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              <text>This walnut side chair has a concave crest rail with a central paper scroll and scrolled corners, continuous with the straight and tapered back posts. There is a three-part pierced splat in the form of a lyre, the two outer bars joining the scrolled corners of the crest rail. The tops and bottoms of the piercings are shaped as gothic tracery. The splat is fitted to the seat-rail, with no shoe. The seat rails are plain with a moulded top edge and the drop-in seat, which retains its original frame, is covered with 19th century upholstery and leather cover. The front legs are cabriole with shaped ears and pad feet, while the back legs have turned sections above block heels and are flared. The legs are united by an H-form turned stretcher with squared blocks at the joints and a higher turned back stretcher.&lt;br /&gt;&lt;br /&gt;This model is a transitional piece that stylistically lies between the baluster-splat chairs of the 1720s and 30s and pierced fan-back chairs of 1740-50; examples of the fan back can be seen in a set of chairs supplied by John Willis of St. Paul’s Churchyard in 1745 to Emmanuel College, Cambridge (Bowett, 2009). The shaping of the back of this chair resembles a classical Ionic capital; in Thomas Chippendale’s (1718-79) Director (1754, 1755, 1762) the preliminary plates illustrated the classical orders since they were considered the foundation of good design. &lt;br /&gt;&lt;br /&gt;A mahogany chair with a closely related splat to the one on this chair is in the Victoria &amp;amp; Albert Museum (&lt;a href="https://collections.vam.ac.uk/item/O372170/chair-unknown/%22170/chair-unknown/"&gt;Chair | Unknown | V&amp;amp;A Explore The Collections&lt;/a&gt;). The lyre-shaped splat was to reach its apogee in the late 1760s and early 1770s; an example is the set of six library chairs supplied by Chippendale in 1768 for the Library at Nostell Priory, Yorkshire (&lt;a href="https://www.nationaltrustcollections.org.uk/object/959722"&gt;NT 959722&lt;/a&gt;), while a design by Chippendale’s contemporary, John Linnell (1729-96), shows a more elaborate version of the lyre-back (&lt;a href="https://collections.vam.ac.uk/item/O754688/design-for-a-lyre-back-drawing-linnell-john/"&gt;Victoria &amp;amp; Albert Museum, E.80-1929&lt;/a&gt;). &lt;br /&gt;&lt;br /&gt;This chair is possibly of provincial manufacture, in that the work is relatively plain with no carving and does not use veneers; it combines new and old stylistic features, for example, the lyre-shaped splat would have been quite a new fashion while the use of stretchers with cabriole legs was becoming rather archaic. London makers tended to be in the vanguard with new ideas.</text>
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              <text>In good original condition, with few alterations or repairs.</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. 99 &lt;br /&gt;W. 61 &lt;br /&gt;D. 58</text>
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              <text>Incised ‘II’ on back seat rail suggesting the chair is part of a larger suite.</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>Adam Bowett, Early Georgian Furniture 1715-1740, Antique Collectors' Club, 2009, p. 197, Plate 4:108.&lt;br /&gt;Thomas Chippendale, The Gentleman and Cabinet-Maker's Director, 3rd edition, 1762, Plates I-VIII.</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 side chair with lyre-shaped splat.</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>1730-1740</text>
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                <text>Walnut side chair with lyre-shaped pierced splat and drop-in seat.</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>
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          <name>Full Description</name>
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              <text>This walnut side chair has an undulating crest rail with rounded corners, meeting moulded, waisted and tapering back posts. The pierced splat is gently splayed towards the top and formed into four bars, the three piercings having gothic arches at the top and bottom. The splat fits into a ‘shoe’on the rear seat rail. The seat rail is waisted towards the back and curved, or compassed, at the front, and is veneered with cross-banded walnut. The drop-in seat is covered in a flowered silk damask material, now in poor condition. The front legs are cabriole with a boldly carved scallop shell on the knee and scroll-shaped ears, terminating in trifid feet. The back legs, which are continuous with the back posts, are cabriole, flared and have squared feet.&lt;br /&gt;&lt;br /&gt;This is a well-made chair in good original condition. It has been tentatively attributed by Christopher Gilbert to the maker, Giles Grendey (1693-1780); it is similar but not identical to a set of twelve walnut chairs, c. 1740-45, bearing Grendey's trade label (Gilbert, 1996). Another set of nine related chairs attributed to Grendey were sold at Christie's London, 6 July 2000, lot 57.&lt;br /&gt;&lt;br /&gt;A later version of this model but in mahogany was supplied by Gillows of Lancaster and London to William Hassell of Penrith in 1774 (Stuart, 2008). In the 1780s, Gillows modified the shape of the top rail to an arched form (ibid., p. 152, plate 100). A set of twelve mahogany chairs, probably by Gillows, is at Blickling Hall, Norfolk, formerly in the collection of Philip, 11th Marquess of Lothian (NT 354407).&lt;br /&gt;&lt;br /&gt;The trifid foot is a motif generally associated with Irish furniture but there is no other evidence for this in this case.</text>
