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              <text>This mahogany chair has a serpentine crest rail with moulded canted ends united by tapering back posts. The pierced, interlaced splat with a central loop motif and gothic detail joins a ‘shoe’ at the back of a tapered drop-in seat. The leaf-work carving on the splat is chamfered at the back to achieve an effect of lightness. The seat rail is moulded and square-sectioned. The chair is supported on square legs. The front legs have a moulding at the corner and are chamfered at the back. The legs are joined by square-section H-form stretchers and a higher stretcher between the back legs. The upholstery and red horsehair cover are modern.&lt;br /&gt;&lt;br /&gt;This chair is interesting as an example made up by Frederick Parker &amp;amp; Sons to use as a pattern chair. The splat, the back seat rail, back stretcher and back legs are original and date to c. 1770. The crest rail, seat, front and side seat rails and front legs were made by Frederick Parker &amp;amp; Sons in the early 20th century.&lt;br /&gt;&lt;br /&gt;This design of the splat relates to a pattern in Robert Manwaring’s The Cabinet and Chair-Maker’s Real Friend and Companion, 1765. A set of three chairs with a similar splat are in the National Trust collection at Baddesley Clinton, Warwickshire (NT 342739). Another chair of a similar model is illustrated in MacQuoid, 1906.</text>
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          <name>Condition</name>
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              <text>The crest rail has been replaced.&lt;br /&gt;The front and side seat rails and front legs have been replaced.&lt;br /&gt;The upholstery and cover are replaced.&lt;br /&gt;Arms were added at one time, now removed.</text>
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              <text>Mahogany.&lt;br /&gt;Beech.&lt;br /&gt;Upholstery.</text>
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          <description>The physical size of the object</description>
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              <text>H. 99&lt;br /&gt;W. 56&lt;br /&gt;D. 51</text>
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              <text>Stamped ‘5’ on inside of left back leg suggesting that the original chair was from a set of dining chairs.</text>
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          <name>Parker Numbers</name>
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              <text>OM 2208. See Frederick Parker Archive, Box 55, FPA050. Page 179.</text>
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              <text>Made up by Frederick Parker &amp;amp; Son, c. 1920-1930</text>
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              <text>Robert Manwaring, The Cabinet and Chair-Maker’s Real Friend and Companion, 1765, plate 9, right.&lt;br /&gt;&lt;a href="https://www.nationaltrustcollections.org.uk/object/342739"&gt;A set of three mahogany and birch chairs, English, circa 1780 342739 | National Trust collections&lt;/a&gt;&lt;br /&gt;Percy MacQuoid, A History of English Furniture: The Age of Mahogany, 1906, plate 185.</text>
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            <description>A name given to the resource</description>
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                <text>Mahogany side chair with upholstered drop-in seat.</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1760-1780, part 1920-30</text>
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                <text>Mahogany side chair with a pierced and interlaced splat and upholstered drop-in seat.</text>
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              <text>This mahogany writing chair has a continuous back and arm bow, the crest raised and rounded and the arms flat and terminating in scrolls. The bow is supported on four turned posts rising from the legs, and there is a pierced and interlaced baluster splat in the back and a pair of turned columns under each arm, rising from the seat rail. The seat rail is curved to match the back and arm bow, and has a serpentine front. There is a drop-in seat covered in a 20th century green leather, now faded to brown. The chair is raised on square-section chamfered legs joined by cross stretchers.&lt;br /&gt;&lt;br /&gt;The design of this chair, with its shallow seat, allows it to be drawn up close to a table or desk, for use in a study or library. Its development illustrates the ingenuity of chair-makers, who were adapting fashionable designs to create different and useful forms of seating. See FPF297 for an example of a library, or reading chair.</text>
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              <text>Repair to front seat rail at right hand end.&lt;br /&gt;Splat may be replaced.&lt;br /&gt;Front right leg replaced.&lt;br /&gt;Front left leg repaired at joint with seat rail.&lt;br /&gt;The seat frame is strengthened with iron brackets.&lt;br /&gt;The leather cover for the drop-in seat is cracked with friable tears.</text>
