Important Chairs & Seating
Some items here will be duplicated in New Arrivals & other pages
IPS 2
Arthur Heygate Mackmurdo (1851-1942), a very important oak chair, with an Art Nouveau floral back, 99cm high (lacking the seat) Mackmurdo's influence in Europe is recognised as the earliest forms of Art Nouveau particularly in the styling of his chair-back (1882) and in the title page for Wren's City Churches a year later. The present chair was possibly designed for Pownall Hall, the Century Guild's most important commission, and stands firmly alongside the Wren's City Church poster of 1883 and the earlier chair of 1882. This then can only add weight to this already mighty precursor of Art Nouveau, which certainly did not start out as humble beginnings in the mind of Mackmurdo but flourished and grew from within him and throughout his working career. This is one of the three most important pieces produced that undeniably predict Art Nouveau and set the fashion that went on to explode throughout Europe not only in furniture design but also in architecture, metalwork, ceramics and glass: a sinuous explosion flooding through the veins of the young designers who were emerging in France, Belgium, Prague, Italy, Spain and the rest of Europe at the turn of the century. Identical chairs to the present lot were used in the furnishing of Rainhill, a house designed by Edmund Rathbone whose brother, Harold Rathbone, founded the Della Robbia Pottery factory in 1894. See Cooper, Jeremy 'Victorian and Edwardian Furniture and Interiors' p. 199, illus. 516 and page 198 illus 514 for it and the comparable example of 1882. 1851. The Great Exhibition and the birth of Arthur Heygate Mackmurdo The son of a wealthy chemicals manufacturer, he was educated at Felsted School in Essex, and went on to start his architectural designing career articled for short time to T. Chatfield Clarke before entering the office of James Brooks in 1869. Later in life Mackmurdo credited the value of the example of methodical thoroughness set him by Brooks. At Oxford in 1873 he attended lectures by Ruskin whilst studying at the Ruskin School of Drawing who had an enormous influence on the young Mackmurdo. The following year he found himself in Florence which was an awakening feast to his artistic thirst for knowledge. All his early training had been in Gothic Architecture and Florence was nothing less than a revelation. He fell passionately in love with the Renaissance something that stayed with him throughout his lifetime and so set the seeds of Art Nouveau. He met William Morris in 1877 who inspired further his keen interest in the applied arts. He set up his own architectural practice at 28 Southampton Street, London and in 1882 he founded 'The Century Guild' to produce decorative work in every field of interior design and 'to render all branches of art the sphere no longer of the tradesman but of the artist, it would restore building decoration, glass painting, pottery, wood carving and metalwork to their rightful place beside painting and sculpture'. His associates in this venture were Selwyn Image, Herbert Home, Heywood Sumner, Kellock Brown, Benjamin Creswick, George Esling, Clement Heaton and William De Morgan. They complimented each other enormously with an impressive array of artistic skills. The Guild's products included furniture, stained glass, metalwork, fabrics and wallpaper. This was to include the magazine, 'The Hobby Horse', which first went on sale in 1884, and was printed at the Chiswick Press and beautifully illustrated with woodcuts by Selwyn Image and Herbert Home. The Guild's first exhibition was at the Health Exhibition in London also in 1884, though fame and recognition didn't arrive until they exhibited again at the Liverpool International Exhibition in 1886. Mackmurdo's architectural work included the Savoy Hotel (1889), a house in Chelsea for the artist Mortimer Menpes (a stunning Japanese-style interior) and Pownall Hall. He married Eliza D'Oyly Carte and moved to Wickam Bishops in Essex at 51 where he built his home Great Ruffins, he retired at the age of 55.
£POA.
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IPS 3
Mackay Hugh Baillie Scott (1865-1945), a set of four oak ladderback armchairs, by J. P. Whyte of Bedford, with re-rushed seats, one with metal label for the Pyghtle Works.
106cm high.
£POA.
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IPS 4
A rare & important ladder back armchair & matching side chair by C R Ashbee designed for the dining room in the Magpie & Stump in Cheyne Walk, London his family home from 1896. £POA.
