Wicker chair

“ The furniture consists of some chintz-covered easy-chairs, a light wicker settee with a chintz cushion and a valance that reaches the floor; and there are two wicker tables with a vase of jonquils upon each of them. In the rear right-hand corner of the room, near the stand of plants, there is a tropical-looking chair, wicker, with a back of monstrous size—a Philippine Island chair—and in the opposite corner is its mate.
Dance music is heard from a distant orchestra. ”

“ A wicker armchair is on one side of the fireplace, a folding carpet-chair on the other. The other chairs, three at the table and two against the walls, are of bent wood. The sideboard is mahogany. The carpet-square over oilcloth is of an indeterminate pattern in subdued colours, dull crimson predominating. Lace curtains at window. Family photographs, a wedding group and a cricket group, and a big lithograph copy of a Marcus Stone picture, are on the walls. There is a brass alarm clock on the mantelpiece and one or two ornaments. A sewing-machine stands on a small table near the window ”

“ Examples of this shaping are shewn in the chairs, Figs. 32 and 36, which also have the simple cabriole legs.
Figs. 38 and 39 are arm-chairs of this period. Fig. 38 has a central vase-shaped panel with a volute and leaves on either side. The arms have flattened elbow-rests. Fig. 39 has curiously twisted arms. It has suffered in the splat very much from the worms. In this chair it will [57] be noticed the side rail connecting the legs is missing. The seat is stuffed and covered with canvas, which is decorated with needlework ("petit-point") in coloured wools and silks. ”

“ Turning now to the chairs, we find the heavy wooden chairs, such as are shown on Plate VII., Nos. 1, 2, 3, and 4, and No. 2 on Plate VIII., are giving place to newer forms. One of the most typical is the “low leather” chair, which we have already spoken of in the preceding chapter. This was generally covered with leather put on with large brass nails, and was sometimes also decorated with fringe. Genoa velvet, silk, serge, needlework, etc., were also used for covering this form of chair. A square straining-rail usually connects the legs close to the floor. ”

“ Probably no piece of furniture holds greater interest for the specialized or even the general collector than the chair. Its ancestry is venerable, but its remote antiquity need not be dwelt upon at length here. It is true that in a magnificent Louis Quatorze drawing-room, perfectly appointed and historically correct, the introduction of a cottage chair of the Windsor type would be as displeasing an anachronism as putting a wild thrush to neighbor with all the parrots of an avairy. ”

“ What we have said in regard to the popularity of the gate-leg table applies in greater degree to the Windsor chair. The industry of turning the legs and rails of this type of chair is still carried on in Buckinghamshire. Until recent years much of this turning was done by hand by villagers in the 263 district surrounding High Wycombe, where the parts are sent to be finished and made up. To this day some of the old chair-makers use the antiquated pole lathe. But the chairs have departed from their old stateliness. It is true that they have survived, almost in spite of themselves. ”

“ Chairs are still heavy and carved more or less richly. Two typical specimens appear in Plate XII. As shown 113in these examples, the seats and backs were often covered with stamped leather, velvet, silk, or some woollen material and ornamented with tassels. The covers are tacked to the frame by means of large-headed nails that also form part of the decoration. A chair and footstool by Vredemann de Vries, of very characteristic model, are shown in Fig. 23. The chair is three-cornered, with a triangular seat, and the legs are connected with straining-rails. ”

“ The leather is fastened to the frame with large brass nails, and that part of the oak frame which is exposed is turned work. On many of these chairs there are three little metal ornaments on the curved top. In this example two are lost. Besides the carving on the front brace, a pattern which was often adopted and copied by English and Dutch cabinet-makers, this chair shows well that form of foot which came to be known as the "Spanish foot." ”

“ Now the latter is without doubt the strongest seat for its weight which has been invented in modern times. It is one of the few successes in chair-making which can claim to be the direct outcome of scientific methods. It has absolutely no ancestors whatever, and can attach itself to no tradition. It is a bald product of the application of science to furniture, and when the Austrian inventor finally made it perfect he had achieved utility, nothing more, nothing less. The bent-wood chair is in pretty nearly every concert hall in the world. ”