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          <name>Materials</name>
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              <text>Mahogany.&lt;br /&gt;Ash seat rails.&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. 79 &lt;br /&gt;W. 69 &lt;br /&gt;D. 48</text>
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              <text>The front seat rail is incised ‘4’.</text>
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              <text>OM 6236.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons prior to May 1930 (A63).</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>FPF149</text>
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            <description>A name given to the resource</description>
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                <text>Mahogany writing chair.</text>
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            <name>Date</name>
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                <text>1770-1780</text>
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                <text>Mahogany writing chair with pierced splat back and drop-in seat.</text>
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          <name>Full Description</name>
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              <text>This mahogany side chair has a serpentine carved crest rail with rounded ends above a pierced splat with an interlaced looped ribbon motif in its lower part (similar to FPF148) and heavily carved with husk pendants and acanthus leaves. The splat is flanked by flared and tapering back posts carved with acanthus leaves. A drop-in seat with tapered sides is set into a moulded seat rail. The chair is raised on square-section and chamfered legs with pierced brackets at the front. The back legs are flared. The legs are united by H-stretchers and a higher back stretcher. The drop-in seat frame appears original, with 19th century webbing, horsehair stuffing and faded green cover.&lt;br /&gt;&lt;br /&gt;The carving on the chair back and the pierced brackets is later and was probably added in the late 19th century; the carving is too ornate and profuse to be consistent with the date of the chair. The ‘shoe’ fitted to the top of the rear seat rail is of unusual construction.&lt;br /&gt;&lt;br /&gt;The looped ribbon motif can be seen in Ince &amp;amp; Mayhew’s design for a ‘Parlour Chair’, (1762) and in Robert Manwaring’s illustrated designs (1765).</text>
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              <text>Frame generally in original condition, apart from the later carving to the back.</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>
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              <text>H. 94&lt;br /&gt;W. 56&lt;br /&gt;D. 53</text>
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              <text>Incised ‘IIIIV’ on the inside of the back seat rail suggesting this chair was part of a larger set of dining chairs.&lt;br /&gt;Incised ‘W’ on back of rear seat rail.</text>
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          <name>Parker Numbers</name>
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              <text>Plastic label on back of seat rail: ‘Pattern OM 129’. &lt;br /&gt;Painted inside seat rail: ‘150/129’. &lt;br /&gt;Pencil inscription on seat frame: ‘5234’.&lt;br /&gt;See: Frederick Parker Archive, Box 55. FPA050. Page 138.</text>
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              <text>In the Collection prior to 1993.</text>
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              <text>Ince &amp;amp; Mayhew, The Universal System of Household Furniture, 1762, plate IX, bottom left.&lt;br /&gt;Robert Manwaring, The Cabinet and Chair Maker’s Real Friend and Companion, 1765, plate 9, right and plate 37, middle.&lt;br /&gt;This chair is similar to a set of three chairs with the National Trust at Dyrham Park, Gloucestershire: &lt;br /&gt;&lt;a href="https://www.nationaltrustcollections.org.uk/object/453058.1"&gt;Chair 453058.1 | National Trust collections&lt;/a&gt;</text>
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            <name>Identifier</name>
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                <text>FPF150</text>
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                <text>Mahogany side chair with upholstered drop-in seat.</text>
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                <text>1760-1770</text>
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                <text>Mahogany side chair with pierced splat and upholstered drop-in seat.</text>
