff marks.</text>
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              <text>Polyethylene.</text>
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              <text>H. 70&lt;br /&gt;W. 71&lt;br /&gt;D. 60</text>
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              <text>Moulded on base: ‘Ron Arad for Morosco Victoria and Albert Collection’.</text>
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              <text>Purchased by the Frederick Parker Foundation in c.2010</text>
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              <text>For details on Ron Arad see:&lt;br /&gt;&lt;a href="https://www.vitra.com/en-es/about-vitra/designer/details/ron-arad"&gt;Ron Arad | Vitra&lt;/a&gt;</text>
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                <text>Polyethylene tub armchair, ‘Little Albert’, designed by Ron Arad.</text>
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                <text>Designed in 2000.</text>
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                <text>A moulded polyethylene tub armchair, called ‘Little Albert’, designed by Ron Arad and manufactured by Moroso, Italy.</text>
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              <text>This polypropylene side chair is injection moulded in one piece. It has a traditional chair form, with a concave back panel, contoured seat, and back and front legs, but with the unique feature of angled skids between the front and back legs, providing two sitting positions. When the sitter’s balance is shifted forward the chair tips onto the forward angle, straightening the pelvis and spine and improving circulation to the abdominal and back muscles. The Tip Ton chair was designed in 2011 by Edward Barber and Jay Osgerby and is manufactured by Vitra.&lt;br /&gt;&lt;br /&gt;Barber and Osgerby (both born in 1969) met in 1992, whilst studying architecture and interior design at the Royal College of Art. They established their London based industrial design studio in 1996 and their collaborative work has included furniture, industrial design and architecture. The Tip Ton originated in 2008 when they were invited by the Royal Society of Arts to advise on the purchase of furniture for a new school in Tipton. They chose to develop a more dynamic alternative to what they saw as the static character of most school chairs, based on research establishing the link between movement and improved learning performance. The design was developed in collaboration with Vitra.&lt;br /&gt;&lt;br /&gt;Weighing just 4.5kg, the Tip Ton is light, robust, stackable and suitable for indoor and outdoor use. Since 2020 it has been manufactured in fully recyclable polypropylene. It is available in a choice of eight colours.&lt;br /&gt;&lt;br /&gt;The Tip Ton chair is held in the permanent collections of the London Design Museum, the Art Institute of Chicago, the Indianapolis Museum of Art and the Vitra Design Museum in Basel.</text>
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              <text>Good.</text>
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              <text>Polypropylene.</text>
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              <text>H. 79&lt;br /&gt;W. 50&lt;br /&gt;D. 56</text>
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              <text>Moulded into underside of seat, ‘340-923 www.tuv.com TUV Plastics ID: 1000000000’.&lt;br /&gt;Another mark: ‘GS geprufte Sicherheit’.</text>
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              <text>Donated to the Frederick Parker Collection by Vitra in 2014.</text>
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              <text>&lt;a href="https://barberosgerby.com"&gt;Barber Osgerby&lt;/a&gt;&lt;br /&gt;&lt;a href="https://www.vitra.com/en-gb/living/product/details/tip-ton?gclid=EAIaIQobChMI2O-N2qG6-gIVydPtCh1glwvJEAAYASAAEgLT5PD_BwE"&gt;Tip Ton | Vitra&lt;/a&gt;&lt;br /&gt;See also: Mateo Kries, Vitra Atlas of Furniture Design, 2019, item 1340, pp.778-9.</text>
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                <text>Polypropylene side chair, Tip Ton chair designed by Barber Osgerby.</text>
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                <text>Designed 2011, manufactured since 2011.</text>
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                <text>A grey polypropylene side chair designed by Edward Barber and Jay Osgerby and manufactured by Vitra.</text>
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              <text>This polypropylene stacking chair, made by Restall, with a moulded seat and steel leg frame, is one of millions manufactured following the classic design by Robin Day for Hille (see FPF410 and 417). It had been discarded, but was rescued and upcycled by Jude Dennis in 2013, adding an upholstered cushion to the seat and back using linen scrim, horsehair, buttoning twine, calico and cotton felt. Dennis named the chair Stacker #1.&lt;br /&gt;&lt;br /&gt;Jude Dennis is a freelance upholstery consultant and educator. She graduated from the upholstery course at London Metropolitan University in 2009 and co-founded the Second Sitters creative upholstery partnership with Hannah Stanton in 2012. Dennis has produced a number of similar pieces in the Stacker series, using the familiar yet often discarded polypropylene chair. By adding traditional upholstery techniques in sustainable materials, Dennis aims to challenge the throw-away culture and question conventional relationships with everyday objects. She has said “there is a certain freedom in upholstering something which doesn’t need to be upholstered.”</text>
