Posts Tagged ‘display’

Globes
Pair of early nineteenth-century mahogany library globes by Newton, published in 1838 and 1836. The tripod frames with out-scrolled legs ending in brass castors, 3 ft 8 in high        780 0
Large pair of terrestrial and celestial globes by Newton; published 25 March 1875. Supported in mahogany frames on triple curving legs 205 0
Pair of terrestrial and celestial globes in turned stands by James
Wyld, Charing Cross East; published 1847 185 0
Knife Boxes
A pair of mahogany urn-shaped knife boxes, stamped W. Johnston, with domed lids and bodies inlaid with flowers and stripes, 2 ft 5 in high 115 0
Sheraton  inlaid  mahogany serpentine-fronted knife box in
original condition 32 0
Mirrors—Mantel
Empire-style giltwood overmantel with triple mirrored panels
and decorated with classical figures 105 0
Rectangular mantel mirror in a giltwood frame carved with
acanthus and shell motifs, 31 in by 25 in 60 0
Mirrors—Toilet or Dressing
Sheraton serpentine-fronted box-frame toilet mirror fitted with
two drawers, 17 in wide 36 0
Sheraton box-frame shield-shape toilet mirror with two drawers,
18 in wide 30 0
Mahogany box-frame toilet mirror with three drawers, 15 in
wide 15 0
Edwardian   mahogany   box-frame   toilet  mirror   with three
drawers to base, 22 in wide 9 0
Mirrors—Wall
Pair of Chinese-Chippendale giltwood girandoles of rococo outline mounted with phoenix-birds and clusters of flowers from which issue two scrolled candle branches. The base enriched with acorns and oak leaves, 38

in high 650 0
Mid-Georgian wall glass in a giltwood frame carved with scrolls
and foliage and pierced, 44 in high 200 0
Chippendale mahogany mirror with gilt gesso beading
George IV convex mirror in a gilt frame enriched with spherical ornament with two scrolled candle sconces. Crested with a gilt eagle with outspread wings 76 0
Regency giltwood convex mirror with ball encrusted moulded
frame and ebonised slip, 1 ft 11 in diameter 15 0
Settees, Couches and Chaise Longues
Small carved mahogany sofa, the arched back carved with
rococo motifs. Curved arms, carved seat rail and cabriole legs        135 0
some auction room prices ‘. 1968-69
Decorated satinwood cane-panelled settee with loose seat
cushion, 4 ft 4 in George III painted settee with flat rectangular back and arms,
on turned legs. The arms, seat rails and legs are painted
with husks and flowers on a cream ground, 6 ft wide Early George III mahogany settee with stuffed back and arms.
The seat rail and legs are carved with blind fret, 5 ft 8 in
wide, (some restoration) Victorian rosewood frame serpentine-fronted chaise longue on
short cabriole legs
Settles
Eighteenth-century oak settle, 5 ft 5 in wide Seventeenth-century panelled oak settle with box seat, 4 ft 6 in wide
Seventeenth-century carved and panelled tall-back hall settle, 5 ft 7 in wide
Sideboards
Small nineteenth-century sideboard inlaid with ebony lines. Raised back, the centre drawer flanked by a cupboard and deep drawer. Supported on six turned and tapering legs, 4 ft 8 in wide
Hepplewhite-style mahogany serpentine sideboard of rich mellow colour, cross-banded in kingwood and fitted with a napery drawer and cellaret cupboards with octagonal gilt metal handles and supported on chamfered

legs, 7 ft 2 in wide
Georgian mahogany half-moon sideboard with two cupboards to the sides and two drawers with lion ring handles in the centre. Four tapering legs, 4 ft wide
Large mahogany Sheraton-style sideboard fitted with two long drawers and flanked by two deep drawers, supported on tapering legs
Regency Empire mahogany sideboard of architectural form, with a reverse breakfront with two shallow drawers to the centre flanked by deep cupboards. Supported by two curved and four simulated bamboo legs

terminating in brass paw feet. The whole mounted with ormolu and brass griffins, lions’ masks and sphinx and with Adams-style garlands and patera, 7 ft 6 in long
Late Georgian mahogany sideboard with shaped front, the top back rail fitted with three tambour slides. Two cupboards and a centre drawer to the base over a waved apron. Supported on six slender tapering legs, 5 ft

7 in wide
Early nineteenth-century mahogany bow-front sideboard on spiral-turned legs, 6 ft 1 in wide
Tables—Break fast
Regency mahogany breakfast table with brass stringing on the banded top and a turned pillar ending in a reeded quadruped, 5 ft by 3 ft 5 in
Georgian mahogany oval breakfast table with reeded edge and
Tables—Card
Chippendale mahogany card table with shaped folding top on boldly carved cabriole legs ending in claw and ball feet, 2 ft 7 in wide 370 0
Late George II mahogany card table with border of carved flowerheads and legs and frieze carved with blind fret, 3 ft wide 250 0
Regency card table in figured rosewood inlaid with brass flowers and leaves, the D-top on a ringed stem and quadruple brass capped legs, 3 ft wide 190 0
Sheraton mahogany card table inlaid with satinwood lines and
on tapering legs, 3 ft 2 in wide 180 0
George II walnut card table with rectangular top on turned legs
with mantled knees and club feet, 3 ft wide 95 0
Regency mahogany card table with green baize interior on curving quadruple support, ending in brass claw feet. The top is cross-banded 65 0
Victorian mahogany card table with double Sap top supported
on four tapering shafts, terminating in curved legs 44 0
Tables—Centre
Regency painted centre tabic, the circular top simulating green marble, the border with brass mouldings hinged to a carved turned central support on a curved triangular base with lion’s paw feet, 4 ft diameter 120 0
Edwards and Roberts eboniscd centre table with ormolu beading on cluster column and quadruple base, 5 ft 6 in wide 38 0
Red Buhl shaped centre table with heavy ormolu mounts, two
drawers and on cabriole legs. (Poor condition) 11 0
Tables—Dining
Charles I oak dining table with a triple-plank top and the frieze carved with leaves and interlaced arcading, on column legs, 6 ft 5 in long by 2 ft 7 in wide 360 0
Large late George III mahogany dining table, the top richly carved with acanthus, ribbon motifs, satyr masks and a coat of arms. Supported on ten tapering spiral-twist legs with five loose leaves, 12 ft 4 in long 185 0
Georgian mahogany two pillar dining table with triple curving
legs ending in brass-capped feet 122 0
Georgian mahogany oval drop-leaf dining table on turned legs
and pad feet 75 0
Eighteenth-century mahogany oval drop-leaf cottage dining table
on taper legs with pad feet, 3 ft 6 in wide 44 0
Mahogany gadrooned oval dining table with cabriole legs and
claw and ball feet 40 0
Georgian mahogany drum library table with leather top and four real and four dummy drawers. On triple curving legs with brass-capped feet, 3 ft 3 in diameter 680 0
some auction room prices : 1968-69
George III mahogany library table fitted with seven drawers and dummy drawers with gilt metal lion ring handles, the top with gilt tooled green leather and the whole raised on a curved quadruple support with