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              <text>This mahogany side chair has a shaped crest rail with rounded corners, which is carved with a central stylised anthemion, acanthus leaves and floret scrolls. The back posts are tapering and fluted. The flared pierced splat has five vertical struts, which join a ‘shoe’ at the rear of a rectangular stuff-over seat, covered in a modern blue and cream Greek key pattern fabric. The chair is raised on turned and fluted inverted-baluster legs headed by blocks and with ‘toupie’ feet (toupie is French for a spinning top), joined by turned fluted H-form stretchers. There is a rear stretcher set slightly higher.&lt;br /&gt;&lt;br /&gt;This chair is in the Chippendale style of the 1760s to 1770s but is a late 19th century fake, as demonstrated by the legs which are thinner than would be expected in the 18th century, and this has resulted in the need for stretchers which would be unusual on an 18th century chair of this quality. The carving is also rather mean for such a grand chair. The maker has re-used old seat rails, presumably to deceive customers into believing the chair to be an antique. Judging by the price, £9 5s, paid by Frederick Parker &amp;amp; Sons in 1925, they believed they were buying a genuine 18th century chair.&lt;br /&gt;&lt;br /&gt;The chair is after a Chippendale model supplied to Brocket Hall, Hertfordshire (c. 1773), and Goldsborough Hall (c. 1772) and Newby Hall, both in Yorkshire (c. 1772-75), and possibly to Lansdowne House (1769) and David Garrick’s apartments in the Adelphi (1772), both in London (Gilbert, 1978). &lt;br /&gt;&lt;br /&gt;The legs are possibly inspired by those found on a set of six open armchairs supplied by Chippendale in 1768 for the library at Nostell Priory, Yorkshire (NT 959722).</text>
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              <text>The chair has been stripped and resurfaced.&lt;br /&gt;One foot has been replaced.</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. 98&lt;br /&gt;W. 59&lt;br /&gt;D. 54</text>
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              <text>Plastic label ‘OM 6005’.&lt;br /&gt;4401.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons in July 1925 for £9.5.0.</text>
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              <text>C. Gilbert, The Life and Works of Thomas Chippendale, London, 1978, vol. II, pp. 88-89, figs. 142-143; p. 90, figs. 144-5; p. 91, figs. 147-149.&lt;br /&gt;See also A. Bowett, J. Lomax, Thomas Chippendale 1718-1779: A Celebration of British Craftsmanship and Design. Catalogue of the Tercentenary Exhibition, Leeds City Museum, 2018, pp. 112-115, no. 6.9.&lt;br /&gt;&lt;a href="The%20Nostell%20Priory%20Library%20Chairs%20-%201768%20959722%20%7C%20National%20Trust%20collections"&gt;https://www.nationaltrustcollections.org.uk/object/959722&lt;/a&gt;</text>
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            <name>Identifier</name>
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                <text>Mahogany side chair with 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>1880-1910</text>
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                <text>Mahogany side chair with a pierced splat and stuff-over seat.</text>
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              <text>This mahogany side chair has an undulating crest rail with a central carved spray of flowers. It joins wave-moulded back posts with acanthus carving. The pierced splat has carved interlaced ribbons, flower carving and ‘gothick’ trefoil ends. This joins a ‘shoe’ on the rear seat rail, above a tapered upholstered drop-in seat, covered in a modern green material. The webbing and hessian appear to be 19th century. A fragment of horsehair at the back of the seat implies a previous or original covering. The chair is raised on slightly tapering and chamfered legs that are joined by H-stretchers with a higher back stretcher. The back legs are flared.&lt;br /&gt;&lt;br /&gt;This chair is possibly inspired by designs for Gothic-style furniture published by Thomas Chippendale (1718-79) in the Director (1754-1762). Although it does not relate exactly to any one design, it includes elements from a chair-back in Plate XXI (left) of the 1754 edition. Comparable chairs with similar backs include: a side chair in the Victoria &amp;amp; Albert Museum, London (W.73-1937); a chair at Creech Grange, Dorset (Country Life, 1931); a pair of chairs with a related top rail profile formerly with Christopher Buck Antiques (no. 277415); and chairs in Cescinsky, 1909-11.&lt;br /&gt;&lt;br /&gt;This chair is possibly by a regional maker, suggested by its small scale, the thinness of construction, unusual flower carving and the lack of certainty in the drawing of the back posts and front legs.</text>
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              <text>Repair to the top of the crest rail.&lt;br /&gt;The seat frame is broken.&lt;br /&gt;All legs are tipped.&lt;br /&gt;Old repair to right hand back leg.&lt;br /&gt;The chair has a good early finish.</text>
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          <description/>
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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. 99 &lt;br /&gt;W. 56 &lt;br /&gt;D. 56</text>