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              <text>Polypropylene.&lt;br /&gt;Steel.&lt;br /&gt;Upholstery.</text>
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              <text>H. 75&lt;br /&gt;W. 47&lt;br /&gt;D. 46</text>
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              <text>Moulded mark under the seat, ‘SIT Restall Production Design Group, 8L reg des no 945712’.</text>
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              <text>Donated to the Frederick Parker Collection by Jude Dennis in 2016</text>
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              <text>Online sources:&lt;br /&gt;&lt;a href="http://www.judedennis.com/home-3/"&gt;judedennis.com&lt;/a&gt;&lt;br /&gt;&lt;a href="https://www.secondsitters.co.uk"&gt;Second Sitters&lt;/a&gt;&lt;br /&gt;Email interview with Jude Dennis, July 2021</text>
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                <text>Polypropylene stacking chair upcycled with upholstery by Jude Dennis, known as Stacker #1.</text>
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                <text>Chair manufactured 1980-2000, upcycled 2013</text>
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                <text>A polypropylene stacking chair upcycled with upholstered seat and back by Jude Dennis, titled Stacker #1.</text>
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              <text>This is the child’s version of Atfield’s recycled plastic chair, also in the Collection (see FPF 415). The chair is elemental in form, rigid, square and upright, with very little attempt at ergonomics or comfort. It is essentially a statement about sustainability in the use of materials for consumer products. Together with the adult version (FPF 415), it was designed by Jane Atfield between 1992-5 as part of a range of furniture made of recycled high-density polyethylene (HDPE), a material initially developed in the United States. Working with Colin Williamson (plastics expert and chairman of the British Plastics Federation in London) and a plywood pressing firm, Stanley Smith Ltd in West London, Atfield began manufacturing HDPE in Britain in 1994, under her company, Made of Waste. Plastic bottles were collected from the local community, sorted by colour to achieve different effects, then chipped into small fragments and fused under heat and pressure to form a sheet material. This was then cut to make the various parts of the chairs and these were screwed together. This chair was produced by Made of Waste in c.1996.&lt;br /&gt;&lt;br /&gt;Jane Atfield (b. 1964) studied architecture at the Polytechnic of Central London and furniture design at the London College of Furniture. She graduated from the Royal College of Art in 1992 with an MA in furniture design. In 1993 Atfield set up a company, Made of Waste, pioneering post-consumer recycled plastics. Since then she has worked as a design consultant and university lecturer, has exhibited internationally, and has examples of her work in several museums. Atfield was shortlisted for the Jerwood Prize for Furniture in 1999.&lt;br /&gt;&lt;br /&gt;See also FPF415, a matching adult’s chair.</text>
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              <text>Good</text>
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              <text>Polyethylene (recycled plastic), fixed with Hex socket screws.</text>
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          <description>The physical size of the object</description>
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              <text>H. 56&lt;br /&gt;W. 26&lt;br /&gt;D. 30</text>
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              <text>Purchased for the Frederick Parker Collection from Jane Atfield in 2002.</text>
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          <name>Notes</name>
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              <text>Lesley Jackson, Modern British Furniture, Design since 1945, V&amp;amp;A Publishing 2013, p.203, fig. 238.&lt;br /&gt;There is another example of the adult chair in the Victoria and Albert Museum, accession number: W.4-1996. See:&lt;br /&gt;&lt;a href="https://collections.vam.ac.uk/item/O114267/rcp2-chair-chair-atfield-jane/"&gt;RCP2 chair | Atfield, Jane | V&amp;amp;A Explore The Collections&lt;/a&gt;&lt;br /&gt;For details on Jane Atfield see: &lt;a href="http://www.janeatfield.com"&gt;janeatfield.com&lt;/a&gt;</text>
