William and Mary period  walnut armchair -  oak Queen Anne period country chair - Walnut Queen Anne period corner chair

An oak armchair of c.1680. Note that the stretchers also exhibit twist turning as well as all the uprights. The back carving is well executed with the top rail and front stretcher showing two cherubs supporting a coronet  ‘boyes and crownes’. These chairs, taken singly, are still somewhat undervalued although sets are a specialist demand and command high prices. The back and seat were probably caned originally.
Three more late seventeenth century country chairs - c.1690 in oak, showing the variations possible in the back. The squab seats have been added for comfort. It is interesting not only to see the similarity of leg and
stretcher construction but the variations possible in the turning of them.
Price Range: Single $30  $40 Pair $70  $90
Value points: Quality of execution and carving of back
Late seventeenth century  William and Mary period  walnut armchair, c.1695. Curved and moulded stretchers. Note the bulb turning and ‘bun’ feet  to be seen on other pieces of the period such as side tables and chest
stands. The wool or hair upholstery is covered with velvet with bullion braiding. Note also the curvature of the arms to balance the stretchers.
Price Range: $120  $150 for this quality. Chairs of this period tend to be uncommon and wide variations occur depending on condition and quality.
Value points: Walnut
Balancing of design of arms and stretchers  Quality of turning
William and Mary period walnut chair c.1700 with cane back. A marked development in design from the previous example. The high cane back and square section joining of the back legs has been retained but the new form of leg  the cabriole — has appeared, introduced to England by foreign workmen. The cabrioles in this example finish in hoof or pied-de-biche feet. This is an early form of Continental influence. The transition between the high backed cane chairs of the seventeenth century and the finely carved cabrioles of the eighteenth century is to be seen. The Victorians were fond of making hall chairs of this type but usually lost proportion in legs and stretchers.
An oak Queen Anne period country chair, c.1710. The back splat is of the shape typically associated with the period. The termination of the uprights is very interesting because the line has been carried into the top rail
and over to a pointed termination where the splat joins it. The front rail is rather heavy, but shaped, and the cabriole legs are gently curved, ending in simple pad feet. The rather rigid back legs and lack of rake
emphasize the country origin. The solid seat has a typical shallow moulding around it, probably originally fitted to retain a squab cushion.
A superb walnut armchair of about 1720 raised on high quality cabriole legs decorated on the knee with criss cross carving and small tassels, the ends terminating in ball and claw feet. The back is of unusual shape but the solid splat of walnut veneered on oak is found on less good examples. The shepherd’s crook arms are well proportioned. The thick rim round the drop-in seat is typical of the period, as is the shell motif repeated on the cresting rail. A side view would show the pronounced rake of this top quality chair.
Price Range: $500  $700
Queen Anne period walnut chair c.1710 of early design. The now famous splat shape is evident but the high back is retained, although a curve in the rake of the back has emerged - the spoon back. There is a shaped
and moulded stretcher but in this case the cabriole legs terminate in simple pad feet. The height of the back and the square section of the back legs are retained from the previous century. An interesting feature
peculiar to Q. A. workmanship is the slightly raised planed moulding at the bottom of the frame just under the seat, rather like cockbeading. cabriole-leg side tables and chest stands of the period sometimes
exhibit the same feature.
Walnut Queen Anne period corner chair with inlaid diamond pattern in boxwood. Turned stretchers and uprights. Typically shaped splats in figured walnut. Drop-in seat. cabriole legs ending in pad feet; note the shell motif carved on the front cabriole, a  factor of quality. This chair is possibly of country origin.
Price Range: $100 - $150. Generally a man’s taste.
Value points: Quality of execution, i.e. proportion, grace of cabrioles, shell motifs etc.
All legs cabrioles  (sometimes the back and side legs are left straight or turned, detracting from value).
A Queen Anne period country walnut chair, c.1710, which was originally rush-seated. The front legs are cabrioles and the turned stretchers between the legs have square joints. The presence of stretchers tends to
distract somewhat from the line of the cabrioles and is generally assumed to be a feature of the chairs of the earlier part of the period. The back legs and uprights are also turned, a feature frequently found on chairs of
this period. The plain back splat is curved and the rush seat was of the drop-in type. The cabriole legs end in pad feet and the design and execution of the chair is of good quality for country furniture. Instead of fitting shoulder pieces at the sides of the cabriole knees, the flat facets are covered with
round knobs, glued on.
Price Range: Pair $80 - $110 Four $250 - $400 Six $500 - $700
Value points: Quality of cabriole and back
Note the cabrioles on this example are slightly bandy and knee (top) is too heavy for the foot.

