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.

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.

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.

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 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

Late 1700`s Chair

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.

Hall Chairs

Small, formal and more decorative than functional hall chairs were first named by Robert Manwaring, a furniture designer, in The Chair-Makers Real Friend and Companion, published in 1865.
Thomas Sheraton noted in The Cabinet Dictionary that chairs such as those that are placed in halls are for the use of servants or strangers waiting on business”. These wooden chairs were usual])- smaller than side
chairs. They had turned seats and often had the crest or arms of the farmily carved or painted on the chair back. Some chairs were made with plain backs so that families could have their own insignia carved or painted onto the basic chair.
The hall chair first appeared when Thomas Chippendale illustrated six designs of chairs for ‘Halls. Passages, or Summer-Houses’ in his Director.
Rival cabinet-makers, William Ice and John Mathew published three designs for hall chairs in the gothic taste” in their serialized pattern book, The Universal System off Household Furniture (1759-02). If it was too
expensive to carve the decorative crest on the back, then it was considered acceptable to “be painted, and have a very, good effect”.
Hall chairs These illustrations are from Thomas Chippendale’s The Gentleman & Cabinet-Maker’s Director, 1762 (Plate XVII).
ENGLISH HALL CHAIR
One of a pair, this mahogany chair is modelled on the Renaissance sgabello chair. It has a shaped, waisted back and shaped seat. The front support and seat have indented panels, designed to bear a crest. c.1780.
FRENCH HALL CHAIR
This chair, one of a set of four, has a pierced wheel back with a central, raised, circular plaque. The wide, slightly dished seat is supported on tapered legs, and the front legs terminate in spade feet. c.1770.

Thomas Chippendale Chairs

THE CHAIRS that Chippendale created and reproduced in his book The Gentleman and Cabinet-Maker’s Director (1762) offer a sample of the various design trends in the mid to late 18th century, such as Rococo, Chinese, Gothic, and Neoclassical. Chippendale’s name has become generic for 18th-century furniture and, in particular, chairs, but his designs borrowed from published English and French work. His most original work can be found in his Neoclassical pieces, which he created from 1760 onwards, inspired by the interiors of architect Robert Adam. Despite the variety of influences on his designs, many Chippendale chairs follow a basic pattern, with their stylistic influence being most obvious in their carving. Therefore, while most chair backs had pierced and interlaced splats with carved scrollwork, it is the shape and carving that reveals the
predominant influence: cartouche shapes and scrolling acanthus for Rococo, Gothic arches, Chinoiserie fretwork, and interlacing ribbons, or the lyre and fan shapes typical of Neoclassicism. The importance of deep-cut, detailed carving in Chippendale’s designs meant that mahogany was most commonly used, although provincial versions were still often made in walnut or fruitwoods.
The top rails of the chairs were usually serpentine in shape, sometimes ending in carved ears, with stiles curving outwards. Most of them had squared or trapezoidal seats, and while Chippendale preferred stuff-over upholstery, many cheaper or colonial versions had slip-in seats. Designs often had different front and back legs. The front legs could be cabriole with a claw-and-ball foot, tapered, or straight with stretchers. Mahogany is well suited for the elaborate carving of the back splat.
The drop-in seat is upholstered in pale yellow floral silk damask.
Rear legs were often simply chamfered, as these chairs were placed against the wall.
The cabriole front legs terminate in elegant carved scroll feet.

DINING CHAIR
This mahogany chair, part of a set of 11 together with one later copy, has a serpentine top rail above an interlaced, pierced splat headed by C-scrolls carved with leaves. The cabriole legs are flanked by C-scrolls, also carved with leaves, and the legs taper towards scrolled toes. c.1775.
NEW HAMPSHIRE DINING CHAIRS
Each of these mahogany dining chairs has a serpentine top rail with rounded shoulders and flaring stiles with scribed borders. The interlaced back splat includes an inverted heart cut-out shape. The over-upholstered, seat is a trapezoidal shape and has a serpentine front. The piece is supported on square-moulded, chamfered legs. The legs of the chair are joined by recessed box stretchers. The chairs retain an old or original finish, and are attributed to Robert Harold of Portsmouth. c.1765-75.
ENGLISH DINING CHAIRS
The serpentine top rail of each mahogany chair is carved at the shoulders with scrolls and foliage. The pierced, vase-shaped back splats are carved with acanthus and trailing foliage. The curved arms with scrolling ends have downward-sweeping supports, and stretchers join the straight front legs and sweeping back legs. The saddle-shaped seats are covered in red leather with a double row of studs. c.1770.
ENGLISH DINING CHAIRS
These mahogany chairs have serpentine top rails carved with trailing acanthus and side rails with flowers and trelliswork. The pierced, vase-shaped back splats are carved with acanthus and rocaille. The curved arms have downward-sweeping supports. The chairs have drop-in seats with egg-and-dart-moulding on the seat rails. The square front legs have chamfered back corners and foliate brackets, while the back legs are sweeping.
AMERICAN CARVED SIDE CHAIR
This walnut chair has a serpentine top rail centred by a carved shell over a pierced, vase-form splat. It has a moulded seat rail, padded drop-in seat, cabriole legs, and claw-and-ball feet. Late 18th century.
ENGLISH DINING CHAIR
This mahogany chair has an arched, moulded top rail and carved shells at the corners of the uprights, in the centre of the pierced splat, and at the centre of the shaped apron. c.1770.
AMERICAN ARMCHAIR
This mixed wood armchair from Philadelphia has a serpentine top rail, an urn-shaped splat, and flared arms with scrolled knuckles. It has a straight seat rail, a slip seat, cabriole legs, and pad feet. Mid to late 18th century.
GEORGE III ARMCHAIR
This child’s open mahogany armchair has a serpentine top rail and a ladder-back splat. The scroll arms have fluted uprights. The stuff-over seat rests on square, tapering legs. c.1790.
GEORGE III SETTEE
This early George III mahogany chair-back settee has a C- and S-scroll top rail above two pierced, vase-shaped splats with an open outscrolled arm at each end. The stuff-over seat rests on chamfered, square- section legs joined by stretchers.
COLONIAL INDIAN SIDE CHAIR
This Asian hardwood chair has a serpentine top rail above a pierced, vase-form back splat. The shaped seat rail has a padded drop-in seat. The cabriole legs have acanthus-carved knees. c.1770.
AMERICAN DINING CHAIR
This is one of a pair of fine Delaware Valley walnut chairs. Each has a serpentine top rail centred by a carved shell over a pierced, vase-form splat. The moulded seat rail has a drop-in seat. c.1770.
CHIPPENDALE’S CHAIR DESIGNS
In the notes that accompany his illustrative plates, Chippendale wrote that there “are various designs of chairs for patterns. The front feet are mostly different, for the greater choice.” Elsewhere, he was more specific, as with his instructions that chairs should be upholstered in the same material as the window-curtains and the height of the back should seldom exceed 55cm (22m) above the seat — although sometimes these dimensions could be less to suit the chairs to the room.
Chippendale felt that “seats look best when stuffed over the rails and have a
brass border neatly chased; but are most commonly done with Brass Nails, in one or two Rows.” Despite the number of designs in his Director, not all the chair patterns that are termed “Chippendale” are included: the ladder-back design, for example, does not appear.
Chippendale’s designs for chairs and backs of chairs were perhaps the most influential of his designs to appear in the Director. His designs were interpreted by craftsmen throughout the world, who
followed his instructions to varying degrees, and so increased the variety of “Chippendale” chairs.