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The Art Of The Hall Chair

As one might have already noticed, Hall chair is one of our favourite types of seat furniture. Unlike other types of chairs, these mostly had only decorative purpose, such as adorning a great entrance hall and displaying a family crest. Here is our insights into the history of a hall chair.

Like many other fashionable furnishings, English Hall Chairs originated the Grand Tour, thus following the form of the Italian 'Sgabello' chairs that adorned the entrances of noble palazzi the 16th century. Although this form of chair remained popular throughout the 18th century, all major English designers, such as Wlliam Kent, Thomas Chippendale, Robert Adam, George Hepplewhite, Thomas Sheraton, Robert Gillow and others soon developed their own designs for these chairs, and as the chairs were to serve a decorative rather than practical purpose many of the designs were particularly fanciful and allowed the designer to give free rein to their creative expression.
In 1762, Chippendale suggested using hall chairs in ‘Halls, Passages or Summer-Houses. They may be made either of mahogany, or other wood and painted and have commonly wooden seats’. He adds, that 'if the carving of the chairs ... was thought superfluous, the outlines may be preserved, and they will look very well'.
Ince and Mayhew designs for hall chairs, The Universal System of Household Furniture, c. 1759-62, pl. 4. The authors suggest that 'the ornaments, if  thought too expensive, may be painted and have a very good effect'.
'Two hall and lobby chairs', from The Chair-Maker's Guide by Robert Manwaring and others, 1766.
Henry Copeland design for a hall chair, from The Chair-Maker's Guide by Robert Manwaring and others, 1766. In partnership with Mathias Locke during the mid-18th century in London, they created many furniture designs in the Rococo style.
George Hepplewhite designs for hall chairs from his The Cabinet-Maker and Upholsterer's Guide, 1788, pl. 14. The chairs, 'which are made all of wood, either carved or painted. The designs with vase backs are new and have been much approved'.
Gillows design for a hall chair, dated 1.3.1786, made by John Dowbiggin and Henry Gibson for Samuel Hibbert, Esq., of Manchester
Further Gillows designs for hall chairs, c. 1788-90.
A Gillows design for a japanned hall chair, c. 1785-90. The form is not dissimilar to the example from Kenwood House, illustrated below.
Initially, hall chairs were designed, in the words of Sheraton in the Cabinet Maker's Dictionary (1803), to be 'placed in halls, for the use of servants or strangers waiting on business'. However, being the first and one of very few items to be seen upon entering a grand country or town house, hall chairs also had to make a clear statement on behalf of the owner, showing their power, wealth, taste and pedigree. The finest examples were immensely decorative, demonstrating sophisticated designs and exquisite craftsmanship, such as some examples illustrated below.
Exquisite detail of a hall bench at Kenwood House, displaying the family coat of arms, flanked by a pair of finely carved dogs and crested with the Earl's coronet.
An exceptional early George III mahogany hall bench, formerly a part of a larger suite of hall furniture (at least three benches and six chairs). The superb quality and unparalleled attention to detail makes these finest pieces of hall furniture we have ever seen easily attributable to the best cabinetmakers of the era, the likes of Chippendale or Gillow.
Exquisite detail of a hall bench at Kenwood House (above).
Exquisite detail of a hall bench at Kenwood House
Detail of a hall bench at Kenwood House
Exquisite detail of a hall bench at Kenwood House
Exquisite detail of a hall bench at Kenwood House, displaying the family coat of arms crested with the Earl's coronet.
Exquisite detail of a hall bench at Kenwood House
A magnificent hall chair (of a set of four, formerly part of a longer set), en-suite with the pair of hall benches (above).
A superb detail of the hall chair at Kenwood House (above). The design of these superb chairs corresponds to a Gillows drawing, dating back to the 1780's.
Castle Howard, the Chapel. George III period hall chair, from a set of four, in the manner of Ince and Mayhew. Superb carving and detail, lovely gilt accents.
Detail of the hall chair at the Chapel at Castle Howard. The decoration, which is likely original, suggests that the chairs were initially intended for the chapel.
The entrance hall at Harewood House. Although not listed in Chippendale’s bill, this magnificent set of eight painted hall chairs, designed to match the grandeur of Adam's Hall, was almost certainly supplied by his firm.
Chippendale hall chair at Harewood House.
With the explosion of wealth associated with the growth of global trade and the industrial revolution a new class of prominent families emerged, eager to cement their positions in society. Hall chairs, displaying the family crest, sent a clear message of a person’s status.
The Top Hall at Nostell Priory. The hall chairs, a set of eight, originally painted white, were designed by Chippendale to match Adam's neat neoclassical hall.
Detail of the back of the Chippendale's hall chair at Nostell Priory. Exquisite detail and superb carving.
A detail of the Chippendale hall chair at Harewood House (below).
