A PAIR OF IRISH GEORGE III MAHOGANY HALL-BENCHES, each with scrolled acanthus-carved waved toprail centred by an anthemion spray with rosette-terminals above an entrelac and rosette frieze, the tapering panelled back centred by an oval panel decorated with the Coote arms, inscribed COOTE QUI COOTE, hung with swags of drapery with turned baluster ribbed arms, with channelled outscrolled arm-supports above a panelled rectangular seat on channelled out-curved legs, each lacking one finial, each with batten holes, restorations

Details
A PAIR OF IRISH GEORGE III MAHOGANY HALL-BENCHES, each with scrolled acanthus-carved waved toprail centred by an anthemion spray with rosette-terminals above an entrelac and rosette frieze, the tapering panelled back centred by an oval panel decorated with the Coote arms, inscribed COOTE QUI COOTE, hung with swags of drapery with turned baluster ribbed arms, with channelled outscrolled arm-supports above a panelled rectangular seat on channelled out-curved legs, each lacking one finial, each with batten holes, restorations
33½in. (85cm.) wide; 19¾in. (50cm.) deep (2)
Provenance
The Coote family, created Earls of Bellamont in 1767, Bellamont Forest, Co.Cavan, Ireland

Lot Essay

The seat-design with scrolled Grecian-couch supports, ribbon-guilloche frieze and palmette-centred scrolled pediment to the panelled back, with its tablet centred by a painted medallion within a festoon drapery veil derives in simplified form from hall seats at Castle Coole, Co. Fermanagh, Ireland. The latter, bearing the Belmore crest, are thought to have been supplied in about 1797 by the Dublin firm of Kidd to designs by James Wyatt (illustrated in situ by G. Mott, 'Castle Coole', Irish Arts Review, 1990, p. 90). Their Grecian character corresponds to the 'antique' style promoted by the connoisseur Tomas Hope in the furnishings of his Duchess Street mansion/museum around 1800, and later popularised by his guide/pattern book Household Furniture and Interior Decoration, London, 1807; in particular the cresting relates to that of his Grecian sofa, pl. 18

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