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.

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.

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 Oak Chair, Country Oak Chairs,  Charles II Armchairs

Mid-17th Century chair in oak, with elaborately carved back.
The earlier 17th 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’ indiamond 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 18th century.
Price Range: very wide and geared to quality of inlay and carving. Prices 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-17th century chair. 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.
A mid-17th century country oak chair 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.
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.
Cromwellian chair 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 17th 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.
Cromwellian oak chair 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 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.
Simpler oak chair of Charles II period 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.
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. These chairs, taken singly, are still somewhat undervalued although sets are a specialist demand and command high prices.
Charles II chair of c. 1680 date. The rich ornamentation and crest on the head of the chair indicate that it was made for a rich man or institution. The use of figures for legs is very Continental and the gargoyle arm rests are not of English origin. It is nevertheless typical of the elaborate examples of the period and the general style adopted by the chair makers for the richer classes.
Late 17th century country walnut chair. 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.
Three more late 17th century country chairs, 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 constructionbut the variations possible in the turning of them.

CHAIRS: COUNTRY WINDSOR
Late-18th century yew comb-back Windsor chair.
Made from the early-18thC onwards by wood turners or ‘bodgers’ setting up temporary workshops in woodland areas. Although made in many parts of the country - hence enormous regional differences in detail - High Wycombe in Buckinghamshire became, and has remained, the centre of the industry. Since the late-19thC, Windsors and their variants have been mass-produced there by machine.
They have many uses - particularly in gardens, coffee-houses and sometimes in halls (18thC) and in kitchens, farmhouses and institutions in the 19th and 20thC.
Early ’stick-back’ versions were simple, with taper-turned sticks (turned with tapering ends) rising from a saddle seat through a horizontal yew-wood hoop forming back and arm supports and dowelling into a shaped crest rail. The most distinctive of these have a comb shape - hence the term ‘comb back’. Splayed, turned legs, at first without stretchers, but soon with either turned H or curved crinoline (or cow’s horn) stretchers.
Hooped backs (with a continuous hoop rising from the back support to replace the horizontal crest rail): Shaped and pierced central splats (at first sometimes set below the back support only); and cabriole legs all
appeared around 1750.
Pierced Gothic splats: Often combined with pointed arch backs and cabriole legs, were introduced about 1760. The familiar wheel-back splat and diagonal struts rising from a ‘bobtail’ extension of the seat - both
common features on machine-made Windsors - first appeared around 1775.
‘Gothic’ Windsor armchair.
With the exception of cabrioles, front and back were turned and identical (from the late-19thC usually machine-turned with double or triple collars.
Saddle seats were common to all and arm supports either turned or (mostly before 1810) curved.
For popular variants - including the ‘Mibnc1leshann’ chair (early-19thC onwards) and the collectable ’smoker’s cow’ - see illustrations.
Various combinations of elm, ash, yew, beech, birch and fruit woods. Occasionally mahogany. Elm used almost invariably for seats; beech common for legs and, until the 19thC nearly always yew for hoops.
Selection of 19th C chairs: A, Mendlesharn,- B, smoker’s bow C, farmhouse kitchen; D, child’s Windsor highchair; F rope-back kitchen chair.
All parts dowelled. Legs and back uprights always separate (legs never continuous with uprights above). Seats split, not sawn (saw marks indicate a later date). Sticks taper-turned on a pole lathe, hence of irregular
thickness. (Machine-cut stocks have an even shape and are not tapered.) Hoops steam-bent into shape. On single chairs, the hoop passes through seat and is split and wedged underneath. On machine-made versions
this does not occur  sometimes the hoop does not pierce all the way through the seat.
Carving and piercing on splats. Turning on legs and some arm supports.
Paint common in 18thC, most fashionably green, sometimes black (japanned). Otherwise polish; some left unfinished for outdoor use. Stain and varnish used in 19thC.
VALUES
Plenty of variation. Good early and hoop back Windsors are expensive, few selling for less than four figures. 19thC versions correspondingly less. Harlequin sets of all ages are common and, if matched well, no less
expensive than an identical set. Few post-1900 sets fetch less than four figures.
Yew, crinoline stretcher, cabriole legs, comb back, Gothic splat and arched back all enhance the value.

