GEORGE III PAINTED ARMCHAIRS - LIBRARY ARMCHAIR - GILTWOOD ARMCHAIR - DINING CHAIRS - HALL CHAIRS - GEORGE II UPHOLSTERED ARMCHAIR
December 17th, 2009
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.
Mahogany Hepplewhite Chair - Georgian Chair - Sheraton Style Arm and Single Chair in Mahogany
November 25th, 2009
Mahogany Hepplewhite Chair - Georgian Chair - Sheraton Style Arm and Single Chair in Mahogany
A mahogany Hepplewhite chair of pleas the late eighteenth century arms show the more restrained curves of the seat, legs and stretchers are still bold and firm in proportion.
Value points: Quality of back splat carving.
A Country Hepplewhite design chair, c.1795, of a type most frequently found made in elm. Normally they are stained or varnished to look like mahogany, and have been stripped and polished later if now in the natural
wood. The design is known as a camel-back and is a logical development of the town-made mahogany one; simpler in execution and less decorated.
Hepplewhite shield-back chair c.1790. The carving of the back is of particularly fine quality. The tapering legs are fluted and the decoration of brass studs adds further ornamentation. Normally executed in mahogany. Front legs end in spade feet.
Price Range: Considered by many to be a high point in English design, original shield back Hepplewhite chairs fetch very high prices. Those below are an indication.-
A country version of the two previous Sheraton style chairs, c.1810. The seats are solid and the back leg and upright very much straighter and rigid, with very little rake. The backs are also simplified; the front stretcher
is placed high between the two front legs as with earlier chairs instead of between the two side stretchers.
A later Georgian chair of Sheraton influence, c.1800, in the back but with arms more associated with Hepplewhite styles. The tapering front legs and the back are moulded; a mark of quality.
A mahogany chair of c.1790 of a design also associated with Hepplewhite although some of the conflicting trends of eighteenth century designs are evident in the square legs and eight pointed wheel effect. It is a fairly simple version of a beautiful design and represents a considerable accomplishment in craftsmanship. Note that the front legs end in spade feet.
A Sheraton design chair of considerable workmanship, c.1795. Many such chairs are to be found painted in white and gilt or otherwise having painted decoration on birch or beech wood. In the main the painted versions are more highly sought after than the mahogany ones, which makes for higher prices. Note the turned and fluted legs. The arm uprights have spiral reeding.
A Sheraton design arm and single chair in mahogany, c.1795. The uprights and arms are reeded, which lightens the square solidarity of design. Note the vase shaped turned arm supports and the way in which the
broad top rail is panelled.
A Sheraton style arm and single chair in mahogany, c.1800. The legs and back uprights are reeded; this effect is also carried round the panel in the wider top back rail.
Late eighteenth century arm and single chairs, c.1800. Note the broad top rail in the back, the panel veneered in figured mahogany. The spiral twist middle rail is a feature of quality particularly important in value assessment of these chairs. The legs are turned, without any fluting. The arms of the elbow chair sweep forward and curve down to meet the line of the front legs. The proportion of these admirable smaller dining chairs makes them extremely popular in the modern home.
Another late Georgian c.1810 mahogany armchair, something of a combination of Sheraton and prevailing styles. The wide top back rail is veneered with a panel of figured mahogany and the centre rail is elegantly
reeded. The turning of the front legs and the arm supports, with the popular vase shape, is lightly and gracefully done. Occasionally brass stringing will be found around the inlaid back panel, which adds to the
decorative value.
Antique Corner and Rocking Chairs, Edwardian Oak Chairs
November 19th, 2009
CHAIRS rocking and special purpose
A typical Edwardian child’s chair in birch or beech, originally either white-painted or stained. The lower mechanism allows the chair to be set in a lower position or, additionally, to rest as a ‘rocker’ on the ground. Quite a common and popular child’s chair in the pre-1914 period. 1900-1914
A typical turned spindled rocking chair of a type made in large numbers. This example has been recovered.
A folding ’safari’ chair, shown both open and closed, suitable for collapsing and portage by a bearer. The turned legs unscrew from the frame for further dismantling and carriage. It is made of mahogany with cane seat and back and is quite strong. When the lady concerned was tired, the chair was easily set up and she could be carried by native bearers. Made by Ward & Co. until the 1920s.
