Country Chair of c. 1800 -  Regency Chair - A Regency Period Library Chair - A Gillows Chair - Balloon-Back Victorian Chair in Walnut

A very simplified country chair of c. 1800. The design owes something to Sheraton in the tapering front legs and squared style of the back. The two horizontal rails are very plain and more ornamented versions are to be found. The solid bowed seat is made of elm and the rest of the chair is fruitwood.
Late 18th/Early 19th century oak spindle-back chairs, sometimes called ‘Lancashire’ chairs. They are rush-seated and are sometimes made of elm.
Another very elegant Regency chair with rope twist motif on the back and sabre legs. The caned seat again adds to the overall lightness of design.
A Regency arm and single chair similar to the previous example in ropetwist designbut withdrop inseats insteadof cane. Thepanelbetween the horizontal rails in the back is inlaid with brass.
A similar pair of Regency chairs with reeding continuous down back uprights, sides and sabre legs. The carved decoration is simple and elegant.
A Regency period library chair which converts into a set of steps. These chairs usually attracted a high degree of craftsmanship and are normally in either mahogany or rosewood. The arms and sabre front legs exhibit typical Regency characteristics although there is a hint of William IV in the broad carved top back rail.
Rather a hybrid piece of furniture which was either little made originally or subject to demolition from heavy bibliophiles. Either. way, now becoming rarer and more expensive.
A mahogany Regency chair with lyre motif in the back. The curved side rails and sabre legs are reeded to give a continuous effect. The drop-in seat is located by a peg set in the top of the front rail. As with all sabre-leg chairs the front legs should be examined carefully to seewhether the top has beendamaged; the constructionof a sabre leg necessitates cutting across the grain of the wood thereby reducing the strength of the timber.
It is a sign of quality if there are none of these repairs.
For some reason the lyre causes a rush of blood to the head in chair purchasers; look for inflated values accordingly.
A typical Regency mahogany sabre-leg chair of pleasing proportion and design. Elegant and small, yet comfortable, this type of chair has become understandably very popular since the war of 1939-45. They are also to be found in rosewood, an even heavier and more durable wood which increases their value.
A late Regency or William IV period chair made of mahogany. In the heavy curl of the arms and the fluted front legs the approach of the Victorian era is foretold. The bold, wide, outward-pointing top rail is typical of the 1830-40 decade. Look out for conversion front legs i. e. the original turned and fluted ones are sometimes removed ana replaced by sabre legs to increase value.
Typical late Regency-cum-William IV rosewood single chair. The front legs are octagonal in section and the design has become heavier. The drop-in seat is still light in character however and the classical influence still evident.
A Gillows chair of 1841 made for Colonel Cradock. The back shows a stage in design which precedes the balloon back, while the heavily turned and reeled legs of the period have been replaced by finely made and
decorated cabriole legs. The seat rail has moved away from the Straight Regency design, and the total appearance is much lighter than the sub-classical designs of the 1820-40’s. The top rail is undecided as to whether it is to follow the downward curve of the preceding example or to strike out into the new balloon shape. The French influence is also evident in the decorative effects.
Another mid-Victorian chair with cabriole legs and needlework back and seat. The legs are more slenderly treated, with less curvature and the scrolled knobs at the feet are less accentuated.
A country mahogany chair of the 1820-40 period. The Regency influence is evident in the arms, but the broad top rail belongs to the later part of the period.
Balloon-back Victorian chair in walnut. The cabriole legs, despite a tendency towards bandyness, mark the distinct move away from the heavy turned legs of the previous years. The nicely proportioned curve of the seat rail between the legs helps to accentuate the change to a flowing, curved effect. These chairs were evidently very popular and were made for a number of years - perhaps up to the 1860’s and in a modified form throughout the rest of the period.
Early Victorian (1839) Gillows chair with turned and fluted front legs. The downward curve of the thick top rail, which is carved, helps to produce a more integrated design. It is a sitting room chair with padded back to give additional comfort.