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.

CHAIRS: HEPPLEWHITE
About 1775-1790
Chair designs from George Hepplewhite’s Guide (1788).
Light and elegant chairs, greatly influenced by the designs of the architect Robert Adam who advocated the use of neo-classical decorative motifs, light coloured woods and upholstery, and painted or inlaid decoration.
Chairs of this date are popularly called Hepplewhite because so many furniture craftsmen followed George Hepplewhite’s Cabinet Maker & Upholsterer’s Guide. Published in 1788, this was the standard guide to style for a wide range of simple domestic furniture in the neoclassical fashion.
The most distinctive feature was the shape of the back. This could be oval, hoop, heart or shield. Facings usually moulded; splats delicate and less centralized, with emphasis on continuous verticals rather than curves and scrolls. Popular filler designs include wheat-sheaf and neo-classical urns, drapery, swags, anthemions and lyres. Hepplewhite is credited with the first use of the most common motif, Prince of Wales feathers. A slightly concave back  to fit the sitter’s back comfortably  is often a sign of quality and authenticity.
Seats were drop-in or stuff-over. Both may have serpentine front rail; latter a deep serpentine apron.
Sides often curve inwards towards the back. Dished seats introduced about 1780. Canework seats on painted or japanned chairs, with loose, flat squab cushions.
Changes in dress fashion allowed narrower seats and arm supports rising almost from the front corners in a concave curve to meet the rests about half way back.
Legs were straight and tapering, tapering on the inside edge only, and mostly slender, ending in delicate spade feet. Can be plain, moulded, reeded or fluted, with or without stretchers.
Mahogany; satinwood for finest quality pieces. Beech or birch for painted and japanned chairs. Oak, elm, beech, birch and local woods still used by country makers. (For details on gilded and upholstered-back)
Adam-style chairs
Mostly standard methods employed (see p. 59). The shoe was dispensed with for shield, heart and oval backs; instead, rear legs were extended and waisted to join back several
I inches above seat. joint secured by screws concealed with dowels. Rounded lower part of shields and ovals made in mitred parts; mouldings help to conceal joins.
Low-relief carving. Painted decoration of flowers, ribbons, some neo-classical urns, garlands, garrya husks on satinwood; on black-japanned or pastel-coloured, painted ground.
Polish. Paint, japanning.
VALUES
Prices for quality singles mostly in four figures, provincial and country versions only three. Pairs and sets: multiply as for Chippendale (details, see p. 60).
Good points: shield-shaped backs, Prince of Wales feathers, elegantly tapering legs without stretchers.
Edwardian interpretation of Hepplewhite designs.
Hepplewhite-style mahogany shield-back chair with carved wheat-ears, about 1780-1790.
Late-18thC mahogany hoop-back chair.
PROVINCIAL DESIGNS
Provincial and country versions were often plain  no mouldings on legs and back. Most had stretchers, unadventurous splat (no carving). Camel-backs with humped crest-rail (reminiscent of Chippendale) quite common.
Hepplewhite chair has been much reproduced. These imitations are often identifiable by faulty proportions (for example, shield too wide); flat rather than concave backs; legs tapering on both edges.