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拍品专文
These chairs represent the renewed fashion for ancient Egyptian motifs in Regency England, inspired by the archaeological discoveries made during Napoleon's military campaigns of 1798 and recorded by Baron Vivan Denon in his Voyage dans la Basse et la Haute Egypte, published in London in 1802. One of Napoleon's central purposes in promoting the study of Egypt's monuments was in fact to enlarge his own glory, reflected in the ancient grandeur of Egypt. Thus in England, following Napoleon's defeats in Egypt in 1798 and at Trafalgar in 1805, the Egyptian style became a patriotic symbol of Nelson's celebrated victories, particularly among patrons such as the Prince of Wales and his immediate circle. The vogue for Egypt played an important role in all aspects of art, architecture and the decorative arts and was disseminated through design books published by such influential figures as Charles Percier and Pierre-Franois-Lionard Fontaine in France, and Thomas Hope and George Smith in England.
The chairs are designed in the 'antique' French manner are characteristic of the partnership formed circa 1805 between Nicholas Morel, who was probably of French extraction, and Robert Hughes. They are known to have worked with the marchand-mercier Dominique Daguerre and are recorded working under Henry Holland's direction for the Prince of Wales, later George IV, redecorating Carlton House, his London residence, and the Grange, his hunting box in Hampshire. They were also patronized by other prominent aristocrats including the Earl of Mansfield, as well as the Dukes of Bedford, Buccleuch and Northumberland (see G. Beard. and C. Gilbert, eds., The Dictionary of English Furniture Makers 1660-1840, London, 1986, pp. 623-625).
The Franco-Egyptian influence can most clearly be seen on a chair stamped by the renowned French menuisiers Jacob rue de Meslee, displaying Egyptian arm terminals (see Louvre exhibition catalogue, Egyptomania, 1994, p.281, fig. 161). The back legs of the current chairs also displaying a strong Empire influence with reeded lappets to the tops. The reeded collars to the front legs of these chairs relate to a pair of Regency chairs sold Christie's, London, 14 April 1998, lot 66.
The chairs are designed in the 'antique' French manner are characteristic of the partnership formed circa 1805 between Nicholas Morel, who was probably of French extraction, and Robert Hughes. They are known to have worked with the marchand-mercier Dominique Daguerre and are recorded working under Henry Holland's direction for the Prince of Wales, later George IV, redecorating Carlton House, his London residence, and the Grange, his hunting box in Hampshire. They were also patronized by other prominent aristocrats including the Earl of Mansfield, as well as the Dukes of Bedford, Buccleuch and Northumberland (see G. Beard. and C. Gilbert, eds., The Dictionary of English Furniture Makers 1660-1840, London, 1986, pp. 623-625).
The Franco-Egyptian influence can most clearly be seen on a chair stamped by the renowned French menuisiers Jacob rue de Meslee, displaying Egyptian arm terminals (see Louvre exhibition catalogue, Egyptomania, 1994, p.281, fig. 161). The back legs of the current chairs also displaying a strong Empire influence with reeded lappets to the tops. The reeded collars to the front legs of these chairs relate to a pair of Regency chairs sold Christie's, London, 14 April 1998, lot 66.