GEORGE III PAINTED ARMCHAIRS - LIBRARY ARMCHAIR - GILTWOOD ARMCHAIR - DINING CHAIRS - HALL CHAIRS - GEORGE II UPHOLSTERED ARMCHAIR

A GEORGE III GILTWOOD ARMCHAIR, the moulded
frame with oval back with padded arms and downswept
supports, the moulded serpentine seatrail centred by an
anthemion clasp, raised on circular tapering fluted legs
with fluted oval feet, circa 1770.

A GEORGE III LIBRARY ARMCHAIR, the rectangular
stufied back with down-curved padded arm supports,
with a loose cushion, on square chamfered moulded legs
joined by H-stretchers, circa 1770.

A GEORGE III GILTWOOD ARMCHAIR in the French manner,
the stuffed cartouche-shaped back within a moulded
frame with out-curved padded arms on scrolling supports, the stuffed seat
with a carved apron on cabriole legs, circa 1775.

A GEORGE III WHITE-PAINTED ARMCHAIR in the French taste,
the padded cartouche-shaped back within a moulded frame
with outcurved padded arms on scrolling moulded supports, the
stuffed serpentine seat on cabriole legs, circa 1770.

A SET OF six GEORGE III MAHOGANY DINING CHAIRS,
including an Armchair, the arched toprails with pierced
splats carved with rosettes and husks around a patera, the
armchair with out-curved moulded arm supports, with
stuffed seats, curved seat fronts, and turned fluted front
legs, circa 1780.

A SET OF TWELVE MAHOGANY DINING CHAIRS, the
rectangular backs with three stick splats, with stuffed
seats and square tapering legs with block feet and
H stretchers.

A GEORGE III WHITE-PAINTED SIDE CHAIR in the
French style, the oval padded back with a moulded
edge, the wedge-shaped stuffed seat on elegant cabriole
legs, circa 1770.

A SET OF THREE REGENCY BRASS-INLAID SIDE CHAIRS
in simulated rosewood, the rope-twist toprail above
two reeded crossbars joined by a panel inlaid with a
rosette and fleur de lys, the stuffed drop-in seats on
sabre legs, circa 1810.

A SET OF FIVE LATE GEORGE III MAHOGANY DINING
CHAIRS including an Armchair, with curved
panelled toprails, three fluted crossbars, the armchair
with downcurved moulded arms on baluster supports,
with stuffed seats and ring-turned baluster legs, circa 1815.

A SET OF six GOOD REGENCY MAHOGANY HALL
CHAIRS, each shaped back with simple incised decoration
and a central roundel painted with an armoriai crest, the
solid seats with canted corners and canted sabre front
legs, circa 1805, with squab cushions.

A GEORGE III MAHOGANY ARMCHAIR, the serpentine
toprail and pierced vase-shaped splat with outcurved
arms, drop-in seat on square legs joined by stretchers,
circa 1765, arms later.

A GEORGE III MAHOGANY ARMCHAIR of bergere
form, the arched stuffed back with a moulded frame and
with stuffed bow-fronted seat and reeded tapering legs,
circa 1780.

A SET OF six GEORGE III MAHOGANY CHAIRS, the
rectangular backs with three fluted splats, the solid seats
with squab cushions, on square tapering legs joined by
stretchers, circa 1800.

A LATE GEORGE II UPHOLSTERED ARMCHAIR, the
high padded back with scrolling arms and the stuffed
seat on square moulded legs joined by turned stretchers,
circa 1750.

A PAIR OF GEORGE II MAHOGANY CHAIRS with
gadrooned serpentine toprails, interlaced pierced splats,
the drop-in seats on carved cabriole legs ending in pad
tetl, circa 1760.)

A PAIR OF GEORGE III MAHOGANY SIDE CHAIRS with
shaped toprails, pierced interlaced splat and the drop-in
seat on square chamfered legs joined by an H-stretcher,
circa 1765.

A PAIR OF GEORGE III MAHOGANY CHAIRS, with arched stufFed
rectangular backs with padded seat on square legs joined by an H-stretcher,
circa 1770.

A SET OF EIGHT GEORGE III PROVINCIAL MAHOGANY
DINING CHAIRS including a pair of Armchairs, with
serpentine toprails pierced vase splats, outcurved arms
and the serpentine-fronted drop-in seats on square
moulded legs, circa 1770, restored     1500-2000
154 A SET OF FOUR GEORGE III MAHOGANY CHAIRS, the
hooped backs with pierced waisted splats headed by
wheat-ears, the stufFed seats on square tapering legs with
H-stretchers, circa 1770.

