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              <text>Walnut.&lt;br /&gt;Upholstery.</text>
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              <text>H. 99 &lt;br /&gt;W. 71 &lt;br /&gt;D. 51</text>
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              <text>The legs and stretchers are distressed to give the appearance of age, and the side stretchers have been flattened to look as if they are worn, although any actual wear on side stretchers would be unusual.</text>
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              <text>A walnut armchair in 17th century style, with a twist-turned and carved frame and upholstered seat cushion and back.  The arms are the only parts of the chair which date from the 17th century and are Continental.  They each terminate in a carved crouching lion clasping a ball between the front paws. The arms are partly upholstered, and the carved ends rest on twist-turned supports which rise from the seat rails. The chair frame has squared back posts with carved tops, also in the form of lions’ heads and paws; the posts are continuous with the back legs, which are twist-turned with squared blocks at the joints with the seat rails and side stretchers.  The back and seat are upholstered; the seat has webbing across the frame and a cover cloth, with a thick loose cushion; the upholstery is covered with a modern figured velvet.  The front and back legs are twist-turned and joined by H-form stretchers and further stretchers at the front and back, all twist-turned with squared blocks at the joints.  The feet are ball-turned.&#13;
&#13;
The chair was made by Frederick Parker &amp; Sons in 1930 using the pair of Continental mid-17th century carved walnut arms.  It is in the style of 17th century chairs; for example, it has similarities with a ball-turned state chair at Knole dating to the 1660s (Bowett, 2002), but the fashion for twist-turning came a decade or so later than this, in the 1670s and 1680s, when chairs generally had frames which were less boxy and backs which were more vertical than horizontal.  The seat with its deep cushion is designed for comfort in the 20th century.&#13;
&#13;
For a similar chair made by Parker Knoll in 1948, see FPF380.</text>
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              <text>6369</text>
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              <text>Arms purchased by Frederick Parker &amp; Sons for £5.15.0.  The chair was made by Frederick Parker &amp; Sons in August 1930. </text>
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          <name>Notes</name>
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              <text>Adam Bowett, English Furniture 1660-1714, From Charles II to Queen Anne, Antique Collectors' Club, 2002, p. 70, Pl. 3.3</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Walnut armchair, turned and carved, with upholstered seat cushion 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>1930, with arms 1630-1660</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>FPF001</text>
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                <text>Walnut armchair, twist-turned and carved, with upholstered seat cushion and back.</text>
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          <name>Full Description</name>
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              <text>This unusual corner chair, mainly in American black walnut, has a saddle-shaped seat in the manner of Windsor chairs, and the back is shaped and profiled, with a curved ‘paper scroll’ at the top. The arms are formed as a boldly curved bow and end in outwardly flaring scrolls, resting on slender turned column supports which rise from the tops of two of the legs. The seat rails are made of elm, cross-grain veneered in walnut. The four cabriole legs have shell carvings on the knees and terminate in pad feet. &lt;br /&gt;&lt;br /&gt;Corner chairs were often associated with writing or dressing, and as such would have been seen from the back as well as the front. In this case the back leg is treated in exactly the same way as the other three, and the back itself is fully finished, whereas on most chairs of this period the backs were given a more basic, and less expensive, treatment. &lt;br /&gt;&lt;br /&gt;Such chairs were seldom made in sets or pairs, but usually as individual items, and are referred to in contemporary inventories as ‘dressing chairs’ (Bowett, 2009). Although this chair is well made it lacks the degree of sophistication expected of a London maker. For example, the arm supports seem rather incongruous and the use of elm as a secondary wood is unusual in metropolitan work. It was perhaps the work of a competent provincial maker. The leathered squab cushion is of a later date.</text>
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              <text>One arm support replaced. &lt;br /&gt;Veneer patched on front seat rail.&lt;br /&gt;Squab not original.&lt;br /&gt;The patinated surface that was present when the chair was acquired for the Frederick Parker Collection, and is visible in an early photograph, has unfortunately been cleaned off, although the chair retains its mellow colour.</text>
