SETTEES, CHAISES-LONGUES AND SOFAS
A bit too comfortable for the likes of architect-designers, the settee and sofa attracted less design attention of the ‘progressive’ sort between rococo and art nouveau. The general commercial manufacturer was left to
provide comfortable seating of this sort and did so, often of a buttoned and overstuffed nature. Settles (q.v.) were another matter and the production of some settle-like, art nouveau settees was a feature of the turn of
the century.
The value of old settees of the completely upholstered sort is nowadays dependent, obviously, on condition and upholstery as much as style. Chesterfields tend to be sought after as a perennially popular form and have been produced and reproduced in large numbers from their inception to the present day.
SETTEES  chaises-longues
A Victorian rococo single-ended settee or chaise-longue in the style so popular in the 1850s and made on to the 1880s. The buttoned upholstery gives it a luxurious appearance and the walnut cabriole legs are suitably over-scrolled to impress.
A more developed settee, again in walnut, with buttoned back upholstery and rococo curves which are so exuberant as almost to parody themselves. The legs and arm supports are carved with doubly-accentuated
scrolls and with leaves. Like much Victorian rococo furniture, it is designed more for effect than for heavy wear, but one cannot help admiring the sheer confidence of the maker.
Typical chaise-longue, with matching chairs, of a type made from the 1880s onwards, with turned legs, solid construction and turned-spindle gallery along the back. Covered in an imitation leather.
Chaise-longue 250  350 Suite of chaise-longue, two easy and six single chairs
A slightly later suite with spindled galleries to chaise-longue and armchair. 1890-1900
Chaise-longue only Suite of nine pieces
A chaise-longue, tub easy chair and single chair of a type made from c.1890 onwards. The curvy legs are a forerunner of the `Louis’ style popular in the early 1900s.
A commercial art nouveau’ chaise-longue and easy chair, with single chair of a suite. The ‘art nouveau’ bit is from the cut-through heart shapes but, since the legs remain rotundly turned throughout (and not square
section as normally done with art nouveau), it is a commercial gesture rather than a genuine design.
A fully upholstered chaise-longue and easy chair with attendant ,arty’ chair. The upholstery is of c.1910 velvet in a contemporary design. 1900-1930
SETTEES  chesterfields
Fully upholstered settees appear prominently in manufacturers’ catalogues of the 1850s onwards. The chesterfield sofa is one of the enduring types but possibly appeared later. By the 1870s fully buttoned chesterfields are visible in the catalogues of Shoolbred and others. The examples shown here are from later catalogues, but that on the right is a typical example of the breed.
A selection of six chesterfields from 1900 to 1930 showing variations in coverings over the period.
SETTEES  art nouveau
An ‘art nouveau’ settee-settle inlaid with stylised    404 A mahogany corner settee with an arm rest with turned flowers. The bowed sides are slatted above the upholstered    column supports at one end. An odd ‘art nouveau’ piece designed
arms and the square feet have castors inset.    for some special corner. C. 1900
SETTEES  drop arm
The drop-arm settee appears to have lost favour recently. There was a time when the pull of a lever could transform a settee into a piece of reclining furniture. Three versions are shown here, two of chesterfield type
and one shaped one on square tapering legs. 1900-1920
SETTEES  ‘reproduction’ styles, 1890-1930
A rather splendidly-covered ‘French’ style settee with gilded frame with gesso decoration. 1860-1890
An ebonised sofa with an inlaid panel in the back. The piece is made in a style derivative of French and dimmer traditions, with a hint of the Prince of Wales’ feathers thrown in this part of the suite of drawing room furniture. The overall effect is rather flimsy. c. 1890
A 19th century English reproduction of a French sofa, made with considerable skill and expertise. One of the great difficulties with the classic French designs from Louis XIV to Louis XVI is the fact that they have been so much reproduced and so accurately. Even now, Italian and Spanish workshops, as well as the French, are turning out Louis XV chairs on a grand production scale.
An ‘Edwardian Sheraton’ settee with a buttoned back and turned front legs. There is a characteristic inlay in boxwood and ivory in the centre of the top back seat rail, and inlaid boxwood stringing lines in the mahogany frame.