A SET OF FOUR GEORGE III MAHOGANY DINING
CHAIRS, the shaped moulded backs with pierced,
carved and waisted splats decorated with swags and
paterae, the drop-in seats on square tapering legs,
circa 1780.

A PAIR OF REGENCY CHAIRS with curved panelled
toprails, crossbars, drop-in seats and reeded sabre legs,
circa 1815.

A REGENCY EBONISED ARMCHAIR, the ringed toprail decorated
with flowers above moulded crossbars joined by caning,
with down-curved scrolling arms on scroll supports, with squab

cushion and caned seat, on moulded turned and fluted sabre legs, circa 1810.

A PAIR OF EBONISED AND PARCEL-GILT ARMCHAIRS,
similarly decorated to the previous lot, with square
tapering legs joined by stretchers, circa 1800, originally
unpainted.

A SET OF SIX REGENCY EBONISED DINING CHAIRS,
the turned toprails painted with bunches of flowers
above four crossbars held by gilt balls, with squab
cushions’and caned seats, on ringed splayed tapering
front legs joined by a double stretcher set with a ball,
circa 1810, decoration restored.

A GEORGE II MAHOGANY CORNER ARMCHAIR of
unusual form, with a tall narrow arched upholstered
back, with semi-circular flat crossbars below, the arms
with turned supports and with saddle-shaped seat and
cabriole leg and three further turned legs joined by
turned stretchers, circa 1735.

A GEORGE II WALNUT CORNER ARMCHAIR, with
pierced splats, stuffed drop-in seat and chamfered legs,
joined by stretchers, mid-18th Century    150-250
27 A GEORGE II BOOKCASE with moulded dentil
cornice above a pair of glazed doors with lancet mullions,
containing shelves, the base with two short drawers and
brass handles, 7ft. 5in. high by 5ft. Hin. wide (226cm. by
180.5cm.) circa 1760.

A PAIR OF GEORGE III PAINTED ARMCHAIRS,
the moulded frames with padded shield backs,
padded arms and downswept supports, and the
bow-fronted fluted seatrails on circular

tapering fluted legs, circa 1775, now painted
white and gilt, partly re-railed.

A SET OF SIX LATE GEORGE III CANED MAHOGANY
CHAIRS including a pair of Armchairs, with shallow
curved and caned toprails and matching crossbars, the
seats with rounded corners and circular reeded tapering
legs, the arms with pillar supports, circa 1800, one toprail
and one back broken.

Sheraton Single Chair in Mahogany with Straight Legs - A Regency Arm and Single Chair - Regency Mahogany Sabre-Leg Chair

A simpler Sheraton design with tapering legs normally made in mahogany, c. 1800. The arm uprights are of straightforward turning without the spiral reeding which adds greatly to price. An elegant and simple style
which remained popular for many years.
A mahogany armchair of c.1800 date. An excellent example of a good quality chair, as evidenced in the reeding and lightness of design of the back. The turned legs are a little clumsier and have hints of later things to come.
A mahogany Sheraton style single chair, c.1800, with Gothic arching in the design of the back. The legs are tapered on the inside edge only and are reeded, as is the back. An elegant and simple chair.
Country Sheraton design armchair in mahogany with bowed solid seat, c.1810. A satisfying and simple country design of which many were made to meet the popular demand caused by the town versions.
A rather heavier Sheraton style mahogany country chair with drop-in seat, c.1810. The broad top rail of the back has been made slightly wider than the back uprights which detracts slightly from the elegance of the
style. Otherwise the construction and tapering legs are typical.
An elegant chair of the early Regency period, c.1820, with caned back and seat. The outward turn of the simulated bamboo legs is most effective and the balance is completed by the curved top rail. The seat rail and the top rail are inlaid with stringing in the approved classical manner. Many of these chairs were made of birch or beech and then ebonised or painted. They are almost inevitably very expensive.
A country Sheraton single chair in mahogany with straight legs and solid seat, c.1810. The square back with vertical rails owes much to the popularity of Sheraton styles, otherwise the design comes from a
straightforward eighteenth century construction.
Late eighteenth/early nineteenth century oak spindle-back chairs, sometimes called ‘Lancashire’ chairs. They are rush-seated and are sometimes made of elm.
A very simplified country chair of c.1800. The design owes something to Sheraton in the tapering front legs and squared style of the back. The two horizontal rails are very plain and more ornamented versions are to be found. The solid bowed seat is made of elm and the rest of the chair is fruitwood.
Another very elegant Regency chair, c.1825, with rope twist motif on the back and sabre legs. The caned seat again adds to the overall lightness of design.
A similar pair of Regency chairs with reeding continuous down back uprights, sides and sabre legs. The carved decoration is simple and elegant,1830
A Regency period library chair which converts into a set of steps, c.1830. These chairs usually attracted a high degree of craftsmanship and are normally in either mahogany or rosewood. The arms and sabre front legs exhibit typical Regency characteristics although there is a hint of William IV in the broad carved top back rail.
Rather a hybrid piece of furniture which was either little made originally or subject to demolition from heavy bibliophiles. Either way, now becoming rarer and more expensive.
A Regency arm and single chair, c.1825, similar to the previous example in rope twist design but with drop in seats instead of cane. The panel between the horizontal rails in the back is inlaid with brass.
A late Regency or William IV period chair made of mahogany, c.1835. In the heavy curl of the arms and the reeded front legs the approach of the Victorian era is foretold. The bold, wide, outward-pointing top rail is
typical of the 1830 - 40 decade. Look out for conversion front legs, i.e. the original turned and reeded ones are sometimes removed and replaced by sabre legs to increase value.
Balance of top rail  (heavy top rails detract).
A typical Regency mahogany sabre-leg chair of pleasing proportion and design, c.1830. Elegant and small, yet comfortable, this type of chair has become understandably very popular since the war of 1939 - 45. They
are also to be found in rosewood, an even heavier and more durable wood which increases their value.