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              <text>Later corner blocks on the seat rails</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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            <elementText elementTextId="967">
              <text>H. 56&lt;br /&gt;W. 94 &lt;br /&gt;D. 56</text>
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              <text>Incised ‘II’ on the front of the seat rail indicating that this chair was part of a larger set.</text>
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              <text>1499</text>
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              <text>In stock prior to 1914. Value £3.10.0.</text>
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          <name>Notes</name>
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              <text>Christopher Gilbert, The Pictorial Dictionary of Marked London Furniture 1700-1840, Furniture \History Society and Maney, 1996, p. 242, fig. 435.&lt;br /&gt;Susan Stuart, Gillows: of Lancaster and London 1730-1840, Antique Collectors' Club, 2008 vol. I, pp. 151-152, plates 97, 100.&lt;br /&gt;&lt;a href="https://www.nationaltrustcollections.org.uk/object/354407.1"&gt;Dining chair 354407.1 | National Trust collections&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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                <text>FPF095</text>
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            <description>A name given to the resource</description>
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                <text>Walnut side chair with cabriole legs.</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>1740-1750</text>
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                <text>Walnut side chair with pierced splat and cabriole legs, attributed to Giles Grendey.</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>
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              <text>This fan back chair has a concave crest rail with paper-scrolls at the centre and each corner, above a flared splat with three gothic piercings carved with tassels, flowerheads and lambrequins (drapery). The splat verticals are linked half-way up with paterae and terminate in a ‘shoe’ on the rear seat rail. The stuff-over seat is covered in a 20th century wool fabric. The chair is raised on four cabriole legs, those at the front with shaped ears carved, along with the knees, with grapes and vine leaves and terminating in claw and ball feet; the rear legs are plain and terminate in pad feet.&lt;br /&gt;&lt;br /&gt;This is probably an Irish chair, from its proportions and the main features in its style, execution and carving. A similar mahogany triple chair-back settee is in the National Museum of Ireland, Dublin and a related armchair was formerly with Mallett’s (The Knight of Glin, Peill, 2007).&lt;br /&gt;&lt;br /&gt;The fan back derives from William Kent’s drawings for flared back chairs and benches of the late 1720s and early 1730s, the earliest documented example being a set of chairs and two settees supplied by John Willis of St. Paul’s Churchyard to Emmanuel College, Cambridge, in 1745. The paper-scrolled crest rail is taken from Italian models adapted by Kent, seen in examples at Badminton House and Houghton Hall. Elements of Kent’s designs achieved widespread popularity, albeit in a diluted form, and the fan-back chair continued to be fashionable through much of the 18th century (Bowett, 2009).&lt;br /&gt;&lt;br /&gt;The inclusion of rear cabriole legs as opposed to the more common plain back legs would have incurred additional expense, and shows this is a high quality chair.</text>
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              <text>The scrolls in the crest rail have been replaced.&lt;br /&gt;There are repairs to the back posts showing the chair once had arms, which would also have been fixed to the seat rail, although the seat rails are now replaced.&lt;br /&gt;Three seat rails and the shoe are replaced.&lt;br /&gt;The feet are cut down.&lt;br /&gt;Upholstery is 20th century.</text>
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          <name>Materials</name>
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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. 97 &lt;br /&gt;W. 61 &lt;br /&gt;D. 64</text>
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          <name>Parker Numbers</name>
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              <text>4398. 4974. OM 5995. See Frederick Parker Archive, Box 55, Ms. FPA050, page 124.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons from Cecil Millar for £24.20.0.</text>
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              <text>The Knight of Glin, J. Peill, Irish Furniture, Yale, 2007, p. 209, figs. 18-19.&lt;br /&gt;Adam Bowett, Early Georgian Furniture 1715-1740, Antique Collectors' Club, 2009, pp. 196-197.&lt;br /&gt;See also Lucy Wood, Upholstered Furniture in the Lady Lever Art Gallery, Yale, 2009, p. 360, figs. 230-235 for details of a similar set of chairs at Alnwick Castle, Northumberland, attributed to William Hallett, 1740; and another set possibly by Hallett, supplied to Sir Jacob de Bouverie in 1737.&lt;br /&gt;Similar chair backs can be seen in H. Cescinsky, English Furniture: From Gothic to Sheraton, 1968, reprint, 2nd Ed, pp. 197, 274.&lt;br /&gt;A chair of this model with virtually identical chair back but mahogany and with alternative carving on the knees was sold in &lt;a href="https://www.christies.com/lot/lot-6187345"&gt;‘Little Cassiobury: The Collection of Susan Lyall’, Christie’s New York, 16 January 2019, lot 148&lt;/a&gt;</text>
