Mid-Century Hancrafted Fruitwood Velvet Upholstered Settee

Early 20th Century Regency Carved mahogany and Upholstered settee. It measures 40.75" in width, 23" in depth and stands 37.5" tall, with a seat height of 16". Arm height is 24", seat...

An Early 20th Century Victorian Style Carved Mahogany and Upholstered Settee with impressive center back carving. Measures 41" in width, 23" in depth and stands 37.75" tall at the ba...

1930s Federal Style Mahogany and Crewel Upholstered Settee in good condition. Measures 44" in width, 24" in depth 38" in height. Seat height is 17" and arm height is 27". Seat inte...

George III Style Walnut with inlay and Upholstered Seat settee in good vintage condition. Measures 41.5" in width, 24" in depth and stands 36.5" tall. Seat height is 17" and arm hei...

Ward Bennett Style Mid Century Green Velvet Sofa Settee This sofa measures: 61 wide x 29 deep x 30.5 inches high, with a seat height of ...

having a shaped backrest with notched corners with serpentine shaped arms atop curved armrests, the generous seat resting on cabriole legs ending in stylized pad feet, upholstered in...

Fantastic Mid-Century Modern settee designed by Italian architect Adriano Piazzesi for Harvey Probber, Inc. Burger bun is a whimsical kidney shaped form des...

Incorporating 'Stones of Bath' into this settee is inspired the pipers use of one of the five designs commissioned for their centenary, ‘The Glyders’, as loose covers for the chairs at their home Fawley bottom which John Betjeman called ‘Fawley Bum’. 'Stones of Bath' is one of five John Piper (1903-1992) designs commissioned by Arthur Sanderson & Sons in 1959 for their 1960 centenary celebrations. In 1962 Sanderson's screen printed ‘Stones of Bath’ on their Sanderlin fabric, a satinised linen which gave the design a shimmering, restless texture. This was ideally suited to the play of light depicted on the stone in the architectural repeat of buildings in the city of Bath. A piece of this fabric which is in the collection of the V&A was exhibited at the John Piper retrospective held at the Tate Gallery, London, 1983. Reference: 'Artists’ Textiles in Britain 1945-1970', Cat. No. 74. From the late 1950s-early 1960s there was interest in painterly textiles that demonstrated the unique potential of screen printing, with its ability to capture the quality of brush-stroked color. 'The monumental grandeur of many artists' textiles in the early 1960s was necessary if they were to work in the large scale architectural interiors of the era which witnessed a rapid growth in new public buildings, all which required furnishing with suitably prestigious fabrics'. Artists' Textiles in Britain 1945-1970 by Geoffrey Rayner, Richard Chamberlain...