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            <name>Identifier</name>
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                <text>Recycled plastic child’s chair designed by Jane Atfield.</text>
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                <text>Designed 1995, made in 1996</text>
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                <text>A child’s chair made from multi-coloured recycled polyethylene, designed by Jane Atfield and made by Made of Waste.</text>
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              <text>This chair is elemental in form, rigid, square and upright, with very little attempt at ergonomics or comfort. It is essentially a statement about sustainability in the use of materials for consumer products. Together with the child’s version (see FPF 416), it was designed by Jane Atfield between 1992-5 as part of a range of furniture made of recycled high-density polyethylene (HDPE), a material initially developed in the United States. Working with Colin Williamson (plastics expert and chairman of the British Plastics Federation in London) and a plywood pressing firm, Stanley Smith Ltd., in West London, Atfield began manufacturing HDPE in Britain in 1994, under her company, Made of Waste. Plastic bottles were collected from the local community, sorted by colour to achieve different effects, then chipped into small fragments and fused under heat and pressure to form a sheet material. This was then cut to make the various parts of the chair and these were screwed together. This chair was produced by Made of Waste in c.1996 and was given the design reference RCP2 Chair. &lt;br /&gt;&lt;br /&gt;Jane Atfield (b, 1964) studied architecture at the Polytechnic of Central London and furniture design at the London College of Furniture. She graduated from the Royal College of Art in 1992 with an MA in furniture design. In 1993 Atfield set up a company, Made of Waste, pioneering post-consumer recycled plastics. Since then she has worked as a design consultant and university lecturer, has exhibited internationally, and has examples of her work in several museums. Atfield was shortlisted for the Jerwood Prize for Furniture in 1999.&lt;br /&gt;&lt;br /&gt;See also FPF416, a matching child’s chair.</text>
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              <text>Polyethylene (recycled plastic), fixed with Hex socket screws.</text>
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          <description>The physical size of the object</description>
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              <text>H. 81 &lt;br /&gt;W. 37 &lt;br /&gt;D. 44</text>
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              <text>‘1’ written in ink on inside of left-hand seat rail.</text>
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              <text>Purchased for the Frederick Parker Collection from Jane Atfield in 2002.</text>
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          <name>Notes</name>
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              <text>Lesley Jackson, Modern British Furniture, Design since 1945, V&amp;amp;A Publishing 2013, p.203, fig. 238.&lt;br /&gt;&lt;span&gt;There is another example of the adult chair in the Victoria and Albert Museum, accession number: W.4-1996. See:&lt;/span&gt;&lt;br /&gt;&lt;a href="https://collections.vam.ac.uk/item/O114267/rcp2-chair-chair-atfield-jane/"&gt;RCP2 chair | Atfield, Jane | V&amp;amp;A Explore The Collections&lt;/a&gt;&lt;br /&gt;&lt;span&gt;For details on Jane Atfield see: &lt;/span&gt;&lt;a href="http://www.janeatfield.com"&gt;janeatfield.com&lt;/a&gt;</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Recycled plastic side chair designed by Jane Atfield.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Designed 1995, made in 1996</text>
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            <description>An account of the resource</description>
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                <text>A side chair made from multi-coloured recycled polyethylene, designed by Jane Atfield and made by Made of Waste.</text>
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              <text>This silvered high-back chair is a replica of a chair in the Frederick Parker Collection, FPF023, which dates to 1710-1720. &lt;br /&gt;&lt;br /&gt;This copy was commissioned by the Frederick Parker Foundation as a half-upholstered chair, to show its structure, finish and upholstery and illustrate how the original chair might have looked when new. It was made by Michael Kingsbury at London Metropolitan University in 2007 and Angela Hausler undertook the upholstery of half the chair, using traditional methods and materials; she added the silk velvet covering and trimmings appropriate to the period, in 2018. The fabric for the covering was donated by the late Albert E Chapman, Upholsterer to HM The Queen, and the trimming was given by Artistic Upholstery.&lt;br /&gt;&lt;br /&gt;The original chair, FPF023, is an exceptional chair of high quality, made for a member of the aristocracy or royalty. Parts of the upholstery and silvered finish survive, and have not been restored, which makes the chair a rare example for study, but it is hard to imagine how it would have looked when new. This copy allows the two chairs to be compared and appreciated.</text>