CHAIRS small Edwardian oak
The period from 1900 to 1914 saw the mass production of a large number of small chairs of rather square proportion, made in oak. Some had drop-in seats, some were rushed, some simply webbed and upholstered with a shiny rexine covering. Their design was quite simple and functional; the legs were either square section tapering or turned and the back, fairly severe in outline, leant sometimes to the 18th century and sometimes to more modern, art nouveau designs for its style. Individual comment on each version would be
either unrewarding or unwise. Suffice it to say that they are still a source of cheap matched seating. The selection below and on the opposite page shows a small part of the total variations that were made. 1900-1914
CHAIRS corner
Here is an early 20th century reproduction of a ‘Chippendale’ type, with a drop-in rush seat. The square legs and turned back supports are correct copies of the original, as are the fretted splats which are a Chippendale design. This version is made in oak to accord with the ‘country’ connotations of the rush seat. If made in mahogany, the drop-in seat would be upholstered. Would almost certainly be sold as 18th century. 1900-1910
A rather feebler version with a half-circular back rail and a single central splat inlaid with a Sheraton ,shell’. The thin seat and spindly legs make it look easily destructible. An intermediate step to a rounded chair the next stage is to make the seat round instead of square. 1900-1914
There seems to have been a revival of the corner chair, which had languished after the end of the 18th century, in the 1870s. Why is a mystery, for it is an essentially masculine, leg-separating and inconvenient form. Richard Norman Shaw designed rush-seated corner chairs for E. W. Horsley’s house Willesley, with a cabriole front leg and rather early 18th century form, stained green, in the late 1860s and, before that, a type based on late 17th century models for his own office. The corner chair fascinated Shaw, so perhaps he is responsible for its revival; his interiors show several types. It is clear from furnishers’ catalogues that, by the end of the century, there was a steady demand for them.
Another more Edwardian variant in the mahogany corner chair the splats are of 18th century design origin but the top rail at the corner has been embellished with the pedimented shape so dear to Edwardian hearts. The seat upholstery is fixed and finished with brass studs round the edge. 1900-1914
And here it is the fully rounded `corner’ chair in which the seat as well as the back rail are of circular shape. There is now no particular reason to think of it as a corner chair except for the centrally-placed front leg, which ensures a limb-separating posture for anyone seated straight on the chair.
A mahogany corner chair of much more Edwardian form but still based on 18th century design, this time late Sheraton. The drop-in seat is covered with tapestry and the back has an inlaid satinwood ’shell’ in it.
A typical Edwardian child’s chair in birch or beech, originally either white-painted or stained. The lower mechanism allows the chair to be set in a lower position or, additionally, to rest as a ‘rocker’ on the ground. Quite a common and popular child’s chair in the pre-1914 period. 1900-1914
A typical turned spindled rocking chair of a type made in large numbers. This example has been recovered.
A folding ’safari’ chair, shown both open and closed, suitable for collapsing and portage by a bearer. The turned legs unscrew from the frame for further dismantling and carriage. It is made of mahogany with cane seat and back and is quite strong. When the lady concerned was tired, the chair was easily set up and she could be carried by native bearers. Made by Ward & Co. until the 1920s.
CHAIRS small Edwardian oak
The period from 1900 to 1914 saw the mass production of a large number of small chairs of rather square proportion, made in oak. Some had drop-in seats, some were rushed, some simply webbed and upholstered with a shiny rexine covering. Their design was quite simple and functional; the legs were either square section tapering or turned and the back, fairly severe in outline, leant sometimes to the 18th century and sometimes to more modern, art nouveau designs for its style. Individual comment on each version would be
either unrewarding or unwise. Suffice it to say that they are still a source of cheap matched seating. The selection below and on the opposite page shows a small part of the total variations that were made. 1900-1914
CHAIRS corner
Here is an early 20th century reproduction of a ‘Chippendale’ type, with a drop-in rush seat. The square legs and turned back supports are correct copies of the original, as are the fretted splats which are a Chippendale design. This version is made in oak to accord with the ‘country’ connotations of the rush seat. If made in mahogany, the drop-in seat would be upholstered. Would almost certainly be sold as 18th century. 1900-1910
A rather feebler version with a half-circular back rail and a single central splat inlaid with a Sheraton ,shell’. The thin seat and spindly legs make it look easily destructible. An intermediate step to a rounded chair the next stage is to make the seat round instead of square. 1900-1914
There seems to have been a revival of the corner chair, which had languished after the end of the 18th century, in the 1870s. Why is a mystery, for it is an essentially masculine, leg-separating and inconvenient form. Richard Norman Shaw designed rush-seated corner chairs for E. W. Horsley’s house Willesley, with a cabriole front leg and rather early 18th century form, stained green, in the late 1860s and, before that, a type based on late 17th century models for his own office. The corner chair fascinated Shaw, so perhaps he is responsible for its revival; his interiors show several types. It is clear from furnishers’ catalogues that, by the end of the century, there was a steady demand for them.