Antique Chair in Oak - A Charles II  c.1675  oak chair - Late Seventeenth Century Country Walnut Chair

Mid-seventeenth century chair in oak, with elaborately carved back, c.1650.
The earlier seventeenth century forms of chair were not dissimilar from this, with the exception of the elaborate winged scrolls on the uprights. Earlier chairs tended to be simpler, with square backs and the decorative areas were less profusely carved. Later in the century the carving exhibited a variety of motives. Note the heavy construction, with column turned legs and square stretchers. Simpler chairs have `scratchings’ in diamond or other shapes in place of the carvings. Large quantities of these chairs were made, often with dates and initials of owners. Some are decorated with inlays of box, holly (white), and ebony (black) in geometrical and floral designs. Country makers continued to produce them until the early eighteenth century.
Price Range: Very wide and geared to quality of inlay and carving. Prices of $100  $150 relate to highly carved versions; simple ones with scratch decoration are to be found at Victorian ‘improvers’ tended to add initials, dates and carving to simple chairs.
Mid-seventeenth century chair in oak, c.1650. Note the diamond-shaped scratch decoration in the panelled back and solid pegged seat. The front legs are turned in rather bulbous baluster fashion, but the joints remain square, and the pegs in the floor-level square section stretcher tenon joints can be seen. The seat is very worn but the remains of the moulded edge can be seen along the rear left-hand side. The front rail is carved in the same decorative manner as the back and shaped on the lower edge; again the pegged tenon joints are evident.
Price Range: Not at present a popular taste. Single chair $35  $45. Value points: Quality of turning and carving…
An oak ‘Derbyshire chair’ of c.1650, showing the arcaded back and split baluster decoration on the uprights. Note that the seat is inset or dished to allow for a cushion.
Value points: Quality of carving and turning
N.B. The chair in the illustration is a reproduction.
Cromwellian oak chair, c.1660, of country construction. Note the square outline and the retention of the floor level square stretchers. The back is straight and the turning simple.
A mid-seventeenth century country oak chair, c.1650, of pleasing simplicity and robust construction. The legs are still column turned as in our previous example and left square at the joints for the tenons, which were pegged. The back is panelled and without decoration. Not a popular collector’s chair at present but still well within reach of the modest pocket.
Cromwellian chair, c.1660, demonstrating movement towards lighter design still based on turning. The twist turning was popular in the period and the piece is made of walnut, a wood much more commonly used in the
seventeenth century than is generally supposed. The chair is covered with leather fixed to the frame with heavy nails. Not a chair commonly found in antique shops; it is of a specialist collector’s taste. Bobbin turning rather than twist is often found and beech as well as oak or walnut was used.
A Charles II  c.1675  oak chair of radical development. The design is of Continental influence and more continuous. Apart from being carved the design of the scroll both on legs, front stretcher and back, serves to obscure rather than emphasize the method of construction. Cane backs were introduced around 1665 and help to lighten the overall appearance. Twist turning is still evident as well as the square back leg and stretcher joints.
Value points: Walnut, Carving, particularly of front stretcher which can be very ornate
Simple oak chair of Charles II period, c.1675, with cane back. The front stretcher is simply turned and the seat has been upholstered, perhaps later. The quality is indicated by the fine sweep of the arms and the
execution of the carved top cresting rail.
Late seventeenth century country walnut chair, c.1680. Note the high back. Rather than incur the expense of the cane back of the town example the country craftsmen used vertical solid bars. The stretchers still follow
earlier designs with simple turning and square sections at the tenon joints. The uprights are turned.
A late seventeenth century chair of c.1695 in walnut, with velvet upholstery. The cross stretcher was a feature of the decade 1685 - 1695 and in this case it is moulded. The carved legs show a development of the
inverted cup form of Dutch origin: here it is scrolled and the square joints of these front legs are also decorated. This scrolling was of French stylistic influence.
Value points: Quality of leg and stretcher carving
Original upholstery

