H. Blairman & Sons Ltd

After a design by George Bullock (died 1818)

Oak, with plaster embellishments

61 x 61 x 41.9 cm

English (London), probably 1820s

Description, written by Charles Handley-Read , and smaller label initialled ‘Property AMP’ (see right)

[…]; Charles and Lavinia Handley-Read (both died 1971); Andrew McIntosh Patrick; American private collection (1990-present)

‘Victorian and Edwardian Decorative Art: The Handley-Read Collection’, Royal Academy of Arts, 4 March to 30 April 1972, A3 &4, as ‘William Smee’

Simon Jervis, et. al., Victorian and Edwardian Decorative Art: The Handley-Read Collection, London: Royal Academy of Arts, 1972, p. 14, A3 & 4.

Private collection

Several identical stools, as well as variants, have appeared on the market over the past forty or more years.  These have often been attributed to George Bullock.

The circular-ended arms may derive from one of the ‘Antique Seats from Originals in Rome’ published by Charles Heathcote Tatham in Etchings Representing the Best Examples of Ancient Ornamental Architecture, London, 1799, (no plate number).  A pair of painted stools, based directly on the Tatham design, is divided between the V&A (W.2-1975) and Temple Newsam.   Although no evidence has come to light, based on other volumes Bullock is known to have owned, it is likely that Tatham was on his shelves too.

A design by Bullock  in the ‘Tracings by Thomas Wilkinson from the designs of the late Mr. George Bullock 1820’ (Birmingham Museums Trust, 1974M3.89, 173), shows a seat of this form.  This design, and the ‘window seats’ supplied by Bullock for Great Tew have square blocks at the end of the seats, forming supports for the arms (Christie’s, Great Tew Park, 27-29 May 1987, lot 31).  A variation of this design can be seen on the so-called Palmella suite (see Martin Levy, ‘George Bullock: Aspects of his Development and Influence’, Antologia di Belle Arti, Nuova serie, nn. 5-36-37-38, 1990, pp. 67-74, fig. 4).

When Richard Brown publishes a stool of this type in Rudiments of Drawing Cabinet and Upholstery Furniture, 1819, second edition, 1822, pl. XV, he too shows the seat with a block at the junction of the leg and the arm.  Many of the designs published by Brown show a close familiarity with Bullock’s production, and it is thought that he may have been directly connected to the workshop, perhaps as a draughtsman; see Clive Wainwright, ‘George Bullock and his Circle’ in George Bullock: Cabinet-Maker, London, John Murray and H. Blairman & Sons, 1988, pp. 13-39, particularly pp. 16-17.

There is, however, a pair of stools without arms in St George’s Church, Hanover Square, close to Bullock’s workshop in Tenterden Street.  These examples have legs joined to the seat in a similar manner to the present pair.  It is not inconceivable that these were supplied by Bullock from 4, Tenterden Street.

The stool published by Smee in his Designs of Furniture…, circa 1840, p. 361 is also close to the present example, showing the arm going directly into the seat.  When Handley-Read made his note, Bullock was almost unknown, and none of the evidence noted above had come to light. Thus his attribution to Smee.

Today we can be more cautious and perhaps suggest date closer to the Regency period, but likely after Bullock’s death.