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.

The variety of chairs burgeoned in the mid to late 18th century, with French styles remaining popular. Although elements of the Rococo style lingered, chairs began to look more Neoclassical and became squarer and straighter. cabriole legs were rejected in favour of turned, tapered supports, often fluted or decorated with reeding, and oval and rectangular-    backs became more common.
Different types of chair evolved: the bergere remained the same stylistically, but the frame was often simply waxed, rather than painted and gilded, as in the first half of the century. Desk
chairs and corner chairs, which were popular at the beginning of the period, had shaped backs. The shield back became fashionable towards the end of the century, with the pierced splats incorporating a wide range of Neoclassical motifs. Desk chairs usually had rounded seat rails and often had an extra leg at the centre of the seat rail, making five legs in total.
Corner chairs, like hall chairs, were small and designed to be decorative rather than useful. They were usually rather fragile, as they were not designed for regular use.
At first, chairs were ordered individually, but from the mid century onwards, sets of furniture known as suites became more popular. These varied from small groups of matching chairs to extensive suites that included a number of pieces, such as armchairs, side chairs, bergeres, window seats, stools, and sofas.
Any decoration on hall and corner chairs was likely to be carved, but more expensive armchairs and their matching side chairs, designed for grander rooms, were often delicately painted or highlighted with gilding.
The top rail is waxed, rather than painted.
The sides of the chair are fully upholstered.
LOUIS XV BERGERE
This chair shows how Rococo style adapted to Neoclassical fashion. The beech frame retains a carved, serpentine top rail and cabriole legs, but is waxed. The chair is upholstered in blue silk.
The armrest is upholstered where the sitter’s arm is placed.
A simple C-scroll connects the arm to the cabriole leg.
The rear leg extends outwards.
LOUIS XVI DESK CHAIR
This French tub desk chair has a curved and lightly carved seat rail, and the seat, back, and sides are all upholstered in leather. It has Neoclassical turned and tapered armrests and legs. c.1780.
QUEEN ANNE CORNER CHAIR
This walnut chair has a crest rail with a raised yoke centre, shaped arms, and solid, vase-shaped splats. It has one front cabriole leg and three turned legs, all with slipper feet. c.1770-1800.
SOUTH AFRICAN CORNER CHAIR
This chair is made from native stinkwood and yellow wood. The pierced back splats are reminiscent of Chippendale designs. The square, chamfered legs are connected by stretchers. c.1780
NEW YORK CORNER CHAIR
This mahogany chair has a top rail with a raised yoke centre, carved knuckle handholds, and vase-shaped splats. The deep seat rail is supported on three cabriole legs with slipper feet and one rear turned leg. c.1750.
GEORGE III HALL CHAIR
This mahogany hall chair has a cartoucheshaped back. Within the C- and S-scrolled frame are carved heraldic elements, including an Irish harp and crown. The piece terminates in panelled, tapering legs. c.1770.
GEORGE III HALL CHAIR
One of a set of four, this mahogany chair has a typically Neoclassical oval back. The solid mahogany seat overhangs the front rail. Tapering legs support the frame and a stretcher connects the rear legs. c.1780.
CHINESE CORNER CHAIR
This rosewood chair has a central leg with a shell carved on the knee, and it terminates in a claw-and-ball foot. Attenuated turned stretchers anchor the legs. c.1780.
GEORGE III CORNER CHAIR
This provincial oak chair is one of a pair. The seat is composed of three planks of oak. Turned spindles connect the seat to the rounded back, a technique often seen on Windsor chairs c.1800.
ENGLISH HALL CHAIR
This mahogany chair has a balloon-shaped back that fits into a shoe at the base. The seat is solid mahogany with a circular lowered section. The tapered legs terminate in squared ends. c.1790
CHINESE HALL CHAIR
This chair was made for export to the West. The solid splats are decorated with an inlay. The dish-moulded seat is shaped at the edges. Square, chamfered legs are joined by stretchers. c.1760.
ENGLISH HALL CHAIRS
These mahogany hall chairs have central veneered tablets, and pierced, waisted supports. The seats are slightly bowed and framed with panels. The turned, blocked legs are joined by cross-stretchers.
c 1780.