George III Wing Armchair Upholstered - Mahogany Wing Armchair - Eighteenth Century French Armchair

A George III wing armchair upholstered in leather  c.1770. Note the square stretcher and leg construction of ‘Chippendale’ design. The curve of the wings is pleasant but the arms are a little stiff.
Price Range: $200  $300
N.B. As these chairs command high prices there is a grave temptation to make a set of legs in the Georgian style and cover the modern frame with leather. Such examples usually lack the fluency of curve which was
found in better class examples. A good dealer will leave the underneath uncovered to show genuine period features.
A Chinese Chippendale mahogany armchair with upholstered back and arms, c.1760. The bamboo motif is evident. The front legs are a remarkable achievement of craftsmanship and the nicely-scrolled brackets add
considerable balance. The upholstery covering is of typical period design. The legs are of clustered column design.
A later George III period  c.1790  mahogany wing armchair. The sweep of the curve formed by the wings and the back rail is important. Compare the straight high line of the wings and arms in this example with the
fluency of the two previous examples. This example is also rather thin, lacking the generous proportions of the better quality chairs. The lines would be improved by upholstery but the basic quality is lacking. The legs are tapered, ending in casters.
Price Range: $60  $90
Value points: Line of back, arms and wings
Mid-eighteenth century chair in mahogany showing Chippendale construction in legs and stretchers, c.1760.
Carving or moulding on legs  Originality of casters
George II period  c.1740  mahogany chair with stuffed back and saddle-shaped seat. Covered in Soho tapestry woven with birds and small landscapes in broad naturalistic flower borders; on scrolled cabriole legs. Price Range: $150  $200
Regency period chair decorated with brass or painted gilt mounts, frequently ebonised.
Price Range: $20  $40
Value points.- Brass decorations
Well curved leg with stretcher
A later eighteenth century chair, probably c.1795, with leather upholstery, on turned legs. The shaping of the back still follows the ’saddle’ style, but the chair is cruder and the legs date it much later. Price Range: $100
$140
A George III period  c.1780  open armchair with arched stuffed back and padded arms on curved supports with anthemion carving, the moulded frame with bead carving, the stuffed seat on turned tapering  legs with
lotus leaf feet.
An open giltwood armchair  c.1760  with considerable Adam influence in the frieze and fluted legs.
A later eighteenth century open armchair of French influence, but actually of a type made also by Chippendale, c.1780. The decoration includes cartouche backs headed by shell cabochons. The frame is carved with leaf mouldings, the scrolled arms with leaf shoulders. Covered in later gros-point needlework with panels of flowers in key-pattern frame against a blue ground with roses.
Bergere caned chair of Regency period, in rosewood, c.1830. These well made chairs have increased in popularity over recent years.

