A set of ten George III parcel-gilt, red and white painted drawing room chairs, circa 1770, in the manner of Ince & Mayhew, each with cartouche-shaped padded backs and stuff-over seats, the channelled frame with floral cresting on slender, tapering cabriole legs, batten-carrying holes and chisel and pencil numbering to underside, four covered in red and gold silk damask and six covered in burgundy damask, the armchairs 67cm wide, 67cm deep, 92.5cm high, the side chairs 62cm wide, 57cm deep, 89cm high, (8+2)

Whilst it is generally difficult to conclusively identify items of furniture from the 18th century inventory of the contents of Ombersley due to the brevity of the descriptions, in the case of these chairs it is possible to identify them with certainty because of their distinctive red and white decoration, which they retain today. They were recorded in 'The Drawing Room', which later became known as the 'Rose Boudoir' where the chairs remained until the house was sold in 2017. The fact that they have been so little moved throughout their existence, being almost certainly commissioned for that very room when the Edwin, 2nd Baron Sandys acceded in 1770, means that these chairs have survived, not only with their original painted and varnished decoration but are generally in exceptional unrestored original condition. Whilst a conclusive attribution has not been possible, they do bear comparison with the output of the renowned cabinet makers Ince & Mayhew (see, H. Roberts and C. Cator, Industry and Ingenuity: The Partnership of William Ince and John Mayhew, London, 2022, armchairs pl. 308, p. 358 and pl. 328, p. 365 and stool, pl. 348, p. 371).