A Mahogany Sheraton Style Single Chair - Country Sheraton Design Armchair  -  Chair of the Early Regency Period

A Sheraton design chair of considerable workmanship. 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. 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. The legs and back uprights are reeded; this effect is also carried round the panel in the wider top back rail.
A simpler Sheraton design with tapering legs normally made in mahogany. The arm uprights are of straightforward turning without the spiral reeding which adds greatly to price. An elegant and simple style which remained popular for many years.
Late 18th century arm and single chairs. 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.
A mahogany Sheraton style single chair with Gothic arching in the design of the back. The legs are tapered on the inside edge only and are reeded, as is the back. An elegant and simple chair.
A mahogany armchair of the late 18th century. An excellent example of a good quality chair, as evidenced in the reeding and lightness of design of the back. The turned legs are a little clumsier and have hints of later
things to come.
Country Sheraton design armchair in mahogany with bowed solid seat. A satisfying and simple country design of which many were made to meet the popular demand caused by the town versions.
A simpler Sheraton design with tapering legs normally made in mahogany. The arm uprights are of straightforward turning without the spiral reeding which adds greatly to price. An elegant and simple style which remained popular for many years.
Late 18th century arm and single chairs. 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.
Proportion and design  Figure of wood and inlays
A country Sheraton single chair in mahogany with straight legs and solid seat. The square back with vertical rails owes much to the popularity of Sheraton styles, otherwise the design comes from a straightforward 18th century construction.
A rather heavier Sheraton style mahogany country chair with drop-in seat. The broad top rail of the back has been made slightly wider than the back uprights which detracts slightly from the elegance of the style.
Otherwise the construction and tapering legs are typical.
An elegant chair of the early Regency period, with caned back and seat. The outward turn of the simulated bamboo legs is most effective and the balance is completed by the curved top rail. The seat rail and the top
rail are inlaid with stringing in the approved classical manner. Many of these chairs were made of birch or beech and then ebonised or painted. They are almost inevitably very expensive.
Lightness and elegance of design

A mahogany Hepplewhite Chair - A Country Hepplewhite Design Chair - Georgian Chair

A mahogany Hepplewhite chair of pleasing proportions. The arms show the more restrained curves of the late 18th century although the seat, legs and stretchers are still bold and firm in proportion.
A Country Hepplewhite design chair 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. The seat is solid and would probably have had a squab cushion on it.
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 baluster 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 beingemphasized 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.
Proportion and quality of carving  Structural condition and originality
Fine quality Hepplewhite arm and single chair. 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 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.
Hepplewhite shield-back chair c. 1790. The carving of the back is of particularly fine quality. The tapering legs are reeded and the decoration of brass studs adds further ornamentation. Normally executed in mahogany.
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 mahogany Hepplewhite chair of pleasing proportions. The arms show the more restrained curves of the late 18th century although the seat, legs and stretchers are still bold and firm in proportion.
A Country Hepplewhite design chair 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. The seat is solid and would probably have had a squab cushion on it.
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