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                <text>Walnut side chair with fan back and cabriole legs.</text>
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                <text>1735-1745</text>
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                <text>A walnut side chair with fan back, scrolled crest rail and pierced splat on cabriole legs, with upholstered seat.</text>
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              <text>This mahogany chair has a tapering back with moulded back posts carved with acanthus scrolls. They are joined by an undulating crest rail above a finely carved and pierced splat with a central cartouche flanked by C scrolls; below this is a carved tassel and rocaille (rock-work) swag, on either side of which are acanthus broken S scrolls. The lower part of the splat has a cross-bar with a trefoil at each end, and terminates in a ‘shoe’ on the rear seat rail. The drop-in seat is covered in late 20th century red velveteen. There is a plain moulded seat rail above front cabriole legs with acanthus carving on the ears and knees. The legs end in claw and ball feet, while the back legs are flared on squared feet.&lt;br /&gt;&lt;br /&gt;The top section of the splat is the only part of this chair which is 18th century. The rest was made by Frederick Parker &amp;amp; Sons between 1922 and 1929, probably copied from other chairs or from photographs or pattern books. The chair became the prototype for the manufacture of reproduction chairs of this design. The splat is possibly Irish; an Irish mahogany side chair with a similar back was offered for sale by Sotheby’s, London, 14 June 2005.</text>
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              <text>The top part of the splat is 18th century, the rest of the chair is 20th century.&lt;br /&gt;The joint between the right hand back upright and the top rail has broken apart.</text>
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          <description/>
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              <text>Mahogany.&lt;br /&gt;Upholstery.</text>
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          <description>The physical size of the object</description>
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              <text>H. 94 &lt;br /&gt;W. 58 &lt;br /&gt;D. 53.</text>
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          <name>Parker Numbers</name>
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              <text>OM 6182. See Frederick Parker Archive, Box 55, FPA050. Page 206.</text>
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              <text>The chair was made by Frederick Parker &amp;amp; Sons after 1922. Its stock value in 1929 was £7.15s.</text>
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              <text>&lt;a href="https://www.invaluable.com/auction-lot/w-an-irish-george-ii-mahogany-side-chair-151-c-1oudlbaue2"&gt;Irish chair with similar back, sold by Sotheby’s, London, 14 June 2004, lot 151&lt;/a&gt;</text>
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            <name>Identifier</name>
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                <text>Carved mahogany side chair with pierced splat and cabriole legs.</text>
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                <text>1920-1930 with splat c. 1740</text>
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                <text>Carved mahogany side chair with pierced splat and cabriole legs.</text>
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          <name>Full Description</name>
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              <text>An exceptional mahogany armchair, with a carved and pierced splat in the back, serpentine arms, cabriole front legs ending in ball and claw feet and tapering back legs ending in pad feet. The back, with its central splat and crest rail, is finely carved with interlacing and foliage, with eagles’ heads at the top corners of the crest rail. The arms terminate in out-swept scrolls carved with eagles’ heads, and there are further eagles’ heads carved on the brackets between the front legs and the seat rails. The carving and piercing of the ball and claw feet is equally skilful. The seat upholstery with its leather cover is probably 19th century. The chair is stamped ‘SW’ twice under the rear seat rail.