Pair of Klismos-Form Armchairs

Pair Footed Fruit Coolers, about 1810-20 Stône, Coquerel, and Legros D’Anisy, Paris (active 1808–49) Porcelain, partially transfer printed in sepia and green and gilded Each, 13 1/2 in. high x 10 in. wide x 7 1/2 in. deep Signed and inscribed (on underside of one top and one base, with printed mark): STÔNE / COQUEREL / ET / LE GROS / PARIS / PAR BREVET D’INVENTION: Manufre de Décors sur Porcelaine Faience; variously inscribed with decorators’ initial in green and brown (on underside of one top and one base): M; variously inscribed with incised mark (on underside of one liner and both bottoms): 3; inscribed (in blue script, on the inside of one liner): 615 The Parisian firm of Stône, Coquerel, and Legros d'Anisy is distinguished for the important role that it played in the introduction of transfer-printed decoration on fine china in France. Although the process had been known and used in Great Britain since the eighteenth century, it was, according to Régine de Plinval de Guillebon in her book, Porcelain of Paris 1770–1850 (New York: Walker and Company, 1972), not until 1802 that Potter, Blancheron, Constant, Neppel, Cadet de Vaux & Denuelle took out a patent in France for transfer-printing on earthenware, and it was only on February 26, 1808, that John Hurford Stône, his brother-in-law, Athanase Marie Martin Coquerel, and Francois Antoine Legros d'Anisy not only took out a patent for transfer-printing on china, but also established a Stône, Coquerel, and d'Anisy partnership for the manufacture of transfer-printed ceramics. Their address from 1808 until 1818 was at 9, rue de Cadran, Paris. Prior to this, Stône and Coquerel had been partners at a creamware factory in Creil, France, and Legros d’Anisy had worked at the Sèvres factory, where he had apparently developed the transfer-printing technique for which his own firm became well known. “The process,” notes de Guillebon, was “based upon removing from the engraving a ‘pull’ made on a specially coated filter-paper, which was pressed onto the object to be decorated; this object itself was covered with a film. Firing took...

French, circa 1820. Porcelain, painted and gilded, with applied bisquit flowers 8 13/16 in. high. Inscribed (with incised mark, under the base of each): 3.   

American, circa 1850-1880. Eastern white pine (Pinus strobus), with wire armature and composition ornament, gessoed and gilded. Measures: 14 1/8 in. high, 16 5/16 in. wide (at the sh...

“I know of no other chair like the single [sic] ‘lyre back’ one. . . . I certainly recognize it as a Boston chair considering all the individual elements, but the combination is particularly elegant.” So wrote noted scholar of Boston furniture Page Talbott when a set of four chairs of this design originally surfaced in the 1980s. Although the existence of four chairs in a specific pattern might imply that the chairs were originally part of a larger set, no additional chairs of this form have appeared in the intervening years. The lyre became a popular motif during the Neo-Classical period, and is frequently encountered as the back splat of klismos chairs, in no example more familiar than in a group of Duncan Phyfe chairs...

A gorgeous pair of twisted armchairs, with cane backs. With plaid patterned upholstery.

Set of four white Hollywood Regency style lacquered klismos armchairs with newly upholstered seats.

Pair of early 20th century hand carved mahogany armchairs with dolphin form arms. Fan design satinwood inlay on top rails. Square tapered legs with satinwood lay terminating in carve...

A pair of Scottish School armchairs of barrell form with steam bent back rest and stretchers. professionally Re-upholstered in a quality Turquoise leather.