The last images are of an armchair which I can attribute to Ashbee because I purchased it with the above chairs & likely to have been together since they were made & one can see it has many similarities to the documented two.
£POA.
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IPS 5
Josef Hoffmann (1870-1956) designed for the 5th Secession Exhibition in 1899, an exceptional oak corner armchair, circa 1899, with octagonal arm supports and following through to the legs, 76cm high.
An identical chair was exhibited at the Tate, Liverpool at the 'Gustav Klimt: Painting, Design & Modern Life in Vienna 1900' exhibition, 30th May to 31st August 2008. This is still online at their website www.tate.org.uk/liverpool click on exhibitions & then Gustav Klimt & then guide two for an illustration under 'Foundation of the Viennese Secession'.
£POA.
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IPS 6
A Gothic Revival painted, carved and pierced oak side chair, possibly designed by William Burgess, with animal forms of an elephant and a mythical bird to the upright terminals, leather seat.
Height 106cm .
£5000.
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IPS 7
A Gothic Revival chair designed by Bruce Talbert carved finials & stylised carved floral detail to the head rail flanked by carved rosettes & through pegged construction to the upper sides & superb a padded back & further carved details below to each lower corner with wonderful cloud shaped undertiers with circular through details & carved supports to the upper front legs with conforming circular through details & very stylish brass & ceramic castors with a superb kick out detail to the rear legs. Last two images of a very similar chair in Jeremy Coopers Victorian & Edwardian Furniture & Interiors Page 111 & page 85. Probably designed before Talbert published his book Gothic Forms applied to Furniture, Metalwork & Decoration For Domestic Purposes which was published in 1868.
£POA.
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IPS 8
The Butterfly chair designed by E.A.Taylor & made by Wylie & Lochhead for the 1901 Pavilion Exhibition. An important documented work of Art with Mother of Pearl & Walnut inlaid Butterflies & stylised flower heads.
£POA.

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IPS 9
Two very important Morris & Co adjustable ebonised armchair's designed in 1866 with arched arms & legs united by refined bobbin turnings with adjustable back & bobbin turned stretchers on brass & ceramic castors re-upholstered in original Morris & Co double woven Bird fabric. These elegant timeless recliners were based on a design from an earlier traditional prototype found by George Warrington Taylor (Morris & Co's business manager) in the workshop of an old carpenter named Ephraim Colman in Hurstmonceaux, Sussex, in 1866. He drew a sketch & wrote description of the chair & sent it to Philip Webb & these two examples are the exact models that were adapted by Phillip Webb for production by Morris & Co. So rare to find one, a dream to find two. An icon of the 20th Century.
Circa 1866.
£SOLD.
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IPS 10
A rare pair of 'Morris' oak reclining armchairs after a design by Phillip Webb & made by Jas Shoolbred. These armchairs are very close to the original design by Phillip Webb & superb quality pair typical of all Shoolbreds work, certainly one of the best makers in London in the late Victorian & Edwardian periods, they had workshops at Tottenham Court Rd, in London.
Circa 1890.
£POA.
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Philip Webb (attributed) for Morris & Co., an Aesthetic Movement mahogany sofa, upholstered in ‘Bird’ fabric designed by William Morris. Exhibited at the Liberty & Co. Exhibition, June 2009, no. f13
Circa 1866-70's.
£POA.

Height 42" 107cm, Width 73" 185.5, Depth 26 1/2" 66cm.
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IPS 12
Morris & Co., A Saville three piece suite, consisting of a Mahogany two seater settee, Ladies armchair & a Gentleman's armchair identical to the ladies version except with elongated arms. Superior quality made by Morris & Co & designed by George Jack. George Jack designed & made the top end inlaid pieces of the highest quality in design & manufacture that Morris & Co produced. Morris & Co furniture is quite rare.
Settee Width 124cm, Ladies armchair 83cm. Gentlemans armchair 91cm. Circa 1890.
