Edwardian Knole Settee in Original Velvet

Large early 20th Century English Edwardian period three-seat Mahogany Country house Settee. Richly carved with fine detailing standing on lion paw feet with anklets offered in great ...

An impressive and highly decorative 19th Century Anglo-Indian, bleached rosewood settee. This beautiful piece has a great shape and is decorated with fantastic carved detail on the s...

Impressive large scale pair of late 18th Century Italian giltwood settees. These settees are lovely examples of neoclassical Italian design. The head rail is serpentine in shape and ...

A Very Fine and Decorative 1930s English Lacquered or Japanned Settee in the Early 18th Century Manner. This settee has a red ground and raised gilt deco...

Magnificent Italian mid-century sofa original from the 1950s. Equipped with the original stiletto metal feet painted in gold and brass tips, which have been...

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 ...

A decadently designed Italian 1950's settee with a scalloped or petal shaped form and luxuriously upholstered channeled back tufting. The settee has been fully restored and newly reu...

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...