CHAIRS: UPHOLSTERED, WING (OR EASY)
About 1700 onwards
Deriving from adjustable-back French sleeping chairs of the 1670s and made in virtually standard 18thC form at various times until the present day, wing chairs were for relaxation, not formal use. The wings protected the sitter from draughts.
About 1700-1750: Cabriole legs, either plain with pad feet and turned stretchers, or with carved knees, claw-and-ball feet and (usually) no stretchers. Rear square legs raked backwards. Until about 1730, a marked divide between back and wings, with high curved back, and wings curving sharply down to top of bold, outward-scrolling arms. After 17 30, wings and back seem to follow one continuous curve. Two types of scroll arm.
Plump upholstery with deep, loose seat cushion.
About 1750-1780: Legs, straight, plain and square, sometimes moulded, linked by stretchers. Occasionally with blind fret carving of Chinese or Gothic nature. Back straight or waved. Wings of equal height to back.
Outward roll of arms less pronounced. Padding and seat cushion less fat.
Mid-18th century wing chair with straight legs and stretchers.
About 1780-1810: Straight, plain, tapering legs without stretchers. Sometimes on castors. Narrower look overall, with flat top and comparatively straight wings and arms.
Victorian: Various simple curving outlines and stumpy turned bun feet on castors. Reproduction Queen Anne with thin cabrioles around the end of the century.
MATERIALS
Walnut and mahogany for legs. Beech and other softwoods for under frame. Legs (and stretchers) were the only visible wooden parts, otherwise fully upholstered.
Standard methods employed. Carving on knees sometimes hipped into seat.
Repairs likely, particularly to wings. Check for loose joints. Marriages of old legs to new frames not uncommon. At least part of the underframe should be visible for inspection. Upholstery unlikely to be original.
Some carving on knees, legs and feet until about 1770.
Polish. Fashionable upholstery fabrics included silk, silk velvet, needlework, leather, silk damask. Early examples were edged with braid; after about 1750 with close brass-nailing. Gimp or tasselled fringes in Queen
Victoria’s reign.
VALUES
18thC chairs certainly in four figures, some early ones almost into five, but decreasing towards three according to date and simplicity of design. Original, usable upholstery is a considerable bonus.
REPRODUCTIONS
Many, many 20thC reproductions. Apart from some exaggerated Queen Anne versions produced before and between the wars, most lack robust quality of originals. Their appearance is not helped by insubstantial
synthetic upholstery materials.

CHAIRS: PRE-CHIPPENDALE - Antique chairs furniture of early 18th century - French walnut chair - Queen Anne period chairs - Chippendale chairs - antique mahogany chair - chairs in this transitional style
Antique chairs furniture of early 18th century belong a transitional phase, its most significant feature being the introduction of mahogany  hard, richly coloured and ideal for carving  following the destruction of the French walnut chair in the exceptionally hard winter of 1709. The grandest furniture of this time was made in the ponderous classical style of the architect William Kent; regular household furniture retained the simple, elegant lines of the Queen Anne period chairs, and combined them with some of the ‘new features’ now thought of as ‘Chippendale’.
Solid and substantial early 18th century chairs with broad seats and squatter and broader cabrioles than before, typically with claw-and-ball, sometimes ‘hairy paw’ feet. Winged serpentine rail characteristic of Chippendale chairs now started to appear but it was less elegant, with protruding, scrolling corners, or shoulders were rounded, dipping sharply into centre of crest rail. Splats were pierced, often ribbed and splaying out towards the top. Carving on the knees was often hipped into the seat rail. Drop-in or stuff-over seats, sometimes with show-wood rails.
Early 18th century chairs are mainly mahogany, but still some made from walnut (as stocks lasted), even for’mahoganystyle’ chairs.
Robust antique mahogany chair of the 1740s reflecting the ponderous architectural style of William heal.
No longer part-veneered chair, but constructed from solid timber throughout (see CHIPPENDALE CHAIRS, opposite).
Carving on knees and crest rail. Acanthus and foliate designs replaced former shells and small C-scrolls. Grandest chairs could be ‘parcel-gilt’, meaning small areas of gilded decoration.
The scarcity of quality, well-proportioned chairs in this transitional style pushes their price up well into the thousands. A fine pair may fetch three or even four times as much as a standard quality pair. Country or
provincial versions will usually be less than half the price.

CHAIRS — hall and porters
Though grouped for convenience they are in fact complete opposites. The hall chair offers a rock-like resistance to the posterior and the back no comfort. It is almost as though they were designed to impress on those made to wait, the fact they were being made to do so. They were made in sets and were often carved with emblems of coats of arms as if to further enhance the superior position of their owner. The porter’s chair on the other hand was made reasonably comfortable to protect him from the rigours of a job which condemned him to draughts, and if comfortable are very desirable.
Back patterns are normally little guide to date as they continued to be made over long periods. It is the legs which normally provide the key as to age.
Understandably the uncomfortable ones do not command large sums for they have a very limited application to the modern home.
A hall chair of a type usually made in sets — this was one of seventeen. This example shows a highly-carved shell back with a crest motif. The pascal lamb with halo might suggest a religious establishment. The legs
are turned and reeded. 1820-1840
A mahogany hall chair of whimsical design with a pierced back. The design for the base and seat with its curious round dished centre and eccentric stretcher is straight out of Bridgen’s catalogue of 1838.
Typical of the many curved back designs which went on being made throughout the century. The hexagonal legs suggest the 1830s.
A rather unfair porter’s chair with an extremely hard solid seat,on    cabriole    legs,    in mahogany.
1850-1870
Much more comfort; a deeply buttoned hall porter’s chair, well designed to exclude those severe draughts. As the cost of deep buttoning in leather is very high, condition is highly relevant to price. A modern example
costs 800. Mid-18th century
A design of wicker work hooded chair, Welsh ash frame with straw cover. They were made in most areas but survived longest in Monmouthshire and the Severn area. Early 19th century