Another more Edwardian variant in the mahogany corner chair the splats are of 18th century design origin but the top rail at the corner has been embellished with the pedimented shape so dear to Edwardian hearts. The seat upholstery is fixed and finished with brass studs round the edge. 1900-1914
And here it is the fully rounded `corner’ chair in which the seat as well as the back rail are of circular shape. There is now no particular reason to think of it as a corner chair except for the centrally-placed front leg, which ensures a limb-separating posture for anyone seated straight on the chair.
A mahogany corner chair of much more Edwardian form but still based on 18th century design, this time late Sheraton. The drop-in seat is covered with tapestry and the back has an inlaid satinwood ’shell’ in it.
Antique Victorian Spoon Back Chairs of 19th Century
November 19th, 2009
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.
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.
Antique Chairs Reproductions
November 19th, 2009
CHAIRS reproductions, 1880-1930
The return to 18th century styles in the 1880s affected chairs almost more than other furniture. Chippendale, Sheraton and Hepplewhite chairs were produced in varying grades of quality and exactitude. Queen Anne cabriole legs with ‘fiddle’ backs soon followed and, of course, the medieval oak craze had to be met by chair makers …
A mahogany ‘Chippendale’ chair of some considerable quality. The carved splat is of Gothic style in its origins and the scrolled cabriole legs end in ball-and-claw feet. It is still unmistakably Victorian, however, from its slightly narrow proportions. 1880-1900
A highly-carved ‘Chippendale’ chair with a wool-work tapestry seat. The narrow proportions, particularly of the back, proclaim it to be Victorian. The cabriole legs, which are elegantly carved, show that incipient bandyness and weakness at the ankle which are also characteristic.
A mahogany ‘Chippendale’ chair with a back of c,uite faithful reproduction. The seat is, however, smaller than the original would have been and the seat rai. has been made the same width as the legs. The original would have been more likely to have a deeper seat rail even if the legs were of the same proportions.
A mahogany ‘Chippendale’ ladderback chair with carved pierced rails to the back, which is well executed. The seat and the square legs are, again, small and thin compared with the 18th century original; the seat rail is not deep enough.
Typical mass-produced ‘Chippendale’ style chairs with rexine (imitation leather) covered drop-in seats. No problems of confusion with the originals here; both ‘carvers’ and single chairs are of proportion and dimensions well away from the 18th century. The Gothic style back splat is quite a good copy of an original design. 1890-1930
A mahogany `Hepplewhite’ chair of very good proportion, on moulded square tapering front legs. The back is a variation of the shield back, curved in shape with carving on the rails. The seat is full and bold, serpentine-shaped at the front and worthy of the original.
A classic shield-back ‘Hepplewhite’ chair with carved Prince of Wales’ feathers in the back design. The tapering square legs and slightly bowed seat are copied faithfully from the original and the proportion is good. A well-made chair like this was very much more expensive than a mass-produced, thin ‘Chippendale’ design about nine guineas for this as against one and a half for the mass-produced item.
A mahogany wheel-back ‘Hepplewhite’ chair of good proportion and workmanship. The carving of the back is a considerable achievement and, with wear, and without sight of the unpolished areas, such chairs can be difficult to tell from an original period chair. 1890-1920, but could be made even now
A mahogany arm chair in Sheraton style with inlaid boxwood stringing lines as decoration. There is also an inlaid oval satinwood and marquetry panel in the broad top rail. These panels were available ready-made by machine from the trade.
Not quite Sheraton and not quite Edwardian ‘own brand’, these small chairs still owe more to the late 18th and early 19th century than to the 1900-1910 period in which they were made. The back is a Sheraton design-book copy and the tapering square legs end in block feet. 1890-1910
An example of the mahogany ‘Queen Anne’ style of dining chair which had a great vogue from around 1900 to 1940. They do not seek to emulate original Queen Anne period chairs too closely these examples are usually mahogany or stained to look like it, and mahogany was not used in quantity until after 1730 and they are mass-produced in unmistakably economic ways, so there is little problem in differentiating them from the originals.