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              <text>American black walnut.&lt;br /&gt;Elm.&lt;br /&gt;Squab cushion.</text>
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          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
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              <text>H. 99&lt;br /&gt;W. 76&lt;br /&gt;D. 69</text>
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              <text>3837.  4919.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons on 15 May 1916 from White for £38.0.0.</text>
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              <text>Adam Bowett, Early Georgian Furniture, 1715-1740, Antique Collectors’ Club, 2009, p.188-9. &lt;br /&gt;Exhibited at the British Antique Dealers’ Association’s Exhibition of Art Treasures at the Grafton Galleries, London, 1928, no. 89. Although in the exhibition catalogue it was described simply as an ‘armchair’, the tall narrow back with its paper-scroll cresting sometimes gave rise to the erroneous idea that this was a barber’s chair.</text>
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            <name>Identifier</name>
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            <description>A name given to the resource</description>
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                <text>Walnut corner armchair with shaped seat, scrolled back and cabriole legs.</text>
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                <text>1730-1740</text>
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                <text>A corner armchair in American black walnut and elm, with a shaped seat, solid back with scrolled top, out-swept arms and four cabriole legs.</text>
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              <text>This walnut footstool in the French Rococo-style of the 1750s has a rectangular stuff-over seat with serpentine seat rails with beaded serpentine edge mouldings. It is raised on moulded hipped cabriole legs with scroll feet. The upholstery cover is modern.&lt;br /&gt;&lt;br /&gt;This form of footstool was illustrated in mid-19th century trade catalogues, such as H. Wood’s Cheval and Pole Screens (1846) and Supplement to General Furniture Work (1848), and W. Blackie’s The Cabinet-Maker’s Assistant (1853) (Joy, 1994). It was probably made as part of a matching walnut suite to go with an easy chair. For a side chair in similar style, see FPF349.&lt;br /&gt;&lt;br /&gt;There is a label underneath the seat inscribed ‘Property of House/Nestle Rowntree/Sitting Room 6’, indicating the stool was possibly from Penn House, York, built in 1852 for Joseph Rowntree Snr., a chocolatier, businessman and philanthropist. This historically important house was the principal residence of the Rowntree family for nearly 70 years until c. 1920, when it was sold.</text>
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              <text>Two of the feet have pieces broken off the scrolls.&lt;br /&gt;One of the seat edge mouldings has been replaced.&lt;br /&gt;Upholstery and top cover and minor repairs by Stuart and Turner 1963.</text>
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              <text>H. 23 &lt;br /&gt;W. 38 &lt;br /&gt;D. 43</text>
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              <text>Label under the seat, inscribed ‘Property of House/Nestle Rowntree/Sitting Room 6’.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons prior to July 1930.</text>
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              <text>Ed. E. Joy, Pictorial Dictionary of British 19th Century Furniture Design, Woodbridge, reprinted 1994, pp. 275-277.</text>
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                <text>Walnut footstool, upholstered.</text>
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                <text>1850-1870</text>
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                <text>Walnut footstool with cabriole legs, upholstered.</text>
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              <text>The back of this walnut side chair has a dished crest rail above four horizontal, shaped rails, or ‘rungs’, in a style commonly referred to as a ladder-back. The rails and posts are concave, i.e. curved to fit the sitter. A stuff-over and close-nailed seat with tapered sides is raised on square chamfered front legs and flared back legs, joined with peripheral stretchers; those at the front and back are higher than those at the sides. The stuff-over seat and tan leather cover with close nailing are a later replacement done in the late 19th or early 20th century.