“ The flower-table can be bought at Wallace’s, as can the smaller tables and chairs. A sofa and corner cabinet, can be had of Smee, while a ‘grandfather’ chair is to be had at Hewetson’s, and Bartholomew & Fletcher’s ‘Seabright’ armchair must never be forgotten. These are by far the most comfortable chairs in the whole furniture world. If we cannot rise to the oak panelling, a charming parlour may be made from plain ‘goehring,’ painted some soft colour,{143} either sea-green, electric turquoise or real ivory, and above the panelling should be a paper in the same shade as the paint ”

“ The arm-tops, through constant use, are smooth and shine like unto burnished bronze. The supports and front legs are twisted in good Jacobean manner, and the broad stretcher is carved with two long feathery, flowing acanthus-leaves curling round gracefully at the tips as if under pressure of a strong breeze, and crouching within their embrace nestles a rose in ambush. The chair has been mothered with lifelong care, and the bloom and beauty of age sit upon it like a crown of glory. ”

“ If there is a closet under the stairs for the family hats and coats, then the chance visitor can throw off his coat on the hall sofa or table. Hall chairs are useful, with a box seat holding whisk broom, hat brush, driving gloves, and things of that sort, and so is the table drawer; any of these contrivances are better than the hat tree, and so is a simple rail hidden away in some dark corner under the stairs, if there be no closet, with pegs attached for hats and coats. “There can be no reasonable law against making a hall chair both comfortable and suitable to its situation. ”

“ This last addition made the whole a perfectly strong and almost indestructible piece of framing, and constitutes one of the most essential differences in the construction of ancient and modern furniture. The legs of most modern chairs are made to depend entirely for strength on their hold, at one end, to the framing of the seat of the chair, into which they are generally only glued. The legs of the ancient chair, on the other hand, are secured at both ends ”

“ The sofas were large and roomy, the settees delightful, the arm-chairs and wing chairs regular havens of rest, and when one adds the comfort which modern upholstery gives, there is little left to desire. Even the regulation side-chair of the period, which some think was the only chair in very common use, is absolutely comfortable for its purpose. Lounging was much less in vogue then than nowadays and the old cabinet-makers realized that one must be comfortable when sitting up as well as when taking one's ease. ”

“ It is an interesting piece; the stiles in the back are inlaid with pearwood and ebony. The other armchair with its cane panels in back is of later Stuart days. It shows the transitional stage between the scrolled-arm type of chair, wholly of wood, and the more elaborate type (illustrated p. 123) of the James II. period.{101}
JACOBEAN CARVED OAK CHAIRS.
Yorkshire, about 1640. ”

“ The splat, with its varying forms, denotes the date of the chair. From 1740 to 1770 the form with cabriole legs and with finely ornamented fiddle splat was at its best. We illustrate a sufficient number of specimens to show how graceful and perfectly well balanced these chairs had become. In contemplating pieces remarkable for the highest style, it must be admitted that their artistry and their simple unaffected sense of comfort do make a direct appeal to those who are willing to recognise fine qualities in minor furniture. ”

“ Perley Poore, at Indian Hill.
By the middle of the seventeenth century chairs had become more common, and inventories of that period had frequent mention of leather or leather-backed chairs. Some of the earliest leather chairs have the under part of the frame similar to that of the wainscot chair, with plain legs and stretchers, while others have the legs and back posts turned. Illustration 126 shows a leather chair made about 1660, in the Waters collection. ”

“ If the wood shrinks, or the tenons do not fit the mortises all through, or the glue is deficient, these various portions speedily come to pieces. Sofas, couches, and stuffed chairs are so much more massive in construction that there need be no risk of such a kind of disintegration.
The members of which a chair is made up may be either turned in the lathe, or left massive enough to allow of carving on the legs, backs, or round the framework of the seat. Turned work can be lightly inlaid with ivory, as that of ancient Egypt, painted, gilt, or mounted (lightly also) with metal. ”

