Important George III Period Carved And Painted Gainsborough Chair C. 1760

Attributed to Paul Saunders (1721 – 1771)

An absolutely exceptional English George III period carved birchwood Gainsborough armchair retaining its original tapestry covers and original paintwork and gilding.

The upholstered back with serpentine top rail, over the similarly shaped seat, and the padded armrests supported on finely carved scrolled arms with cabochons. The painted show wood seat rails carved with scrolls, trelliswork and acanthus. The cabriole legs similarly decorated with acanthus leaves and cabochons, terminating in scrolled pegged feet.

The carving exceptionally intricate and fine and the tapestry covers original and depicting a leafy landscape with distant ruins and oriental temple structures.

Paul Saunders’ clients were the wealthiest London and country houses and he was held by Royal Appointmentas ‘yeoman arras-worker to the Great Wardrobe’ and yeoman tapestry taylor.

His workshops, known as ‘The Royal Tapestry Manufactory’ contained a special ‘tapestry room’ and from 1755 until his death he was the main tapestry producer in London. After Saunders's death in 1771, his firm carried on until 1794 from his last premises in Charlotte (now Bloomsbury) Street with his eldest son, Hugh, and his clerk, John Bracken, forming a partnership.

Paul Saunders was apprenticed for seven years to Michael Bradshaw – who was almost certainly related to William Bradshaw and George Smith Bradshaw with whom Saunders later formed a partnership. Carlisle House on the east side of Soho Square was leased by Saunders and George Smith Bradshaw, described as ‘upholsterers of Greek Street’, in May 1753.

The British Chronicle, 30 September 1757 announced that ‘Mr. Paul Saunders of Sutton Street, Soho is appointed Tapestry Maker to His Majesty and on Thursday was sworn into office’. Saunders and Bradshaw's partnership had already been engaged in supplying tapestries to Holkham and Petworth, continuing William Bradshaw's established position in this field, although as was typical of most Soho Tapestry makers, the partners were primarily “upholders" (the 18th century term for upholsterers and decorators) and “cabinet makers”.

The dominant role in the tapestry side of the business seems to have been assumed by Saunders who rose to a position of prominence as a tapestry worker. Known for depictions of Oriental-style landscapes with soft trees and picturesque ruins, his most famous design is ‘The Pilgrimage to Mecca’ of which examples survive at Alnwick Castle, Petworth and Holkham.

In May 1761 Saunders received a second Royal appointment in the Great Wardrobe as Yeoman Tapestry Taylor. Thereafter, holding the two positions concurrently until his death in 1771. Both appointments were chiefly concerned with repairing and cleaning royal tapestries, but new hangings were also supplied, and his connections with the Great Wardrobe were undoubtedly, partially responsible, for the entry referring to Paul Saunders, undertaker, being paid for the funeral of the Duke of Cumberland in 1765.

Throughout his career, Paul Saunders seems to have had clients of extremely important stature — perhaps beginning with early contacts made in William Bradshaw's workshops. The Petworth archives contain a Saunders' letter of September 1748, demonstrating both a high degree of literacy and a familiarity with Petworth and the Duke's health.

Saunders died in 1771; his will dated 23 April 1770 included the following important provisions: ‘to John Bracken £100 if living with me either as a clerk or partner’ whilst ‘the lease of the said dwelling House, workshops, warehouses and premises’ were left in trust to his wife Ann Saunders, his eldest son Hugh, and his ‘worthy friend’ Theodosius Forest.

This amazing 18th century chair has survived for more than 250 years in superb original condition with only minor dings and tiny losses, light wear to the tapestry seat. Later green velvet fabric panel back.

The paint and gilding has been professional restored in places but with colour completely true to the original paintwork colours
and gilding (which remain visible) and which accentuate and compliment the beautiful colours of the tapestry.

In excellent original condition.

An important and exceptionally rare Georgian period chair.

Source: DEFM; Pat Kirkham, ‘The London Furniture Trade 1700-1870’, FurnitureHistory (1988), pp. 13, 40, 46-47, 59-60, 75, 138, 178; Annabel Westman, ‘Eighteenth-Century Window Blinds at Audley End: A Recent Discovery’, Furniture History(1997); Tessa Wyld, ‘Tapestry in Eighteenth-century Britain: based on the paper given at the 2011 Annual Lecture’, FHS Newsletter (May 2012); Adam Bowett, ‘Furniture Woods in London and Provincial Furniture 1700-1800’, Regional Furniture(2008); Tom Boggis,‘ Sir John Griffin Griffin's State Bed’, Furniture History (2017); Katherine Hardwick, 'Furnishing Holkham Hall; London Makers and Local Men', Furniture History (2023).

Additional dimensions information:

Height: 42 inches, width 28 inches, depth 24 inches. Height of seat from floor 17 inches, width between arms 22 inches, depth of seat (front to back) 24 inches. Height of seat from back 28 inches. Width between arms 22 inches. Height of arms from floor 25 inches.