£POA.
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IPS 13
A pair of quality Mahogany armchairs attributed to George Jack for Morris & Co with fabulous inlaid details through out, the style & quality of these armchairs are of a more traditional influence with an artistic feel which was used extensively by George Jack. His own work for Morris & Co is very much in the Sheraton Revivalist style.
Circa 1900.
£POA.
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IPS 14
A rare & important Arts & Crafts Glasgow School oak settle designed by George Walton one of two made for one of his earliest Kodak commissions at 59, Brompton Rd, London. The pure Glasgow design is very complicated indeed & one can see Mackintosh's influence clearly in this piece which would have rubbed off on him while working with Mackintosh for Miss Cranston's tearooms. George Eastman was not happy that Walton had been brought in to design the top Kodak showrooms but Walton had conquered Davison & Davison never had any trouble squeezing the money out of Eastman to employ Walton's expertise & by the end of 1898 they had renamed his work for the showrooms to 'Kodak-oration, the decorative work of George Walton' & at that moment the name George Walton & the Eastman company were fused as one. 1900 was the peak of Walton's work for Kodak & the Brompton Rd commission was probably the best he achieved for Kodak alongside The Strand & Brussels showrooms. See George Walton. Designer & Architect by Karen Moon. Page 81 & 82.
Height 55", Width 60 1/4", Depth 16 1/4". Circa 1900.
£POA.
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IPS 15
A rare & important Arts & Crafts oak armchair & matching side chair designed by George Montague Ellwood & made by J S Henry. These chairs were exhibited at The Dublin Museum Exhibition held in 1905. Last 2 images from British Furniture by Pauline Aguis.
Circa 1905.
£POA.
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IPS 16
G.M.Ellwood & made by JS Henry.
A rare Satin Birch Arts & Crafts armchair with Pewter & Brass stylised floral inlay's to the top, tapering back with original fabric to the seat & the back with shaped arms united to tapering front legs with extended capped tops & kick out details to the lower back legs.
Circa 1900.
£POA.
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IPS 17
Set of ten Morris & Co Hampton Court single oak dining chairs designed in the offices of Richard Norman Shaw, possibly designed by W. Lethaby & similar to those used by Norman Shaw in the Tabard Inn at Bedford Park. See Victorian & Edwardian Furniture & Interiors by Jeremy Cooper page 177 illustration 469. Circa 1890. £POA.
These chairs have all been restored & are now ready for the upholstery of your choice.
Circa 1900.
£POA.
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IPS 18
Set of fourteen Mahogany Arts & Crafts dining chairs designed in the offices of Richard Norman Shaw & possibly designed by W. R. Lethaby, retailed by Morris & Co.
Circa 1900.
£POA.
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IPS 20
A rare Glasgow School Art Nouveau armchair with a Mother of Pearl inlaid bird to the top rail & a fabulous back panel depicting an Art Nouveau maiden holding a bird & further inlaid Mother of Pearl birds to the front of the seat, this is a wonderful designed chair also with beautifully shaped front legs & generous curving arms & curved side stretchers.
Circa 1900.
£POA
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IPS 21
THOMAS EDWARD COLLCUTT 1840-1924. Made by Collinson & Lock. a Rosewood part drawing room suite, comprising four side chairs, a high-back nursing chair and a low-back nursing chair,with ring-turned galleries, uprights andsupports, original Paisley pattern silk brocade upholstery identical to those illustrated in the 1871 catalogue drawings, Collcutt designed nearly all of the furniture in the Collinson & Lock catalogue of 1871 & Moyr Smith drew all the illustrations. See 19th Century Design by Michael Whiteway PAGE 283 :- THOMAS EDWARD COLLCUTT 1840 - 1924.
Circa 1871.
£POA.