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          <name>Parker Numbers</name>
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              <text>3004</text>
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              <text>In the Collection prior to 1993.</text>
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          <name>Notes</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="1227">
              <text>Thomas Chippendale, The Gentleman and Cabinet-Maker’s Director, 1754, Plate XXI (left). &lt;br /&gt;&lt;a href="https://collections.vam.ac.uk/item/O372193/chair-unknown/"&gt;Chair | Unknown | V&amp;amp;A Explore The Collections&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;‘Furniture at Creech Grange’, Country Life, 12 September 1931, p. 283, fig. 3.&lt;br /&gt;H. Cescinsky, English Furniture of the Eighteenth Century, London, 1909-11, vol. II, p. 233, figs. 241-242; p. 234, fig. 243.</text>
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            <name>Identifier</name>
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                <text>FPF153</text>
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            <description>A name given to the resource</description>
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                <text>Mahogany side chair with drop-in 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>1765-75</text>
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                <text>Mahogany side chair with pierced gothic splat and drop-in seat.</text>
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          <name>Full Description</name>
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              <text>This mahogany side chair has an undulating crest rail with a central carved bellflower pendant and C-scrolls, and pointed corners carved with acanthus leaves. An interlaced gothic-style pierced splat has a pierced trefoil at the base and fits into a ‘shoe’ on the rear seat rail. The splat is flanked by flared and tapering back posts. A tapered drop-in seat is bordered by square moulded seat rails. The chair is raised on square-section and chamfered legs joined by an H-stretcher, with a rear stretcher set slightly higher. The back legs are flared. The upholstery is late-19th century and the cover is a modern green fabric.&lt;br /&gt;&lt;br /&gt;The design for the splat is from Thomas Chippendale’s The Gentleman &amp;amp; Cabinet-Maker’s Director (1762), plate XVI. This pattern book, first issued in 1754, was very influential, displaying a full range of furniture in the most fashionable styles. In many of his designs Chippendale created a fusion of rococo, Chinese and gothic styles to form the basis of the ‘English’ rococo. The 1754 edition printed a list of its subscribers at the front, which included the most prominent of Chippendale’s cabinet- and chair-making contemporaries, such as Richard Gillow, William Ince (Ince &amp;amp; Mayhew), Paul Saunders, and Edward Elwick and Richard Wright (Wright &amp;amp; Elwick) (Gilbert, 1978).&lt;br /&gt;&lt;br /&gt;This chair is in good original condition, and the finish is early, i.e. it has not been given the shiny French polish finish often used by the antiques trade in the 19th century.</text>
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              <text>Right corner of crest is missing a small piece of carving.&lt;br /&gt;Front and left seat rails were replaced on 18th May 1921 for £1.15.0.&lt;br /&gt;One foot tipped.&lt;br /&gt;The seat and upholstery are replaced.</text>
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              <text>Mahogany&lt;br /&gt;The replacement front seat rail is American 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. 56 &lt;br /&gt;D. 56</text>
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              <text>3853</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons on 12th August 1917 from Springbett for £5.0.0.</text>
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              <text>Thomas Chippendale, The Gentleman &amp;amp; Cabinet-Maker’s Director, 1762, plate XVI, top, middle.&lt;br /&gt;C. Gilbert, The Life and Work of Thomas Chippendale, London, 1978, Appendix H, pp. 299-301.</text>
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            <name>Identifier</name>
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                <text>Mahogany side chair with pierced gothic splat.</text>
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                <text>1765-1775</text>
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                <text>Mahogany side chair with pierced gothic splat and drop-in seat.</text>