Elegant mahogany chairs based on a Queen Anne design and of a shape quite popular in the early 20th century. The front legs are an English variation on the cabriole, usually associated with country makers. The back curves are restrained without being stiff. The central panel of the back is caned and the pincushion seat is covered with a striped tapestry. Intended as an occasional chair but would now be sold for dining.
Four more variations on the popular `Jacobean’ chair theme, with pincushion seats covered in rexine (an imitation leather). More expensive than the previous examples because the stretchers between the legs are turned as well, not just left square for cheapness. The pair on the right have abandoned the twist turning normally used and have turned pillar supports capped by finials instead. (The rather elaborately carved top rail was not popular on post-1920 versions.) 1890-1920
Typical ‘Jacobean’ chairs, in oak, of a type also very popular from 1890-1940, made to go with the bulbous-legged refectory-style table of the ‘Jacobethan’ dining room. Twist turning is the key to these chairs which owe their form to the second half of the 17th century.
The end of the line for the ‘Jacobethan’ style. An oak chair with twist turning in prominent places and cheap square sections elsewhere. The drop-in seat is covered in rexine.
An oak arm and a single chair in ‘Carolean’ style with caned back and seat panels. They are fairly faithful reproductions of chairs of the Restoration period of 1680-1690, showing the elaborately-carved scrolled front stretcher between the front legs echoed in the top rail of the high back. They would be detected by the lack of age and wear apparent in them, and by their colour. Such chairs were originally made of birch, beech, oak or walnut and stained black. They are very decorative but not popular as dining chairs due to the
weakness of the seat jointing to the back and legs; the very thinness of the seat frame makes the joints very susceptible to breakage by weight or leverage. Nevertheless, this design, of all reproductions, is probably the one most faithfully copied. 1890-1930
A pair of oak bobbin-turned chairs in the style of 1660-1680 with leather covered backs and seats, peppered with large brass-headed studs like a pair of Restoration Hell’s Angels! These must surely have met the taste for medievalism with a vengeance. The bobbin-turned stretchers and the legs, with their square-section joints, look like faithful copies of the originals.
Another pair of oak chairs, known as Cromwellian in style, which emulate those of 1650-1670. They are similar to the previous examples but the more severe column turning of the legs, with plain square stretchers joining them at ground level, is perhaps more apposite to the Protector’s time. Covered in velvet and just right for that big reproduction refectory table in the dining room.
An oak chair of square design in emulation of the 1650-1670 period and often known as ‘Cromwellian’. The turning on the front legs is not of a period type.
A ‘Queen Anne’ style chinoiserie chair of considerable quality. There was a revival of lacquer of this type in the 1920s and 1930s, with some high quality ‘reproductions’, in somewhat free interpretations, being produced.
1920-1930 For the single armchair. A set of two plus four singles
A reproduction of a caned French chair which, in Britain, has connotations of Adam and other classical styles. The chair is gilded over a gesso surface and has, unfortunately, an air of belonging to a ballroom or dining room of an old-fashioned hotel.
The return to 18th century styles in the 1880s affected chairs almost more than other furniture. Chippendale, Sheraton and Hepplewhite chairs were produced in varying grades of quality and exactitude. Queen Anne cabriole legs with ‘fiddle’ backs soon followed and, of course, the medieval oak craze had to be met by chair makers …
A mahogany ‘Chippendale’ chair of some considerable quality. The carved splat is of Gothic style in its origins and the scrolled cabriole legs end in ball-and-claw feet. It is still unmistakably Victorian, however, from its slightly narrow proportions. 1880-1900
A highly-carved ‘Chippendale’ chair with a wool-work tapestry seat. The narrow proportions, particularly of the back, proclaim it to be Victorian. The cabriole legs, which are elegantly carved, show that incipient bandyness and weakness at the ankle which are also characteristic.
A mahogany ‘Chippendale’ chair with a back of c,uite faithful reproduction. The seat is, however, smaller than the original would have been and the seat rai. has been made the same width as the legs. The original would have been more likely to have a deeper seat rail even if the legs were of the same proportions.
A mahogany ‘Chippendale’ ladderback chair with carved pierced rails to the back, which is well executed. The seat and the square legs are, again, small and thin compared with the 18th century original; the seat rail is not deep enough.
Typical mass-produced ‘Chippendale’ style chairs with rexine (imitation leather) covered drop-in seats. No problems of confusion with the originals here; both ‘carvers’ and single chairs are of proportion and dimensions well away from the 18th century. The Gothic style back splat is quite a good copy of an original design. 1890-1930
A mahogany `Hepplewhite’ chair of very good proportion, on moulded square tapering front legs. The back is a variation of the shield back, curved in shape with carving on the rails. The seat is full and bold, serpentine-shaped at the front and worthy of the original.