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IPS 22
Attributed to Moyar Smith & made by Collinson & Lock. Chaise Lounge with triangular 'A' frame to one end, ebonised tramlines throughout with a lower turned gallery & turned feet. The semi upholstered back with open turned gallery & incised zig-zag & dot details. These details point towards the Dr Christopher Dresser studio's where Moyar Smith designed with Dresser, & this chaise is illustrated in the Collinson & Lock catalogue 1871 which Smith drew all the illustrations. The incised zig-zag & dot details are not Collcutt's hand & being so particular make it almost certain that Moyar Smith indeed designed this. Michael Whiteway notes that Collcutt designed nearly all of the furniture in the Collinson & Lock catalogue of 1871 & Moyar Smith drew all the illustrations & may have contributed some of the designs. See 19th Century Design by Michael Whiteway PAGE 283 HEADING :- THOMAS EDWARD COLLCUTT 1840 - 1924.
Height 36" 78cm, Length 68" 170cm, Depth 22" 70cm. Circa 1871.
£POA.
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IPS 23
A fine quality Anglo-Japanese settee possibly designed by E.W.Godwin with subtle Japanesque detailing to the back uprights, each arm that turn out in the Japanese style with finely carved foliate details to the upper fronts & fine turnings to the lower back & below the arms, on finely turned legs with high quality treble ribbed brass & ceramic castors.
Circa 1870's.
£POA.

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IPS 24
Bruce Talbert. Probably made by Gillows of Lancaster. An Aesthetic Movement ebonised settee of superior quality with gilt carved florets to the sides of the scroll style back terminating at the top with circular details & tramline details throughout with gently upsweeping arms with 4 turned supports in graduating sizes each with a central gilt line & a 5th much larger turning with gilt lines centred by small gilt balls, the spiral turned front legs & bulbous turned back legs united by wonderful twin semi-circular stretchers with twin supports on original brass & ceramic castors.
Circa 1880.
£POA.
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IPS 26
An oak winged armchair designed by MH Ballie Scott the upper front legs with chequer board Ebony & Boxwood inlays on square feet united by an H stretcher. The last four images from : Houses & Gardens, Arts & Crafts Interiors by M H Ballie Scott, of an identical armchair, there is a slight difference because the cross stretcher is set back a bit which is actually a better design because we all naturally like to put our heals under a chair, & this would probably indicate it is a slightly later design.
Height 114.5cm. Circa 1900.
£POA.
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IPS 27
An important armchair designed by Frank Brangwyn. Brangwyn's last interior designs were for the Canadian Pacific Liner; 'The SS Empress of Britain', which was launched in 1931 by the Prince of Wales, later to be King Edward VIII who renounced his throne to marry Wallis Simpson in 1930. These armchairs were designed for the 1st class dining room; 'The Salle Jacque Cartier' (see last image) & they were made by H.H. Martyn & Co. Cheltenham. The 1st class dining room was described as in the Bulletin of The Decorative Arts Society 1890 - 1940 as 'In the fully fledge modern restaurant & cinema style of the 1930's. The Studio in a long article on the liner, discusses & illustrates Brangwyn's Salle Jaques Cartier:'So architectual it is, so true proportion, so devoid of Extraneous ornement. In contrast to this austerity of line, hue & colour, his great wall paintings are rich in colour; composed in the bold, yet intricate pattern of figure, fruit & flowers that characterrises Mr Brangwyn's decorative works.
Tragically the liner was sunk in 1940 by a U-boat. Brangwyn also designed marquetry panels for the private dining rooms & they were executed by the Rowley Gallery, he also designed a frieze carved in wood for their gallery façade in 1936. As one can see it has a central under bar below the seat which still has the original bolt & eye to secure the chain from to the floor that would prevent all the chairs from sliding all over the floor in stormy weather. It is lacking ivorene numbered disc which would have sat in the very top of the head rail.
£POA.