&lt;br /&gt;&lt;br /&gt;The ladder-back is a common English vernacular chair form, possibly of Dutch origin; it is a rare example of a style transmission from vernacular to fashionable furniture (Bowett, 2009). This chair has been tentatively attributed by furniture historian Christopher Gilbert to the Clerkenwell maker, Giles Grendey (1693-1780), and this is reinforced by comparison with other Grendey chairs. For example, it is similar to a set of six walnut ladder-back chairs in Newport Church, Essex, bearing ‘a fragmentary but recognisable’ label for Giles Grendey (Jervis, 1974). Dating from c. 1750, they would originally have had rush seats. However, the Frederick Parker chair does not have mouldings on the legs and back posts like the Newport chairs, nor are its stretchers chamfered. Another set is in the Museum of the Home (9/2010-1 to -6), possibly the Newport Church set; one chair (9/2010-2) bears a partial Grendey trade label, and is stamped ‘TC’ and ‘VII’ (Jervis, 1993).&lt;br /&gt;&lt;br /&gt;The present chair is stamped ‘RW’ on the back seat rail; this stamp appears on other seat-furniture attributed to Grendey, including a set of probably twelve chairs and a settee, of which six chairs (plus the unstamped settee) are in the Leverhulme Collection, four were acquired in 1975 by Noel Terry for Fairfax House, York, and a further pair were sold at Christie's, London, in June 1981 (Wood, 2008).&lt;br /&gt;&lt;br /&gt;A similar chair back can be found on an earlier set of six mahogany ladder-back chairs, supplied by Elizabeth Hutt &amp;amp; Son of St. Paul’s Churchyard, London, in 1739 to Bowringsleigh, Devon. This is the earliest documented example of fine as opposed to vernacular English ladder-back chairs (Jervis, 1993).</text>
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              <text>All legs have been tipped.&lt;br /&gt;There are two reinforcing metal brackets at the back of the crest rail.</text>
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          <name>Materials</name>
          <description/>
          <elementTextContainer>
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              <text>Virginia walnut (juglans nigra).&lt;br /&gt;Beech seat rails.&lt;br /&gt;Upholstery.</text>
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          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
          <elementTextContainer>
            <elementText elementTextId="1144">
              <text>H. 97&lt;br /&gt;W. 56&lt;br /&gt;D. 58</text>
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          <name>Marks</name>
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              <text>Stamped ‘RW’ on the back of the lower horizontal rail of the chair back.</text>
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        <element elementId="55">
          <name>Parker Numbers</name>
          <description/>
          <elementTextContainer>
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              <text>OM 5956. See Frederick Parker Archive, Box 55, FPA050. Page 150.</text>
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          <name>Provenance</name>
          <description/>
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              <text>Purchased by Frederick Parker &amp;amp; Sons on 17 December 1920 for £10.0.0.</text>
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        <element elementId="57">
          <name>Notes</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1148">
              <text>Adam Bowett, Early Georgian Furniture 1715-1740, Antique Collectors' Club, 2009, p. 186, Plate 4:87.&lt;br /&gt;Simon Jervis, ‘A Great Dealer in the Cabinet Way: Giles Grendey (1693-1780)’, Country Life, 6 June 1974, p. 1419 and fig. 4.&lt;br /&gt;Simon Jervis, ‘A 1739 Suite of Seat Furniture at Bowringsleigh’, Furniture History, 1993, pp. 42-43, Figure 4.&lt;br /&gt;Museum of the Home, Grendey chairs, see: &lt;a href="https://collections.museumofthehome.org.uk/object14390"&gt;Museum of the Home collections | 9/2010-2&lt;/a&gt;&lt;br /&gt;Lucy Wood, The Upholstered Furniture in the Lady Lever Art Gallery, Yale, 2008, vol. I, no. 20, pp. 245-263.</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>FPF144</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Walnut ladder-back side chair.</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>1745-1755</text>
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                <text>Walnut ladder-back side chair with upholstered seat.</text>
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          <name>Full Description</name>