&lt;br /&gt;&lt;br /&gt;This chair is very high quality, designed and made with a lightness not usually found on chairs of this type and date. The use of mahogany has allowed the maker to reduce each part to the smallest possible section without sacrificing strength. The piercing of the splat in particular is extreme and the carving and interlace have further reduced its thickness. The decorative theme of eagles, the symbol of Jupiter, is continued from the crest rail to the out-scrolled arm terminals and the front legs. Here the scrolling ears carved with feathered eagles’ heads again seem to have been designed to emphasise the feeling of lightness, as do the ball and claw foot details, where the talons and claws are pierced through and carved in full relief. This piercing is a considerable rarity. The type of mahogany, the cabriole legs, the design and vocabulary of Roman decorative detail such as eagles’ heads and acanthus, all date this chair to the 1740s. It must have been made by an accomplished maker for a wealthy client. It retains an excellent colour and patination. &lt;br /&gt;&lt;br /&gt;When this chair was purchased by Parkers in the 1920s the original crest rail had been replaced with an inappropriate one of a later, eared design, as recorded in a photograph in the Frederick Parker Archive. Parkers decided to restore the chair with a more suitable and carefully researched crest and the result is an excellent example of the skills of their craftsmen at the time. The chair was then shown at the 1928 BADA Exhibition, after which it became one of the Company’s stock reproduction models. One of these, dating from the 1930s, is also in the Collection (FPF382) and offers an interesting comparison.</text>
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          <name>Condition</name>
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              <text>The crest rail and shoe at the base of the splat were replaced, c. 1928. &lt;br /&gt;Part of the scrolling on the back splat is missing.</text>
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              <text>Mahogany.&lt;br /&gt;Upholstery.</text>
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          <description>The physical size of the object</description>
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              <text>H. 97&lt;br /&gt;W. 76&lt;br /&gt;D. 61</text>
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              <text>Stamped ‘SW’ twice under the rear seat rail.</text>
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              <text>Paper label inside seat rail, printed: ‘From Frederick Parker &amp;amp; Sons, Ltd. 20, Newman Street, Oxford Street, London, W.I. High Wycombe and Cowley.’ Also inscribed in pen: ‘OM 3570’.&lt;br /&gt;Paper label inside seat rail, typed: ‘117. A George II. Armchair. Circa 1745. With interlaced and carved back, cabriole legs with eagles’ heads and claw and ball feet (top rail restored). &lt;br /&gt;Printed label on underside of seat rail: ‘Art Treasures Exhibition 1928 No.’ Inscribed in pen: ‘117’. &lt;br /&gt;Associated numbers: 3565. 4779.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons, 1920s</text>
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              <text>Exhibited at the British Antique Dealers’ Association’s Exhibition of Art Treasures at the Grafton Galleries, London, 1928, exhibit no. 117.&lt;br /&gt;Exhibited at Decorex, Sept 2016.&lt;br /&gt;For comparable chairs with eagle head carving see Lucy Wood, The Upholstered Furniture in the Lady Lever Art Gallery, Yale University Press, 2008, Vol. I, pp 501-7 and 508-516.</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>FPF112</text>
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                <text>Mahogany armchair carved with eagle heads.</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>1740-1750</text>
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                <text>A mahogany armchair carved with eagles’ heads, with cabriole legs and ball and claw feet, and an upholstered seat.</text>
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          <name>Full Description</name>
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              <text>This upholstered mahogany side chair has a rectangular back with a serpentine top and squared corners, and a tapered stuff-over seat with a serpentine front echoing the crest rail. The seat rails are beech. The chair is raised on cabriole front legs with carved scroll brackets that terminate in scroll feet; the legs are hipped, i.e., the tops extend over the seat rail. The back legs are also cabriole, and with scroll feet. The upholstery is 20th century and the cover is Genoa-type figured velvet.&lt;br /&gt;&lt;br /&gt;This type of chair was included in Ince and Mayhews’s The Universal System of Household Furniture, 1762. It is also found in Thomas Chippendale’s Director (3rd edition, 1762) as an armchair, described as a ‘French Chair’. Such chairs were evidently fashionable in this period; other contemporary designs are found in Robert Manwaring’s The Cabinet and Chair-Maker’s Real Friend and Companion, 1765, and in Genteel Household Furniture in the Present Taste, published by A Society of Upholsterers, 2nd edition, 1765 (White, 1990).</text>
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              <text>The front right leg has been replaced.&lt;br /&gt;Scroll bracket to front right hand leg is missing.</text>
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          <name>Materials</name>
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              <text>Mahogany.&lt;br /&gt;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. 99 &lt;br /&gt;W. 64&lt;br /&gt;D. 69</text>
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          <name>Parker Numbers</name>
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              <text>Painted on the rear seat rail, 114/2008.&lt;br /&gt;OM 511, pattern no. 2008. See Frederick Parker Archive, Box 55, FPA050. Page 177.&lt;br /&gt;Plastic label under seat rail: ‘Pattern 128’.&lt;br /&gt;Painted inside seat rail: ‘54/1343’.&lt;br /&gt;Paper label tied to chair, printed; ‘Parker-Knoll Collection 1954 valuation’, typed ‘54/1343’, with description of chair.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons pre-1914 when valued at 7s 6d.</text>