In October 1940 the most famous of the Canadian Pacific Railway liners & flagship of the company's Atlantic Fleet, the Empress of Britain, was attacked & sunk. She was travelling to Glasgow from Suez via South Africa, where she was bombed near the northwest coast of Ireland by a German Focke Wulf Condor plane. When the Condor attacked the Empress of Britain the ship's crew couldn't shoot the plane down & soon the Empress was burning out of control & the Captain C.H. Sapsworth gave the order to abandon ship. 45 people died & the remaining survivors including women & children, were later rescued that day by the British destroyer HMS Echo & the Polish destroyer Burza & 3 British naval trawlers Paynter, Cape Agona & Drangey. The Empress still burning managed to stay afloat & the day after 2 Royal Navy tugs, Marauder & Thames tried to tow her into port with many escort ships around her but in spite of the protection she was given from the escort ships on October 28th, a German U-boat, U-32, managed to get by the escorts un-noticed & torpedoed the crippled Empress. She sank within ten minutes. The Empress of Britain was the largest Allied passenger liner to be sunk & weighing 42,348-tons she was the biggest merchant ship loss of the war. King George VI & Queen Elizabeth had travelled aboard Empress of Britain after their 1939 Royal Tour of Canada & they were so moved by her sad loss, that they sent their personal condolences to the CPR. The photo of the Empress below was taken in San Francisco during one of her memorable cruises & was sourced from the Canadian Pacific Railways commemorative booklet Empress of Britain: Lost in Action in the Service of her Country, October 28th, 1940.
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IPS 27a
A pair of armchairs attributed to Frank Brangwyn originally from a cruise ship or liner if not the same liner as above 'The SS Empress of Britain'. One can see that there is an intimacy between these pair of armchairs & the armchair above, & they also have a central under bar under the drop in seats identical to the above chair which would have had a bolt & eye as above in images 12 & 13 to secure the chain that would prevent the chairs from sliding in stormy weather & one retains it's ivorene numbered disc number 74, they also have the remains of what would have been rubberoid feet screwed to the bottom of each leg again to help them from sliding in heavy weather. These chairs share stylistic qualities with the famous armchair above. He also designed two private dining areas, the Salle Wolfe and Salle Montcalm. These chairs retain the stay bars for securing them during heavy weather
£POA.

IPS 28
Two pairs of Oak rush seat ladder back chairs attributed to Charles Rennie Mackintosh. The upper pair are slightly smaller but in proportion to the ones below.
For an identical chair see Mackintosh furniture by Roger Billcliffe, page 13. Roger Billcliffe said that 'these chairs are associated with both the Gauld furniture & other pieces for William Davidson. The elongated back with a very exaggerated rake shows his influence in a very traditional design. An identical chair sold at the Phillips Sale held at The Glasgow School of Art on the 8th of November 2001, with commissions it made £2875.
These four are £1750 Each.
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IPS 29
A fine quality Oak Arts & Crafts armchair designed by Walter Cave with capped tops, a heart cut out to the shaped back splat which follows a little of the shape of the back legs & the back legs curve opposite 4 ways as they follow down an incredible detail with wonderful shaped arms & mitred joints as they meet the back uprights & again shaped under supports. The square tapering legs united by a H stretcher & the seat professionally upholstered in a quality green leather, this wonderful armchair is a real hybrid in design & QUALITY.
Circa 1900.
£POA.
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IPS 30
An important oak Gothic armchair designed by John Pollard Seddon & made by his family firm Thomas Seddon (Seddon & Co) who were in Bond Street & supplied furniture to Windsor castle & Buckingham Palace, founded by his Great Grandfather George Seddon. He exhibited an almost identical armchair on the Morris, Marshall, Faulkner & Co stand at the 1862 International Exhibition, illustrated in JEREMY COOPERS Victorian & Edwardian Furniture & Interiors, page 104 illustration 220 (the original drawing) & 227 (a variation of this chair) & another version is also illustrated in Nineteenth Century Design by Charlotte Gere & Michael Whiteway, page 84 illustration pl 83 (last 2 images).
Seddon's partner at one point was E.W.Godwin a friend of the Pre-Raphaelites & some of his pupils were Ford Maddox Brown, C.F.A.Voysey & Daniel Gabriel Rossetti.