A classic shield-back ‘Hepplewhite’ chair with carved Prince of Wales’ feathers in the back design. The tapering square legs and slightly bowed seat are copied faithfully from the original and the proportion is good. A well-made chair like this was very much more expensive than a mass-produced, thin ‘Chippendale’ design about nine guineas for this as against one and a half for the mass-produced item.
A mahogany wheel-back ‘Hepplewhite’ chair of good proportion and workmanship. The carving of the back is a considerable achievement and, with wear, and without sight of the unpolished areas, such chairs can be difficult to tell from an original period chair. 1890-1920, but could be made even now
A mahogany arm chair in Sheraton style with inlaid boxwood stringing lines as decoration. There is also an inlaid oval satinwood and marquetry panel in the broad top rail. These panels were available ready-made by machine from the trade.
Not quite Sheraton and not quite Edwardian ‘own brand’, these small chairs still owe more to the late 18th and early 19th century than to the 1900-1910 period in which they were made. The back is a Sheraton design-book copy and the tapering square legs end in block feet. 1890-1910
An example of the mahogany ‘Queen Anne’ style of dining chair which had a great vogue from around 1900 to 1940. They do not seek to emulate original Queen Anne period chairs too closely these examples are usually mahogany or stained to look like it, and mahogany was not used in quantity until after 1730 and they are mass-produced in unmistakably economic ways, so there is little problem in differentiating them from the originals.
Elegant mahogany chairs based on a Queen Anne design and of a shape quite popular in the early 20th century. The front legs are an English variation on the cabriole, usually associated with country makers. The back curves are restrained without being stiff. The central panel of the back is caned and the pincushion seat is covered with a striped tapestry. Intended as an occasional chair but would now be sold for dining.
Four more variations on the popular `Jacobean’ chair theme, with pincushion seats covered in rexine (an imitation leather). More expensive than the previous examples because the stretchers between the legs are turned as well, not just left square for cheapness. The pair on the right have abandoned the twist turning normally used and have turned pillar supports capped by finials instead. (The rather elaborately carved top rail was not popular on post-1920 versions.) 1890-1920
Typical ‘Jacobean’ chairs, in oak, of a type also very popular from 1890-1940, made to go with the bulbous-legged refectory-style table of the ‘Jacobethan’ dining room. Twist turning is the key to these chairs which owe their form to the second half of the 17th century.
The end of the line for the ‘Jacobethan’ style. An oak chair with twist turning in prominent places and cheap square sections elsewhere. The drop-in seat is covered in rexine.
An oak arm and a single chair in ‘Carolean’ style with caned back and seat panels. They are fairly faithful reproductions of chairs of the Restoration period of 1680-1690, showing the elaborately-carved scrolled front stretcher between the front legs echoed in the top rail of the high back. They would be detected by the lack of age and wear apparent in them, and by their colour. Such chairs were originally made of birch, beech, oak or walnut and stained black. They are very decorative but not popular as dining chairs due to the
weakness of the seat jointing to the back and legs; the very thinness of the seat frame makes the joints very susceptible to breakage by weight or leverage. Nevertheless, this design, of all reproductions, is probably the one most faithfully copied. 1890-1930
A pair of oak bobbin-turned chairs in the style of 1660-1680 with leather covered backs and seats, peppered with large brass-headed studs like a pair of Restoration Hell’s Angels! These must surely have met the taste for medievalism with a vengeance. The bobbin-turned stretchers and the legs, with their square-section joints, look like faithful copies of the originals.
Another pair of oak chairs, known as Cromwellian in style, which emulate those of 1650-1670. They are similar to the previous examples but the more severe column turning of the legs, with plain square stretchers joining them at ground level, is perhaps more apposite to the Protector’s time. Covered in velvet and just right for that big reproduction refectory table in the dining room.
An oak chair of square design in emulation of the 1650-1670 period and often known as ‘Cromwellian’. The turning on the front legs is not of a period type.
A ‘Queen Anne’ style chinoiserie chair of considerable quality. There was a revival of lacquer of this type in the 1920s and 1930s, with some high quality ‘reproductions’, in somewhat free interpretations, being produced.
1920-1930 For the single armchair. A set of two plus four singles
A reproduction of a caned French chair which, in Britain, has connotations of Adam and other classical styles. The chair is gilded over a gesso surface and has, unfortunately, an air of belonging to a ballroom or dining room of an old-fashioned hotel.