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              <text>This mahogany side chair in the gothic style has a concave back with an undulating crest rail carved with an unusual wheel motif at the centre. It joins square-section back posts with three rusticated blocks on each, which give an architectural feeling to the chair. The back posts have filled dowel holes on the tops for finials, now missing. A gothic splat, pierced like window tracery, joins a flat ‘shoe’ fitted to the back seat rail. The chair has a tapered upholstered drop-in seat covered with a 20th century red worsted material. The seat-rail has moulded top edges and is supported on square-section legs, chamfered on the insides and with gothic brackets at the joints. The square-section back legs are flared with heels. &lt;br /&gt;&lt;br /&gt;There is an identical set of six mahogany and mahogany-veneered chairs at Saltram, Devon, one of which is stamped 'I.W.' or 'J.W.', presumably the initials of the maker. The Saltram chairs have ball finials on the back posts. It is not known when the chairs were acquired for Saltram but they were there in 1951 when the house was accepted by HM Treasury in lieu of full payment of Death Duty from the Executors of Edmund Robert Parker, 4th Earl of Morley (1877-1951). A similar set of three armchairs is at Stourhead, Wiltshire, one of which is on loan to Attingham Park.&lt;br /&gt;&lt;br /&gt;The mid-18th century Gothic Revival was made fashionable by the antiquarian and collector Horace Walpole (1717-97), and the completion of his villa, Strawberry Hill, Middlesex, in 1753. This was followed by other gothic houses, interiors and furnishings such as Lee Priory, Kent; Fonthill Abbey, Wiltshire; and Eaton Hall, Cheshire. Thomas Chippendale (1718-79) included ‘gothic’ designs for chairs in the first edition of his Director in 1754, and many other designers and architects adopted the style. &lt;br /&gt;&lt;br /&gt;This chair is possibly by a regional maker, as indicated by the quirkiness and naivety of the design; the gothic tracery in the back has a similar feeling to designs by Robert Manwaring, published in 1765.</text>
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          <name>Condition</name>
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              <text>Missing finials on the back posts.&lt;br /&gt;The padded drop-in seat frame is late-19th century.&lt;br /&gt;The right front leg is replaced.&lt;br /&gt;Three of the brackets have been restored.&lt;br /&gt;The bracket on the side of the right leg is replaced.</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. 91&lt;br /&gt;W. 53 &lt;br /&gt;D. 53</text>
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              <text>OM 5182. See Frederick Parker Archive, Box 55, FPA050. Page 117.</text>
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              <text>In the Collection prior to 1993.</text>
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              <text>Saltram chairs, see: &lt;a href="https://www.nationaltrustcollections.org.uk/object/871288"&gt;Untitled 871288 | National Trust collections&lt;/a&gt;&lt;br /&gt;Stourhead chairs, see: &lt;a href="https://www.nationaltrustcollections.org.uk/object/731769"&gt;Untitled 731769| National Trust collections&lt;/a&gt;&lt;br /&gt;Thomas Chippendale, The Gentleman and Cabinet Maker’s Director, First Edition, 1754, Plates XXI and XXII.&lt;br /&gt;Robert Manwaring, The Cabinet and Chair-Maker’s Real Friend and Companion, 1765, Plates 14-15.</text>
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            <name>Identifier</name>
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                <text>Mahogany gothic-style side chair with upholstered drop-in seat.</text>
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                <text>Mahogany gothic-style side chair with upholstered drop-in seat.</text>
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              <text>This mahogany side chair has a serpentine crest rail with pointed scroll ends above a pierced vase-shaped splat carved with double ‘C’ scrolls, cabochon and acanthus leaves. The splat is flanked by slightly flared, tapering back posts. A stuff-over seat with tapered sides is covered in close-nailed red leather; the chair was reupholstered in 1985, although the horsehair may have been reused. The chair is raised on square-section chamfered legs with pierced brackets; the back legs are slightly flared.&lt;br /&gt;&lt;br /&gt;The chair is based on a design published in the 1st edition of Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director (1754), plate XII, and subsequently as plates XIII and XIV in the 3rd edition (1762). It is the only chair back design which appears in all three editions of the Director, suggesting it was a popular model. In the 1762 text, Chippendale states: ‘The front Feet are mostly different, for the greater Choice… 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’. &lt;br /&gt;&lt;br /&gt;A set of six chairs corresponding to this design was possibly supplied by Chippendale to Nostell Priory, Yorkshire in c.1765 (Gilbert, 1978).</text>