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              <text>Beech.&lt;br /&gt;Upholstery.</text>
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          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
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              <text>H. 133&lt;br /&gt;W. 53&lt;br /&gt;D. 66.5</text>
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          <name>Parker Numbers</name>
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              <text>Replica of FPF023.</text>
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              <text>Made at London Metropolitan University in 2007-8, covered in 2018.</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>FPF464</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Replica high-back side chair, silvered beech, part upholstered.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="2335">
                <text>2007 and later. </text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2336">
                <text>A replica of a high-back side chair, c.1715, with carved, gessoed and silvered beech frame and half upholstered seat and back.</text>
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          <name>Full Description</name>
          <description/>
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            <elementText elementTextId="1956">
              <text>This mahogany tub armchair has an arched upholstered back with down-swept padded sides and mahogany out-scrolled arms carved with foliate scrolls, enclosing a circular padded seat. The top part of the chair would originally have been able to revolve but in restoration the seat is now fixed to the deep moulded circular mahogany seat rail. The chair is raised on ring-turned legs which originally were fitted with castors, now missing. The chair is upholstered in a 20th century tan leather, with large domed brass nails around the edge of the back and arms.&lt;br /&gt;&lt;br /&gt;This tub chair derives from French 18th century bergère chairs, for example, a bergère ‘de forme gondole’ (ie. in the form of a gondola), illustrated in Kjellberg, 2002. Designs for tub chairs appear in Thomas Sheraton’s The Cabinet Dictionary (1803), plate 8. They remained popular throughout the 19th century, see Thomas King’s The Cabinet Maker’s Sketch Book (1835) (Joy, 1994), and on 13 June 1874, The Furniture Gazette noted that Samuel Jones at 114 Curtain Road planned to display ‘a superior stock of ebonized and gold, and other fancy chairs, office chairs &amp;amp; stools, folding chairs, revolving and library chairs’ (BIFMO).</text>
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          <name>Condition</name>
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              <text>Framing under seat replaced, and seat now fixed to the seat rail below.&lt;br /&gt;Upholstery replaced. &lt;br /&gt;Originally with castors.</text>
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          <name>Materials</name>
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              <text>Mahogany.&lt;br /&gt;Upholstery.</text>
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        <element elementId="10">
          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
          <elementTextContainer>
            <elementText elementTextId="1959">
              <text>H. 89 &lt;br /&gt;W. 61 &lt;br /&gt;D. 66</text>
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          <name>Parker Numbers</name>
          <description/>
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            <elementText elementTextId="1960">
              <text>Plastic label under seat rail: ‘OM 1079’.</text>
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          <name>Provenance</name>
          <description/>
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              <text>Not recorded.</text>
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        <element elementId="57">
          <name>Notes</name>
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            <elementText elementTextId="1962">
              <text>P. Kjellberg, Le Mobilier Francais de XVIIIe Siecle, Paris, 2002, p. 105, B.&lt;br /&gt;Ed. E. Joy, Pictorial Dictionary of British 19th Century Furniture Design, Woodbridge, reprinted 1994, p. 148.&lt;br /&gt;Thomas Sheraton, The Cabinet Dictionary, 1803, plate 8.&lt;br /&gt;&lt;a href="https://bifmo.history.ac.uk/entry/jones-john-1811-41"&gt;Jones, John (1811–1874) | BIFMO&lt;/a&gt;</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="1952">
                <text>FPF368</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="1953">
                <text>Revolving upholstered tub chair.</text>
              </elementText>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1954">