Victorian Upholstered Upright Chairs
November 19th, 2009
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
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
Antique Upholstered Occasional Chairs (late 19th Century and early 20th century)
November 19th, 2009
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.
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.
Antique Country Chairs and Kitchen Chairs - Victorian, Edwardian and 1900-1920`s
November 19th, 2009
CHAIRS country and kitchen : wooden seated, 1860-1930
This section also includes chairs for institutional and office use, made in large quantities by mass-production methods. On the whole they are more durable than rush-seated chairs and tend to be perennially favourite types such as the Windsor which is still going strong. In the mid- and late 19th century large quantities of simple chairs were produced for the expanding markets available: some of them were of attractive design and are now coming to be appreciated as cheap, pleasant and functional chairs.
Starting with the Windsor, which goes back to the mid-18th century (see Price Guide to Antique Furniture) some forms of chair have been produced over very long periods. The illustration shows a typical 19th century Windsor with robust baluster turning (look at the arm supports) and a curved, or ‘crinoline’ stretcher. This stretcher adds more value than an ordinary, turned one. Manufacturers’ catalogues show such chairs up to the 1914-18 war. Later versions tend to be less robust, however. 1830-1920
The ‘Windsor’ chair remained in use and manufacture throughout the period, as indeed it still does. Above are some straightforward mass-produced Windsors as retailed by almost every department store and furnisher.
1860-present day Wheelback arm, spoke-back arm.
A version of the wheelback, without the two diagonally-sloping extra spindles of 218 and 219. The turning of the legs is elegant and lacks the extra turned collars which embellish the later types and make them look more mass-produced.
Windsor chairs from the Maurice Adams’ catalogue of 1926, showing how the wheelback form is virtually unchanged from the previous examples from a catalogue of 1908. The wheelback ‘carver’ shown below, has slightly more robust baluster-turned legs but the single chair is no different from the 1908 version. The cabriole-legged wheelbacks follow an earlier 18th century design, with ‘crinoline’ curved stretchers. The arm chair has the curved support to the arm as against the later, turned armed support on the turned-leg
chair.
Cabriole-leg single chair and turned-leg arm chair.
Two of the most commonly-produced kitchen, country, office or institutional chairs throughout the period. On the left a single chair, usually in beech or birch with an elm or beech/birch seat. On the right, a stick-back with broad top rail, of slightly Windsor derivation. 1860-1930
The smoker’s bow is now a popularly-hunted chair, fetching as much as 120 for certain versions in London. Good examples with opulently-turned fat baluster legs, like the one illustrated, are still to be found for much less around 90 each and thin, lesser versions for about 60. 1850-1940
A late 19th century chair which is a cross between a Windsor and a kitchen or office chair. It is very ornate, as the turning and the fretting of the centre splat show. There are still plenty of them about, although there has tended to be a drain of all these types of chair, particularly the Smoker’s Bow, to the export trade. 1850-1940
A typical kitchen armchair of the 19th century, on turned legs, much beloved of schools and other institutions up to the present day. Usually made in birch or beech and stained or varnished a dark colour. Sometimes the seat is made of elm. When stripped of stain or varnish to their natural colour, these chairs are often a pleasant golden brown.
Another 19th century country or kitchen chair, with a pleasantly arched and spindled decoration in the back. The seat is made of elm and the rest a pleasant, golden-coloured beech. The design was used for a long time; Shoolbred had it in 1876 and Skull in 1913. 1850-1920
A very pretty late 19th century chair with a seat which has been recovered. Usually these chairs had an impressed plywood seat, with a pattern embossed by pressure in it, usually finished in a lighter colour than the background. 1870-1900
A Worksop chair with robust baluster-turned legs and characteristic notched curved ends on the top rail. A fine example of this type of chair.
This section also includes chairs for institutional and office use, made in large quantities by mass-production methods. On the whole they are more durable than rush-seated chairs and tend to be perennially favourite types such as the Windsor which is still going strong. In the mid- and late 19th century large quantities of simple chairs were produced for the expanding markets available: some of them were of attractive design and are now coming to be appreciated as cheap, pleasant and functional chairs.
