After a design published by Thomas Hope (1769–1831)
Mahogany, the upholstery of later date
89.5 x 58 x 67.5 cm
English (London), early nineteenth century
‘III’, struck on back seat rail; a paper label inscribed ‘DR’, also on back seat rail; the drop-in seatstruck ‘IIII’ and an indistinct red script inscription, possibly ‘Xod’
[…]; London art market, 2006; […]; Christie’s (London), 4 July 2019, lot 131, bt S. Jon Gerstenfeld
Thomas Hope, Household Furniture, London, 1807, pl. 11, nos 3 and 4 (see below)
David Watkin and Philip Hewat-Jaboor, eds, Thomas Hope: Regency Designer, New Haven and London, 2008, no. 65 (for a chair from the same set, now in the collection of the Fitzwilliam Museum, Cambridge)
Three further versions of the present chair are known to survive, in addition to the one in the Fitzwilliam. One differs in that the vertically striated supports to the winged lionesses terminate at the backs of their tails. A second chair, reportedly in the same collection as the first, has not been examined. A third chair is seemingly identical in design to the one exhibited here. It has been said that the final version is from the collection of Hope’s contemporary and admirer Samuel Rogers (1763–1855).
The carving of the winged lionesses on the Fitzwilliam chair has a crispness observed on other Hope furniture, which have secure connections to Hope’s own collection. It seems reasonable to suggest, therefore, that the carving on these pieces might be attributed to Peter Bogaert.
Although lacking an early provenance, on account of the superior quality of the carving, together with the closeness of the design to the plate in Household Furniture, it is fair to suggest that the Fitzwilliam chair and the present example may have been part of Hope’s collection.
For a full discussion of this model, additional literature and related furniture, see catalogue entry in Watkin and Hewat-Jaboor, loc. cit.