brass-capped feet
Tables—Games and Sewing
Eighteenth-century mahogany, shaped folding top, games table on nutcracker frame with cabriole legs and claw and ball feet, 34 in wide
William IV games table with sliding and reversible top inlaid as a chess board opening to reveal a backgammon board with two drawers to the side. Central pillar supported on quadruple curving feet
Nineteenth-century mahogany sewing table with rising top and drawers below. The slender tapering legs ending in brass-capped feet
Tables—Gate-leg
George I elmwood gate-leg table, the oval top with flaps on
cabriole legs carved with scrolls and leaves and ending in
pointed pad feet, 3 ft 9 in wide Seventeenth-century oak oval gate-leg dining table with double
flaps supported on bobbin turned legs with plain cross
stretchers, 4 ft 9 in wide Late George II mahogany gate-leg table, the oval top with two
flaps, on unusual legs fluted and ending in paw feet, 3 ft 9 in
wide
Oak oval gate-leg table on turned underframe with drawer, 4 ft wide
Tables—Occasional
Late George II mahogany piecrust table with bird-cage support on fluted stem with carved legs and claw and ball feet, 2 ft 2 in diameter
Large mahogany piecrust tripod table with baluster stem and
pointed pad feet, 3 ft 5 in diameter Mahogany tripod table, the circular top with raised rim, on
cabriole feet, 1 ft 10 in diameter
Tables—Pembroke
Late Georgian mahogany oval Pembroke table with drawer, on
square tapering legs, 2 ft 7 in wide by 3 ft 6 in long Late Georgian mahogany Pembroke table painted with a floral
border and on turned and fluted legs Georgian mahogany Pembroke table with folding flaps and
single drawer, inlaid with satinwood lines and fan motifs, on
tapering legs, 3 ft 2 in wide
Tables—Refectory
Seventeenth-century oak refectory table of slender plain form, the base having square ends united by a single stretcher, 7 ft 3 in long
Oak refectory table on bulbous end supports with central
stretcher, 7 ft 7 in by 3 ft wide 130 0
An exceptionally long oak refectory table with triple curving
supports, 18 ft 6 in long, 3 ft 3 in wide 90 0
Tables—Side
Queen Anne banded walnut side table with two deep and two
shallow drawers on square legs, 3 ft 3 in wide 170 0
Chinese-Chippendale mahogany side table, the frieze carved with
blind fret. Moulded legs, 3 ft wide 88 0
Oak side table with drawer, on turned legs, 3 ft wide 64 0
Walnutwood side table with cabriole legs carved with acanthus
leaves 31 0
Tables—Sofa
George III satinwood sofa table cross-banded with acacia, fitted with two drawers and false drawers opposite on trestle supports with splayed curved feet and brass castors, 2 ft 10 in wide        750 0
Regency banded mahogany sofa table with tulipwood stringing with two drawers on end supports and central stretcher with brass claw feet, 5 ft 10 in extended 380 0
Late George III mahogany sofa table with two drawers in frieze and raised on flat trestle supports with out-curved legs, 3 ft 2 in wide 270 0
George III mahogany sofa table banded in rosewood and with two drawers. It has trestle supports with tripod splayed legs and brass feet, 3 ft wide 250 0
Tables—Sutherland
Mahogany Sutherland table on turned underframe, 2 ft 9 in
wide 42 0
Victorian walnut-veneered Sutherland table on turned supports,
2 ft 6 in wide 36 0
Tables—Tea
Regency mahogany tea table with folding top on a turned pillar and four curved legs, the whole inlaid with brass stringing, 3 ft wide 120 0
Late George II mahogany tea table, the top with a border of flowerheads and ribbon and the frieze and chamfered legs carved with Chinese blind fret, 3 ft wide 60 0
George III mahogany tea table with folding top, a drawer in
the frieze and square tapering legs, 3 ft 8 in wide 38 0
Tables—Wine
Hepplewhite mahogany wine table, the inlaid octagonal top
supported on triple concave curving legs 105 0
Victorian mahogany wine table on pillar and tripod base, 21 in
diameter 10 0
Tables—Writing
George III mahogany pedestal writing table, the gilt tooled leather top with three drawers at each side of the frieze and
the pedestals with cupboards and drawers at either end, 4 ft wide
Early eighteenth-century banded fruitwood writing table, fitted
with three drawers, a shaped apron and on cabriole legs with
pad feet, 2 ft 4 in wide Victorian lady’s mahogany writing table with two short drawers
on lyre end supports, 3 ft wide Carved mahogany writing table with fitted drawer, the top lined
with leather, on cabriole legs, 2 ft 5 in wide
Tallboys and Lowboys
George II walnut tallboy, the top with reeded and canted corners and three small and three long drawers. The base having three long drawers and bracket feet
Queen Anne small walnut tallboy of mellow colour, the upper chest fitted with two small and three long drawers over a brushing slide, and three long graduated drawers
William and Mary lowboy inlaid with scrolls and motifs. The top fitted with two small and two long drawers and two long drawers to the base, 4 ft 3 in high
Georgian mahogany tallboy with dentil cornice and two small and three long drawers to the top and tliree long drawers to the base which is supported on bracket feet
Georgian mahogany tallboy with dentil cornice, the top fitted with two small and three long drawers, the base with three long drawers and supported on bracket feet, 6 ft 1 in high
Waiters
Mid-Georgian mahogany dumb waiter with turned and carved columns supporting three trays. The whole on cabriole tripod feet, 4 ft high
George III mahogany dumb waiter with two revolving tiers and baluster centre on three curved and moulded legs and castor feet applied with roundels, 3 ft 2 in high
George II mahogany dumb waiter with three graduated revolving tiers and spiral fluting on turned central support. Plain cabriole legs, 3 ft 6 in high
Wardrobes
Mahogany breakfront wardrobe fitted with sliding trays, four
drawers and panelled cupboards Small Georgian mahogany wardrobe enclosed by two panelled
doors with three drawers in the base, 3 ft 9 in wide George III mahogany gents wardrobe with pierced swan-neck
cresting, a pair of doors banded in satinwood and two short
and two long drawers below, 7 ft high by 4 ft 4 in wide Regency mahogany wardrobe the upper part with sliding trays
with four drawers under on splay feet, 3 ft 11 in wide
Washstands
Late George III mahogany washstand, the top hinged and opening to form a back, the front with a pair of cupboard doors above one small drawer, on square splayed legs, 2 ft wide
Edwardian three-tier corner washstand with basin 18 0 George III mahogany corner washstand, the slender legs joined
by a stretcher with a drawer, 2 ft wide                                      14 0
Wine Coolers
Georgian inlaid mahogany sarcophagus wine cooler with lion
mask and ring handle on paw feet 65 0
Georgian mahogany octagonal wine cooler with lifting top and
short square moulded legs, 18 in wide 55 0

