Victorian Chesterfield Settee Re-Upholstered in ‘Glasgow Rose’ Velvet Fabric

Arts & Crafts high sided settee With oak tapered legs raised on brass castors Original Arts & Crafts embroidered back panel Re-upholstered ...

Exceptional quality oak framed, bobbin turned settee with decorative brass stud work. This settee has been re-upholstered with Liberty velvet fabric ‘Shand Voyage, Winter’ This was...

Beautiful Arts and Crafts wingback settee. Probably retailed through Liberty & Co London. Solid beech frame with typical Arts and Crafts oak tapering feet. Traditionally reupholstere...

Heal & Son twenties settee in oak with adjustable drop arm sides and shaped quarter sawn oak front apron. Newly upholstered in Strawberry Ladbroke Linen by Liberty London Height 85...

French Victorian style (modern) red tufted velvet settee with square back & side arms with 2 seat & bolster cushions and 3 loose back cushions standing on f...

We are delighted to offer for sale very rare, original Victorian circa 1860 Howard & Son’s Chesterfield sofa with the original ticking fabric and long, ...

We are delighted to offer very rare, original Victorian circa 1860 Howard & Son’s Chesterfield sofa with the original ticking fabric I actually have ...

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...