Pair of chairs of 'Louis' style, part of a salon suite of which the armchair (W.4-1974) also forms a part. The chairs are mahogany and the design combines motifs fashionable under both Louis XV and Louis XVI, and also show the influence of Chippendale. The chairs have thin cabriole legs at the front, and raked, rectangular-sectioned rear legs. The legs are carved on the knees with a recessed panel with a formal, fan-headed motif against a punched ground, the carving rising no higher than the general line of the leg. The centre of each front seat rail is similarly carved with a recessed panel with crossed fronds of leaves. The backs are waisted, with a serpentine top rail supported on a short, central, pierced splat above a pierced roundel carved with an urn. The seats, which are sprung, are upholstered in pink silk damask of a rococo design, outlined on the lower edge with a pink silk gimp.
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| - Pair of chairs of 'Louis' style, part of a salon suite of which the armchair (W.4-1974) also forms a part. The chairs are mahogany and the design combines motifs fashionable under both Louis XV and Louis XVI, and also show the influence of Chippendale. The chairs have thin cabriole legs at the front, and raked, rectangular-sectioned rear legs. The legs are carved on the knees with a recessed panel with a formal, fan-headed motif against a punched ground, the carving rising no higher than the general line of the leg. The centre of each front seat rail is similarly carved with a recessed panel with crossed fronds of leaves. The backs are waisted, with a serpentine top rail supported on a short, central, pierced splat above a pierced roundel carved with an urn. The seats, which are sprung, are upholstered in pink silk damask of a rococo design, outlined on the lower edge with a pink silk gimp. (en)
- These chairs and the matching armchairchair (W.4-1974) are very typical of the mass-produced furniture which was purchased by middle-class consumers in the second half of the 19th century. It is small in scale and would have been bought for a drawing-room or personal sitting-room where women’s taste dominated, perhaps with a matching sofa or chaise-longue. The donor of the pieces said that it had been owned by the singer Adelina Patti (1843-1919) and that seems quite possible. Large-scale furnishing firms such as W. Smee & Son Ltd of Finsbury Pavement, London, manufactured such suites by the thousand. These pieces are not stamped or labelled with a name but are stamped with stock numbers that may, in due course, lead to an identification of the maker. (en)
- Pair of chairs of 'Louis' style, part of a salon suite of which the armchair (W.4-1974) also forms a part. The chairs are mahogany and the design combines motifs fashionable under both Louis XV and Louis XVI, and also show the influence of Chippendale. The chairs have thin cabriole legs at the front, and raked, rectangular-sectioned rear legs. The back splat is carved and pierced. The seats, which are sprung, are upholstered in pink silk damask of a rococo design, outlined on the lower edge with a pink silk gimp. (en)
- Such small-scale chairs were made in sets for use in drawing-rooms and boudoirs - rooms that were thought of as female spaces. Sets were produced by the thousand and retailed by the major house-furnishing firms in London and major cities throughout Britain. (en)
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| - Pair of chairs of 'Louis' style, part of a salon suite of which the armchair (W.4-1974) also forms a part. The chairs are mahogany and the design combines motifs fashionable under both Louis XV and Louis XVI, and also show the influence of Chippendale. The chairs have thin cabriole legs at the front, and raked, rectangular-sectioned rear legs. The legs are carved on the knees with a recessed panel with a formal, fan-headed motif against a punched ground, the carving rising no higher than the general line of the leg. The centre of each front seat rail is similarly carved with a recessed panel with crossed fronds of leaves. The backs are waisted, with a serpentine top rail supported on a short, central, pierced splat above a pierced roundel carved with an urn. The seats, which are sprung, are upholstered in pink silk damask of a rococo design, outlined on the lower edge with a pink silk gimp. (en)
- These chairs and the matching armchairchair (W.4-1974) are very typical of the mass-produced furniture which was purchased by middle-class consumers in the second half of the 19th century. It is small in scale and would have been bought for a drawing-room or personal sitting-room where women’s taste dominated, perhaps with a matching sofa or chaise-longue. The donor of the pieces said that it had been owned by the singer Adelina Patti (1843-1919) and that seems quite possible. Large-scale furnishing firms such as W. Smee & Son Ltd of Finsbury Pavement, London, manufactured such suites by the thousand. These pieces are not stamped or labelled with a name but are stamped with stock numbers that may, in due course, lead to an identification of the maker. (en)
- Pair of chairs of 'Louis' style, part of a salon suite of which the armchair (W.4-1974) also forms a part. The chairs are mahogany and the design combines motifs fashionable under both Louis XV and Louis XVI, and also show the influence of Chippendale. The chairs have thin cabriole legs at the front, and raked, rectangular-sectioned rear legs. The back splat is carved and pierced. The seats, which are sprung, are upholstered in pink silk damask of a rococo design, outlined on the lower edge with a pink silk gimp. (en)
- Such small-scale chairs were made in sets for use in drawing-rooms and boudoirs - rooms that were thought of as female spaces. Sets were produced by the thousand and retailed by the major house-furnishing firms in London and major cities throughout Britain. (en)
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| is P108 has produced
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