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              <text>This walnut open armchair has a ‘compass’ (rounded) upholstered seat and back, with no gap between the back and seat. The shaped and out-scrolled walnut arms rest on curved supports which are fitted to the seat rails. The chair is raised on front cabriole legs with a carved scallop shell and pendant bellflower on the knees and shaped ears and ‘C’ scroll carving at the edges, which terminate in elongated pad feet. The back legs are raked with pad feet. Parts of the webbing and base cloth are 19th century and there is one red thread caught under a tack – evidence of earlier upholstery; the chair has been recovered in the 20th century with a damask.&lt;br /&gt;&lt;br /&gt;This armchair can be compared to a set of twelve side chairs together with two settees and a couch made for the Yellow Drawing Room at Houghton Hall, Norfolk (Bowett, 2009). The inclusion of the increasingly popular shell motif on the knees probably evolved from the leafy scroll or plume found on contemporary Parisian chairs. It has been described as: ‘a metaphor for the more general transition from the baroque to neo-Palladian style in English furniture’ (ibid.). Another similar set of four side chairs with upholstered ‘compass’ backs is at the Treasurer’s House, York (ibid.; &lt;a href="https://www.nationaltrustcollections.org.uk/object/592766"&gt;NT 592766&lt;/a&gt;).&lt;br /&gt;&lt;br /&gt;The arms on this chair are replacements in the period style. Armchairs of this type are less common than side chairs, no doubt because often large sets of side chairs were made with accompanying pairs of open armchairs. For similar open armchairs, see one bearing the label Robert Webb, c. 1720-25, illustrated in Gilbert, 1996; an armchair at Paycocke’s House, Essex (&lt;a href="https://www.nationaltrustcollections.org.uk/object/717472"&gt;NT 717472&lt;/a&gt;) and a ‘writing chair’ in Cescinsky, 1929. For similar arms, see a pair of walnut library armchairs, c. 1720, at Houghton (Edwards, 1954).</text>
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              <text>The arms and one arm support are replaced.&lt;br /&gt;One front leg replaced.&lt;br /&gt;Repairs to the back legs, feet tipped.</text>
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          <name>Materials</name>
          <description/>
          <elementTextContainer>
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              <text>Walnut.&lt;br /&gt;Beech (back legs).&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="857">
              <text>H. 97 &lt;br /&gt;W. 76 &lt;br /&gt;D. 61</text>
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          <name>Parker Numbers</name>
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              <text>OM 610, pattern no. 9100. See Frederick Parker Archive, Box 55, Ms. FPA050, p.13.</text>
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          <name>Provenance</name>
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              <text>Purchased by Frederick Parker &amp;amp; Sons pre 1914 from Brackett for £8.10.0.&lt;br /&gt;Note in folder: ‘New purchase London GH-U’.</text>
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          <name>Notes</name>
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              <text>A. Bowett, Early Georgian Furniture 1715-1740, Woodbridge, 2009, pp. 168, 174-175, Plates 4:50, 4:61.&lt;br /&gt;C. Gilbert, Pictorial Dictionary of Marked London Furniture, 1700-1840, London, 1996, p. 463, Fig. 938.&lt;br /&gt;H. Cescinsky, English Furniture Gothic to Sheraton, Grand Rapids, 1929, p. 190.&lt;br /&gt;R. Edwards, The Dictionary of English Furniture, vol. I, revised edition, Woodbridge, 1954, p. 262, Fig. 111.</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>FPF062</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Walnut open 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>1725-1740</text>
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            <description>An account of the resource</description>
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                <text>Walnut open armchair with upholstered seat and back and cabriole legs.</text>
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          <name>Full Description</name>
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              <text>This walnut open armchair has an upholstered high back of an unusual shape which tapers upwards to a flat, slightly scrolled crest rail. Out-scrolled ‘shepherd’s crook’ arms join a trapezoid padded seat, which is raised on square-section, chamfered and tapering front legs and similarly raked back legs, joined by a square-sectioned H-form stretcher. The chair is covered in probably 19th century close-nailed dark brown leather. The narrow webbing on the chair-back is 18th century, the wider webbing is later. Likewise, the hessian and webbing of the seat appears to be both 18th and 19th century. On the right arm there are signs of earlier tack marks suggesting a previous upholstery cover.&lt;br /&gt;&lt;br /&gt;This chair is an interesting example of furniture made up in the late 19th or early 20th century using some 18th century parts and re-using materials, like Baltic oak in the back framing and the leather for the upholstery covers. The right arm is typical of c.1725, the left arm is a replica; the legs and stretchers and seat frame are mid-18th century; the tapering shape of the high chair-back has no precedent in the 18th and 19th centuries, and is constructed with re-used Baltic oak, with evidence of band-saw machining, suggesting an early 20th century alteration to a chair already composed of parts of various dates. The chair was probably made with the intention deceive and it is reasonable to assume Frederick Parker bought it on the assumption it was an authentic 18th century piece.</text>
