A GEORGE III BLUE-PAINTED AND PARCEL-GILT TESTER BED
A GEORGE III BLUE-PAINTED AND PARCEL-GILT TESTER BED
A GEORGE III BLUE-PAINTED AND PARCEL-GILT TESTER BED
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A GEORGE III BLUE-PAINTED AND PARCEL-GILT TESTER BED
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Please note lots marked with a square will be move… Read more CHIPPENDALE’S BED FOR THE BLUE STRIPE BEDROOM AT HAREWOOD
A GEORGE III BLUE-PAINTED AND PARCEL-GILT TESTER BED

BY THOMAS CHIPPENDALE, CIRCA 1770

Details
A GEORGE III BLUE-PAINTED AND PARCEL-GILT TESTER BED
BY THOMAS CHIPPENDALE, CIRCA 1770
Each of the two front fluted and tapered posts headed by stiff leaf capitals surrounded by egg-and-dart collars on short balusters above guilloche and stiff leaves, the paneled legs with petal-carved molding concealing lignum wood castors; with a stepped two-tier canopy, the lower canopy comprising three sections of frieze, each with swags of laurels on the outer side, the inner side plain; three sections of outer apron with egg-and-dart and beading above anthemia alternating with stiff leaves; four sections of inner apron with stiff leaf molding above tongues; the front inside tongue molding signed in stencil George Burley(?) and also bottom, which could be in an 18th century hand and possibly by one of the gilders; the upper canopy comprising three sections, each with a fluted frieze flanking a central tablet decorated with a central rosette patera hung with drapery swags beneath a gadrooned urn carved with bearded masks issuing bell-husk swags hanging from the mouths, the corners ornamented with rosette paterae and surmounted by later foliate urn finials, the underside carved with flowerhead filled guilloche, the back section only carved on the underside, with old Christie’s stickers, with printed and inscribed Ann and Gordon Getty Collection inventory label
142 in. (360.7 cm.) high, 76 in. (193 cm.) wide, 88 in. (223.5 cm.) deep
Provenance
Commissioned by Edwin Lascelles for the Blue Stripe Bedroom of Harewood House, Yorkshire.
Thence by descent to George, 7th Earl of Harewood, Harewood House, Yorkshire.
The Property of the Rt. Hon. Earl of Harewood, K.B.E.; Christie's, at Harewood House, Yorkshire, 3 October 1988, lot 198.
Acquired from James Hepworth by Ann and Gordon Getty in 1993.
Literature
C. Gilbert, The Life and Work of Thomas Chippendale, London, 1978, vol. I, p. 204, vol. II, p. 33, fig. 54.
N. Harris, Chippendale, Hong Kong, 1989, pp. 4 & 110-111.
Special notice

Please note lots marked with a square will be moved to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn) on the last day of the sale. Lots are not available for collection at Christie’s Fine Art Storage Services until after the third business day following the sale. All lots will be stored free of charge for 30 days from the auction date at Christie’s Rockefeller Center or Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Operation hours for collection from either location are from 9.30 am to 5.00 pm, Monday-Friday. After 30 days from the auction date property may be moved at Christie’s discretion. Please contact Post-Sale Services to confirm the location of your property prior to collection. Lots may not be collected during the day of their move to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Please consult the Lot Collection Notice for collection information.

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Lot Essay

This rare surviving important commission from Thomas Chippendale for Harewood House was in ‘The Lord Harewood’s Bedroom’ according to the 1795 inventory, where it is described as ‘One Bedstead Blue and Gold hung with Blue Damask’. Although the Chippendale bill does not survive, the bed was likely supplied by him between 1769 and 1772 and probably comprises part of items totaling the sum of £3024-19-3, which had already been delivered by the time the 1772 inventory was made.
The furnishing of Harewood House, Yorkshire for Edwin Lascelles, created Lord Harewood in 1790, was undoubtedly Thomas Chippendale’s most valuable commission (the contract exceeding £10,000 through the period 1767-78) and represents the flowering of his mature neoclassical style. Under Lascelles' patronage Chippendale enjoyed an unprecedented freedom, both in the execution and extravagance of his designs, which so effectively complimented the Robert Adam's interiors of the house.
The intricately carved ornament of the bed closely corresponds with other furniture supplied by Chippendale to Harewood and elsewhere in the 1770s. For example: an urn with bellflower swags surmounting a press bed supplied to Garrick's villa at Hampton circa 1775; the frieze of laurel swags draped from flowerheads on the marquetry secretaire supplied to Harewood circa 1772; the satyr masks on the pier glasses supplied for the dining room at Harewood circa 1770; the urn crestings with satyr masks and bellflower swags on the pier glasses at Brocket Hall, supplied circa 1773; the anthemion hung pelmet in the Salon at Nostell Priory supplied circa 1778, also seen on the lambrequin pelmets supplied to Brocket Hall circa 1773. Only a very small number of beds by Chippendale survive, and the most similar example remains at Harewood, exhibiting a related laurel swag frieze, domed canopy, and stiff leaf egg-and-dart capitals.
At the time of Sir Charles Barry's remodeling of the piano nobile at Harewood from 1843-1845, a number of furnishings were dismantled and placed in storage. Because these items, which include this bed, remained untouched for almost a century-and-a-half, they survived in remarkable condition, almost uniquely preserved.

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