Seating

The oval backs surmounted by ribbon-carved crestings above ribbon-bound reeded frames, the open padded arms terminating in scrolling handholds with foliate-carved terminals above generously proportioned seats raised on cabriole legs. The carving throughout enriched with ribbon-bound reed ornament and retaining a refreshed gilded surface.

The design relates closely to the work of the celebrated English designer and cabinetmaker John Linnell, particularly in the use of ribbon-bound reed carving, oval backs, and sweeping arm supports. The motif appears in documented Linnell commissions and is closely associated with his late eighteenth-century seat furniture.

Chairs of related form were commissioned from Linnell, and several comparable drawings survive. Similar arm treatments appear on other known Linnell seat furniture, while the ribbon-bound reed motif recalls elements from the suite supplied for Osterley Park. Related examples were also produced for the Duke of Northumberland at Alnwick Castle. Comparable ornamental motifs and related chair designs appear in surviving John Linnell drawings preserved in the Victoria and Albert Museum, including designs associated with Harewood House and Alnwick Castle.¹

Now upholstered in Suzanne Tucker Home “Irene” cut velvet.

The chairs feature unusually tall backs with shaped crest rails above slender vertical spindles and continuous bentwood arms framing shallow saddle seats. Raised on tapered and chamfered legs, the design relies on line and proportion rather than applied ornament. The exaggerated height of the backs gives the pair a distinctive silhouette.

Though rooted in the Windsor tradition, the chairs reflect the cleaner aesthetic associated with the Arts and Crafts movement. The unusually shallow seats and open construction contribute significantly to their character.

Exceptionally rare being in yewwood, the rectangular upholstered seat is raised on finely turned legs joined by box stretchers. The warm color and distinctive figuring of the timber contrast beautifully with the simplicity of the base.

Yewwood furniture from the William and Mary period is notably scarce, especially in smaller forms such as stools and side tables. The timber was used far less frequently than walnut during the period, and surviving examples remain uncommon today.

Compact in scale and versatile in use, the stool works equally well beside a chair, a small table, or at the foot of a bed.

Bold and sculptural in form, this chair features beautifully turned spindles, a generous saddle seat, and rare hairy paw feet. Unusual in being executed in mahogany, the strong silhouette and ambitious scale give the chair a distinctive country-meets-high-style character, combining the familiarity of a traditional Windsor with the refinement of sophisticated Georgian design. Chosen for its rich color, confident proportions, and visual strength.

The broad saddle seat and embracing form make the chair exceptionally comfortable. Its scale and sculptural quality allow it to stand comfortably on its own within a room.

Provenance:
Estate of Robert K. Johnson, Aiken, South Carolina
Private collection, Kentucky