being emphasized in his Guide . The shield-backs are edged with a small double beading on the inner and outer edges. The legs on these arenot reeded and there is less decoration than that of the preceding example.
A mahogany chair of c. 1790 of a design also associated with Hepplewhite although some of the conflicting trends of 18th centurydesigns 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.
A later Georgian chair of Sheraton influence in the back but with arms more associated with Hepplewhite styles. The tapering front legs and the back are reeded; a mark of quality.
A country version of the two previous Sheraton style chairs. 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.
Later period Victorian chair in mahogany. Note the heavier, squarer back with over-emphasized corner carving. The cabriole legs and seat rail are also heavily encrusted. The fully upholstered seat gives an appearance of overstuffing and top heaviness.
A chair of design normally associated with the William IV or early Victorian period. This is in fact a Gillows design of 1877 and illustrates the fact that one must be very circumspect about dating Victorian chairs by their design for one finds similar designs being executed over a period of 30 to 40 years. The fully upholstered seat and moulded front rail give a heaviness not present in our rosewood William IV examplebut the back and the turned and fluted front legs could easily be associated with the 1830-40 period.
An unashamed Victorian mahogany chair of which the back owes much to the balloon design of more elegant versions. The uncorseted bulbous front legs are of a kind which have a robust appeal of their own even though most dealers flinch at the sight of them.
A Gillows design of 1884 which owes a good deal to earlier period fashions. The legs are more bulbous and the upholstered seat - not shown in this constructional sketch - would be very full. The chamfered and
grooved inside edge of the back is to lighten the effect of the very broad top rail and uprights. The latter have been ornamented with a small scroll at the join of the top rail in what almost seems an afterthought of
design.

Country Chippendale Armchair in Elm - A Chippendale Mahogany Ladder-Back Chair -  Hepplewhite Arm and Single Chair - Hepplewhite Shield-Back chair

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.
Another Country Chippendale armchair 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.
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 pierced 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.
A Chippendale ladder-back chair with upholstered seat, slightly shaped across the front rail. The pierced rails of the ladder back help to lighten the 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. The splat is elegantly curved and the back, though square in design, is curved and softened by the tapering uprights.
Hepplewhite chairs of hooped back design. The tapering legs are reeded or moulded and the back repeats this feature. Note that the arm chair is not a match with the single chairs. The back splat designs are typical of this type, finely executed and decorated with carving down the centre.
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-18th 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.
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.
A mahogany Chippendale chair with fully upholstered seat. 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.
Fine quality Hepplewhite arm and single chair. 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 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 shield-back chair c. 1790. The carving of the back is of particularly fine quality. The tapering legs are reeded and the decoration of brass studs adds further ornamentation. Normally executed in mahogany.
Price Range: considered by many to be a high point in English design, original shield back Hepplewhite chairs fetch very high prices.

Chippendale Mahogany Armchair - Mid-18th Century Chair in Mahogany - George II Period Chair - A Victorian Button-Back Mahogany ‘Ladies’ Chair with Cabriole Legs

UPHOLSTERED CHAIRS
Value points: Early examples with original upholstery even if in worn condition command a premium over the range quoted, often by an appreciable amount if the work is of fine quality. The position is reversed in the case of Victorian Chairs where the upholstery is usually of ordinary quality. Clearly most purchasers would pay a premium for good new quality material.
Early 18th century wing armchair with cabriole legs in walnut. Upholstered in leather. This is a fine example and well illustrates the three dimensional quality of the design. The wings sweep into the arms of this fine quality chair, which is as comfortable to sit in as one might imagine. Note the shape of the back legs; this feature is not normally well imitated by later craftsmen.
A George III wing armchair upholstered in leather. Note the square stretcher and leg construction of ‘Chippendale’ design. The curve of the wings is pleasant but the arms are a little stiff.
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 Chinese Chippendale mahogany armchair with upholstered back and arms. 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.
Mid-18th century chair in mahogany showing Chippendale con-struction in legs and stretchers.
Value points: Carving or moulding on legs  Originality of casters
A later George III period 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.
Design of legs
George II period 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.
Mid-18th century open giltwood armchair with considerable Adam influence in the frieze and fluted legs.
A later 18th century open armchair of French influence but actually of a type made also by Chippendale. 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. These well made chairs have increased in popularity over recent years.
A George III period 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 reeded legs with lotus leaf feet.
Regency period chair decorated with brass or painted gilt mounts, frequently ebonised.
Value points: Brass decorations
Well curved leg with stretcher
A mid-Victorian open armchair in walnut, of the popular button-back type. The fluency of the curve between the arm supports and the cabriole leg is spoilt by the thickness of wood at the point where the scrolls are carved. Most examples are better balanced. This example is in walnut, but many were made in mahogany.
Value points: Decoration  Rosewood
A Victorian button-back mahogany ‘ladies’ chair, with cabriole legs. The top rail is decorated with leaf carving. The ‘grandmother’ equivalent of the previously illustrated ‘grandfather’ (i.e. with arms).
Later Victorian upholstered chair on mahogany cabriole legs. One of a large number of similar designs which being very comfortable have doubled in price over the last 3 to 4 years.