A settee and a day bed in walnut with much twist turning to meet the demand for ‘medieval’ furniture. The styles are, in fact, more attuned to Restoration furniture than the ‘Elizabethan’ taste they were intended to
satisfy. 1900-1920
A walnut two-back settee and easy chair with curving moulded cross-stretchers connecting the legs, which end in scrolled, folded feet. The legs are a fair emulation of William-and-Mary styles and the silk tapestry
upholstery was a quite expensive fabric.
A three-back settee with carved English walnut under-frame in the style of 1670 Restoration furniture, covered in silk tapestry.
A three-back carved walnut settee with caned panels in the backs and a caned seat. A fairly accurate copy of a type of 1670-1680 with bold turning in double bulbs to the front stretchers; scrolled, folded feet;
well-swept arms ending in scrolls and elaborately-carved top rails. A good quality piece but more decorative than utilitarian, so not very expensive.
A mahogany settee with a caned seat and caned oval back panel with a painted crest. It is carved with 18th century motifs in the Adam-Sheraton manner and is on square tapering legs with block feet.
A bergere settee and armchair in a style of French Hepplewhite derivation with painted decoration and an oval central painted panel to the settee, depicting a recumbent scantily-clad lady attended by cherubs on what looks like a sea shore. The contemporary fabric on the upholstery is somewhat fussy for the classical design and decoration of the structure.

COTS, CRADLES AND CRIBS
Today the term ‘cradle’ describes a baby’s bed which rocks, either standing at floor level on two curved rockers, or suspended between two uprights, A cot or crib (the latter now an American term) implies the
high-sided bed on legs, with sides of equal height, which was first devised for toddlers around 1800. In the 18th century and 19th century though, the term ‘cot’ distinguished the swing-type cradle from its more
common rocking counterpart.
Cradles: Always panelled. Before 1600 the head-end just had raised sides; thereafter fully hooded. In the 17th century hoods were generally flat; in the 18th century arched, often ogee form. Large knob finials (used to rock the cradle) present on some uprights. Could be on four outer corners, or on one end only, or both ends and front of hood too. Small storage cupboard sometimes present at back of hood.
Swing cots: Fashionable from about 1750. Main body and hood panelled. Panels could be wood, but were more often of woven cane-work. Supported on trestle base on which the turning varied. At first vase-shaped, sometimes decorated with foliate carving; after 1790 more often straight-edged columns on splayed and needed legs.
An alternative type, after 1800, had a rectangular body (without a fixed wooden hood), the sides formed of turned spindles. Similar trestle base to the above.
Some Regency designers devised swing cots in elegant Greek, Roman or Egyptian style with many classical motifs, ormolu mounts and elaborate drapery. Few of these were made, fewer still survive.
Very large numbers were made during Queen Victoria’s reign in cast iron or brass or combinations of the two. Generally an iron base (for stability) and brass decorative parts. On all-iron pieces the body was covered
with drapery and was therefore purely functional, usually simply ribbed or latticed.
Modern-style cribs or cots: First appeared during Regency. Initially in rectangular box form with turned spindles and straight, square-sectioned uprights continuous with legs. Victorian examples marked by cast-iron construction with variously patterned mesh sides; sometimes raised around one end. Could have half-tester canopy (see p. 22). By 1900, generally plain slatted or turned wooden verticals, usually painted in plain colours. Height was adjustable on one side and on the base of wire mesh.
Oak, sometimes elm or other indigenous woods, for rocking cradles; mahogany, sometimes rosewood, for the swing type. Cast iron and brass tubing in the 19th century. Victorian reproductions often made in beech or pine, painted and grained to simulate oak.
Until about 1800, the majority of cradles
Late Victorian/Edwardian metal child’s bed.
were evidently made in wicker (with wooden rockers), but survivals in Britain in unknown.
In grand houses, cradles, like beds, were an indication of status and could be elaborate. State cradles were made in beech and completely covered with upholstery.
Cradles: Panelled. In early 18th century fielded panels were fashionable. Rockers usually cut and pegged into base of corner uprights, but could be attached via short turned supports dowelling into rockers and
underside of frame. Hood occasionally hinged at back to allow easy access to baby. Sometimes holes, large wooden pins, or metal loops present at top of sides to take ropes to hold baby in place. Bottom usually had
similar holes for bedlines. Alternatively could have fixed laths or a solid base, the planks removable for easy cleaning.
Swing cots: Straightforward panelled construction. Alternative type with spindles dowelled into upper and lower framework. For brass and iron, see p. 28.
