English Hepplewhite Chairs
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.
Tags: Adam, CHAIRS, country, domestic furniture, elegant chairs, furniture, George Hepplewhite, HEPPLEWHITE, Provincial, robert adam, Upholstered, upholstery, VALUES, wales feathers