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              <text>The left arm has been replaced.&lt;br /&gt;The back was re-shaped in the early 20th century.&lt;br /&gt;All the legs have been tipped.&lt;br /&gt;The upholstery includes 19th century leather.</text>
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          <name>Materials</name>
          <description/>
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              <text>Walnut.&lt;br /&gt;Oak.&lt;br /&gt;Upholstery.</text>
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          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
          <elementTextContainer>
            <elementText elementTextId="1068">
              <text>H. 107&lt;br /&gt;W. 63&lt;br /&gt;D. 60</text>
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              <text>OM 2314.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons prior to 1911. Ex. Clifford £8.0.0.</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>FPF123</text>
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            <description>A name given to the resource</description>
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                <text>Walnut open armchair with upholstered seat and high 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>1890-1910 with one arm c.1725, legs and seat frame c.1760</text>
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                <text>Walnut open armchair with upholstered seat and high back.</text>
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      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
      <elementContainer>
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          <name>Full Description</name>
          <description/>
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              <text>This walnut stool has a rectangular seat frame with a moulded edge retaining the upholstered drop-in seat. The four legs have baluster turnings at the top, square cut cabriole legs with pronounced knees and a beaded outline, terminating in scroll feet. The legs are united by cross stretchers of broken serpentine form. All the features of the stool are consistent with styles of the early 18th century; drop-in seats first appear on chairs in around 1700; this form of cabriole leg is seen on chairs and tables from around 1710; and cross-stretchers are recorded in the Royal Household accounts from the 1690s and remained fashionable until around 1715 (Bowett, 2009). &lt;br /&gt;&lt;br /&gt;However, although this appears to be an early 18th century stool, close inspection reveals it was made in the late 19th or early 20th century. The construction of the seat frame and the applied moulded edge are not consistent with typical joiners’ work of the period. The detailing of the legs is somewhat over-finished and the colour and patination is contrived rather than genuinely old. It is likely this stool was made to deceive, a practice which was not unusual at the time, when the demand for antiques outstripped supply. The stool was bought by Frederick Parker at a price which would indicate he assumed it was an 18th century antique.</text>
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              <text>The solid wood mouldings to the seat are badly split due to drying and shrinkage; they have been glued to a supporting frame and this has prevented their natural movement.&lt;br /&gt;The drop-in seat frame is of the same period, with webbing supporting the stuffing and a faded red brocade cover.</text>
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          <name>Materials</name>
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              <text>Walnut.&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="732">
              <text>H. 43&lt;br /&gt;W. 50&lt;br /&gt;D. 43</text>
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          <name>Parker Numbers</name>
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              <text>Plastic label inside seat rail: OM 1687.</text>
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        <element elementId="56">
          <name>Provenance</name>
          <description/>
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              <text>Purchased by Frederick Parker &amp;amp; Sons in 1914 for £5.0.0</text>
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        <element elementId="57">
          <name>Notes</name>
          <description/>
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              <text>See Adam Bowett, Early Georgian Furniture, 1715-1740, Antiques Collectors Club, 2009, pp.144-156.&lt;br /&gt;A similar stool was sold at Christie’s, King Street, London on 9th March 2000, lot 14.</text>
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            <name>Identifier</name>
