Condition: Very good, brass castor cups that were apparently installed in the 19th century remain sans wheels.
Additional Information: The turned rear posts retaining original finials centering four
turned and split banisters joined by shaped top and bottom rails. The arms with scrolled
handholds above front posts; the legs joined by robust front stretcher and turned side
Material: Maple, walnut, and pine, original mustard yellow paint
Condition: Very good, little bit of white latex paint on side of one arm that will easily clean off; minor
in- paint at center of seat where commonly worn
Additional Information: A generously proportioned and comfortable armchair featuring a curvilinear
(back-curved) back and reverse-curved spindles supporting comb. The slightly convex tablet is tapered as
seen from the sides and gently rolled backward; square back having seven steamed and bent spindles
flanked by conforming stiles. The walnut arms feature volute carved terminus; front edge of “D” shaped
seat is sharply chamfered and is raised on bamboo-turned legs joined by similarly turned-stretchers…the
front stretcher having a narrow rectangular tablet common to the Boston fancy-chairmaking tradition.
Condition: Three brass plate repairs to shrinkage fissures, two in bow, one to arm
rail, else fine; chair is strong, should be used daily.
Additional Information: This example being of good form, is in a very dry historic
painted surface. The bow terminus displays typical New York bow ends, they taper then
flair forming square terminals (flattened bow face); this example displays the distinctive
tenon securing the bow within the arm rail mortice. Nicely developed knuckles and seat.
Condition: Rear legs ended just below stretcher, old shrinkage crack to crest glued,
needs a new seat.
Additional Information: A Connecticut heart-and-crown banister-back armchair, likely
the Durand Shop, Milford, circa 1750. The shaped crest rail with a heart cutout above
four molded banister splats flanked by turned stiles featuring ball-and-urn finials; arms
with shaped handgrips above turned stretchers; woven trapezoidal rush seat set on
Condition: Very good overall, top front stretcher is possible an early retro.
Additional Information: Turned rear posts featuring outstanding finials joining three
shaped slats above the trapezoidal seat; the front posts retain complete ball-shaped
[mushroom] handholds. Of special merit are the carved flat or blade form armrests. The
legs remain at full height and are joined by turned double box stretcher. The chair sports
a coat of 19th century black paint…nice patina.
Condition: Excellent, no repairs, old refinish…nice color
Additional Information: The tapering bow of successful form above arm rail with
shaped handholds pierced by seven splayed spindles; the arm is supported by turned
posts; the shaped saddle seat features chamfering and pontil and is grooved at inside
and outside edges of spindle platform. The chair is raised on ring and vase turned legs
with abruptly tapered foot (toes) joined by robust swelled stretchers. A very successful
chair of good proportion.
This chair is all about the pair of 4.5-inch handholds that are beautifully formed and
worn smooth, great color and patina. Very early Victorian paint with now faded
stenciling on the crest rail. Very good condition.
(Height: 44"; seat height: 18"; width: 27.75"; depth: 18"' mushroom diameter: 4.5")
Pilgrim Century [17th century] Carver armchair with finials above vase turned stiles, the
turned crest rail above a back having three turned tapering spindles, the turned
armrests joining front posts, above a trapezoidal seat, the legs joined by double box
stretcher. Imperfections are consistent with age and use; one arm and two side
stretchers are replaced; the retrofitting was done with ash…natural color and patina
matches the overall chair; it is obvious that these repairs were made very early in the
chairs working life, likely during the 18th century. There are small losses to the top orb of
each finial that do not distract. (Height: 46.5"; seat height: 16"; width: 24"; depth: 18")
This monumental chair may fill this gap in the object record. While the chair assumes the basic configuration of archetypical New London County turned-chairs, it exhibits subtle structural and ornamental variations that suggest a probable earlier date of manufacture. Overall, the chair is larger and more substantial than the standard New London County turned-chair. The posts are massive, exceeding 2.5" in diameter. The finials are the tallest and most robust examples known. The posts are turned with a dense sequence of urns, rings, and incised lines that reflects the compressed character of mid 17th-century turned ornament. Additionally, the chair is constructed entirely of ash, a wood more familiar to immigrant turners than the maple used for the posts of virtually all other New London County turned-chairs. Condition
This New London County great-chair has sustained some loss and damage during the course of its use. However, the visual and academic importance of the chair balances any issues of condition. When old upholstery was removed, the shaped profiles were lost from the upper edges of the slats. These missing elements have been restored based upon the pattern of other intact New London County turned-chairs. The posts have been extended about 6", although the lower row of stretchers is intact. Probably during the 19th-century, a horizontal brace was installed behind the finials. This addition necessitated the removal of the back profile of the finials and top section of the posts, a missing element also recently restored. The present coat of black paint dates to the 20th-century. References
Another New London County turned-chair with unusually heavy ash posts is owned by the Museum of Fine Arts Houston and is illustrated in American Decorative Arts and Paintings in the Bayou Bend Collection, p. 2; catalog entry f-2. Other information is available by request.
The outline of the back and shape of top rail conforms to those generally known to have been made at New York with some southwestern Connecticut influence. The yoke shaped crest rail having rounded ear-shoulders is pinned to the turned and tapered stiles. The complex design of the pierced splat is outstanding; openwork heart above a lyrical form centered by a double figure eight above the out swept bottom section with yet another heart; splat is let into the shaped lower back rail. The set back out swept flat arms with shaped handholds are let into stiles and pinned; supported by rapidly transitioned robust turned down-weighted arm supports that are tenoned into turned side stretchers. The corner blocked seat above turned and tapered front legs joined by ring, reel and compressed ball turnings. The chair is in old black paint. (Height; 43"; seat height: 15.5"; width: 22"; depth: 16.25"; height of arm from floor is 23.75".)
This example in old surface featuring classic Bergen County urn finials, carved down-sloped arms with robust scrolled handholds on ball-turned posts; trapezoidal seat in old natural rush raised on turned posts joined by stretcher system, the front stretchers sausage turned. (Height: 43"; Seat height: 15.5".)
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