Country Chippendale chair in mahogany - Hepplewhite chairs - Hepplewhite arm and single chair

Country Chippendale chair in mahogany c.1760. Fully upholstered seat covered in tapestry pattern fabric. A good example of a better quality country chair.
Mahogany Chippendale chair of pleasing simplicity and proportion, c.1780. The splat is elegantly curved and the back, though square in design, is curved and softened by the tapering uprights.
Proportion and quality of workmanship
An oak country chair of c.1760 with solid seat. The back splat still retains an echo of the Queen Anne period but the uprights and top rail join in an outward turn more akin the mid-eighteenth century. Similar chairs in
solid walnut with even earlier styles in the back pre-date these simple robust pieces.
Mahogany Country Chippendale chair of heavier proportion c.1780. The casters under the legs have been added later, possibly to compensate for wear caused by stone floors. There is considerable workmanship in the carving of the back but the rather flattened top rail lacks the elegance of London or even provincial work.
As for other Chippendale chairs.
Hepplewhite chairs of hooped back design, c.1790. The tapering legs are reeded or moulded this feature. Note that the armchair is not a match with the single chairs. The back splat this type, finely executed and
decorated with carving down the centre.
Arm and the back repeats designs are typical of
Set of 2 arm, 4 singles $600  $750 Set of 2 arm, 6 singles $1,000.
A mahogany Chippendale chair with fully upholstered seat. c.1770. The back splat design is one which seems to have been particularly popular with country and later makers of this design of chair.
A ‘Chipplewhite’ design mahogany chair of c.1780. Note that the influence of French designs has now cut the bold sweep of the arms to a more attenuated length and of less broad a scope.
A Hepplewhite design chair of c.1790 with hooped back. The centre splat decorated with the circular medal-like motif with leaf decoration radiating out from a centre. A fairly typical design which is associated with Hepplewhite but which more probably emanated from Robert Adam. The legs are still of the square section straight type of Chippendale period and not as light or elegant as the normal Hepplewhite type which were tapered. The seat is bowed. The chair is made of mahogany.
Fine quality Hepplewhite arm and single chair, c.1790. Note the leaf carving on the back and round the top rail to finish half way down the uprights. The influence of Robert Adam is evident in these.
A mahogany Hepplewhite chair  c.1790  which suggests a development from a Chippendale design rather than a break from it. The structure is very similar; the front legs are not tapered on the inside edge and the
camel-back form of top back rail tempers the outward sweep of the uprights.
This is a simple version of this design. A more decorated version could well double these prices.
Hepplewhite mahogany shield-back arm and single chair c.1790. The craftsmanship involved in making a successful shield-back chair is of the highest order and to obtain the necessary degree of comfort and stability as well as fine proportion is a task of considerable difficulty. The central balusters of these two fine chairs are joined to the top rail by the ‘Prince of Wales feathers’, a very favourite motif with Hepplewhite and one which was emphasized in his Guide. The shield-backs are edged with a small double beading on the inner and outer edges. The legs on these are not reeded and there is less decoration than that of the preceding example; the front legs end in spade feet.

George II period mahogany chair - Antique Chair in Oak - Chippendale mahogany chair in the Gothic style - A Chippendale mahogany ladder-back chair