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              <text>William Ince and John Mayhew, The Universal System of Household Furniture, 1762, plates LV and LVI.&lt;br /&gt;Thomas Chippendale, The Gentleman and Cabinet-Maker’s Director, 3rd edition, 1762, plate XIX.&lt;br /&gt;ed. Elizabeth White, Pictorial Dictionary of British 18th Century Furniture Design, Antique Collectors' Club, 1990, p. 104, Plates 22-23; p. 102, Plate 28.&lt;br /&gt;For similar chairs see also: C. Claxton Stevens, S. Whittington, Eighteenth Century English Furniture, Antique Collectors' Club, 1983, p. 43.</text>
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            <name>Identifier</name>
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                <text>Upholstered mahogany side chair.</text>
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                <text>1760-1770</text>
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                <text>Upholstered mahogany side chair with cabriole legs.</text>
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              <text>This 19th century chair was made, probably as a fake, in the French rococo style of the mid-18th century. The serpentine crest rail in the back is from an 18th century chair, c.1760, and the rest has been skilfully designed and made to blend with it to give the appearance of a chair of the type published by Chippendale in 1762. The central splat is baluster shaped, pierced and delicately carved with scrolls and acanthus leaves in the rococo manner to suit the period top rail. The moulded back posts are splayed and tapered towards the top. The stuff-over seat is waisted at the sides and serpentine at the front. The seat rails have shaped aprons at the front and sides, framed with scrolling which runs into the front cabriole legs, terminating in scrolled feet. The front seat rail has a carved cartouche in the centre, which echoes that in the crest. There is evidence that the chair originally had H-stretchers, which would not have been likely on an 18th century chair in this style. The upholstery materials are early 20th century, covered in a damask with braid trimming. &lt;br /&gt;&lt;br /&gt;Judging by the purchase price, Frederick Parker must have believed it to be an 18th century chair. It was quite common practice in the antiques and restoration trades in the 19th and early 20th centuries to make up sets of chairs using some original parts to provide at least a degree of authenticity and allow them to be sold as antiques. If the intention was to deceive, as was often the case, they were in fact fakes.</text>
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              <text>The only 18th century element is the top rail. &lt;br /&gt;The feet have been cut down. &lt;br /&gt;The upholstery and cover are early 20th century.</text>
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              <text>Mahogany.&lt;br /&gt;Upholstery.</text>
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              <text>H. 94&lt;br /&gt;W. 61&lt;br /&gt;D. 61</text>
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              <text>1974.  2288.  3178.  </text>
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              <text>Purchased by Frederick Parker from C. Grant in December 1912, for £24.10.0</text>
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              <text>For comparable designs see Thomas Chippendale, The Gentleman and Cabinet-Maker’s Director, London, 1762, Plate XI.</text>
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            <name>Identifier</name>
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                <text>Mahogany side chair with carved and pierced splat and upholstered seat.</text>
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                <text>A mahogany side chair with carved and pierced splat, upholstered seat and cabriole legs.</text>
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              <text>This carved mahogany side chair has an undulating crest rail with pierced quatrefoils, foliate carving and scrolls, flanked by tapering and fluted back posts. The central splat is pierced with gothic arches in graduated tiers, and ‘C’ scrolls that join a flat ‘shoe’ fitted to the rear seat rail. The seat is tapered with a serpentine front and the rails are cut away along the bottom edges to lighten the appearance of the chair. The stuff-over upholstery is covered in a 20th century damask. The chair is raised on cabriole legs with foliate carving on the ears. The front cabriole legs terminate in scroll feet and pads; the back legs are turned, tapering and flared and have rounded feet.&lt;br /&gt;&lt;br /&gt;This chair is an interesting study piece. The back is mid-18th century, while most of the rest is mid-19th century, including the front legs where the quality of the carving is not as good as the back. The side seat-rails are beech, indicating they could be 18th century, and the front rail is oak and probably 19th century. The chair was probably one of a set of dining chairs. Given the price paid, it was probably purchased by Frederick Parker as an authentic 18th century chair.&lt;br /&gt;&lt;br /&gt;The pattern for the splat is possibly derived from Thomas Chippendale’s designs for ‘Backs of Chairs’ in the 3rd edition of his Director (1762). Chippendale published a number of designs for chairs with pierced splat backs; they were widely made by makers in London and across the country, often in large sets as dining or parlour chairs. Originally, they were upholstered to match curtains and other fabrics in a room, or if used for dining, either leather or horsehair was recommended, since these materials do not harbour food smells. Chippendale’s designs were often a fusion of the French rococo style with Chinese and gothic elements, now referred to as English rococo. His style was popular in Britain and colonial America, and underwent a revival in the early decades of the 20th century.</text>
