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A pair of very large mahogany library bergeres in the Regency style, after Charles Heathcote Tatham and Thomas Hope (2) image 1
A pair of very large mahogany library bergeres in the Regency style, after Charles Heathcote Tatham and Thomas Hope (2) image 2
A pair of very large mahogany library bergeres in the Regency style, after Charles Heathcote Tatham and Thomas Hope (2) image 3
Lot 143TP

A pair of very large mahogany library bergeres
in the Regency style, after Charles Heathcote Tatham and Thomas Hope

23 – 24 February 2021, 10:00 GMT
London, Knightsbridge

Sold for £12,750 inc. premium

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A pair of very large mahogany library bergeres

in the Regency style, after Charles Heathcote Tatham and Thomas Hope
Each with an outscrolled and dished leaf-carved back above standing griffin-form end supports, with outstretched feather carved wings, terminating in animalistic legs and lion paw feet, 109cm wide x 120cm deep x 119cm high, (42 1/2in wide x 47in deep x 46 1/2in high) (2)

Footnotes

Although of recent manufacture, the offered bergeres are after a Regency oak model reputedly supplied to John Aylmer, Courtown House, County Kildare in Ireland, circa 1815, which sold Christie's, London, 7 June 2011, 500 Years Decorative Arts Europe, lot 479. This in turn was most likely inspired by drawings and designs produced by Charles Heathcote Tatham (1772-1842) and Thomas Hope (1769-1831). Three such influential drawings of ancient consular seats, or throne chairs, executed by C.H. Tatham while on the Grand Tour and dating to 1795 and 1799 respectively, are illustrated in Thomas Hope, Regency Designer, ed. by D. Watkin and P. Hewat-Jaboor, 2008, New York, pp.'s 58 & 377, fig.'s 4-1 & 67-1.

For further comparison see the Coade stone seat, circa 1800, originally in the picture gallery at Thomas Hope's Duchess Street property, but now at Parham House in Sussex, Ibid, p. 70, fig. 4-16. Whilst a carved mahogany sofa end dating to circa 1802, which is believed to have belonged to Thomas Hope, also appears Ibid p. 377, fig. 67. This itself is virtually identical to the sofa ends which feature in a design for the third vase room from Thomas Hope's major 1807 publication, Household Furniture, Ibid, p. 33, fig. 2-14.

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