A George II period mahogany chair, c.1735. quality Cuban mahogany has been used, the normally be associated with walnut; but there se Shaped splat has small scrolls and a shell
are topped with eagle heads patterns carved on the knees.
Note that although a fine style is one which would are extra refinements. The work top. The shaped up-and the cabriole legs have
Price Range: Single chair $90  $110
In sets    $175  $230 per chair
Another walnut pre-Chippendale chair with simpler but similar back splat _esign. The square legs and stretchers suggest a later date  possibly -50  and the proportions are a little less ample, but this is nevertheless a very pleasing chair. There is a drop-in seat and the front legs have a scratch moulding down the front corners; they are chamfered at the back. Price Range: Single $15  $25
Quality and execution of back splats
Antique Chair in Oak - A Charles II  c.1675  oak chair - Late Seventeenth Century Country Walnut ChairChippendale mahogany armchair of considerable quality, c.1760. cabriole legs, decorated with shell and scroll pattern carving on the knee, terminating in excellent ball-arid-claw feet. The arms sweep boldly outwards, terminating almost at right angles to the line of the sides in scrolls. A very well proportioned back splat, with the upper scrolled curves leading perfectly from the top rail, which is also carved with leaf patterns. Note the boldness and width of the fully upholstered seat which is covered in leather. N.B. Although this type is generally known as a ‘Chippendale’ chair, it is interesting to recall that the Director’ shows chairs with cabriole legs with scrolled feet, until the third edition, when a plate of hall chairs shows the ball and claw foot, which was undoubtedly popular at this period.
Price Range: $300  $400
Value points: Quality and execution of cabrioles
Quality of back splat and carving
Warning: Many high quality Victorian reproductions exist of this type of chair. These reproductions have a value of $25  $35 each.
Antique Chair in Oak - A Charles II  c.1675  oak chair - Late Seventeenth Century Country Walnut ChairA single mahogany Chippendale chair, c.1760, of similar type to the preceding armchair but of bolder proportion. While the back uprights are reeded however, the legs are not. A scratch moulding down the corners of the front legs gives added lightness and the front apron is slightly serpentine. Note the very fine quality of the scroll and leaf carving which is pleasantly mellowed with age and lacks the sharpness of a reproduction piece. The overall proportions of the chair are extremely pleasing and demonstrate the ample size of eighteenth century seats.
A mahogany Chippendale chair, c.1760, with the splat again showing the Gothic influence in the arching. The top rail is waved and carved with leaves, but the legs and stretchers are the plain robust design of the
period.
Country Chippendale armchair in elm c.1770. A simple and appeallingly bold chair although this example has been worn or slightly cut down in the leg. The seat is fully upholstered, which may be a conversion due to damage to the front rail. The tenon joints are pegged.
Price Range: $30  $40
Colour, figure and patination
Quality of splat
Chippendale mahogany chair in the Gothic style, c.1755. Although the Gothic influence  and French influence also  are evident, it is only in mild form in this chair. In earlier versions taken from Chippendale’s `Director’ the Gothic designs are very much more exaggerated, with multi-arched backs and heavily fretted legs and stretchers. This chair is of high quality, good proportion and restrained, though righ, execution. (Gothic and Chinese Chippendale chairs of high quality are much sought-after).
A Chippendale ‘Ribbon’ back chair of c.1760 - 70. So called because of the ribbon carving in the back. Due to the craftsmanship involved in executing these chairs they naturally command high prices and are relatively scarce. The remainder of the chair is of typical Chippendale design, with fully upholstered seat which in some cases may be serpentine at the front.
It is interesting to note that although the period after 1730 - 40 is generally associated with mahogany, a well known example of this type exists in walnut, and walnut chairs are to be found of even later date.
Another Country Chippendale armchair  c.1770  of more ornate splat design, with drop-in seat. The Gothic influence is evident in the arching within the splat and the top rail is also arched in a slightly later style. Usually to be found in mahogany or country wood such as elm or birch stained mahogany colour.
Warning: Many such chairs, having been used hard for many years, have had stretchers replaced or cut legs replaced. Watch also for broken or replaced splats and top rails; the latter particularly at the tenon joint with
the upright.
A Chippendale mahogany ladder-back chair of c.1765. The ladder-back designs tended to be of later Chippendale period. In this case the back rails are elegantly designed and pieced to add lightness to the overall effect. Note the scratch moulding down the front leg corners also to add lightness and the chamfered backs of the front legs.

