A carved mahogany sofa, the ends early 19th century, possibly supplied by 'Mr. Bogaert' to Thomas Hope, in the form of winged monopodiae, 92cm high, 77cm deep, 268cm wide
possibly originally with ormolu mounts
Thomas Hope, Duchess Street, London
Sold Humbert & Flint, "The Property of the Honourable Lord Francis Pelham Clinton Hope, The Deepdene, Dorking, Surrey", 12-19 September 1917,
lot 1059 (Etruscan Room)
London Art Market [Richardson?], 1960s
Literature: David Watkin and Phillip Hewat-Jaboor eds., Thomas Hope: Regency designer, 2008, p. 377, No. 67
The present lot was probably supplied by 'Mr Bogaert' to Thomas Hope for the 'Third Room for Greek Vases' at Duchess Street. This bordered three of the walls, excluding the fireplace, and had just two ends of the design (see Thomas Hope, Household Furniture and Interior Decoration, 1807, pls. V and XXIX). A detail of the `End of the Sofa in the room, plate 5' is illustrated in pl. XXXIX, see figs. 6-15). The decoration included scrolling anthemions to the corner and to the front of the Greek key motif of the toprail - and there are shadows of these designs visible to the ends, of the design, indicating their former presence in applied carving, ormolu, or brass mounts as clearly shown in Hope, op. cit. figs. 6-15.
The form of griffons in profile with exaggerated wings derives from antique thrones such as those illustrated in Charles Heathcote Tathams, Etchings, Representing the best Examples of Ancient Ornamental Architecture; Drawn from the Originals in Rome and Other Parts of Italy During the Years 1794, 1795 and 1796, London 1799, figs. 67-1. More accurate representations of the classical source can be found in Charles Percier and Pierre Fontaine's Receuil de decorations interieurs (1801 and 1812), pl. 6 and Hope op. cit. pl. 11, figs 2-8, Illustrating winged sphinx-headed 'stone seats' recorded in the Picture Gallery at Duchess Street. It is likely that Hope drew inspiration for these from the present lot.
Little is known about Mr Boghaert, the only workman "to whose industry and talent I [Hope]could in some measure confide the execution of the ... more enriched portion of my designs".
Marks, scratches and abrasions comensurate with age and use.
Various wear and some chips of loss.
The carved ends appear previously to have been ebonised. The ebonised surface has been worn to varying degrees throughout and in many places worn entirely back to the mahogany.
Upon close inspection the 'shadows' or outlines of previously applied gilt metal mounts or mouldings are present. See images. The 'outlines' indicate that the mounts or mouldings were faithful to the style one demonstrated by the ends.
The supporting structure of the back and seat panels is modern timber and is entirely associated to the ends in relatively recent times. The fixtures that join the ends to the seat and back are also modern (see images).
The apertures cut into the sides of the ends (to accomadate the seat and rear panels) have likely been cut at a later date, or atleast the existing apertures have been re-shaped and/ or increased in size. The older looking elements of the apertures/ or atleast elements of them may have been cut at a later date even if they have significant age.
The rear edges of the ends have a large number of screw holes to them.
Upholstery with some wear, 'pulls' and fraying.
Tasselled elements are not stitched to cushions but held on with safety pins.
The sofa has not been assembled at Dreweatts, therefore we are unable to guarantee the structural solidity once assembled.
Some minor evidence of old worm to the later timber brackets attached to the the ends.
Please refer to additional images for visual reference to condition.
CONDITION REPORT DISCLAIMER
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