Circa 1860's.
£SOLD.
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IPS 31
A pair of important oak Gothic chairs designed by John Pollard Seddon & made by his family firm Thomas Seddon (Seddon & Co) who were in Bond Street & supplied furniture to Windsor castle & Buckingham Palace, founded by his Great Grandfather George Seddon. He exhibited an almost identical armchair on the Morris, Marshall, Faulkner & Co stand at the 1862 International Exhibition, illustrated in JEREMY COOPERS victorian & Edwardian Furniture & Interiors, page 104 illustration 220 (the original drawing) & 227 (a variation of this chair) & another version is also illustrated in Nineteenth Century Design by Charlotte Gere & Michael Whiteway, page 84 illustration pl 83 (last 2 images). Circa 1860's. £POA.
Seddon's partner at one point was E.W.Godwin a friend of the Pre-Raphaelites & some of his pupils were Ford Maddox Brown, C.F.A.Voysey & Daniel Gabriel Rossetti.
These Seddon dining chairs & the pair below are two identical pairs (2 x 2), everything from the seat down is identical, the stretchers are all the same on all four chairs & they are all at exactly the same heights & the seats are at the same height too, the heights of the very tops of all the four chairs are also exactly the same the only real difference are the little carved flowers to the tops on each side, on one pair they are slightly bigger flowers but apart from that they are the same, if one was to match the finish & colour & upholster them in the same fabrics they would make a beautiful set of four & although they were made at different times by Seddon & Co they are incredibly alike & made by a company with such pedigree & with so much importance attached to them make these chairs extremely rare I have never come across single versions of these chairs before, probably the only four known to exist.
There is a number stamped to the upper leg '3172' of these chairs & '5007' stamped on the pair below which may suggest that this pair are earlier.
£POA.
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IPS 32
Another almost identical pair of oak Gothic chairs designed by John Pollard Seddon & made by his family firm Thomas Seddon (Seddon & Co) who were in Bond Street & supplied furniture to Windsor castle & Buckingham Palace, founded by his Great Grandfather George Seddon. He exhibited an almost identical armchair on the Morris, Marshall, Faulkner & Co stand at the 1862 International Exhibition, illustrated in JEREMY COOPERS Victorian & Edwardian Furniture & Interiors, page 104 illustration 220 (the original drawing) & 227 (a variation of this chair) & another version is also illustrated in Nineteenth Century Design by Charlotte Gere & Michael Whiteway, page 84 illustration pl 83 (last two images). Circa 1860's. £POA.
Seddon's partner at one point was E.W.Godwin a friend of the Pre-Raphaelites & some of his pupils were Ford Maddox Brown, C.F.A.Voysey & Daniel Gabriel Rossetti.
These Seddon dining chairs & the pair above are 2 identical pairs (2 x 2), everything from the seat down is identical, the stretchers are all the same on all four chairs & they are all at exactly the same heights & the seats are at the same height too, the heights of the very tops of all the 4 chairs are also exactly the same the only real difference are the little carved flowers to the tops on each side, on one pair they are slightly bigger flowers but apart from that they are the same, if one was to match the finish & colour & upholster them in the same fabrics they would make a beautiful set of four & although they were made at different times by Seddon & Co they are incredibly alike & made by a company with such pedigree & with so much importance attached to them make these chairs extremely rare I have never come across single versions of these chairs before & probably the only four known to exist.
There is a number stamped to the upper leg '5007' on these chairs & '3172' stamped on the pair of chairs above which would suggest that this pair are later.
£POA.
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IPS 33
A rare Gothic Revival chair designed by John Pollard Seddon & made by Gillows of Lancaster, with pyramid tops & arched & turned back with inlaid dot decoration & through pegged construction, turned stretchers & front legs with brass & ceramic castors & wonderful kick out back legs.
Circa 1870.
£POA.
This chair shows many design details to the chair he designed for the 1862 International Exhibition especially (in the above five chairs) & the only other furniture company he is known to have designed for is Gillows.