Antique Set of Mahogany Chairs, Dining Chairs and Settee

A SET OF SEVEN GEORGE III MAHOGANY DINING CHAIRS
Each with a shield-shaped back and pierced vase splat, with a padded seat, on square tapered legs with spade feet, and a matching single chair of a later date.
A GEORGE II STYLE MAHOGANY OPEN ARMCHAIR
With a floral-carved top-rail and pierced interlaced vase splat, foliate-carved arms, tapestry drop-in seat and scroll-carved cabriole legs with claw and ball feet.
A SET OF EIGHT MAHOGANY DINING CHAIRS, early 20th
century
Including a pair of elbow chairs, each with an undulating foliate-decorated top-rail and pierced chamfered Gothic arched sprats, with a drop-in seat, on moulded square tapered legs.
A GEORGE III STYLE MAHOGANY OPEN ARMCHAIR
With a serpentine top-rail and pierced foliate-carved vase splat, outswept arms with foliate scroll terminals, drop-in tapestry seat and scroll-carved cabriole legs with claw and ball feet.
A SET OF SIX REGENCY SIMULATED ROSEWOOD DINING CHAIRS
Each with a maple lotus-carved curved bar top-rail and horizontal splat, with a drop-in seat, on bead-decorated.
A SET OF TWELVE MAHOGANY DINING CHAIRS
With ebonised incised lines, each with a key-pattern curved bar top-rail and horizontal splat, with a padded seat on sabre legs.
A SET OF SIX REGENCY MAHOGANY DINING CHAIRS
Including one elbow chair, each with a brass-inlaid curved bar top-rail and rope-twist horizontal splat, with a drop-in seat, on moulded sabre legs .
A SET OF SIX GEORGE III MAHOGANY DINING CHAIRS
Each with a moulded shaped arched top-rail centred by a foliate spray and a pierced reeded baluster splat, with a drop-in seat, on square tapered legs joined by stretchers
Each with an undulating top-rail and foliate-decorated Gothic arched splats, with a padded bowed seat, on tapering legs .
A MAHOGANY CHAIR-BACK SETTEE
The undulating back with shield-shaped panels with pierced vase splats, with a padded bowed seat, on square tapered legs with spade feet.
A SET OF TEN WALNUT DINING CHAIRS
Including a pair of. elbow chairs, each with a moulded curved bar top-rail and solid vase splat, with a slip-in seat, on cabriole legs terminating in pad feet.
A SET OF TEN MATCHING WALNUT DINING CHAIR
A WALNUT THREE-PIECE SUITE
In the William and Mary style, comprising a pair of armchairs and a three-seater settee, each with a caned panel back with a pierced arched foliate scroll cresting, with outswept scroll arms and padded seat, on ring-turned legs terminating in Braganza feet.
A PAIR OF GIFTWOOD WINDOW SEATS, early 19th century
Each with padded sides with reeded arm and tapered columns, with a padded seat, on turned tapered legs 42in.
A SIMULATED ROSEWOOD AND PARCEL-GILT ELBOW CHAIR,
early 19th century The U-shaped caned panel back and arms terminating in lions mask terminals, with bowed caned seat on ring-turned tapered legs terminating in paw feet, the decoration of a later date.
A SET OF EIGHT GEORGE IV MAHOGANY DINING CHAIRS
Each with a scroll curved arched bar topsail and reeded horizontal splats with cruciform panels, with a padded seat on moulded square tapered legs with turned feet, some stamped Wilkinson. Ludgate Hill, numbered variously 89.39, 8940, and initialled variously, T. N., H. Al., 1.G., 1. Al. (8) William Wilkinson used this stamp up to about 1820 and with his sons traded from this address until about 1840. Dictionary of English Furniture Makers 1660-1840, Maney, 1968.
A GEORGE III MAHOGANY ELBOW CHAIR
The back with an undulating top-rail and pierced vase splat, with a padded seat, on square chamfered tapered legs; and an accompanying Victorian rosewood footstool, on bun feet.

CHAIRS  upholstered, Victorian spoon backs
The spoon back chair, usually with buttoned upholstery to the back, has become an accepted ’standard’ in the antique trade following its revival in the 1960s. Many such chairs are elegant, cheerful and, as with much rococo-derived furniture, slightly frivolous in appearance. The cabriole-legged variety is the most highly valued, followed by turned-leg chairs with backs that are still in flowing curves. The later, straighter types on turned legs are not prized as highly as the early, curly ones.
Another open-armed armchair with an oval back, not buttoned in this case, although it could be. Missing its castors. Again, carved with naturalistic flora and scrolls. It can be seen that these curvaceous chairs were not for the heavier members of society: they do have a tendency to break at the joints. 1850-1885
Another mid-Victorian chair, usually a partner to an armchair of the previous examples, with floral carving. In this case the ‘waist’ of the spoon is not quite as positively narrowed as one would wish that of A good example of an open-armed Victorian button-back chair, in the rococo style, with some naturalistic carving on the front cabriole legs and the top rail of the back. An elegant, cheerful chair, fit to bring a scowl to the brow of an architect for, as Handley-Read has pointed out, the style is essentially frivolous and, therefore, not liked by architects. It was, and still is, tremendously popular. Although probably in its heyday in the 1850s and early 1860s, this style was still being made in the 1880s, as manufacturers’ catalogues testify.
The ‘ladies’ chair’ companion to the previous example. The same excellence applies: crisp carving, smart proportion, deep buttoning, flourishing cabriole legs. A classic spoon back that was popular and made throughout the period. Unfortunately, many versions were made much more cheaply and in woods much inferior to the mahogany of this example. Walnut and rosewood (rare) are in a similar quality bracket to mahogany, but beware the stained birch or beech of later examples.
A much rounder version of the spoon back with later characteristics in its rococo style  the start of cranks appearing in the flowing curves of the back. Like the other chairs, it is low and would allow the easy spread of complicated garments around it without creasing them. 1850-1880
A squarer low chair which is a successor to the spoon back. It has turned legs instead of cabrioles but the back is inlaid with burr walnut or amboyna and has boxwood inlays in the top in marquetry floral forms.
Square, turned-leg chairs marking the return to straighter styles prevalent from 1870 onwards. Similar to the previous example but in plain mahogany and with the characteristic dot-dash grooving (incised decoration) so typical of later semi-rococo chairs.