SOME AUCTION ROOM PRICES

FURNITURE
Bookcases, Bureau-Bookcases and Bookshelves
Sheraton mahogany bureau-bookcase, swan-neck pediment, 3 ft
3 in wide 1,650 0
George II walnut bureau-bookcase 650 0
Georgian mahogany breakfront bookcase, 7 ft  10 in wide,
7 ft 8 in high 450 0
Regency rosewood cylindrical swivel bookcase with shallow
pierced gilt metal gallery, 25 in diameter, 38 in high 284 0
Large Regency mahogany bookcase with dentil cornice, the upper part enclosed by four glazed astragal doors; the cupboards in the base enclosed by four doors with indented panels 160 0
Edwardian mahogany bureau-bookcase inlaid with ribbon, shell and urn motifs in satinwood. The top with swan-neck pediment with double-glazed astragal doors. The fall flap opening to reveal drawers and recesses.

Four long drawers below on bracket feet, 7 ft 5 in high 132 0
Georgian mahogany secretaire-bookcase, fitted adjustable shelving enclosed by glazed barred doors and cupboard below drawer, 2 ft 6 in wide 120 0
Georgian figured mahogany inlaid secretaire-bookcase, the upper part fitted with adjustable shelving, enclosed by glazed barred doors and fitted with two short drawers enclosed by panelled doors below, 4 ft wide 100
Small oak bureau-bookcase, the top with glazed astragal doors, the base fitted with a single drawer and double panelled doors, 5 ft 7 in high 95 0
A nineteenth-century mahogany bureau-bookcase with satin-wood lines. Top having glazed doors. Fall flap to base, which has four long drawers and is supported on bracket feet 56 0
Bureaux and Writing Cabinets
Early nineteenth-century marquetry inlaid cylinder-front bureau with pierced ormolu gallery, mounts and beading, having interior fittings, writing slide and three drawers, on taper legs, 3 ft 2 in wide 475 0
George III mahogany secretaire cabinet, the upper lancet panelled glazed doors above secretaire and panelled cupboard doors, 8 ft 4 in high, 4 ft 2 in wide 250 0
George II walnut bureau inlaid with boxwood lines. Interior having central well, drawers and recesses. Two small and two long drawers in base, on bracket feet 210 0
Eighteenth-century fruitwood bureau with three long graduated
drawers below the fall, on bracket feet, 3 ft wide 140 0
Georgian mahogany secretaire cabinet, the top drawer opening to reveal eight drawers and recesses inlaid with shell motif and a green baize writing panel. Three long graduated drawers to the base. The upper part

enclosed by panelled doors 95 0
Georgian  mahogany fall-front bureau having four drawers
under and on bracket feet, 3 ft 2 in high 70 0
Edwardian mahogany bureau-cabinet with pierced swan-neck pediment over glazed doors, sloping fall front over four drawers, bracket feet 66 0
George II oak bureau with fall flap and small drawers, two small and two long drawers below and supported on bracket feet, 2 ft 10 in high 60 0
Victorian mahogany bureau with sloping fall front over four
long graduated drawers, on bracket feet 58 0
Cabinets
Georgian mahogany bookcase cabinet with arched pediment surmounting astragal double doors. The base with double doors supported on bracket feet, 6 ft 6 in high 470 0
French display cabinet of Louis XVI design, mounted with ormolu female caryatids, the base with panels in the style of Vernis Martin, 3 ft 9 in wide 410 0
Regency mahogany display cabinet, the upper part enclosed by brass grilled and latticed doors, panelled cupboards to the base and supported on bold paw feet 290 0
Victorian walnut display cabinet in the Louis XVI manner, mounted with ormolu and inset with Sevres porcelain panels, two serpentine glass doors to the side and a door to the centre, 5 ft 1 in wide 126 0
Mahogany display cabinet of Chippendale-style with two glazed astragal doors below a swan-neck pediment and supported on cabriole legs and claw and ball feet, 5 ft 3 in wide 80 0
Canterburys
George III mahogany Canterbury with drawer in frieze on
tapering legs, 1 ft 7 in wide 130 0
George III mahogany Canterbury with turned legs 115 0
Georgian mahogany four-section music Canterbury with drawer
in base 85 0
George III mahogany Canterbury with slatted sides and ringed
legs, 1 ft 4 in wide 60 0
Chairs—Open Arm and Elbow
George II mahogany open arm chair in the French manner. Rectangular back and serpentine fronted seat. Arm supports and cabriole legs carved with rococo foliage and with scroll feet 150 0
George III mahogany open arm chair forming library steps,
the arm supports and curved stretchers with rope twist 150 0
Two early stick-back Windsor elbow chairs
Edwardian inlaid rosewood open arm chair with pierced splats
Chair—Dining Sets
Ten Sheraton-period mahogany dining chairs with cross rail backs and satinwood crestings on turned and reeded legs. Two carvers
Eleven Regency rosewood dining chairs with carved and reeded back rails, caned seats and on reeded sabre legs
Set of eight Regency mahogany dining chairs with padded backs, sabre legs. All are strung with brass, with brass carrying handles on the cresting rails
Set of two carving and six single Hepplewhite mahogany chairs with shield backs and pierced vase splats carved with wheat ears, on tapering legs
Set of six single and one carving Hepplewhite mahogany chairs with shield backs and pierced vase splats, supported on tapering legs
A composite set of eight eighteenth-century Dutch walnut dining chairs, inlaid with marquetry depicting floral bouquets, urns, scrolls and birds. Comprising one carving and seven single chairs
Set of six Sheraton inlaid mahogany single chairs with triple splat backs and stuff-over seats, on tapering legs
Set of nine mahogany dining chairs, one carver, in the Hepplewhite style with triple vase splats and drop-in seats
Set of two carving and six single Chippendale style mahogany ladder-back dining chairs with pierced serpentine splats and moulded legs
Set of six Regency mahogany reeded frame single chairs on sabre legs
Set of six William IV single dining chairs with leather seats and sabre legs
Set of two carving and four single Chippendale style mahogany chairs with carved and pierced splats and loose stuffed leather seats, supported on cabriole legs and claw and ball feet
Set of six Victorian walnut single chairs on slender curving legs
Set of six small Victorian walnutwood single chairs with oval backs and pierced scroll splats, on curved legs
Set of four Georgian reeded mahogany wooden seat hall chairs, crested
Set of six elm rush seat chairs with spindle backs Set of six Victorian single chairs with slender curving legs and damask seats
Set of four Edwardian mahogany shield-back single chairs inlaid
with satinwood lines and a fan Set of six Victorian mahogany balloon-back dining chairs on
turned legs
Chairs—Dining Single
Pair of George III mahogany dining chairs with moulded and rounded arched backs and pierced splats carved with foliage
and husk pendants. Upholstered curved seats on square legs
with block toes 50 0
Sheraton mahogany chair with stuff-over seat 17 0
Three early Victorian yew wood standard chairs 17 0
Pair of Victorian rosewood chairs on turned carved legs 5 0
Regency mahogany standard chair on reeded sabre legs 5 0
Chairs—Easy
George III mahogany wing armchair with an arched back,
shaped sides and chamfered legs 140 0
Early Victorian mahogany frame wing easy chair 50 0
Papier m&chi nursing chair with cane scat and inlaid with
mother-of-pearl 30 0
Victorian button-back nursing chair 29 0
Chests of Drawers and Commodes
Chippendale mahogany serpentine chest with reeded and canted corners and with four graduated drawers, on wide bracket feet, 3 ft wide 980 0
Chippendale mahogany serpentine chest, the canted corners pendant with clusters of fruit and flowers in bold relief, 3 ft 3 in wide, 2 ft 8 in high 620 0
Georgian walnut bachelor’s chest with folding top and four long drawers having brass handles and lockplates; supported on bracket feet, 29 in wide, 13 in deep, 32 in high 165 0
Eighteenth-century walnut chest of three short and three long drawers with tulip wood stringing on stand fitted with two short and one long drawer with cabriole legs and claw and ball feet, 3 ft wide 105 0
Small Georgian mahogany commode with fluted and canted
corners and fitted with two small and three long drawers 66 0
George III mahogany chest of two short and three long drawers,
3 ft 2 in wide 28 0
Chiffoniers
Regency mahogany chiffonier with three stepped shelves above with gilt metal sides pierced in the Chinese style, the fronts with rope twist mouldings. The lower section enclosed by two doors panelled with radiating