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              <text>The back has had some replacements.&lt;br /&gt;The upholstery is 20th century.</text>
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              <text>Mahogany.&lt;br /&gt;Beech.&lt;br /&gt;Oak.&lt;br /&gt;Upholstery.</text>
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          <description>The physical size of the object</description>
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              <text>H. 97 &lt;br /&gt;W. 61&lt;br /&gt;D. 63</text>
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              <text>OM 6187. See Frederick Parker Archive, Box 55, FPA050. Page 223.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons, 19 June 1925, from Cecil Millar, with a broken back. £10.0.0.</text>
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              <text>Thomas Chippendale, The Gentleman &amp;amp; Cabinet-Maker’s Director, 3rd Edition (1762); Plate XIV. &lt;br /&gt;A set of chairs with similar splats, c.1760, can be seen at Wallington Hall, Northumberland: &lt;a href="https://www.nationaltrustcollections.org.uk/object/582650"&gt;Dining chair 582650 | National Trust collections&lt;/a&gt;</text>
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            <name>Identifier</name>
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                <text>FPF118</text>
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                <text>Carved mahogany side chair with cabriole legs.</text>
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                <text>1770-1760 and c. 1860</text>
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                <text>Carved mahogany side chair with pierced gothic splat and cabriole legs.</text>
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          <name>Full Description</name>
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              <text>This mahogany side chair is a mixture of styles, partly gothic and partly rococo. The finely carved and pierced back splat has gothic pointed arches and interlaced tracery, as well as acanthus leaves and scrolls associated with rococo style. The uprights in the back are also carved with gothic arches and the front legs are edged in foliate scrolls with sprays of leaves on the knees. &lt;br /&gt;&lt;br /&gt;The chair is probably based on the patterns published by Thomas Chippendale in The Gentleman &amp;amp; Cabinet-Maker’s Director in 1754 and republished in 1755 and 1762, although this is not a direct copy. It would have been made as one of a set of dining chairs which would have included a pair of slightly larger armchairs. The upholstery, which is modern and too thick on the seat, does otherwise follow Chippendale’s instructions: ‘The Seats look best when stuffed over the Rails, and have a Brass Border neatly chased; but are most commonly done with Brass Nails, in one or two Rows, and sometimes the Nails are done to imitate Fretwork. They are usually covered with the same Stuff as the Window-Curtains.’ (Chippendale, 1754, 1755 and 1762).</text>
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              <text>The chair has been over-restored, stripped and re-finished; the earlier finish and patina are shown in a photograph in the Frederick Parker Archive. The insensitive restoration has led to suggestions the chair may be late-19th century, but on balance the high quality of the mahogany, the skilful carving and the overall form and proportions show this to be an authentic 18th century chair.&lt;br /&gt;&lt;br /&gt;Restoration to the shoe at the base of the splat. &lt;br /&gt;Seat rails replaced. &lt;br /&gt;Original finish stripped and re-polished. &lt;br /&gt;Re-upholstered in the 20th century.</text>
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              <text>Mahogany.&lt;br /&gt;Upholstery.</text>
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          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
          <elementTextContainer>
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              <text>H. 97&lt;br /&gt;W. 64&lt;br /&gt;D. 58</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons in 1910 for £18.10.0</text>
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              <text>&lt;span&gt;Thomas Chippendale, &lt;/span&gt;&lt;i&gt;&lt;span&gt;The Gentleman &amp;amp; Cabinet-Maker’s Director,&lt;/span&gt;&lt;/i&gt;&lt;span&gt; 1754, 1755 and 1762, notes to Plates IX-XV.&lt;/span&gt;&lt;span&gt;&lt;/span&gt;</text>
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              <text>1066. 2416.</text>