CHAIRS  upholstered, Victorian uprights
As the wavy curves of the rococo died out, so a new, severer, heavier and altogether more stolid form appeared. Built rather too enduringly and associated with the graver, more portentous side of Victorian life, these chairs have not yet found great popularity and many more would have been broken up if they had not been quite so strongly built. Perhaps due for a revival.
This chair almost takes up where the last chairs of the previous section leave off. The back design is very similar but the arms and legs are altogether different. Note the heavy turning and the spindled gallery under the arms  very popular in the 1870s.
A successor to the spoon back but with classical additions, including pillars and a pedimented top. Note that the chair is missing its castors. 1880-1890
The classical and 18th century revival has arrived  note the use of the slightly Hepplewhite back, Adam-ish pillars and earlier 19th century legs but with a bit of incised grooving on the seat rail. A similar design occurs in C. & R. Light’s 1881 catalogue.
A heavy single chair, possibly intended for the dining room, with upholstered seat and back. The seat has an overstuffed appearance and it is clearly built for heavy use.
The style of ‘the Louis’ has intervened. A sub-French design of the turn of the century which is to be found in suites of furniture for about twenty years. In a sense, the rococo is back, but in a much less attractive form. 1895-1915
Another heavily-built chair with rexine upholstery using sub-classical design and carving. The broad, curved top rail with its base-relief carving of acanthus leaves, is approaching the Edwardian type. 1890-1900
CHAIRS  upholstered, ‘designers’ chairs, 1860-1910
The architects who were involved in the various design movements from 1860 onwards tended to produce chairs that were rather puritan in concept, perhaps as a reaction from the stuffed upholstery of Victorian comfort. A small selection is shown here  chairs by famous designers tend to be individually hunted and expensive.
An oak armchair of Gothic reformed design, with all the hallmarks of the movement in its motifs, its ‘revealed’ construction and decoration. The use of the leather upholstery with impressed sun or sunflower motifs is also very interesting and characteristic of the interest in Japanese design at the time. The chair is a version of a popular Victorian open-arm tub chair, much found in more conventional Victorian versions. 1860-1870
A leather-covered armchair which provides an interesting companion with the previous ‘Gothic’ chair with its impressed Godwinesque ’suns’. This is the traditional Victorian version, with baluster and bulbous turning to the legs and arm supports, made in an uncompromising mahogany and with a distinctly ‘club’ or institutional look about it.
A chair designed by E.W. Godwin (q.v.) for the William Watt catalogue on Art Furniture of 1877. A chair subsequently much copied, particularly the back, which was admired by the Arts and Crafts Movement (q.v.).
This mahogany chair with tulip-pattern upholstery is of a design derived from Godwin, particularly the back, which is similar to an AngloJapanese type in which the uprights continue vertically well clear of the back panel. Would now be loosely called ‘art nouveau’ particularly due to the tulip upholstery, but it is in fact much more of an Arts and Crafts Movement chair of carefully-considered design. Note the incised ring turning on the front legs and back uprights and the way in which the arm supports sweep right down through the seat rail to the stretchers between the front and back legs. 1885-1895
A stained beechwood chair, also of the Arts and Crafts Movement, with twist-turned arm supports. The use of vertical straight turned spindles is rather overdone but it is, again, a very carefully thought-out design.
A more flagrantly art nouveau chair, using the flat capped uprights associated with Voysey in conjunction with inlaid ‘whip-lash’ floral marquetry in the rather sinuous back rail.
There is a strange use of short curtain-like screens to the sides and back.
A simpler and more satisfying art nouveau chair, again with flat-capped uprights and inlaid marquetry, but this time in a more solid, almost ‘hall-porter’s’ or `saddleback’ derivation for totally enclosed comfort. C. 1900