pink silk, 3 ft 10 in wide        150 0
Regency rosewood chiffonier, the single shelf at the top with acanthus supports. The single drawer to the front containing writing panel and fitted compartments. The whole with double brass rail and flanked by scrolled

acanthus supports        110 0
Coffers and Chests
Early Charles II oak chest of four panelled drawers with
panelled sides and bun feet, 3 ft 1 in wide 65 0
Late seventeenth-century carved oak coffer with a domed lid. The front carved with four arches and surrounded by stylised carving of leaves, strapwork and birds’ heads, 3 ft high, 5 ft 3 in wide 60 0
Early seventeenth-century carved oak dower chest, 3 ft 6 in wide
Seventeenth-century oak coffer with lifting top, the front panelled and carved in low relief with strapwork and foliage and the initials ‘HP,’ 4 ft 2 in wide
Cu pboards—Corner
Hepplewhite free-standing, serpentine-fronted mahogany corner cupboaid. Double glazed doors at the top enclose three display shelves. Base on square feet with double doors
Mahogany bow-fronted corner cupboard with glazed door enclosing shelves
Georgian standing corner cupboard with four panel doors enclosing shelves
George I blue japanned hanging corner cupboard with small open shelves above a pair of bowed doors. Decorated with chinoiseries, 3 ft 9 in high by 1 ft 11 in wide
Lacquer bow-fronted corner cupboard decorated in gilt with Chinese figures and buildings on a scarlet ground. The whole on cabriole-legged stand {not matching), 1 ft 10 in wide
Bow-fronted hanging corner cupboard with the door painted with King Solomon and the Queen of Sheba, 1 ft 11 in wide
Black lacquer bow-fronted corner cupboard with doors decorated with gilt Chinese landscapes, 1 ft 10 in wide
Davenports and Desks
Eighteenth-century partner’s desk in sabicu with tooled green leather top and fitted with eighteen drawers to the kneehole frieze, with rococo gilt metal handles; circa 1780
Queen Anne walnut kneehole desk crossbanded with fruitwood, with one long drawer and two tiers of three small drawers, 2 ft 5 in wide
George III mahogany tambour desk, the shutter enclosing fitted interior with leather-lined slope, pigeon-holes and drawers with two drawers below on square tapering legs with brass castors, 3 ft 1 in wide
Mahogany pedestal desk with leather-lined top and nine drawers around kneehole, 4 ft 8 in wide
Georgian mahogany Davenport with drawers and slide and with leather-lined fall and brass gallery, 1 ft 8 in
Victorian figured walnut Davenport with carved front supports
Dressers
Eighteenth-century oak dresser with three small drawers with brass handles and lockplates and cabriole legs ending in pad feet, 6 ft 2 in wide
Eighteenth-century oak dresser with three small drawers with brass handles over a waved apron, with cabriole legs on pad feet, 6 ft 2 in wide
Stuart-design oak dresser, the cupboards and drawers with geometrical raised panels with gilt metal drop handles
Oak dresser, the top with a shaped frieze, two cupboard doors
and three ihelvet over three moulded drawers to the base,
with cabriole legs, 5 ft 6 in wide, 6 ft 8 in high 105 0