                <text>1830-1850</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1955">
                <text>Mahogany revolving upholstered tub chair.</text>
              </elementText>
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              <text>This rosewood side chair has a panelled tablet crest rail with carved scroll ends and paterae and a raised double scroll crest in the centre. The back posts are down-swept into the seat rails at the sides, and continuous with the back legs. Two horizontal rails in the back enclose a carved floret flanked by carved and pierced channel-moulded scrolls. The caned seat has front and back rails as well as inner side rails through which the cane is woven. The chair is raised on turned legs at the front that are knulled just below the seat rail and have carved fringes just above the ‘toupie’ feet (toupie is French for a spinning top). The back legs are tapered and flared. The caning has been replaced; the chair would have had a squab cushion, held in place by the raised side rails.&lt;br /&gt;&lt;br /&gt;This form of side chair was fashionable from the early 1820s and remained so into the 1830s. Tablet-top chairs are described and illustrated in The London Chair-Makers’ and Carvers’ Book of Prices for Workmanship (1823) (Gloag, 1991). Related chairs were featured in Modern Style Exemplified (1829) and T. King’s Cabinet Maker’s Sketch Book (1835) (Joy, 1994).</text>
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              <text>The scrolled crest is replaced.&lt;br /&gt;Part of the left scroll in the centre of the back is replaced.&lt;br /&gt;Inner side seat rails and front and back rails all replaced in hardwood (not rosewood).&lt;br /&gt;The cane is replaced and has some damage.</text>
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              <text>Rosewood.&lt;br /&gt;Cane.</text>
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          <description>The physical size of the object</description>
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              <text>H. 89 &lt;br /&gt;W. 46 &lt;br /&gt;D. 51</text>
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              <text>Not recorded, but in the Collection prior to 1993.</text>
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          <name>Notes</name>
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              <text>J. Gloag, A Complete Dictionary of Furniture, revised and expanded by C. Edwards, Woodstock, 1991, p. 660.&lt;br /&gt;E. Joy, Pictorial Dictionary of British 19th Century Furniture Design, Woodbridge, reprinted 1994, pp. 216-217.</text>
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            <name>Identifier</name>
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                <text>FPF345</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Rosewood side chair with caned seat.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1820-1840</text>
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                <text>Rosewood side chair with tablet back and caned seat.</text>
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          <name>Full Description</name>
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              <text>This mahogany side chair has an arched crest rail above a balloon-shaped veneered splat with boxwood stringing along the outer edges. The crest rail and tapering curved back posts are cross-banded in mahogany veneer on the front faces only. The posts are continuous with square-section and raked back legs. The splat joins a ‘shoe’ fitted on the rear seat rail. The tapered stuff-over seat is raised on square-section, tapered front legs and flared back legs. The legs are joined by an ‘H’-form, square-section cross stretcher. The seat retains its original straw filling under a replaced cover. &lt;br /&gt;&lt;br /&gt;This chair is a rare example of a simple and plain version of fashionable neo-classical models such as those illustrated by George Hepplewhite (c. 1727-1786). It is comparable with his shield-back side chairs published posthumously in The cabinet maker and upholsterer's guide, (A. Hepplewhite, 1788). The use of veneer on the splat and back frame was almost certainly to allow a lower grade of mahogany to be used for the structure, which is otherwise unembellished with carving or piercing, and the seat stuffing is straw rather than horsehair; these are signs that this was always intended as an inexpensive chair.&lt;br /&gt;&lt;br /&gt;There are a set of six chairs and a further pair of similar design by Hepplewhite at Dinton, Wiltshire (NT 261288.1-6; NT 261324.1-2).</text>
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              <text>The cover is worn, exposing the straw stuffing.</text>
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          <name>Materials</name>
          <description/>
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              <text>Mahogany. Boxwood.&lt;br /&gt;Upholstery.</text>
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          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