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IPS 34
A rare Glasgow School oak & leather 'Abingdon' armchair designed by George Walton. Here again this design is very complicated & quite radical, with large flat arms which protrude out incorporating the back legs & upright supports quite far back giving the chair a light & airy feel, the gentle tapering legs with 1/2 splayed feet gives this unique design a wonderful balanced almost feminine feel yet the continuation below the seat of the back supports giving it a subtle architectural feel & again an infusion of his own style with Mackintosh's obsession with this type of chair-back detailing. See George Walton. Designer & Architect by Karen Moon. Page 105 image attached.
Circa 1900.
£POA.
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IPS 36
A rare Arts & Crafts Walnut high back 'Philippines chair' designed by George Walton. The back is 49" high a very elegant & such a refined chair & very good quality indeed. In the Philippine drawing room interior it is mentioned that here he is clear indications of the future & one can certainly see it in the maturity of design in this very elegant high back chair from Brasted in Kent a commission he worked on from 1902.
£POA.
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IPS 37
Tutankhamun. An extremely rare pair of stunning 1920's Egyptian revival armchairs, a copy of the most spectacular of all the six chairs found in Tutankhamun's tomb. The original when found by Howard Carter was wrapped with sheets of gold & silver & then inlaid with an array of semi-precious stones, faience & coloured glass, which together were worked into a wealth of symbolic & decorative elements. Finely detailed lion's legs support the chair, while the arm panels take the form of winged uraei (or cobras) surmounted by the double crown of Upper & Lower Egypt. Partially visible is the exquisitely rendered chair back, which depicts Queen Ankhesenamun anointing her husband beneath the life-giving rays of the sun disc.
Circa late 1920's.
£POA.
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IPS 38
An Egyptian Revival garden bench with Sphinx heads to the top & Sphinx wings & legs to the front & a pair of dragon like eagles face to face seperated by a Lotus Flower with a scroll style lower stretcher joining the legs.
Circa 1880.
£POA.
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IPS - A
A rare pair of 'Morris' ladies & Gentleman's reclining armchairs one is very slightly smaller than the other such a wonderful subtle difference. These two have both been professionally taken apart, all the joints cleaned, re-assembled, re-glued & clamped & they have been recovered in a contemporary Sanderson's Morris & Co Vine fabric.
Circa 1890.
£SOLD.
There have been a few variations turn up of the original bobbin turned reclining armchair designed by Phillip Webb in the 1860's.
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IPS - B
A rare Oak Arts & Crafts armchair attributed to E.Punnet & made by William Birch with wonderful Mother of Pearl & Ebony stylised floral inlay . A tremendous design that is well balanced & encompasses the true Glasgow Style. An identical version is illustrated in 'The Birch Design Ledger, illustration number & there is another example in the collection at The Glasgow School of Art (GSA).
1901.
£SOLD.
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IPS - C
A stunning Arts & Crafts oak settle designed by Edgar Wood of superior quality & design. A precision engineered architectural work of Art with 3 protruding through tenons to each side joining the seat to the impressive sensual organic elongated bird like details to the sides. One can see the settle in the last image to the right taken from the "Special Summer Number of the Studio" "Modern, Domestic Architecture & Decoration 1901.
Length 6', Height 68", Depth 18".
£SOLD. Click on pictures for larger version


IPS - D
An important pair of Anglo-Japanese stools designed by Thomas Jeckyll & made by Gillows of Lancaster, each stamped Gillow 11439 and 11440, one signed in pencil and dated 1875.
See Christies South Kensington, Ken Hill, Snettisham, Norfolk, 13th September 1999, Lot 632. Note: These stools formed part of a group of furniture designed by Thomas Jeckyll for the industrialist Edward Green and his wife Mary for their home The Old Hall, Heath, Yorkshire in the 1870s. The furniture was removed to Ken Hill when the Greens moved there in 1890.
The signature of F. Branscombe is thought to be that of the upholsterer.
Circa 1875.