Starting with the Windsor, which goes back to the mid-18th century (see Price Guide to Antique Furniture) some forms of chair have been produced over very long periods. The illustration shows a typical 19th century Windsor with robust baluster turning (look at the arm supports) and a curved, or ‘crinoline’ stretcher. This stretcher adds more value than an ordinary, turned one. Manufacturers’ catalogues show such chairs up to the 1914-18 war. Later versions tend to be less robust, however. 1830-1920
The ‘Windsor’ chair remained in use and manufacture throughout the period, as indeed it still does. Above are some straightforward mass-produced Windsors as retailed by almost every department store and furnisher.
1860-present day Wheelback arm, spoke-back arm.
A version of the wheelback, without the two diagonally-sloping extra spindles of 218 and 219. The turning of the legs is elegant and lacks the extra turned collars which embellish the later types and make them look more mass-produced.
Windsor chairs from the Maurice Adams’ catalogue of 1926, showing how the wheelback form is virtually unchanged from the previous examples from a catalogue of 1908. The wheelback ‘carver’ shown below, has slightly more robust baluster-turned legs but the single chair is no different from the 1908 version. The cabriole-legged wheelbacks follow an earlier 18th century design, with ‘crinoline’ curved stretchers. The arm chair has the curved support to the arm as against the later, turned armed support on the turned-leg
chair.
Cabriole-leg single chair and turned-leg arm chair.
Two of the most commonly-produced kitchen, country, office or institutional chairs throughout the period. On the left a single chair, usually in beech or birch with an elm or beech/birch seat. On the right, a stick-back with broad top rail, of slightly Windsor derivation. 1860-1930
The smoker’s bow is now a popularly-hunted chair, fetching as much as 120 for certain versions in London. Good examples with opulently-turned fat baluster legs, like the one illustrated, are still to be found for much less around 90 each and thin, lesser versions for about 60. 1850-1940
A late 19th century chair which is a cross between a Windsor and a kitchen or office chair. It is very ornate, as the turning and the fretting of the centre splat show. There are still plenty of them about, although there has tended to be a drain of all these types of chair, particularly the Smoker’s Bow, to the export trade. 1850-1940
A typical kitchen armchair of the 19th century, on turned legs, much beloved of schools and other institutions up to the present day. Usually made in birch or beech and stained or varnished a dark colour. Sometimes the seat is made of elm. When stripped of stain or varnish to their natural colour, these chairs are often a pleasant golden brown.
Another 19th century country or kitchen chair, with a pleasantly arched and spindled decoration in the back. The seat is made of elm and the rest a pleasant, golden-coloured beech. The design was used for a long time; Shoolbred had it in 1876 and Skull in 1913. 1850-1920
A very pretty late 19th century chair with a seat which has been recovered. Usually these chairs had an impressed plywood seat, with a pattern embossed by pressure in it, usually finished in a lighter colour than the background. 1870-1900
A Worksop chair with robust baluster-turned legs and characteristic notched curved ends on the top rail. A fine example of this type of chair.
High Children`s Chairs
October 24th, 2009
CHAIRS — children’s high
Here of course, one cannot judge a chair by its correctness of proportion as against the adult equivalent. Instead the test has to be how successfully the maker has elongated the piece while keeping in sympathy with the style of his period.
In this fine child’s oak chair the maker has got it just right. The design calls for stability and he has achieved it without losing the feel of the heavy panelled back. The simple turning on the front legs and the low stretcher work very well. As these chairs were very popular before the war one should always look at them very closely. Second quarter 17th century .
At first sight a late seventeenth century style but the outline of the splat and the shape of the turning suggest a later date. Lacks the stability and balance of the previous example, but then chairs of this period,
dependent on turning, were rather square. Arms are good. 1690-1720.
A Hepplewhite design in which the back with its careful moulding and well-balanced splat is much more successful than the heavy front legs. The sweep outwards at the bottom gives an improved line. c. 1780
A strange crude little high chair which gives problems of dating. The dished seat suggests a Windsor chair origin but the scratch moulding and the crude little inset cross pleads for an earlier date. The top rail argues for an early nineteenth century date, as does the exaggerated chamfering of the side rails. Probably early 19th century.
(far right) Very much the traditional Windsor design, good rake to back legs gives feeling of solidarity. The back is well made and the splat fits in well. Early 19th century.
Very appealing little piece, partly because it is a child’s chair but also because of the generous sweep of the arms. Well turned front legs, the only drawback is the absence of a splat.
Here of course, one cannot judge a chair by its correctness of proportion as against the adult equivalent. Instead the test has to be how successfully the maker has elongated the piece while keeping in sympathy with the style of his period.