MODERNISM
CHAIRS
AS FURNITURE PRODUCTION steadily
shifted emphasis from craft-based manufacturing to industrial methods, so the look of the chair changed dramatically Ornament was doggedly erased from designs as structure became more important to the aesthetic look. Solid wood began to fall from favour (too expensive and inflexible) as moulded plywood and tubular steel stepped into the spotlight.
Just as the notion of open-plan space was creeping into Western architecture, so furniture was freed from fulfilling just one function. Chairs became
increasingly ambiguous, with some made for indoor and outdoor use, and others equally at home in an office or dining room. Chairs became lighter, too, as they were frequently moved around the house.
With mass production in mind, designers began to concentrate their efforts on fixtures. The aim became
to produce a chair made of a minimum number of components that fitted together easily and quickly It’s no surprise, then, that the cantilever chair became so popular, as the continuous loop of legs and base eradicated the need for numerous nuts and bolts.
While the structure of the chair became increasingly celebrated in its design, as opposed to any stylistic conceits, so the designer as an
individual receded into the background. Industry became more important than art, as designers sought to express nothing more romantic than the manufacturing process.
The reason the chair dominated the focus of designers’ effort`_ is because a person’s emotional attachment is far greater to a chair than to, say, a shelving unit. If Modernist designers wanted to alter their audience’s emotional and intellectual outlook, it was through the chair that they tried to do so.
The slender armrests display a use of cushioning that is rare fora chair by Marcel Breuer.
The steel struts beneath the seat have been bowed so they cannot be felt by the sitter.
The chair is made from non-reinforced tubular steel, thereby making it less rigid.
B34 CHAIR WITH ARMS
The frame of this cantilever chair is made from one continuous loop of tubular steel. Although the base looks as though it is all in contact with the floor, the side pieces bend slightly so that only the corners touch the floor — the idea
being that most floors are slightly uneven and the smallest change in level would make the chair wobble. This chair has arms with elbow supports, and a blue canvas seat and back. Designed by Marcel Breuer and produced by Thonet. 1928. H:85cm (33Vzin); W.57.5cm (22Vain); D:63cm (24-Xin), Qu I
This armchair was inspired by a model made by Alvar Aalto. The chair’s seat and back are made from a single sheet of laminated wood and sit within an oak open-arm frame. H:76cm (30in) CA
LANDI CHAIR
This easy chair comprises a series of square-section planks of pine, joined by wooden dowels. It has a slatted section on both seat and chair back. Designed by Hein Stolle. c.1930. BonBay 2
SIDE CHAIR
The seat and back of this early cantilevered chair are made of ebonized moulded plywood and sit on a chrome-plated tubular-steel frame. The armrests are ebonized beech. Mart Stam for Thonet. c.1930. BonBay 2
ZIG-ZAG CHAIR
One of a pair, this chair has a tubular-steel frame reminiscent of Rietveld’s Zig-Zag chair. The wooden seat is supported on steel rods and has a later vinyl cover. H: 82.5cm (321in); W.41.5cm (161in); D:63.5cm (25in). Qu I
Lightweight and durable, this stacking chair is made from pressed and bent aluminium. Each armrest and pair of legs is from one piece of aluminium. Hans Coray. 1938. H: 76cm (290); W.51cm (19in); D:55cm (21in). BonBay 2
CLUB CHAIR
AALTO-INSPIRED CHAIR
EASY CHAIR
The rectilinear frame is made from stained pearwood secured with brass fittings. The chair is upholstered in hand-woven woolen fabric. Peter Keler, Bauhaus Weimar. 1925. H:69cm (27in); W.62cm (24V:ln); D:68cm (26%0). WKA
LOUNGE CHAIR
CANTILEVERED ARMCHAIR
One of a pair, this armchair has a tubular-chrome frame and seat with cushions upholstered in a dark brown, brushed fabric with red trim. The armrests are black-enamelled. H:86.5cm (34in). SDR I
Designed by Gilbert Rohde, this cantilevered armchair has a bright chrome base and black laminated armrests. The cushions are upholstered in ivory leather with a black trim. H:94cm (37in). SDR 1
THE STACKING CHAIR
STILL FOUND IN CAFES WORLDWIDE, THIS ICONIC DESIGN IS PERHAPS THE FIRST STACKING CHAIR, AND CERTAINLY THE FIRST WIDESPREAD DESIGN, OF ITS KIND.
The so-called Bistro chairs These have a pressed-steel frame and are painted red; with plywood seats. c.1926. H:82cm (32Vin). DOR 3
The origins of this chair, despite the efforts of numerous historians, have proved murky at best. The design is most likely to have been developed in France some time around 1925, specifically for the country’s booming cafe culture. The chair bears a strong, albeit rather crude, resemblance to chairs designed by Emile Jacques Ruhlmann, although it’s doubtful whether the French high-society designer ever had a hand in its conception.
What is perhaps most impressive about the chair, apart from its stackability, is its economy of materials. The steel used is incredibly thin and, to give the legs rigidity, the steel has been subtly curved. To save further on metal, holes have been cut from the seat back. While the perfect low-cost, space-saving chair was to become something of a holy grail for 20th-century furniture designers, few ever bettered the chair design that first set the ball rolling.
FREE SWINGER ARMCHAIR
The base of this chromed-steel cantilevered armchair from Austria is the only part of the structure that is exposed. The chair seat and back are filled with down and upholstered in sand-coloured velour. H:84cm (331in). DOR 3
LAMINATED LOUNGE CHAIR
This chair has been made from one sheet of cut and moulded laminated birch and resembles the Gerald Summers classic (see p.438). The arms are fixed to the back with metal brackets. Hans Pieck. 1944. H:76cm (30in). Bon Bay 4
BAUHAUS ARMCHAIR
This chair was designed by Erich Dieckmann for the Weimer Bauhaus, in collaboration with Ernst Mayo. Made from solid beech, it has a bowed back and slatted seat. c.1930. H:81.5cm (321:in); W.52.5cm (21in). WKA
DINING CHAIR
This is one of a pair of stacking birch plywood dining chairs that were produced by Artek. The chair has a circular wooden seat and a pierced plywood back, supported on L-shaped plywood uprights. c.1930s.
DIAGONAL CHAIR
This chrome-plated, tubular steel chair is named after the supports between the seat back and legs. The arms, seat, and back are of laminated wood. W.H. Gispen. c.1927. H:82.5cm (321-in); W-54cm (2111n): D:60cm (23,Xln). QU 2
SLATTED CHAIR
This Viennese chair has a tubular-steel frame and solid, stained-beech wooden slats for the seat and back. The arms have wooden armrests. One of a set of four. 1925. H:84.5cm (33V4in). DOR 3

MODERNISM TABLES
AS WITH MOST FORMS of furniture
during the interwar period, tables were subjected to a radical process of reduction. All details deemed superfluous were stripped away to leave what designers considered to be a pure, practical form.
Marcel Breuer, the Hungarian-born student-turned-teacher at the Bauhaus, was the designer who most successfully achieved the desired, pared-down look. Utilizing tubular steel, a material that he is said to have borrowed from the bicycle-making industry, he produced tables that expressed little beyond their own function.
Eileen Gray’s tubular-steel and glass side tables, now known as the E1027 tables in reference to the house for which she designed them, may not be as rudimentary as Breuer’s tables, but they display more invention. The tops of the tables can be adjusted to sit at differing heights, and the table’s stem
is placed at the side to allow the table top to come over air item of furniture (which, in Gray’s case, was her own bed). Such versatility was to become a key feature in table design of the Modern era.
Since many designers in the interwar years were reacting to the excesses of the Art Nouveau style, most table tops were either a simple, unadorned circle or square. It wasn’t until after World War 11, with the advent of a more organic style, that this strict design principle was relaxed and irregular shapes came into use.
Glass, plywood, and tubular steel were always considered the most cutting-edge materials from which to make tables (due to their close association with industry), although some designers did use solid wood. If this was used it was considered important to avoid all efforts to carve or decorate it, thereby keeping its surface as clean to the eye as possible.
The tables “nest” so as to save space in small apartments.
The black-painted tops hide the wood grain and give the tables
an industrial look.
Chrome plating g) ves the tubular steel an alluring gleam.
NESTING TABLES
This series of four nesting tables fits neatly, one above the next, in a stack. They all have the same depth, but increase in width and height as they grow in size. Each table has a simple, rectilinear, chrome-plated tubular-steel
frame and a black-painted wooden top. The top sits flush with the table frame. Designed by Marcel Breuer at Bauhaus Dessau in 1925-26, it is thought that they were initially designed as stools. This example was re-issued by Toots in 2004. Largest table: H:60cm (231-,in);
W.66cin (26in); 0:38cm (151n). TEC 2