£SOLD.
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IPS - E
George Washington Jack for Morris & Co., a mahogany 'Saville' armchair, circa 1890, with wavy square arm spindles, on swollen front legs with later conforming casters, with original cotton mohair damask Crown Imperial pattern upholstery designed by William Morris and registered on 18th November 1876, 93cm high (the casters now replaced) See Parry, Linda 'William Morris' Exhibition catalogue:V&A 1996, p. 178-179, no. J.32 for a 'Saville' armchair in the Victoria and Albert Museum. Also see Parry, Linda 'William Morris Textiles', p. 150, fig. 22 for this upholstery. It is extremely rare to find Morris furniture still with the original fabric it started life with and, although slightly worn to the arms, the fabric is in reasonable condition throughout. A good museum example of an original Saville armchair with its original coat.
Circa 1900.
£SOLD.
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IPS - F
Morris & Co., a Mahogany armchair designed by George Jack.
Height 94cm. Circa 1890.
£SOLD.
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IPS - G
George Washington Jack for Morris & Co., a mahogany ‘Saville’ armchair, with wavy square arms spindles, on swollen front legs with later conforming casters,
Height 93cm Circa 1890.
£SOLD.
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IPS - H
A rare pair of Gothic Revival dining chairs by J.G.Crace probably designed for Abney Hall (last image see Jeremy Coopers Victorian & Edwardian Furniture & Interiors page 53 Illustration 114). The head rails with solid Ebony carved florets the outer ones differing to the central one & double chamfered details which are used at all the back rest joints & at every corner below the seats with a double detail to the ends beneath each side seat rail & to the squares at the lower front legs a particular detail that has an attractive & functional purpose with wonderfully chamfered birds beak end details that stop & start on the classic H stretcher where they meet leaving a slightly chunkier part of the oak again for better strength of the joints & continuing to the back legs where they meet with a superb kick out detail. Retaining their original finish.
Circa 1857.
£SOLD.

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IPS - I
A rare oak Arts & Crafts armchair with wonderful Ebony & Walnut inlay of a stylised Tulip. Designed by E.G.Punnet & made by William Birch for Liberty & Co.
Circa 1895.
£SOLD.
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IPS - J
A superb quality 'Morris' Walnut armchair after a design by Phillip Webb with arched arms & legs united by refined turnings with adjustable back & incised turned stretchers on brass & ceramic castors re-upholstered in a contemporary Morris & Co Vine fabric by Sanderson's.
Circa 1890.
£SOLD.
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IPS - K
A good pair of Arts & Crafts chairs attributed to George Walton (see Victorian & Edwardian Furniture & Interiors by Jeremy Cooper page 233) with stylied fruitwood inlays in discs which have 3 elongated back splats in pyramid form, small upholstered panels to each top corner & square tapering legs.
Circa 1900.
£SOLD.
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IPS - L
A pair of Arts & Crafts oak chairs designed by George Walton with arched rush head rests flanked by bold chequer inlays, rush seats with curves below on turned legs with H shape floor stretchers.
Circa 1895.
£SOLD.
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IPS - M
A rare set of ten oak Arts & Crafts dining chair's designed by GM Ellwood & made by JS Henry with stunning shaped back splats which run from headrest to floor stretcher each capped at the top. A fantastic Hybrid in design designed by a genius.
Circa 1905.
£SOLD.
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IPS - P
A rare set of twelve Oak Arts & Crafts dining chairs design attributed to EA Taylor & made by Wylie & Lochhead. They have all been dis-mantled, joints cleaned, re-glued, cleaned & re-finished ready for upholstery.
Circa 1900.
£SOLD.
But I do have another 1 single for sale which has been re-covered in a quality green hide.
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Puritan Values Ltd, The Dome, St Edmunds Rd, Southwold, Suffolk, IP18 6BZ Tel: Tony 07966 371676 OR Stan 07759 616400 Credit Card Facilities and Interest Free Credit now available E-Mail:sales@puritanvalues.com