With a serpentine shaped back and padded arms supported on carved molded downswept supports joined to the upholstered seat over a serpentine shaped and molded apron, on cabriole channeled legs with hipped knees terminating in scrolled toes to the front and pad feet to the reverse
39 in. (99 cm.) high, 25 in. (63.5 cm.) wide, 28 in. (71 cm.) deep

Private Collection, England.
Acquired from Ronald Phillips, London, in 2016.

M. Harris & Sons 1868-1968, centenary book, 1968, p. 45 (related chair).
C. Claxton Stevens and S. Whittington, 18th Century English Furniture: The Norman Adams Collection, 1983, pp. 41 & 45 (related chairs).
F. Lewis Hinkley, Masterpieces of Queen Anne and Georgian Furniture, 1991, p. 74, pl. 56, fig. 107 (related chair).
M. Binney, Dumfries House, London, 2008, p. 11 (related chairs).
Ronald Phillips, 'The Legacy of Thomas Chippendale: A Major Selling Exhibition', London, 2014, p.188, fig. A14.
Ronald Phillips, 'Antique English Furniture', London, 2014, pp. 10-11, item 2.
Ronald Phillips, ‘Masterpieces of English Furniture’, London, 2016, pp. 40-41, item 18.

Please note this lot will be moved to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn) at 5pm on the last day of the sale. Lots may not be collected during the day of their move to Christie’s Fine Art Storage Services. Please consult the Lot Collection Notice for collection information. This sheet is available from the Bidder Registration staff, Purchaser Payments or the Packing Desk and will be sent with your invoice.

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This beautifully carved chair is attributable to Thomas Chippendale (1718-1779), bearing all the traits of the top London cabinet-maker's firm. It relates to an unfinished drawing for a 'French Chair' by Chippendale, circa 1753–1762, in the collection of the Metropolitan Museum of Art [20.40.1(18)]. Furthermore, it is nearly identical in design to the armchairs from the well-documented Chippendale commission for Dumfries House, Ayrshire, Scotland which remain on view in the Family Parlour. Other similar examples, also unquestioningly the work of Chippendale, have appeared on the market over the years, including one that was with Moss Harris circa 1968.

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