“ Curved top rail, turned arms, legs, and stretcher. Sheraton style, pierced fiddle splat.
The Survival of the Windsor Chair Type.—Apart from the love of the simple form and especially well-conceived design of the Windsor chair, which have made it at once the especial favourite of artists and lovers of simplicity and utility, it has won the practical approval of generations of innkeepers, who to this day store hundreds of chairs for use at village festivals. ”

“ The corners of the back were always rounded. The cabriole legs were often carved with a shell on the knees, the acanthus being used in the more elaborate pieces of furniture, and ended chiefly in a club foot. Stretchers became less common, but if they were used were pushed back and did not form such an important part of the chair design. Seats were broader at the front than at the back, and all furniture showed a real desire for comfort and convenience. Marquetry and lacquer were both in great favor, and there are wonderful examples of both reproduced, but especially lacquer. ”

“ Illustration 144 shows a five-slat or five-back chair owned by the writer. It was made about 1750, and the rockers were probably added twenty-five or thirty years later. They project as far in front as in the back, which is evidence of their age. Later rockers were made longer, probably for safety, the short rocker at the back proving dangerous to the equilibrium of a too vigorous occupant of the rocking chair. This chair has never been restored and is a very good example of the slat-back chair. ”

“ Some rocking chairs are so constructed that when the person occupying it gives a hard tilt backward, the chair tips over or dangerously near it. A rubber-tipped screw turned into the under side of each rocker, near the rear end, will prevent the chair from tipping too far back. ”

“ The three upright slats in the back are 3/4-in. material. The detail drawing shows the side and back, the front being the same as the back from the seat down. All joints are mortised in the posts, as shown. The joints, however, can be made with dowels if desired. If making dowel joints they must be clamped very tight when glued and put together. The seat can be made from one piece of 7/8-in. material, fitted with notches around the posts. This is then upholstered with leather without using springs. Leather must be selected as to color to suit the kind of wood used in making the chair. ”

“ These chairs, from the Old Palace, Richmond, at first glance appear to be of the same pattern, but a closer examination will show that no two are quite alike. Two of them certainly have similar backs, but a difference appears in the legs. In shape there is little difference between these chairs and those of the preceding reign except that the stretcher is lower. The backs, however, differ considerably from the Stuart chairs, the cane having disappeared and its place being taken by pierced and elaborate carvings. Fig. 27 is another and probably a later specimen of a fine William and Mary chair. ”

“ But in the Windsor chair we have a type which can certainly compete with bent-wood in strength if not in lightness. The Windsor chair, besides, is capable of much greater variety of form than the Austrian production. It has a tradition of its own and has as great a celebrity as its more modern competitor. It is heavier and sturdier. It savours somewhat of the kitchen, but although it cannot be regarded as the last word on art craftsmanship, it is not altogether unpleasant to look upon, and is much more comfortable in use than many a chair with greater pretensions to artistic appearance. ”

“ MATERIALS..—Brooks' Great Exhibition Prize Goat's-head Knitting Cord, No. 40, or 60, with a suitable hook.
This is a new and extremely pretty kind of cushion, for the back of a chair, which renders an ordinary seat almost as commodious as a professedly easy chair.
A small cushion is made, just the length of the back of the chair, and narrow in the proportion seen in the engraving, which is covered either with Berlin-wool work, or (as we have designed) with crochet. ”

“ Twelve designs of chair backs, resembling chairs of the Sheraton style, are “proper to be executed in mahogany or japan; some of them applicable to the more elegant kind of chairs with back and seats of red, or blue, 315morocco leather; in these backs, which are sometimes made a little circular, are frequently inserted medallions, printed or painted on silk of the natural colours; when the backs and seats are of leather, they should be tied down with tassels of silk or thread.” ”