GLASS DINING TABLE
Made of tubular steel, the frame of this table consists of a rectilinear base. At the top, at each end of the table, is a semi-circular support for the glass table top that interlocks the base. There are rubber pads on the
supports, where they come into contact with the table top, to cushion the glass and prevent slippage. The glass top has been ground at the corners to produce smooth curves. Attributed to Emile Guillot and produced by Thonet, Paris. 1930. H:79cm (311m): W:120.5cm (471in); D:725cm (281in). WKA 4
BLACK-ENAMELLED TABLE
The chrome-plated tubular-steel frame of this dining table offers a support for the black-enamelled rectangular table top, before dropping to the floor in each corner to form the legs. Each leg is made from two parallel
lengths of steel. As the legs reach the floor, they join in the centre to form one single length of tubular steel below the table top. Designed by Wolfgang Hoffmann for Howell. W.147.5cm (581n). SDR 1
EXTENSION DINING TABLE
This extension dining table was made in America. The simple, straightforward design consists of a plain, rectangular wooden top with two pullout leaves. The leaves, which are concealed
underneath the table top, increase the table’s
width by 45cm (18m) on each side when extended. The top rests on a trestle base that ends in tubular-steel stretchers and bracket feet. Designed by Gilbert Rohde. Closed: W.152.5cm (60n7). SDR 2
SUNSHADE TABLE
This two-tiered end table is one of a pair. Each black laminate table top has a chrome trim. The smaller, top table sits flush with the tubular-steel frame, and the larger, bottom table is supported by the table base and legs. Designed by Gilbert Rohde for Troy. W.45.5cm (17Yin). SDR I
PALADAO DINING TABLE
This flip-top, wooden dining table has a simple rectangular top with rounded corners. It has two additional leaves for extending the table size and a fifth leg for extra support. The legs taper sharply as they reach the floor. Designed by Gilbert Rohde for Herman Miller. H:91.5cm (3617). SDR 1
TABLES 447
MODEL 91 TABLE
The rectangular top of this table is made from unlimed oak and has a black-linoleum surface. The corners have been slightly rounded. The table top rests on four rigid, chrome-plated tubular-steel legs. Designed by Marcel Breuer for Embru. c.1933. W.120cln (48io). DOR 4
SIDE TABLES
These side tables are made from chrome-plated tubular steel, where the table’s stand is placed to one side can be adjusted to raise or lower the height of the circular glass table lop to still a range of purposes. Designed by Eileen Gray. c. /9`/. 1) !z/( m (20in). DOR I
CAFE TABLE
The square top of this table has a black-linoleum surface with a riveted, plate-steel surround. It rests on four chrome-plated tubular-steel legs, which bend to meet each other in the centre above an X-shaped, tubular-steel base. The linoleum top is new. Produced by Thonet Mundus. (-.1930. H:75cm (291m). DOR 3
GAMES TABLE
The square, orange-laminate table top rests on a chrome-plated brass base. The base hinges in the centre, making the table collapsible. At each corner is a swivel plate for holding a glass. Designed by Boris Lacroix. c.1930. H:70cm (271in). DOR 3
BEECH SIDE TABLE
Designed and manufactured in Sweden, this small side, or occasional table has a circular, white laminate top above three bent-beech legs. The legs taper slightly as they reach the floor. Designed by Bruno Mathsson. 1936. D:44.5cm (17Yin). SDR 3
ROSEWOOD TROLLEY
The circular, rosewood top of this trolley table has hinged sides and rests on a chromium tripod base. The front wheels are also made from rosewood. The caster at the rear of the table is used to stabilize the trolley. H:56.5cm (221in); D:80ca) (311in). L&T
BAUHAUS SOFA TABLE
The table’s frame consists of a rectilinear, nickel-plated tubular-steel base, with a rectangle of tubular steel suspended below the circular, plate-glass table top. Designed by Marcel Breuer in 1929 and produced by Thonet. This example is a Tecta re-issue from 2004. H:60cn7 (231,in): D:80cro (311in).