Harewood House, the Watercolour Room. A superb Chippendale hall chair, one of a pair, adorned with exquisite carving and outstandingly patinated.
Chinese lacquered hall chairs with the Child coat of arms, at Osterley Park, part of a suite of hall furniture made for Sir Francis Child the Younger, a director of the East India Company, in the 1720s.
A magnificent hall bench settee by William Kent (1685-1748) at Chatsworth House, Derbyshire. This type of hall furniture was created by William Kent for the great entrance halls of the newly built Palladian mansions of the 18th century. These were the first furnishings to greet a visitor and, through the use of quality materials, skilled workmanship and exquisite design Kent was able to communicate the grandeur, wealth and taste of his patrons.
A hall bench settee by William Kent, Chatsworth House.
A pair of hall chairs by William Kent, Chatsworth House.
A detail of a hall chair by William Kent, Chatsworth House.
A fine painted hall stool, one of a set of four, possibly by Chippendale, at Petworth House.
A fine painted hall stool, one of a set of four, possibly by Chippendale, at Petworth House.
One of the most recent additions to our collection, a most unusual George III period hall chair of exceptional quality in finely figured mahogany, circa 1800.
The piece's extravagant design, superb quality, choice of timber suggest one the best furniture-makers of the era.
An exceptional example of late Georgian furniture in the Roman style, undoubtedly influenced by the designs of Charles Heathcote Tatham. Circa 1805.
The piece's superb quality, choice of timber and sophisticated decoration suggest the best furniture-makers of the era, the likes of Marsh & Tatham, Morel & Seddon or Gillows of Lancaster. A set of identical chairs was supplied to John Scott, 1st Earl of Eldon (d. 1838), Lord Chancellor of England.
An rare and unusual fine pair of early Regency mahogany klismos hall chairs of exceptional quality, attributed to Gillows of Lancaster and London. Circa 1810.
A closely related pair illustrated in a July 1992 issue of House & Garden magazine, in a feature on the historic Savannah house of Furlow Gatewood and John Rosselli, two prominent American decorators.
The distinctive scrolling wedge-shaped back with central roundel, where the family crest was meant to be painted.
A rare and unusual pair of late Regency - William IV period mahogany hall chairs, in the Kentian taste, after the design by Gillows of Lancaster and London. These chairs have most unusual boldly scrolling front legs, more commonly seen on console tables, which may indicate that the chairs were made en-suite with such a table. Possibly Irish, circa 1825-35.
Gillows of Lancaster supplied ‘4 handsome mahogany hall chairs the backs carved as a shell...’ to the Reverend H. Holland Edwards in 1811. This distinctive shell pattern of the back subsequently became known as the ‘Edwards Pattern’, and became increasingly fashionable in 1810's and 1820's.
Being an allusion to Venus, the sea shell motif was a popular decoration from classical antiquity through to the mid-19th century.
A superb pair of late Regency - George IV period hall chairs in well figured mahogany, circa 1825. Generously proportioned and smartly decorated, these chairs boast the finely carved crestings and restrained yet elegant design.
The crisp carving, fine choice of timber and elegant design combined with desirable patina make these chairs equally appealing to both collectors and decorators.
Fine example of late Regency - William IV period Irish hall chairs, still light and elegant in appearance, with the decoration clearly moving towards the heavy Victorian forms. Circa 1830. SOLD.
Beautifully grained timber and crisp carving give away a skilful craftsman, which, combined with a fantastic colour and superb patina made this pair of chairs (above) a great find for a discerning collector.
An attractive pair of a lesser quality George III period chairs, possibly Irish, c. 1790. The craftsman was obviously inspired by a more sophisticated design, while the chairs were almost certainly made for the downstairs use. The pierced shield-backs and compass seats give a restrained elegance to these otherwise simple chairs. Virtually untouched condition, fabulous patina. SOLD.
A good example of more austere and robust country-made hall chairs in mahogany, of the George III period, after a design by George Hepplewhite, circa 1790. These chairs' solid overall appearance and construction suggests their practical, rather than decorative purpose: they were made to withstand the actual use, possibly at the servants quarters, at a chapel or elsewhere.
Unlike at the previous example, the sleek and lightweight design of these armorial hall chairs of the same period, does not suggest much of a practical use. Good proportion, smart decoration and particularly fine curve to the rear legs, together with the unusual for the period choice of timber (oak) - make these chairs stand out. Notably, they still retain the insets, painted with double coat of arms, meaning a marriage of two prominent families. Circa 1800.


This post first appeared on Peacock's Finest, please read the originial post: here

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The Art Of The Hall Chair

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