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Lot Essay
The bergere reflects the ‘French taste’ promoted in Chippendale’s 1762 Director and is a rare form among his known oeuvre. Suites of seat furniture supplied by Chippendale generally had pairs of chairs and essentially a maximum of four chairs and not all sets would include bergeres. One such suite supplied to Harewood House in 1775 for the Yellow Damask Sitting room remains there today (C. Gilbert, ‘Chippendale’s Harewood Commission,’ Furniture History, 1973, p.3).
It can be attributed to Chippendale’s workshop based on both constructional and stylistic features that unique to his documented work. Batten carrying holes, the tiny holes on the seatframe used by his workshop to secure the chairs for transport are visible and the distinctive scrolled carving to the feet are also unique to his workshop. The frame also shows traces of a previous painted scheme which would also be typical of Chippendale furniture from this era. A single bergere that was supplied to the actor David Garrick (1717-79) in 1776 for the Blue Bedroom for his villa at Hampton, most closely relates to the present lot. Interestingly, it is painted and shares the same profile, cresting, fan-carved knees and rosette-carved front feet (Property of the Estate of Mary, Viscountess Rothermere; Christie’s, New York, 16 April 1994, lot 142).
It can be attributed to Chippendale’s workshop based on both constructional and stylistic features that unique to his documented work. Batten carrying holes, the tiny holes on the seatframe used by his workshop to secure the chairs for transport are visible and the distinctive scrolled carving to the feet are also unique to his workshop. The frame also shows traces of a previous painted scheme which would also be typical of Chippendale furniture from this era. A single bergere that was supplied to the actor David Garrick (1717-79) in 1776 for the Blue Bedroom for his villa at Hampton, most closely relates to the present lot. Interestingly, it is painted and shares the same profile, cresting, fan-carved knees and rosette-carved front feet (Property of the Estate of Mary, Viscountess Rothermere; Christie’s, New York, 16 April 1994, lot 142).