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Lot Essay
This sofa can be firmly attributed to the cabinet- and tapestry-maker, Paul Saunders (1722-71) based on the similarity of the carving of the supports to that of seat-furniture by Saunders at one of his most celebrated commissions. Two sets of dining-chairs at Holkham Hall, Norfolk, supplied by Saunders between 1755-58 to Thomas Coke, 1st Earl of Leicester include virtually identical carved acanthus foliage encircled by a crown or band, framed by ‘C’ scrolls and flanked by small acanthus leaves. This ornamentation combined with fluting on the lower section of the supports and tightly scrolled feet is a characteristic of much of Saunders’ work. The ‘encircled acanthus’ probably derives from furniture by Saunders’ former business partner, William Bradshaw (1728-75); see the cabriole legs on a giltwood side table and cabinet stand, circa 1730, supplied to Philip, 2nd Earl Stanhope for Chevening House, Kent. This carving was also used in a more rudimentary manner by Wright & Elwick of Wakefield; Richard Wright (1745-71) probably worked for Saunders as a director of ‘The Royal Tapestry Manufactury, Soho Square’.
The form of the sofa is undoubtedly inspired by Chippendale’s designs for ‘French’ chairs illustrated in the Director, and, interestingly, both Saunders and Bradshaw were subscribers to the first edition (1754). As has been demonstrated recently, Saunders' importance to cabinet-making from the 1750s until his demise in 1771 has been somewhat overlooked in favour of his tapestry-making activities. However, from 1750, he was patronised by one of the greatest collectors and patrons of the arts, Sir Hugh Percy, 1st Earl (later Duke) of Northumberland, to whom Chippendale dedicated both the first and second editions of the Director (1754, 1755), undoubtedly in an attempt to attract patronage. Furthermore, throughout the 1750s and 1760s, Saunders was supplying all types of furniture and furnishings to Henry Pelham Clinton, 9th Earl of Lincoln, later 2nd Duke of Newcastle, for both his London and country seats (S. Goodman, ‘The 9th Earl of Lincoln and the refurbishment of Exchequer House, 10 Downing Street’, The British Art Journal, Winter 2017/2018, vol. XVIII, no. 3, pp. 3-7).
A comparable sofa, also attributed to Saunders, was formerly in the collection of the Burdett family at Ramsbury Manor, Wiltshire and was sold recently Rooms As Portraits, Michael S. Smith, Eaton Square, London; Christie's, London, 12 September 2018, lot 46 (£35,000, including premium).
The form of the sofa is undoubtedly inspired by Chippendale’s designs for ‘French’ chairs illustrated in the Director, and, interestingly, both Saunders and Bradshaw were subscribers to the first edition (1754). As has been demonstrated recently, Saunders' importance to cabinet-making from the 1750s until his demise in 1771 has been somewhat overlooked in favour of his tapestry-making activities. However, from 1750, he was patronised by one of the greatest collectors and patrons of the arts, Sir Hugh Percy, 1st Earl (later Duke) of Northumberland, to whom Chippendale dedicated both the first and second editions of the Director (1754, 1755), undoubtedly in an attempt to attract patronage. Furthermore, throughout the 1750s and 1760s, Saunders was supplying all types of furniture and furnishings to Henry Pelham Clinton, 9th Earl of Lincoln, later 2nd Duke of Newcastle, for both his London and country seats (S. Goodman, ‘The 9th Earl of Lincoln and the refurbishment of Exchequer House, 10 Downing Street’, The British Art Journal, Winter 2017/2018, vol. XVIII, no. 3, pp. 3-7).
A comparable sofa, also attributed to Saunders, was formerly in the collection of the Burdett family at Ramsbury Manor, Wiltshire and was sold recently Rooms As Portraits, Michael S. Smith, Eaton Square, London; Christie's, London, 12 September 2018, lot 46 (£35,000, including premium).