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              <text>The chair was restored and re-upholstered in 1985; it was finished with varnish which obscures much of the detail and makes judgments on authenticity difficult.&lt;br /&gt;The shoe is loose.&lt;br /&gt;Front and side seat rails are replaced and the rear rail is strengthened.&lt;br /&gt;Brackets at front legs are later.&lt;br /&gt;Four spliced feet.</text>
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              <text>Mahogany.&lt;br /&gt;Upholstery.</text>
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          <description>The physical size of the object</description>
          <elementTextContainer>
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              <text>H. 97 &lt;br /&gt;W. 61&lt;br /&gt;D. 61</text>
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              <text>Plastic label: ‘PATTERN’&lt;br /&gt;OM 2384. See Frederick Parker Archive, Box 55, FPA050. Page 181.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons in March 1913 from Kennedy’s for £8.0.0.</text>
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          <name>Notes</name>
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              <text>Thomas Chippendale, The Gentleman and Cabinet-Maker’s Director, 1st edition, 1754, plate XII; 3rd edition, 1762, plates XIII and XIV and p.3.&lt;br /&gt;C. Gilbert, The Life and Work of Thomas Chippendale, London, 1978, Vol. 1, p. 174; Vol. 2, p. 83, fig. 131.</text>
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            <name>Identifier</name>
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                <text>Mahogany side chair with carved and pierced splat.</text>
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                <text>1760-1770</text>
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                <text>Mahogany side chair with pierced splat and upholstered seat.</text>
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          <name>Full Description</name>
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              <text>A ‘close’ chair is one fitted with a pewter or ceramic toilet pot in the seat. The term commode was used from the 19th century onwards and derives from bedside cupboards for pots disguised as chests of drawers - the early term for a chest of drawers being a commode. The term is now in common use as a chair with a pot.&lt;br /&gt;&lt;br /&gt;This mahogany armchair has a serpentine crest rail and flared tapering back posts. A pierced interlaced vase-shaped splat fits into a shoe at the rear of the tapering upholstered drop-in seat, which has a deep apron shaped with cusps at the front and sides to conceal the pot. Under the drop-in seat there is a pine board, cut with a hole for the pot (now missing). The chair has out-swept arms with serpentine supports that join deep seat rails, and it is supported on chamfered square-section legs, the back legs slightly flared. The drop-in seat frame is a replacement covered in a modern leatherette fabric.&lt;br /&gt;&lt;br /&gt;The back splat is possibly derived from Plate XVI ‘Backs of Chairs’ in the 3rd edition of Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director, 1762. The design was evidently still fashionable in the 1770s, as seen in Thomas Malton’s drawing (White, 1990).</text>
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          <name>Condition</name>
          <description/>
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              <text>The right back post has been replaced.&lt;br /&gt;There are knife marks on the left side of the seat rail.</text>
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          <name>Materials</name>
          <description/>
          <elementTextContainer>
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              <text>Mahogany.&lt;br /&gt;Pine.&lt;br /&gt;Upholstery.</text>
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          <name>Physical Dimensions</name>
          <description>The physical size of the object</description>
          <elementTextContainer>
            <elementText elementTextId="1268">
              <text>H. 99&lt;br /&gt;W. 66 &lt;br /&gt;D. 58</text>
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          <name>Parker Numbers</name>
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              <text>4045/6&lt;br /&gt;OM 6048. See Frederick Parker Archive, Box 55, FPA050. Page 136.</text>
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              <text>In stock with Frederick Parker &amp;amp; Sons on 12th May 1925 for £5.0.0.</text>
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          <name>Notes</name>