Chippendale Mahogany Armchair - A Chippendale ‘Ribbon’ Back Chair - Walnut pre-Chippendale Chair

Walnut pre-Chippendale chair of c. 1740-50. Cabriole legs with scroll and leaf on knee, ending in pad feet. Top rail and upright meet in elegant scroll. Pierced splat designed to give four tapering uprights. Drop-in seat.
A chair of some quality even if possibly provincially made.
Note the outward sweep of back legs, terminating in knobs to balance front pad feet.
Another walnut pre- Chippendale chair with simple rbut similar back splat design. The square legs and stretchers suggest a later date -possibly 1750 - 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.
An interesting chair of c. 1755 in mahogany, the kneed legs showing the country type transition to square straight legs from cabrioles. The scrolled carving of the splat is elegantlydone yet the chair retains the essential sturdiness of the period. The proportion is good and the back legs sweep boldlyback in the manner of earlier chairs.
Chippendale mahogany armchair of considerable quality. Cabriole legs, decorated with shell and scroll pattern carving on the knee, terminating in excellent ball-and-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 3rd, edition when a plate of hall chairs shows the ball and claw foot, which was undoubtedly popular at this period.
Warning: Many high quality Victorian reproductions exist of this type of chair. These reproductions have a value of $25-$35 each.
Chippendale mahogany armchair again of considerable quality particularly in the carving of the centre splat and top rail. The straight front legs are reeded, as are the curving uprights. There is less sweep to the arms
and the plainer treatment of the legs reduces the value from the previous example. The boldness and width of the chair are particularly to be noted in that 19th century copies tend to be meaner in proportion. The
craftsmanship in the carving of the back splat is of a high order.
A single mahogany Chippendale chair 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 18th century seats.
Chippendale mahogany chair in the Gothic style c. 1760. 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 rich, execution.
(Gothic and Chinese Chippendale chairs of high quality are much sought after).
Quality of design, proportion and carving
A mahogany Chippendale chair 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.
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.

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.

Windsor Chair with High Back - A Child’s Windsor Chair with the Gothic Arched Back - Windsor Chair of the 19th Century