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                <text>Walnut rectangular stool with drop-in seat</text>
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                <text>A walnut rectangular stool with an upholstered drop-in seat, cabriole legs and cross stretchers.</text>
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              <text>This mid-19th century walnut chair with its balloon-shaped back is in the French rococo style. It is carved with acanthus leaves and scrolls, with asymmetric foliate scrolls in the crest rail and lower rail of the back, and floral motifs on the front seat rail and on the knees of the cabriole legs. The seat and back panel are upholstered, the covers being 20th century. &lt;br /&gt;&lt;br /&gt;Chairs with balloon backs were introduced by Gillows of Lancaster to commemorate Vincent Lunardi’s attempt at a hot-air balloon flight from Lancaster Castle in 1785. The Gillow design incorporated a central splat inspired by the outline of the balloon, within a shield-shaped or oval back (Stuart, 2008). By the mid-19th century, the term balloon-back was used for any chair with a rounded back, and they were made in a great variety of styles and at different levels of quality and price. This example is relatively simple, well-made and elegant, and would have suited a middle-class household.&lt;br /&gt;&lt;br /&gt;This is one of a very few Victorian chairs in the Collection; when it was acquired by Frederick Parker in 1912, Victorian styles were very much out of fashion.</text>
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          <description>The physical size of the object</description>
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              <text>H. 91&lt;br /&gt;W. 48&lt;br /&gt;D. 53</text>
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              <text>Purchased by Frederick Parker on 20th June 1912 for 10 shillings.</text>
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              <text>Susan Stuart, Gillows of Lancaster and London, 1730-1840, Antiques Collectors’ Club, 2008, Vol. I, p. 166.</text>
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            <name>Identifier</name>
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                <text>Walnut side chair with balloon back and upholstered seat and back panel.</text>
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                <text>1850-1870.</text>
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                <text>Walnut balloon-back side chair with cabriole front legs and upholstered seat and back panel.</text>
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              <text>This walnut side chair has a tall narrow back with a curved crest rail which has a raised central section and cusped corners. There is a baluster-shaped walnut-veneered splat, curved to fit the human form, which is pierced at the top in the shape of a keyhole, and joined at the base to a ‘shoe’ on the rear seat rail. The square-section back posts are straight and tapering. The seat rail has rounded corners at the front and is tapered towards the back, with a moulded top edge to retain the drop-in seat. The seat frame and upholstery are replaced and the cover is 20th century floral tapestry. The chair is raised on four cabriole legs, all with carved knees and terminating in square pad feet. &lt;br /&gt;&lt;br /&gt;The banister-back chair marks a transition in around 1720 from the Chinese-style rectangular back to a more Anglicised version (Bowett, 2009). Another 18th century term for this form was the ‘pedestal’ back, as described in furniture-makers’ bills. Although this chair has straight rather than curved back posts, the splat is curved and as such it could be described as a ‘bended back’ or ‘India back’ chair. The term ‘India’ encompassed the whole of South and South-east Asia, including China; here, the ‘milkmaid’s yoke’ crest rail and curved splat are influenced by Chinese chairs. The use of ‘Indian’ to describe such chairs appears, for example, in the trade card of Thomas Cleare, who worked at the sign of the Indian Chair, St. Paul’s Churchyard, in the 1720s and 30s (Gilbert, 1996). Comparable chairs in the Frederick Parker collection include FPF045 and FPF059, which have similar piercings at the top of the splats.&lt;br /&gt;&lt;br /&gt;The reverse-curved or cabriole leg is an innovation that ‘more than any other characterised early Georgian chair design’. It seems likely this had a French origin. Engravings by Pierre Le Pautre (c. 1659-1744) and André-Charles Boulle (1642-1732) incorporated cabriole legs on different types of furniture from around 1700 (ibid.). The earliest documented example of English cabriole leg chairs to survive is a set of six (together with a sofa and firescreen) at Canons Ashby, Northamptonshire; the chairs were supplied in 1715 by Thomas Phill (d. 1727). See &lt;a href="https://www.nationaltrustcollections.org.uk/object/494468"&gt;Untitled 494468 | National Trust Collections&lt;/a&gt;</text>