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              <text>Thomas Chippendale, The Gentleman and Cabinet-Maker’s Director, Third Edition, 1762, Plate XVI. Also in ed. E. White, Pictorial Dictionary of British 18th Century Furniture Design, Woodbridge, 1990, p. 66, Plate XVI. &lt;br /&gt;See also in ed. E. White, Pictorial Dictionary of British 18th Century Furniture Design, Antique Collectors’ Club, 1990, p. 85, Thomas Malton, Compleat Treatise on Perspective, 1775, Plate XXXIII, Fig. 130.&lt;br /&gt;Two further examples of close chairs, c. 1770, are at Polesden Lacy, Surrey ; see: &lt;br /&gt;&lt;a href="https://www.nationaltrustcollections.org.uk/object/1245960"&gt;Open armchair 1245960| National Trust collections&lt;/a&gt;&lt;br /&gt;&lt;a href="https://www.nationaltrustcollections.org.uk/object/1246061"&gt;Open armchair 1245961| National Trust collections&lt;/a&gt;</text>
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            <name>Identifier</name>
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                <text>FPF160</text>
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            <name>Title</name>
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                <text>Mahogany ‘close’ armchair, or commode.</text>
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                <text>1765-1775</text>
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                <text>Mahogany ‘close’ armchair, or commode, with pierced splat and upholstered drop-in seat.</text>
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          <name>Full Description</name>
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              <text>This painted and parcel-gilt armchair has an oval back has a moulded frame with a carved crest inset with upholstery. The back is curved both horizontally and vertically and is supported with two out-scrolled, moulded struts which join the seat rail, and a further support at the centre of the back rail: these are unusual features. The padded arms are carved with fluting and join arm supports that are down-swept and meet the tops of the front legs. The upholstered seat is curved at the sides and back and has a serpentine front; the seat rails are moulded and have a shaped apron carved at the front with a gadroon border, a central oval patera and acanthus sprays. The chair is raised on moulded front cabriole legs with acanthus leaf and husk pendant carving on the knees and feet, while the back legs are moulded and flared; the feet are scrolled under in the French style. The chair has been painted white and gilt in the 20th century and the upholstery is modern with a pink brocade cover.&lt;br /&gt;&lt;br /&gt;Although the finish and upholstery are modern, this is a good example of this type of armchair in the French style. Its proportions are generous and it has a well-shaped back, signs of quality. Typical of English chairs with rounded seats, there are ‘cramp cuts’ on the inside of the seat rails to allow the leg joints to be cramped tight during assembly; there are also screw-holes in the underside of the rails where the chair was secured during transport. One French feature is an exposed strut across the rear of the oval back for added strength. The absence of decoration on the rear of the chair back suggests it was intended to stand against a wall. It was almost certainly one of a suite of chairs for a drawing room.</text>
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              <text>Repainted white and parcel-gilt in the 20th century.&lt;br /&gt;Re-upholstered in the 20th century.</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. 94 &lt;br /&gt;W. 64 &lt;br /&gt;D. 66</text>
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              <text>Back right leg painted ‘167/5279’&lt;br /&gt;OM 5279, pattern no. 4381. See Frederick Parker Archive, Box 55, FPA050. Page 119.</text>
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              <text>Purchased by Frederick Parker &amp;amp; Sons on 22nd May 1919 for £12.10.0.</text>
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          <name>Notes</name>
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              <text>There are two examples of similar chairs in the French style at Hughenden Manor, Hertfordshire: &lt;br /&gt;&lt;a href="https://www.nationaltrustcollections.org.uk/object/428621"&gt;Open armchair 428621| National Trust collections&lt;/a&gt;&lt;br /&gt;&lt;a href="https://www.nationaltrustcollections.org.uk/object/428622"&gt;Open armchair 428622| National Trust collections&lt;/a&gt;</text>
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            <name>Identifier</name>
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                <text>FPF167</text>
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            <name>Title</name>
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                <text>Painted and parcel gilt open armchair with oval back.</text>
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            <name>Date</name>
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                <text>1770-1780</text>
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            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1275">
                <text>A painted and parcel-gilt open armchair with upholstered oval back and seat.</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