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                <text>Mahogany side chair with gothic splat, upholstered seat and cabriole legs.</text>
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                <text>1760-1770.</text>
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                <text>A mahogany side chair in the Chippendale style, with a carved and pierced splat and top rail, cabriole front legs ending in scroll feet, and an upholstered seat.</text>
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      <name>Physical Object</name>
      <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>
        <element elementId="54">
          <name>Full Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1054">
              <text>This mahogany chair in the rococo style has a serpentine crest rail with an open fret cartouche and scrolls. It joins tapering and partially fluted back posts. The pierced splat is elaborately carved with interlaced moulded ‘S’ scrolls and foliate garlands. The stuff-over seat is upholstered in a 20th century yellow Genoese velvet cover with two rows of brass nails around the seat rail. The webbing is early and later 20th century. The chair is raised on carved cabriole front legs terminating in pad feet, which are possibly original but with later carving that comprises leaf-carving and a rippled background. The back legs are flared, rounded in section and with rounded feet.&lt;br /&gt;&lt;br /&gt;The chair was made up in c.1900 using parts of an 18th century chair: the crest rail, back legs and possibly front legs, although these have later carving. The splat is well made but with a fussiness which lacks the elegance of 18th-century work. The chair was probably made as a fake and sold as a genuine antique: the price paid by the Parkers in 1920 indicates they assumed it was genuine. It is a good example of what was common practice in the trade at this period. &lt;br /&gt;&lt;br /&gt;Similar designs for chairs appear in the 3rd edition of Thomas Chippendale’s The Gentleman &amp;amp; Cabinet-Maker’s Director (1762). Chippendale advised that: ‘The Seats look best when stuffed over the Rails, and have a Brass Border neatly chased; but are most commonly done with Brass Nails, in one or two Rows’. He also wrote that the dimensions of chairs were sometimes less ‘to suit the Chairs to the Rooms’ (ibid.), meaning that parlour chairs might be smaller and more delicate than dining chairs. In this case, it was probably one of a set of dining chairs.</text>
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        <element elementId="52">
          <name>Condition</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1055">
              <text>The back seat-rail is probably 18th century, the front and side seat-rails are later.&lt;br /&gt;The crest rail and back legs are original, the splat and shoe are later. The back legs have been re-tipped.&lt;br /&gt;The front legs may be original and may have later carving.&lt;br /&gt;The drop-in seat is later and has too much stuffing; in the 18th century British dining chairs seats were quite flat, as shown in Chippendale’s Director illustrations.&lt;br /&gt;The ear from the left front leg is broken off (retained).</text>
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        </element>
        <element elementId="26">
          <name>Materials</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1056">
              <text>Mahogany.&lt;br /&gt;Upholstery.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="10">
          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
          <elementTextContainer>
            <elementText elementTextId="1057">
              <text>H. 100&lt;br /&gt;W. 60&lt;br /&gt;D. 61</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="55">
          <name>Parker Numbers</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1058">
              <text>OM 5989. See Frederick Parker Archive, Box 55, FPA050. Page 195.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Provenance</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1059">
              <text>Purchased by Frederick Parker &amp;amp; Sons for £17.17.6 on 23rd May 1920.</text>
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          </elementTextContainer>
        </element>
        <element elementId="57">
          <name>Notes</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1060">
              <text>Thomas Chippendale, The Gentleman &amp;amp; Cabinet-Maker’s Director, 1762, Plates XIII-XIV.</text>
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          </elementTextContainer>
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        <name>Dublin Core</name>
        <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>
            <elementTextContainer>
              <elementText elementTextId="1050">
                <text>FPF121</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1051">
                <text>Carved mahogany side chair with cabriole legs.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <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="1052">
                <text>1735-1745 and c. 1910.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1053">
                <text>Carved mahogany side chair with pierced splat and cabriole legs.</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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    </elementSetContainer>
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