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              <text>The chair is in poor condition with extensive repairs and is now fragile.&lt;br /&gt;Both back posts are replaced, faced with walnut veneer (possibly original) and stained at the back. The back of the chair is loose because of the repairs.&lt;br /&gt;Repairs to crest rail at joints with posts and splat.&lt;br /&gt;Both back feet tipped&lt;br /&gt;Back left leg is loose at joint with seat.</text>
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              <text>Walnut.&lt;br /&gt;Upholstery.</text>
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          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
          <elementTextContainer>
            <elementText elementTextId="868">
              <text>H. 104 &lt;br /&gt;W. 56&lt;br /&gt;D. 53</text>
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              <text>6106, 4957, 8</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons on 20th June 1927 from Mr H. G. P. for £7 15s.</text>
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          <name>Notes</name>
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              <text>A. Bowett, Early Georgian Furniture 1715-1740, Antique Collectors' Club, 2009, pp. 161, 150, 151.&lt;br /&gt;Christopher Gilbert, Pictorial Dictionary of Marked London Furniture, Furniture History Society and Maney, 1996, p.145, plate 214.</text>
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            <name>Identifier</name>
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                <text>Walnut side chair with banister back.</text>
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                <text>1720-1730</text>
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                <text>Walnut side chair with banister back and drop-in seat.</text>
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          <name>Full Description</name>
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              <text>This walnut side chair has a tall narrow back and a solid rectangular splat, which are curved in both planes. The scrolled convex crest rail joins turned and tapering back posts that terminate in ring-turned carving. The carved cusped motif at the base of the splat is taken from a Chinese lotus design. The splat is tenoned into a raised ‘shoe’ on the rear seat rail. The drop-in upholstered seat with tapering sides has been replaced and is now covered in a modern green damask fabric. The chair has four cabriole legs with c-scrolls at the knees, and which terminate in pad feet. The seat rails are cut away for a lighter effect.&lt;br /&gt;&lt;br /&gt;This type of chair, with its distinctive curved splat and back posts designed to fit the human form, first made its appearance in England in the early 18th-century, inspired by Chinese chairs. They were referred to as ‘India back’, since India was then understood to mean anywhere east of the Mediterranean, including China; other terms for these chairs were ‘bended’, ‘crook’d’ or ‘sweep’ back chairs. The introduction of the ‘India back’ is considered ‘the most radical and far-reaching design innovation of the eighteenth century’ (Bowett, 2009). The earliest documented chairs with this type of back were recorded in the ‘Right Hand Parlour’ at Canons Ashby in November 1717 (ibid.).&lt;br /&gt;&lt;br /&gt;Chairs of this type and date were mostly made in the solid from walnut, as in this example, or mahogany. It is usual for them to bear little or no carving. A similar settee is illustrated in Symonds, 1953.</text>
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              <text>This chair has been over-cleaned.&lt;br /&gt;Drop-in seat replaced.</text>
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              <text>Walnut.&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. 112 &lt;br /&gt;W. 56 &lt;br /&gt;D. 61</text>
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              <text>This chair is stamped ‘VIII’ on the front seat-rail indicating it was one of a set of at least eight chairs.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons in 1913 for £1.0.0.</text>
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              <text>A. Bowett, Early Georgian Furniture 1715-1740, Woodbridge, 2009, pp. 156-157, Plate 4:24. See also p. 47, Plate 1:38 where this chair is illustrated.&lt;br /&gt;R.W. Symonds, ‘A Chair from China’, Country Life, 5 November 1953, pp. 1497-1499, fig. 9.</text>
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            <name>Identifier</name>
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                <text>Walnut side chair with cabriole legs and drop-in seat.</text>
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                <text>1720-1730</text>
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                <text>Walnut side chair with a curved solid splat and drop-in seat, on cabriole legs with pad feet</text>
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