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.

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.

Thomas Hope, connoisseur and dilettante, is credited with the original concept of this radical design, but it was George Smith, cabinet-maker and furniture-maker who simplified the neoclassical shape and made the flush-sided chair a practical
Signs ofauthenticity
1. In solid wood, cut across the grain on the side frames so that at no point is the grain running at an angle of more than 45′.
2. Back rail and crest rail tenoned inside back frame supports.
3. Seat frame flowing in continuous line from crest rail to legs.
4. Upholstered seat contained within seat frame, not
overstuffed.
5. Decoration, stringing, brass inlay, flush with surface and silhouette.
6. On chairs with arms, arm supports in counter-curve to front legs, often with scrolling at armrest.
7. Arms follow precise curve of seat and back frame, finishing flush into front of back support.
8. On chairs with arms, upholstered seat contained within seat frame and arms.
9. Front legs with more pronounced forward curve than back curve of back legs.
10. All legs square-sectioned, unstretchered.
Likely restoration and repair
11. Caned seats replaced with upholstery, covering front seat rail.
12. Legs broken, split and
pinned - most vulnerable point just below knees of front legs. Examine grain closely for
repairs.
13. Back supports broken and repaired. Both these points may not detract from appearance but considerably weaken structure.
14. Decorative brass rosettes on sides of knees, seat frame
junction with back legs - may conceal pinning or repair.
15. Attractive if incongruous carving on front legs other than reeding. Probably conceals a partly replaced leg.
commercial proposition. Its lines derive from Ancient Greek and Egyptian rather than the Adam `classical’ and it represented the height of the Regency taste for unbroken lines and severe curves. Probably the most well-known design – certainly the most copied and reproduced – is the `Trafalgar’ chair, with a rope-twist incorporated into the crest rail or back rail, made to commemorate Nelson’s victory.
There had been many technical advances in furni making by the end of the eighteenth century. Steam-driven machinery, bonding, laminating and veneer-cutting , all had a considerable influ on furniture design. There also a far greater scientific understanding of weight and stress. The flush-sided chair remarkably modern construction, with the timbers cut scientifically across the grain so that the leg and side-frame were made in a single piece, bonded to the curving back and back leg in a single continuous line.
Construction and materials
This radical design was made in solid mahogany, rosewood, simulated rosewood, ebonized beech, real and simulated calamander, and, in some less costly versions, with side frames and seat rails of solid dark woods with a beech underframe. The test of a genuine flush-sided chair is that it can be laid completely flat on its side on the floor. Legs are always unstretchered, the front legs frequently have a more pronounced curve than the back legs - hence its name ’sabre leg’. The crest rail, often several inches deep, is tenoned to the inside of the back supports and does not overrun the seat frame. Chairs with flush sides and crest rails over-running the side are of later date. Seats were upholstered and curved with the side-frame. They were never overstuffed at the front, where there was always a straight seat rail joining the two high-curving knees.
In line with the fashions of the day, the sabre-legged chair was also made in a lighter construction, with a dark wood, or ebonized beech for the frame, and caned seat and back panel.
Detail
Frequently there was continuous reeding which carried from the side of the crest rail, down the top of the seat frame, over the knees and down the front of the slightly tapered square-sectioned legs. Brass inlay, stringing and decoration were flush with the surface. On arms, there is often scrolling at the end of the armrest.
Variations
These chairs required a considerable amount of technical knowledge and equipment to make, and consequently there are no country versions of this design.
The simple shape of the traditional slat back with a deep, plain crest rail and plain wooden or rush seat could probably be related to the sabre-legged chair, but it would be stretching the point. The most commonly reproduced design is the over-curving S-armed chair with matching
dining chairs, often with caned seats, and most frequently found in beechwood, ebonized or painted and gilded. Strictly speaking, these are not true flush-sided chairs, since their arms are round-sectioned and their wide crest rails usually overrun the sides.
Below left: flush-framed, c.1830. Right: cane-seated, flush-framed, c.1820. The rope-twist crest rail has been broken by a stylized decorative design.
Reproductions
Victorian
From the beginning of the Victorian period, the pure shape of the flush-sided chair became spoiled by turned front legs instead of the strict curve of the sabre leg. This was probably because the flush-sided chair was by nature expensive to make and used a considerable amount of timber to achieve the right
spring and strength to the legs.
Twentieth century
Few of the myriad variations begin to match the elegance and simplicity of the original. About 30 years ago the lyre back was very much in fashion, and a variation of the flush-sided chair was made commercially by some high-quality manufacturers, usually in ebonized beech. They proved to be far less durable than the originals, mainly because the difficult cross-cutting of the timber was skimped, and the sabre legs split where the grain ran at too acute an angle.
Modern versions of a cane-seated flush-sided chair are to be found in some high-quality department stores, made with modern techniques, probably in High Wycombe, centre of the chair-making industry in
England, where many of the originals were also made.
Price bands
Late Regency, with overrunning crest rail, £120-150 each. Set of six, £800-1,000.
Cane seat, simulated rosewood, beach frame - set of six, £.880-1,000.
S-arm chair, £250-320.
Plain mahogany - set of six, £700-900.
(Rosewood more expensive than mahogany; brass inlay also more expensive.)
William iv turned leg - set of six, £600-850.