Provenance
The needlework: Worked by Mrs Lucy Baines of Bell Hall, Naburn, Yorkshire in the 1740s, and by whom mentioned in the will of her husband Hewley Baines of 1759 and bequeathing them back to her upon his death before passing by family descent.
The chairs: By repute the Dukes of Newcastle, Clumber Park, Northamptonshire;
Private collection, Yorkshire.
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Literature
A.F. Kendrick, "Old English Furniture, Needlework and Silver", 'Old Furniture', London, 1929, pp.125-6, fig 1.
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Description / Expertise
Reference: 4433401
A magnificent and important pair of large scale mid 18th century carved mahogany Gainsborough armchairs with serpentine cresting, the rectangular seats and tall backs upholstered in exceptional and brightly coloured mid 18th century English needlework finely worked in wools with silk highlights depicting pastoral scenes in the manner of David Teniers depicting figures within landscapes contained within elaborate lozenge frames of foliate strapwork with cornucopiae to the corners issuing abundant exotic flowers all against a pale blue ground, with down swept channelled and pearl-beaded arms, carved bosses and channelling to the sides, above fluted blocks and square tapering legs joined by a 'H' frame stretchers terminating in spade feet and brass castors.
The chairs: English, circa 1770
The needlework: English, circa 1745
These chairs are believed to have come from Clumber Park the imposing seat of the Dukes of Newcastle from which the contents were sold by the Earl of Lincoln in a series of sales in the 1930s.
Gainsborough armchairs are traditionally associated with the more exuberant rococo 'French Style' of the Chippendale period. These armchairs, however, are unusual in incorporating such strong neo-classical motifs, allowing them to be dated to the 1770s rather than the 1760s. The unexpectedly large proportions are very unusual, allowing the full extravagance and richness of the needlework or damask to be shown at the time, forming an important part of their decorative appeal and contrasting with the formality of the classical design of the frames.
The chairs are now upholstered in exceptional mid 18th century needlework covers, which are earlier than the chairs, and belong to a magnificent set made by Mary Baines of Bell Hall, Yorkshire. This is established as they are specifically mentioned in the will, preserved in the Hull University Archives, of her husband Hewely Baines, dated 1759 in which he bequeaths to his ' dear wife all the coverings for chairs (now unmade up) with a fire screen. All curiously wrought with needlework by her own hand recommending it to her to give to some of my family at her death if their behaviours to her is such as is obliging and deserved such a gift'. The set were clearly highly valued and the Chippendale period needlework fire screen belongs to the same group and was exhibited in its own right in an exhibition held at Mallett at 49, New Bond Street, London in July 1929 in aid of the National Art Collections Fund. The extraordinary inventiveness, quality and design is more typically French than English at this period and the richness of their colours is remarkable.
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