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              <text>H. 96&lt;br /&gt;W. 53&lt;br /&gt;D. 50</text>
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              <text>Acquired for the Collection 16 June 2016.</text>
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          <name>Notes</name>
          <description/>
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              <text>&lt;a href="https://archive.org/details/cabinetmakerupho00ahepuoft/page/n47/mode/2up"&gt;The cabinet maker and upholsterer's guide; or, Repository of designs for every article of household furniture .. : A. Hepplewhite and Co | Internet Archive&lt;/a&gt;&lt;br /&gt;&lt;a href="https://www.nationaltrustcollections.org.uk/object/261288.1"&gt;Dining chair | National Trust collections&lt;/a&gt;&lt;br /&gt;&lt;a href="https://www.nationaltrustcollections.org.uk/object/261324.1"&gt;Dining chair | National Trust collections&lt;/a&gt;</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>FPF493</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Side chair with a balloon-shaped splat and upholstered seat.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1800-1820</text>
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            <description>An account of the resource</description>
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                <text>Side chair with a balloon-shaped splat and upholstered seat.</text>
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          <name>Full Description</name>
          <description/>
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              <text>This armchair has a curved cartouche-shaped back within a gadroon-carved and moulded surround, and outwardly-curved arms with upholstered pads and moulded forward-scrolled supports. The stuff-over seat is serpentine in two dimensions with gadroon-carved edges and is raised on slender moulded cabriole front legs and conforming back legs, also with gadrooned edges. The front legs are carved at the knees with cartouches and end in scrolled-under feet. The upholstery has been replaced in the 20th century.&lt;br /&gt;&lt;br /&gt;This sophisticated armchair is designed in the French rococo taste but has a distinctively English elegance about it. It would originally have been part of a drawing room suite. Most chairs of this type were made of fine mahogany whereas this example is in limewood and would originally have been gilded or painted; it is now stained and grained to resemble mahogany. The carving is well executed. It is unusual to carry the gadrooned ornament across the tops of the legs, as in this case. The design has been associated with John Cobb of Soho (c.1715-78) who was in partnership with William Vile from 1751, and certainly its quality would imply a top London maker.</text>
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          <name>Condition</name>
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              <text>Front rail braced and two legs heavily strengthened. &lt;br /&gt;A little loss of height on feet. &lt;br /&gt;Chips to gadrooning. &lt;br /&gt;20th century upholstery.</text>
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          <name>Materials</name>
          <description/>
          <elementTextContainer>
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              <text>Limewood. &lt;br /&gt;Upholstery.</text>
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        <element elementId="10">
          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
          <elementTextContainer>
            <elementText elementTextId="1335">
              <text>H. 90&lt;br /&gt;W. 67&lt;br /&gt;D. 65</text>
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          <name>Parker Numbers</name>
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              <text>Plastic label inside seat rail: ‘OM 2024’. &lt;br /&gt;Associated number: 2437.</text>
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          <name>Provenance</name>
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              <text>Acquired by Frederick Parker &amp;amp; Sons by 1913, when it was valued at £15.0.0.</text>
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          <name>Notes</name>
          <description/>
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              <text>A number of similar chairs have appeared on the market: one with gadroon carving running over the tops of the front legs is illustrated in M. Harris &amp;amp; Sons, The English Chair, 1937, pl. LXX.</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>FPF183</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Simulated mahogany armchair with upholstered seat and back.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1775-1785.</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>An upholstered open armchair with carved frame and cabriole legs made in limewood, stained and grained to simulate mahogany.</text>
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