Stools, Chairs and Settees
Early forms of stools—development of the chair—scarcity of chairs before the 17th century—etiquette of the joined stool—upholstered farthingale chairs—”monk seats” and Commonwealth chairs—Restoration chair design—characteristics of William and Mary chairs—Queen Anne cabriole legs and the fiddle splat—wing chairs—Chippendale chair designs—chair backs of Hepplewhite—Adam’s classical shapes—Sheraton elegance—Regency and early Victorian chairs—the mystery of the Windsor chair—harlequin sets—the emergence of the settle—love seats and the development of the settee two tiered tables .
On a marble panel in Athens which dates from around 400 B serving tray antique tea table for sale .c antique butler type ashtrays . a woman is to be seen seated on a chair which has all the characteristics of a British chair of the Regency period antiquing furniture . The designers of Regency furniture, like Thomas Hope and Henry Moses, went to the ancient civilisations for their inspiration and this chair in the Athenian sculpture is an interesting case of “it has all happened before” 6 legged table antique .
After the disorders of the Dark Ages when so much of art and craftsmanship was lost, the way of making beautiful and serviceable things had to be rediscovered or reinvented antique regency revival sideboard . At the beginning of the early Tudor period it can be said that in any house, even of the greatest importance, most people had to be content to sit on stools blacks, meissen, porcelain . Sometimes these were of the planked type as illustrated in Chapter 1, but more often they were made of turned wood with triangular shaped seats women brass lamps . This type of stool was common throughout northern Europe and when they are encountered it is difficult to say what may have been their country of origin painted romer glass .
Small chests were also used as seats in early times and formed one of the sources from which the chair developed, the other being the triangular-seated stool japanese black lacquer round tea table . In both these instances the need to provide additional support for the body brought about the addition of backs and arms to the stools antique french office chair . The first box or chest chairs were very heavy and cumbersome and it became evident that there was little advantage in constructing chairs in this way antique half circle dropleaf table . For a short while this type of chair was made without the lower side and back panels but with the front panel still included staffordshire figure lovers couple . By the middle of the 16th century the oak armchair, without any lower panels in the framework, was to be found in most houses of the reasonably well-to-do antique porcelain +swan +painted .
A custom, lasting for many years, delayed the employment of the chair for general use black stinkwood table sale . During the second half of the 16th and for the greater part of the 17th century it was commonly accepted that only the head of the family or the master of the house should occupy a chair 2 tier adams style table lid . In some homes a thoughtful husband might provide a chair for his wife but as for the rest of the household, they had to use stools or remain standing wiener werkstatte chair . The modern word chairman, to denote the head of a committee, is probably derived from this ancient practice earthenware mixing bowls antique with handles . On a point of etiquette, observed in Britain during the 17th century, a host and his wife would vacate their chairs when entertaining an important guest and would sit on joined stools, as a mark of deference, while the guest occupied a chair american spoonback armchair .
The heavy oak arm-chair of the late Elizabethan and the early Stuart periods was of very much the same pattern with turned legs and a carved or inlaid panel in the chair-back candlestick 17th century church . The only marked difference in construction was in the top rail of the back antique display cabinet half round . While the Elizabethan chair had the top rail jointed between the uprights, the Stuart version had the uprights jointed into the top rail which projected at the sides and was supported by “ears” or small brackets 18th century card table .
The joined stool must have been made in considerable numbers during the 17th century as it was frequently referred to in bequests and inventories empire pier table . Nowadays, it is sometimes called a coffin stool which is rather a misnomer breakfast serving tables . It is true that in many old churches joined stools are to be found carrying piles of hymn books or collecting boxes and occasionally they may have been used for supporting a coffin during a burial service, but they were certainly not designed for that purpose european porcelain marks 1742 . A joined stool was the average person’s seat in the 17th-century household, either at the dining table or around the fire kidney shaped tables antique . It is likely that those found in old churches today were banished there from the vicarage when custom and funds permitted the parson to provide himself with the more comfortable chairs botanical antique ceramics collectors .
While chairs with wooden seats were in use throughout the 17th century and also during the 18th in the houses of country-folk, upholstereed chairs did appear in the early Stuart period antique extend side table . These, like the farthingale chairs, have already been mentioned in a previous chapter but during the Commonwealth somewhat heavy oak dining chairs were taken into use about the same time as the gate-leg table appeared thomas sheraton games table . These were similar to the farthingale chairs but had lower seats and higher backs which were upholstered in thick leather and edged with large brass round-headed nails antique empire pier table .
An interesting, dual-purpose piece of furniture was developed about this time satsuma pottery thousand flower . Known as a table-chair, it was constructed so that when the table-top was tilted to a vertical position it formed the back of a chair kidney shape dressing table . It is sometimes referred to as a monk’s seat, but the Dissolution of the Monasteries and the consequent banishment of the monks from the British way of life had occurred over a hundred years before the table-chair was invented 19th century tables .
The chief characteristic of Restoration chair design was the spiral twist for legs and backs english refectory table . A favourite motif of the wood-carver for chair decoration was the device of two cherubs, or amorini, supporting a royal crown c 1840 antique pedestal card table . This was inspired by the return of the monarchy after the Commonwealth and remained in popular favour until the close of the century antique secretaire . Chairs of the better quality were usually made in walnut but in the provinces many dining chairs were produced in oak 18th century chamber pots . Two varieties of these are usually referred to as Yorkshire and Lancashire chairs antique chair tall skinny back . They were quite heavily made and the former had two shaped and rounded back-rails, decorated with carving and bearing a small bearded mask century hepplewhite walnut card table . Traditionally, this was said to represent the death mask of the martyred Charles I and earned for this Yorkshire type the name of mortuary chair antique soup terrines . The Lancashire chairs, on the other hand, have panelled backs and I have an example in my possession on which the carving is very similar to that on a set in the ancient Chetham’s School, Manchester, which dates from the mid-17th century royal sheffield candlesticks . The finials on the uprights of my chair are the same as those on a settle which appears in Brueghel’s painting The Village Wedding meissen scattered flowers tea sets . The Brueghel picture was painted about 1530 and so we realise the slow movement of continental influence showing itself in the north of England over a hundred years later 16th century japanese tables .
Portuguese and Spanish characteristics, entering England directly through royal marriages or more deviously through France and the Netherlands, considerably affected the design of William and Mary chairs scriptoire . Here is found the tall, narrow back and the scrolled foot which during the reign of Queen Anne was to develop into thy, cabriole leg art deco polished matte lost-wax castings o nude women in bronze by viennese artisans . On these chairs the design of the upper back rail is often repeated in the lower front rail antique chippendale dining chairs with bronze leg decoration .
The type of chair which evolved during the first decade
of the 18th century was very pleasing to the eye antique brown staffordshire . The first cabriole legs were quite plain but the chair-makers of the lime did not consider that the chair legs were sufficiently strong to be made without connecting stretchers antique dining room with bulbous legs . However, by introducing a deeper seat rail it became possible to make a stronger joint at the top of the chair leg and eventually the stretchers were dispensed with altogether antique dresser names . The chair-backs of the Queen Anne period were of a pleasantly rounded appearance with a fiddle-shaped central splat, curved to support the sitter’s back meissen figures .
During the early Georgian period the cabriole leg remained in favour and without the stretchers was more sturdily fashioned than the finer Queen Anne shape 17th century writing desk . Moreover, it became the custom in the better class of chair to ornament the knees of the cabriole legs with carved shells, acanthus leaves or satyr masks american art deco bar furniture . Instead of a simple pad at the bottom of the leg, the ball and claw foot was adopted 19th century pennsylvania furniture prices . This was a pattern derived from a Chinese dragon motif which clasped in its claw a celestial pearl 19th century antique hall table . All-over upholstery of chair backs now became fashionable, but it was a vogue which died out when Chippendale and his contemporaries introduced the elaborately carved chair backs of the mid-18th century duncan phyfe table and buffet .
