DavidsSamlingGennem24År

66/1919 Sofa Thomas Chippendale’s workshop, London ca. 1772 Mahogany and morocco (recent). H:97, W:116, D:72 The fact that so many items offurniture in the “Chip­ pendale style” exist is undoubtedly due to the well- known pattern book, T h e G e n tle m a n & C a b in e t­ m a k e r ’s D ir e c to r , which Thomas Chippendale (1718-1779) published in 1754. It ran into three edi­ tions and was used assiduously at the time and even more so in later years. The number of items offurniture that can be attributed with certainty to Chippendale and his workshop is much smaller, and researchers are not helped by a burnt-in maker’s mark as on contemporary French furniture. Between 1767 and 1778 Chippendale executed one of his most comprehensive interior decoration commis­ sions for Edwin Lascelles at Harewood in Yorkshire, and during the 1770s he supplied furniture to Golds­ borough Hall, which was quite close and owned by David Lascelles, Edwin’s brother. The Museum’s sofa comes from Goldsborough Hall, where it was grouped with another, corresponding sofa and 15 chairs, all up­ holstered in morocco fastened with brass nails. The sofa is relatively simple inform and has delicate, restrained carving. Chippendale could at times be more capricious, as can be seen, for example, from his sump­ tuous “Rococo” looking-glasses or fom the chinoiserie porcelain cabinet (Fig. 3) in the Museum’s possession. It is almost identical with that shown on Plate CVIII in the first edition of the D ir e c to r , and its provenance makes it probable that it can be attributed to Chippen­ dale himself.

6 6 /1 9 7 9 S o fa T h o m a s C h ip p e n d a le s v æ r k s te d , L o n d o n ca. 1772 M a h o g n i o g m a r o q u in (n y e re ). H :9 7 , B :1 1 6 , D :7 2 N å r a n ta lle t a f m ø b le r i » C h ip p e n d a le s til« e r så s to r t, s k y ld e s d e t u d e n tv iv l d e n v e lk e n d te f o r b il- le d s a m lin g » T h e G e n tle m a n & C a b in e t- m a k e r ’s D ir e c to r « , s o m T h o m a s C h ip p e n d a le u d g a v i 1754. D e n k o m i tre o p la g o g a n v e n d te s f littig t i s a m tid e n o g e n d n u flittig e re sid e n h e n . M æ n g d e n a f m ø b le r , s o m m e d s ik k e r h e d k a n tils k riv e s T h o ­ m a s C h ip p e n d a le (1 7 1 8 -1 7 7 9 ) o g h a n s v æ rk s te d , e r b e ty d e lig t m in d re , o g f o r s k e r n e h jæ lp e s ik k e p å s p o r e t a f in d b r æ n d te m e s te r s te m p le r s o m p å d e s a m tid ig e f ra n s k e m ø b le r . I p e r io d e n 1 7 6 7 -7 8 u d f ø r te C h ip p e n d a le e n a f sin e m e s t o m f a tte n d e in te r iø r o p g a v e r f o r E d w in L asce lle s p å H a r e w o o d i Y o rk s h ire , o g i 7 0 ’e rn e u d s ty r e d e h a n lig e le d e s G o ld s b o r o u g h H a ll, s o m lå lig e v e d s id e n af, o g s o m e je d es a f b r o d e r e n D a n ie l L asce lle s, m e d m ø b le r. M u s e e ts so fa s ta m ­ m e r fra s p is e s tu e n i G o ld s b o r o u g h , h v o r d e n b la n d t a n d e t s to d s a m m e n m e d e n tils v a re n d e so fa s a m t 15 sto le - alle f o r s y n e t m e d r ø d t m a r o q u in o g m e s s in g s ø m . M ø b le r n e e r a f e n re la tiv t e n k e l f o r m m e d fin e o g s o b re u d s k æ r in g e r . A t h a n o g s å k u n n e v æ re m e r e k a p ric iø s ses f.e k s . a f h a n s o v e r d å d ig e » ro - k o k o « -s p e jle e lle r a f d e t c h in o is e ri p o r c e læ n s k a b i­ n e t, s o m m u s e e t e je r (se fig . 3). D e t e r n æ s te n id e n tis k m e d T h e d ire c to rs p la n c h e C V III i f ø r ­ s te u d g a v e n , o g d e ts p r o v e n ie n s s a n d s y n lig g ø r e n tils k r iv n in g til C h ip p e n d a le selv .

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