1790s Side Chairs

Good 18th century English Queen Anne chinoiserie side chair. Circa 1790. A timeless and classic touch for a fine interior.

Retaining original white paint, with an open backrest with a band of carved giltwood rosettes above, the upholstered seats atop tapering legs also trimmed in giltwood rosettes.

A primitive and very sculptural ‘Gibson’ type armchair constructed from sycamore and ash. Fantastic patina with a few historic repairs and traces of old paint. Irish, late 18th/early...

George III antique mahogany side chair having a quality reeded mahogany top rail, three lovely carved mahogany reeded splats to the centre,...

The oval ‘spoke’ backs above panelled seats on turned legs united by cross stretchers. English, circa 1790 The exact design for these chairs appears in the Gillows pattern books ...

Chairs pair of side chairs Swedish Gustavian 1790-1810 velvet green beige white Sweden. Pair of side chairs made in Sweden during the Gustavian period 1790-1810. Upholstered seat and...

Chair Gustavian Swedish white black Sweden. A side chair made during the Gustavian period in Sweden 1790-1810. Beautiful carvings on the oval back. Squar...

A beautiful set of four late 18th century Hepplewhite shield back chairs. The mahogany frame exhibits moulded profiles and a spiderweb f...

Pair of Spanish Colonial style armchairs, having leather seats and backs, brass nailheads and a beautiful patina throughout, 18th century or earlier.

A set of six late 18th century Directoire beechwood side chairs from the workshop of Pierre Marie Balny (died 1832) in the manner of Henri Jacob (1753-1824.) With wide curved crest...

Exhibiting the finest lines and perfect sense of proportion to be found in any form of the period, this rare and incredibly beautiful chair is a work of art in it's purest expression. Flawless balance of proportions is clearly calculated in each member, every part of the chair bringing harmony to the form. Clearly a form originating in New York, there is a set of chairs identical in almost every detail crafted by John Townsend in Newport, Rhode Island - were it not for that set of chairs being labeled, they would never have been attributed to Newport, as the flared French leg is very rare and almost exclusively found in New York. This form was at one point attributed to the shop of Elbert Anderson in New York due to his label being the only currently documented drawing with this precise chair; however, the discovery of the Townsend chairs and a handful of unattributed chairs with minor variations, the attribution is no longer applied to this form. The pierced splat of the shield back features a three-dimensional carved patera beneath a halo of twisting ribbon, draperies flowing from beneath this into and through carved flowers flanking the patera - this is an almost surreal and remarkable design, juxtaposing architecture against nature until they literally become one, the draperies pouring like liquid from the flower motif. The whole is supported by a flor-de-lis beneath a long acanthus leaf, terminating in a criss-cross of splatwork; note in particular the asymmetrical nature of this criss-crossed splat, very intentionally resulting in distinctly varied angles. The flawless replication of this in each of the four splats indicates a certain genius in the hand of this artisan, his attentions shattering the perfect calculations and mirror symmetry of the rest of the splat. The seat has a soft bow to the front, the upholstery nailed over the edge with a thin row of brass tacks - these have not been removed to examine the original arrangement of the brass tacking, though typically these would flow in a swag or double-pinned formation. The underside of the chair is joined in the corners with diagonal cross braces dovetailed into the chair frame. We have not microanalyzed the secondary woods, though a visual analysis suggests mostly white pine blocking, a chestnut back seat rails and ash side and front rails. The legs give a distinct elongating effect to the chairs, each molded and outsplayed in the French manner. The legs are flawlessly formed, each tapering in at a uniform but unpredictable rate, curling outward just above the ankle - the molded appeal of the leg is crisp and precise. Of a form that is nearly without peer, the few chairs of this form identified over the last century now reside mostly in museum and private collections. One chair is held in the permanent collection at the Metropolitan Museum of Art in New York, [acc. no. 2012.63] with provenance from Christies, where it sold in 2012 from the collection of Joseph Ott for $50,000 [sale 2635, lot 156]; the only difference is the legs having stringer inlaid form rather than the molded form in the present chair. Identical form in every detail other than the patera, which is inlaid, can be found in a single side chair offered in the early 1970's by the firm of Israel Sack...

Set of three side chairs made in Sweden during the Gustavian period circa 1790-1810. Leaf tip carvings around back splat and frieze. Rounded and channels legs ending in flower collar...