In this fine child’s oak chair the maker has got it just right. The design calls for stability and he has achieved it without losing the feel of the heavy panelled back. The simple turning on the front legs and the low stretcher work very well. As these chairs were very popular before the war one should always look at them very closely. Second quarter 17th century .
At first sight a late seventeenth century style but the outline of the splat and the shape of the turning suggest a later date. Lacks the stability and balance of the previous example, but then chairs of this period,
dependent on turning, were rather square. Arms are good. 1690-1720.
A Hepplewhite design in which the back with its careful moulding and well-balanced splat is much more successful than the heavy front legs. The sweep outwards at the bottom gives an improved line. c. 1780
A strange crude little high chair which gives problems of dating. The dished seat suggests a Windsor chair origin but the scratch moulding and the crude little inset cross pleads for an earlier date. The top rail argues for an early nineteenth century date, as does the exaggerated chamfering of the side rails. Probably early 19th century.
(far right) Very much the traditional Windsor design, good rake to back legs gives feeling of solidarity. The back is well made and the splat fits in well. Early 19th century.
Very appealing little piece, partly because it is a child’s chair but also because of the generous sweep of the arms. Well turned front legs, the only drawback is the absence of a splat.
Low Children`s Chairs
October 24th, 2009
CHAIRS — children’s low
Very well made walnut child’s chair. Gloriously successful cabrioles, arms, legs and back. Only possible fault is that the back should perhaps be a fraction higher to be in proper proportion, but this is a very minor quibble about a superb piece. c.1720
An early eighteenth century child’s country chair; from the photograph it looks as though the right hand arm and the top rail are oversized, but again this is a minor point, for the overall proportions are excellent. c.1730
Children’s chairs naturally follow the same styles as those of their parents and one assesses them in the same way. The acid test is that if one sees a photograph without background it should not be obvious that it is a miniaturised version. Making a miniature in the correct proportions is extremely difficult and requires a very good maker to get them just right. As chair making itself is one of the most difficult arts, a good child’s chair calls for a top craftsman.
To generalise on prices, fine town made examples of earlier types tend to fetch less then their adult equivalent while children’s versions of country or late chairs fetch more.
Again the work of a competent maker, this Mendlesham chair can only be detected as a child’s because the arms are a trifle thick and pinched inwards. A very rare and desirable piece. c.1820
An endearing child’s Windsor rocking chair in ash. More simply made than the last example. The arms are a bit crude at the ends and the spindles have been tapered off slightly too much. 1820-1860
Ignore the fact that about 2ins. are missing from the bottom of the legs and holes drilled to provide support for a foot rest and this Hepplewhite example is another top quality piece. Look at the carefully moulded back, carved honeysuckle decoration and the excellent curve of the arms. c. 1770
A sweet little yew Windsor missing about an inch off the bottom of its feet. It has a slight Gothic appearance purely because the top rail would not bend so it cracked. Yew does not take kindly to tight curves.
Very well made walnut child’s chair. Gloriously successful cabrioles, arms, legs and back. Only possible fault is that the back should perhaps be a fraction higher to be in proper proportion, but this is a very minor quibble about a superb piece. c.1720
An early eighteenth century child’s country chair; from the photograph it looks as though the right hand arm and the top rail are oversized, but again this is a minor point, for the overall proportions are excellent. c.1730
Children’s chairs naturally follow the same styles as those of their parents and one assesses them in the same way. The acid test is that if one sees a photograph without background it should not be obvious that it is a miniaturised version. Making a miniature in the correct proportions is extremely difficult and requires a very good maker to get them just right. As chair making itself is one of the most difficult arts, a good child’s chair calls for a top craftsman.
To generalise on prices, fine town made examples of earlier types tend to fetch less then their adult equivalent while children’s versions of country or late chairs fetch more.
Again the work of a competent maker, this Mendlesham chair can only be detected as a child’s because the arms are a trifle thick and pinched inwards. A very rare and desirable piece. c.1820
An endearing child’s Windsor rocking chair in ash. More simply made than the last example. The arms are a bit crude at the ends and the spindles have been tapered off slightly too much. 1820-1860
Ignore the fact that about 2ins. are missing from the bottom of the legs and holes drilled to provide support for a foot rest and this Hepplewhite example is another top quality piece. Look at the carefully moulded back, carved honeysuckle decoration and the excellent curve of the arms. c. 1770
A sweet little yew Windsor missing about an inch off the bottom of its feet. It has a slight Gothic appearance purely because the top rail would not bend so it cracked. Yew does not take kindly to tight curves.