Chippendale included a straight, square sectioned leg among the designs for his chairs and when made in the Chinese taste these were covered in low-relief carving to simulate lattice work edward round drum tables . As if there was some doubt as to the structural efficiency of these legs, the use of stretchers was re-introduced art deco round glass chinese painted coffee table value . Chair backs were generally rectangular, whether the style was Gothic, Chinese or one of the many rococo patterns which decorated the pierced splats antique bedside toilet . Some of these complicated designs from Chippendale’s Director were rather pleasingly simplified by country craftsmen, e antique silver fish knives ivory handle .g english knife box . the well-known rush-seated ladder-back chair early american wall mirror .
Around the beginning of the 18th century the wing-wardly curving upholstered arms and cabriole feet antique german breakfast table . Later in the century the arms were made more upright and the side wings larger victorian cherry drop leaf table . The wing-chair is deceptive both in size and comfort small antique dressing table with cabriole legs . It often looks smaller than it really is and care should be taken before buying one to ensure that it will really fit in wherever it is intended to go early 19th century mahogany desks with lion feet . Although the winged chair marked a great advance in human comfort at the time, the unsprung seating feels hard compared with the resilience of 20th-century upholstery antique inlaid marquetry dutch chairs .
While George Hepplewhite was known to have made a considerable quantity of furniture to the designs of Robert Adam, he himself was probably responsible for many well-known types of chair such as the shield-back, the oval-back and the feathers pattern sofa table mahogany antique . The backs of Hepplewhite’s chairs were more rounded than those of his predecessors and he also favoured tapered legs which were often fluted utensils used in britain for cooking . His furniture generally was of a lighter appearance than that which had gone before occasional tables painted india . Sets of dining chairs usually consisted of ten or twelve single chairs and two arm-chairs or carvers antique rectangular drop leaf dining table . These latter were designed to accommodate the broad figures and full frock coats of the l8th-century gentlemen and the seats were made proportionately wide rue la la . The curve and sweep of the arms is also noteworthy for they were cut from solid blocks of mahogany of a size which would make it uneconomic to employ in modern reproductions “myott, son & co” .
Robert Adam designed his chairs to match the classical interior decoration of the houses he built vintage wooden card table . They had turned and fluted or tapered legs and the lyre-back pattern was typical 19th century glass fronted cabinet . He contrived some elegant gilded chairs whose backs were adorned with small painted medallions on which appeared figures from Greek and Roman mythology georgian dressing tables . These were painted by contemporary artists like Angelica Kauffmann and Zucchi lenci mermaid figurines . Adam also introduced the fashion for painted beechwood furniture, and chairs in this style were often finished in black or white paint, neatly lined with gilding kem weber furniture designer prices .
For some time previously gilded furniture had enjoyed considerable popularity art deco reproductions clock . It is said that it was first introduced according to the wishes of the wives of those Georgian gentlemen who were filling their Palladian mansions with the rich but somewhat sombre mahogany furniture rare antique drop leaf . Quite a large proportion of this gilded furniture was imported from France and it is very difficult to identify English made chairs from the French originals german antique work tables . French chairs are believed to have upholstered pads on the arms and small peg-like ends to the scrolled feet while English gilded chairs are supposed not to have had any upholstery on the arms while the scrolls reached right down to the end of the legs bauhaus style furniture +scale . 1 have, however, seen both English and French chairs with variations of all these characteristics oriental writing bureau cabinet .
The rectangular chair-back returned with Thomas Sheraton, who of all the 18th-century designers could probably claim to have the greatest delicacy of taste antique chamber cabinets . He owed this success to a lightness of construction, hitherto unattained, and to his use of the natural beauty of the mahogany and satinwood grain directoire sofa . This he left without embellishment except for a slight amount of inlay and some boxwood stringing along the edges antique 18th century cedar chest . Sheraton was very close to the 20th century in his chair designs and I have seen dining chairs produced by well-known designers of the present day where the influence of Thomas Sheraton has been very strong indeed andre delatte .
Regency chairs have a distinctive elegance of their own, and although they could be bought quite cheaply in sets before the 1939-45 War, today they are very much in demand nest of 20 drawers . They are rather simply shaped with slender, turned legs and attractively scrolled backs antique art deco fixture . The back rails are often inlaid with ebony or brass and the lower rail is sometimes found carved like a rope length silver forks made in london . It was during this period that the top back rail was constructed so that it protruded on either side of the uprights, this design often being associated with the so-called sabre-shaped leg small sterling silver clocks .
The Restoration spiral twist now re-appeared in the Abbotsford furniture of the early Victorian period antique kayseri silk carpet pictoral niche . These chairs were usually made of walnut or rosewood but could never be mistaken for late 17th-century pieces antique oakchamber pot chair with hinged top . In spite of their rather fussy character and beadwork upholstery they are attractive and well worth acquiring bone handled fork converted to knive . About 1860 the cabriole leg returned to favour and many sets of attractive chairs, designed for the drawing room or parlour, were produced walnut escutcheons . Country-made rush-seated chairs with turned spindle backs and club legs date from the early 19th century and are still made in some northern counties french table stretcher draw leaf .
The origin of the Windsor chair is shrouded in mystery, as is also the name antique dresser with drawers stamped 54 . The tale that George III discovered this turned-wood type of chair at a house in the Chilterns and found it so to his liking that he had it sent to Windsor for his personal use may be accepted with that degree of credulity accorded to many fables concerning antiques cabinet makers antique work bench . Some authorities date the Windsor chair from the late 17th century and others from the mid-18th edwardian wardrobes . It is more than likely that in areas such as the Chilterns, where there are extensive beech forests, turned-wood stools and chairs have been produced for a very long time, even as far back as the 16th century desk boulle style . The Windsor chair as it is known today was really a product of the 18th century and it was probably during that time that it reached that very high degree of functional design for which it has become famous william kent eagle console table . Traditionally, these chairs have legs and spindles of beech which until a short time ago were shaped on crude lathes in the beechwoods by turners known as bodgers antique draw leaf dining table . The hooped backs and arms were made of ash which could be easily steamed and bent to shape while the seats were of elm because they could be cut in one piece from the broad elm boards silverware sets real fake . Some Windsor chairs have yew-wood arms, backs and spindles but are rather more rare and consequently more expensive to acquire italian provincial furniture . Those which have a shaped central splat in the back with a small wheel-like figure incorporated in the design are usually referred to as wheel-back chairs german antique sideboards and buffets fluted .
I have already mentioned sets of Georgian dining chairs and these command a high price, even when country-made russian porcelain antique . Due to a 19th-century custom of dividing sets of chairs among the beneficiaries of the will on the death of the owner, it is quite common to find single specimens or pairs of chairs of almost any period in sale-rooms and antique shops 18th century victorian toilet in dining room . Accordingly, it is not a difficult matter to collect what is sometimes referred to by the antique trade as a harlequin set of different chairs, either of the same or various periods empire curved bureau . In my dining room I have a very pleasant example of the Hepplewhite period, a pair and one single chair of Sheraton design, and two Regency carvers song dynasty bluish green glazed earthenware . None of these cost more than £5 and some much less countries that art deco was very popular .
High-backed oak settles look cosy and attractive before an open fire in a country inn but they are not really very comfortable and seldom fit in with a modest collection of antique furniture 18th century king george red velvet arm chair value . They often have a chest beneath with a hinged lid in the seat and sometimes shaped wings at the sides to combat the draughts pilaster bookstand price . The low-back settle or panelled settee with cabriole legs and a long overlaid cushioned seat are a better proposition and can be bought for under E10 antique cherry drop leaf table claw foot .
Of much rarer vintage is the double seated settee or love seat, designed according to tradition for the use of courting couples “desk”+”antique” . I believe that this is just another fable as these seats are not infrequently found in pairs, the second one provided, perhaps, for the chaperone simple design dressing table . More likely these love seats were merely part of the seating accommodation provided in a large salon or ballroom for the assem-blies and routs so much beloved by the Georgians ornate antique silver roast serving platter .
Longer settees with cabriole or square Chippendale type legs, and with padded arms and upholstered seats and backs, made an appearance in the second half of the 18th century francaise antique . Apparently they did not develop in popularity as there are comparatively few about and their places were taken by the sofa and couch swansea duck egg .