WINDSOR CHAIRS
Windsor chairs or stickback chairs as they are more properly called, were probably first made in the early part of the 19th century. Principally they were a cheap form of seating usefulfor public assemblies, taverns, kitchens and the houses of the less prosperous. There are however some fine quality examples in existence which suggest that the virtues of the chair were appreciated by the more well to do also.
Early examples of Windsor chairs, particularly those with cabriole legs at front and back, have become expensive. Any Windsor chair with yew wood used in it moves to the top of the price range and there were some made in mahogany, which usually indicates better quality. The run-of-the-mill chair usually has an elm seat and legs. The yew chairs also normally have elm seats.
The same designs were copied for many years and dating a chair can therefore be extremely difficult. A late 19th century chair made in an earlier style but hard used and polished for 80 years is virtually unidentifiable from the earlier version. The heavier turned legs and arm supports one normally associates with the Victorian chairs were not always irresistable to the Victorian chair maker.
The principal chair making area seems to have been High Wycombe in Buckinghamshire but chairs of individual design were produced in other parts of the country.
It is worth noting that sets of Windsors do not attract a premium price per chair over a single to the same extent as other chairs.
A comb-back Windsor chair of approximately 17 80. Note the well-shaped saddle seat and the leg turning which is emphasized at the lower part. Many American Windsor chairs are of this design.
Sets are also not usually found of this type
A modern Windsor chair made to a mid-18th century design. The seat would be very ample and the chair of bold proportions. Note the curving crinoline stretcher between the front legs - a feature usually associated with better-made chairs.
Price Range: (for original period chair)
Unusual Windsor chair with high back C. 1800. Note the vase shaping of the centre splat which is attractive. Nevertheless a heavier appearance is given by the splat.
18th century Windsor chair. Difficult to date exactly since this type was made for a long time, but probably late in the century and continuing into the early 19th century. The simple stickback without a splat and saddle seat are typical of the earlier types. The curving arm supports are also interesting since during and after the Regency period turned arm supports became the fashion. This indicates that this chair may be earlier. However this design appears in Gillows cost books in the early 19th century both in mahogany and an elm and cherrywood combination.
Price Range: Elm and Cherrywood
A child’s Windsor chair with the Gothic arched back in yew wood. Although the arm supports and legs bear fairly representative 19th century turning work, the crinoline stretcher and well shaped splat make this a nicely proportioned and well made chair.
A fairly typical Windsor chair of the 19th century. The proportion and the turning of legs and arm supports are altogether heavier. There are still reasonable numbers of these chairs in existence and their very strong construction particularly when yew is used, makes them very durable and utilitarian antiques.
A fairly common type of low backed Windsor used for dining purposes. Note the turned arm supports which indicate 19th century origins.
Another child’s Windsor chair, this time of the high feeding type. Holes are left through the arms so that a spindle may be inserted to prevent the child falling out. The front rest has been removed and the holes in the front legs to fit it can be clearly seen. The splat is decorated with the Prince of Wales feathers, an emblem popular from Hepplewhite’s time onwards, but usually dating from the early 19th century in these chairs.
A mid-19th century Mendlesham chair, a Suffolk variation of Windsor designs rather allied to Lancashire chairs in the decoration.
A late 19th century development of the Windsor chair. Rather ornate with heavyturning; simpler versions were common in schools and offices or institutions until recently.
The Smoker’s Bow, a chair very common in offices and public houses from the end of the 19th century onwards. A large heavy chair which will stand considerable abuse. The horizontal hoop is no longer made bybending the wood but is constructed from several pieces shaped on a band saw and screwed together. In early Windsor chairs this method of forming the hoop was adopted but not always by using screws; the upright spindles did this.
Another simple variation of a type which was made during the latter half of the 19th century. In this case there is no left arm since the chair was made for an Officer’s mess where the facility to rise, wearing a sword, without picking up the chair as well was a considerable advantage.

Antique 17th-18th Century Walnut Chair  - William and Mary Period Walnut Armchair - A Queen Anne Period Country Walnut Chair - George II Period Mahogany Chair Furniture