CHAIRS  upholstered, occasional
The turn of the century saw an onslaught of a type of chair, neither for dining nor for long-term comfortable seating, which is aptly named ‘occasional’. They were made in a variety of styles and we show a selection on these pages which cover most of the normal types. Rather than dwell individually on the stylistic origins of each chair, we are sure that our well-informed readers will derive pleasure from identifying the chairs on these three pages for themselves. The principal characteristic of most of them is their spindly nature, a surety that, were they to be used more than occasionally, they would suffer from damage. 1900-1920
CHAIRS  upholstered, reproductions
Upholstered chairs clearly were produced to meet the demands of fashion like any other furniture. By the end of the 19th century most types of 18th century and earlier design were being produced. Some of these chairs were very well made and are now quite difficult to distinguish from the originals; others are not so successful.
A ‘French Hepplewhite’ chair of high quality made in a dark mahogany. Every edge appears to be carved with gadrooning and the legs and arm supports are carved with leaves. It is very close to an 18th century chair, probably an exact copy taken from a genuine original. One can see how this design, given a little more rococo eccentricity, can become the open-armed spoon back of mid-Victorian taste. 1880-1900
A painted armchair with caned seat and back, again in a ‘Hepplewhite’ design but with other 18th century connotations. Designed for drawing room use. 1910-1920
Not upholstered at all, but a good example of a ‘wainscot’ chair in oak emulating a mid-17th century design. The carving on the back, shaping of the arms and frieze under the seat proclaim its modernity  apart from colour and method of construction, of course.
A perennially popular armchair (look at any modern reproduction catalogue) in the square-legged `Chippendale’ style with curved arm supports and fully upholstered back. From a catalogue of 1910.
1900-present day
Depending on condition and material covering
An upholstered walnut arm chair in the style of the last quarter of the 17th century. Made in the 1920s and featured in Maurice Adams’ book on furniture. c. 1926
The bergere, or caned, armchair was a popular type from about 1900 well into the 1930s and has never really died. These oak and mahogany versions are derived from similar chairs of the late 18th and early 19th century except that the oak version has been `Jacobeanised’ by the use of bobbin turning. 1900-1930
Left, chair oak version settee oak version.
Right, chair mahogany version settee mahogany version.
CHAIRS  upholstered, arm and easy, 1890-1930
A mixed bag of chairs for leisure. It is not quite clear when the fully upholstered ‘lounge’ chair came about: probably from the 1870s onwards, when manufacturers’ catalogues start to show them.
An armchair with inlaid decoration of the type usually associated with `Edwardian Sheraton’ furniture. The circular design of the chair is fairly typical of the Victorian period, and the front legs with their collars and fluted treatment also follow the turns that later 19th century manufacturers appear to have found irresistible. 1880-1890
An armchair showing again the return to 18th century designs. In this case the legs show a Sheraton influence, particularly in the stringing and cross banding of the seat rail. 1890-1900
Six wing easy chairs from a catalogue of C.1910.
Depending on material and condition
Six more armchairs from the same catalogue of c.1900, showing two surprisingly `1920s’ looking chairs with wooden arms and supports (bottom row left and centre) and bottom right a rocking chair. Rocking chair
Easy chair and settee from Maurice Adams, 1926. Out of date for some years but now coming back.
Easy chair, depending on material and condition
Two more easy chairs from Maurice Adams, 1926. The right-hand one is of little interest but the left-hand caned ‘berg&re’ chair is of a type very popular in the 1930s.

CHAIRS — country, Northern England
These chairs fall into distinct categories and can normally be allocated to various parts of the country. Basically, they are either ladderbacks, with or without a top rail, or backs made up of vertical spindles. A great deal of research has been and is being carried out on this subject. For more information see an article by Bill Cotton, who has studied this subject in depth, on ‘Country Chairs’, Antique Collecting Vol.8, No.6.
From left to right, top to bottom-Wavy line ladderbacks. A similar chair is in a Hogarth print c.1730. There are a number of variations of these Yorkshire chairs which are hardwearing and generally considered the best of the type.
1730-1800    Armchair
A variation from the Midlands, missing half its top rail. Again, good quality but the back design is perhaps not quite as well balanced as the first example.
1740-1830    Set of two  six
The Macclesfield variation of the second category. Again the rush seat comes over the front rail as with all chairs of this type. 1740-1840
The Wigan shape of ladderback is again seen on these wooden seated top-rail types with shaped front rail. A carver is very seldom found. 1760-1840
The third main type, the spindlebacks predominantly from north Cheshire and south Lancashire. It is thought that the further north the chairs were made in Lancashire the thinner the spindles. Another variety has two lines of spindles with a top rail between the uprights often with some Chippendale design feature on it. They are lighter and are thought to come from Liverpool and Manchester. 1750-1840
Quite a different variety coming from Ormskirk or the Preston area of Lancashire. Very robust. 1840-1900