16th-17th century 3 legged captains chair "Chapter 2"

The Dutch have been described as masters of marquetry. It is one of the decorative techniques that has made Dutch furniture famous.
The Norwegians could have been inspired by Dutch marquetry through the old Hansa and later VOC connection, and 17th century Norwegian migrants returning from the Low Countries.
To quote our esteemed member James: "Dutch marquetry was copied by just about everyone in europe & america."
https://www.antiquers.com/threads/neoclassical-chest-of-drawers.21619/#post-291783

Just a few Dutch examples which were also posted in that thread:

 

The owner (UK National Trust) doesn't 'want to hide or doesn't really appreciate' anything. That is your interpretation, and frankly, judgment of the people of the National Trust who do a great job restoring and nurturing historical pieces.
I know you want to study the chair, but to suggest lack of interest or appreciation by the British National Trust is really going too far.

In reality it is of course Winston Churchill's chair in his painting studio in Chartwell, but you already knew that.
His painter's smock is simply there to give the impression of the studio as it was when he was still using it. Happens all the time with famous people's living rooms, studies, studio's, etc. Glasses, pens, coats and hats are put there as if the person was still using it. None of those items are ever meant to hide nor are they left there because the owner doesn't appreciate whatever is underneath. It is simply recreating an atmosphere, and a suggestion of the presence of a great man or woman.

Maybe this will help you understand why they draped the smock over Churchill's studio chair:

 

More views:



As you can see from these pics and the one you posted, you are not missing much marquetry, there simply isn't that much:


The chair in the background, carefully protected behind ropes! Certainly no lack of appreciation.

The chair at the desk looks like another three-legged chair. It could have been made in Churchill's day.

 

The bottom line here is, there is NO EVIDENCE that these posted chairs are 16th-17th century chairs. Indeed, the evidence suggests that at best, these chairs are 19th century & later whimsey.
The Churchill chair is ONLY important because HE owned it, the chair itself is almost irrelevant.
When well known facts are presented (like no period images), they are ignored & not researched because they do not further the fantasy narrative.
This thread is like the boy shoveling a room full of horse manure, when asked why the boy replied
With all this manure,' the little boy replied, beaming, 'there must be a pony in here somewhere!'”

 

Thanks Komokwa, I did not realize that my mistake.

 

Hi Any Jewelry, I agree with you 100% National Trust does an excellent job. It was not my intention to malign NT. I completely understand creating the studio atmosphere for guests visiting Chartwell. N.T. has a search feature on the web site where pieces are featured removed of their museum environment without obstructed views. This chair’s photo is missing, but there is a spot for it in the catalogue including very minimal information. I have contacted Chartwell months ago; they are very nice and helpful people there. They told me not much is know about the chair. So, I have to say it was a very poor choice of words for me to say, “wants to hide or doesn't really appreciate”. I certainly need to slow down when responding op’s comments. The National Trust is a terrific group!

 

This is from N.T. catalogue search (most of the time a photo(s) of item are included)

Category
Furniture

Date
1570 - 1700

Materials
Wood

Measurements
760 x 830 x 570 mm

Collection
Chartwell, Kent (Accredited Museum)

On show at
Chartwell, Kent, London and South East, National Trust

NT 1101691
Summary
A 17th or late 16th century elbow chair of "tub" shape inlaid with trophies and armorials and the seat with a central medallion portrait of De Ruyter - the gift of Sir Ian Hamilton.

Provenance
given by Sir Ian Hamilton

 

by utter madness i guess i meant that every fiddle maker in norway ever.. felt compelled to add that black and white border on their hardangers when they just didn't have to. there are not many dutch pieces that make me wish they would have just stopped already.

 

Most musical instruments were and are decorated, wherever they are made. European instruments are likely to be decorated in a European way, whether they are made in Norway, the Netherlands or Italy. People all over the world love to beautify themselves, their surroundings and the things they work and play with. It is natural, and part of the reason we all love antiques. Ok, we're mad.

 

Sounds pretty rational for a mad woman....

 

not a mistake.....
that is a lot of views...
but with 30 posts here.....I myself must have checked up on it's progress at least 20 times.... !

 

Komokwa, Thanks to you and everyone else for all thoughts and comments