Late 17th century walnut chair with velvet upholstery. Shaped stretchers and carved bulbs on legs.
Quality of execution of legs and stretchers
Late 17th century - William and Mary period - Walnut armchair. Curved and moulded stretchers. Note the bulb turning and ‘bun’ feet - to be seen on other pieces of the period such as side tables and chest stands. The wool or hair upholstery is covered with velvet with bullion braiding. Note also the curvature of the arms to balance the stretchers.
Chairs of this period tend to be uncommon and wide variations occur depending on condition and quality.
William and Mary period walnut chair with cane back. A marked development in design from the previous example. The high cane back and square section joining of the back legs has been retained but the new form of leg - the cabriole - has appeared, introduced to England byforeign workmen. The cabrioles in this example finish in hoof or pied-de-biche feet. This is an early form of Continental influence. The transition between the high backed cane chairs of the 17th century and the finely carved cabrioles of the 18th century is to be seen. The Victorians were fond of making hall chairs of this type but usually lost proportion in legs and stretchers.
Queen Anne period walnut chair of early design. The now famous splat shape is evident but the high back is retained, although a curve in the rake of the back has emerged - the spoon back. There is a shaped and moulded stretcher but in this case the cabriole legs terminate in simple pad feet. The height of the back and the square section of the back legs are retained from the previous century. An interesting feature peculiar to Q. A. workmanship is the slightly raised planed moulding at the bottom of the frame just under the seat, rather like cockbeading. cabriole-leg side tables and chest stands of the period sometimes exhibit the same feature.
A superb walnut armchair of about 1710 raised on high quality cabriole legs decorated on the knee with criss cross carving and small tassels, the ends terminating in ball and claw feet. The back is of unusual shape but the solid splat of walnut veneered on oak is found on less good examples. The shepherd’s crook arms are well proportioned. The thick rim round the drop-in seat is typical of the period, as is the shell motif repeated on the cresting rail. A side view would show the pronounced rake of this top quality chair.
Cabrioles  Back
A Queen Anne period country walnut chair which was originally rush-seated. The front legs are cabrioles and the turned stretchers between the legs have square joints. The presence of stretchers tends to distract somewhat from the line of the cabrioles and is generally assumed to be a feature of the chairs of the earlier part of the period. The back legs and uprights are also turned, a feature frequently found on chairs of this period. The plain back splat is curved and the rush seatwas of the drop-in type. The cabriole legs end in pad feet and the design and execution of the chair is of good quality for country furniture. Instead of fitting shoulder pieces at the sides of the cabriole knees, the flat facets are covered with round knobs, glued on.
Quality of cabriole and back  Note the cabrioles on this example are slightly bandy and the knee (top) is too heavy for the foot.
Queen Anne country chair, with back splat of shape typically associated with the period. Drop-in seat; turned stretchers and back uprights. Cabriole legs of gentler curve, ending in small pad feet. Generally to be found in either walnut - now more scarce - or oak. Occasional examples in elm.
Original stretchers.  Stretchers may be found to have been replaced, but value not greatly affected. Beware however of replacement feet, legs or top rail which detract.
Walnut Queen Anne period corner chair with inlaid diamond pattern in boxwood. Turned stretchers and uprights. Typically shaped splats in figured walnut. Drop-in seat. Cabriole legs ending in pad feet; note the shell motif carved on the front cabriole, a factor of quality. This chair is possibly of country origin.
Quality of execution, i.e. proportion, grace of cabrioles, shell motifs etc.
Queen Anne walnut country chair, with cabriole legs at front and back. Fully upholstered seat. The plain back splat curved to meet shaped top rail. Note the absence of stretchers between the legs, generally supposed to be a later improvement of the period.
Quality and originality of cabriole legs
A George II period mahogany chair. Note that although a fine quality Cuban mahogany has been used, the style is one which would normally be associated withwalnut; but there are extra refinements. The vase shaped splat has small scrolls and a shell work top. The shaped uprights to the back are topped with eagle heads and the cabriole legs have leaf patterns carved on the knees.
Country chair of pre-Chippendale design c. 1745-55. The transition of the back splat from the solid Queen Anne shape to pierced Chippendale design is evident, as is the squarer shaping of the top rail. The square legs - chamfered on the inside - and rectangular section stretchers are also typical and generally associated with ‘Chippendale’ country types. The rush drop-in seat is of a type from country chairs of an earlier period. These chairs are generally to be found in oak or elm, with scarcer walnut examples.
Oak and Elm, Walnut.