Humblest cradles could have simple chip-carving with lozenges, or more complex designs (see CHESTS, P. 82). Occasionally simple inlay of flowers or geometric borders. Grandest had additional painted or gilt
decoration of which traces may still be visible. Many were carved with initials and a date. This could be details of a birth, but sometimes the initials of the reigning monarch. Not a reliable method of dating as cradles were usually family heirlooms and the date could refer to a later occupant. Many spurious dates were added in the 19th century to fake authenticity.
Japanning on cast iron, often to simulate wood or bronze. Paint began to be a feature of cots around 1900.
Despite their age and charm, not very valuable objects, the majority (of all types) being priced in three figures, many at the lower end of the scale. While their usefulness for their intended purpose may be short-lived, they make very good jardinieres.

ANTIQUE SCREENS

Although made from Tudor times, antique screens furniture mostly date from the 18th century onwards, the majority from after 1750. A few screens were intended to block draughts or, in the bedroom furniture, to
protect modesty, but by far the majority were designed as fire-screens - particularly important for women, whose make-up was often wax-based. At all times these were principally decorative objects.
A good vehicle for wood carving. Needlework was always fashionable for the screen panel, but prints, paintings, imported Chinese wallpapers, embroidery, filigree paper, Berlin woolwork, bead and other handiwork are also found (frequently executed by ladies of the house). Around 1750 panels often contained fabric matching the upholstery, wall hangings and so on.
Cheval screen with sliding panel, about 1810,
There are three hree main types of screens antiques:
Cheval, (called a’horse’screen until about 1815): A panel set between two uprights (or standards), supported on feet projecting to the front and back. Sometimes a stretcher below. Cresting often rounded or shaped.
Panel occasionally adjustable in height, moving through grooves in standards.
Generally design followed fashionable styles and showed exuberant scrolling carving (particularly on crestings and stretchers) around 1700, rather less bold carving during Queen Anne’s reign, followed by curvaceous and often asymetrical rococo designs during the Chippendale period, finally becoming straighter and squarer towards 1770. Overall size was gradually reduced. Screens in neoclassical style were far simpler, often with panels of oval or shield shape, straight and simple uprights, and small carved neo-classical details. Uprights often ended in vase finials.
Considerably less popular in 19th century, but available in many revival styles - rococo, Queen Anne, ‘Sheraton’, Gothic, even Elizabethan screens . Ornament often excessive. Many made in papier mch, usually of scrolling outline. Gilded screens also fashionable, with carving of scrolling and naturalistic design, sometimes with double panels of glass enclosing stuffed birds, butterflies and so on.
Pole screens: First made around 1700, but few have survived from before 1750. Also gradually reduced in size. Originally made in pairs to stand either side of fireplace. Designed specifically to protect the face from
heat. Standard pattern was tripod base with turned pillar supporting pole to which a small adjustable screen was attached. Pole topped by finial, often ivory.
Tripod base similar in design to occasional tables (see p. 175) but generally lighter. Shape of panel rectangular in mid-century, more varied after - circles, shields or ovals common, often with shaped edges.
Particularly popular during Regency, though by 1820 bases were clumsier and detail fussier. ‘Banner’ screens introduced in which screen was replaced by similarly attached tasselled fabric banner hung from a wood or
metal cross-bar.
Folding ‘panel’ screens: Relatively seldom seen today. In the 17th century and 18th century mostly a feature of very large houses. Could have simple frame completely covered with decorative leather or painted cloth,
fixed around the edges with decorative nails. Imported Oriental lacquer screens, which could have up to twelve panels, were highly prized.
Some small and simple wood-framed two-leaf screens made around 1750, generally with straight legs, their principal feature being the fabric or print contained within them.
Early Victorian pole screens.    George I// mahogany pole screen, about 1770.
Two-leaf mahogany screen containing Chinese wallpapers, about 1765.
Victorian mahogany cheual screen containing needlework picture.
Large three- or four-leaf folding screens with straight or arched tops popular during Victorian times, covered with leather or cloth, sometimes pasted with ephemera.
Typical woods of their day; beech (when painted, gilded or japanned), walnut, mahogany, rosewood, satinwood, papier mache, bamboo and wicker. Occasionally cast iron used for the bases.
Standard methods employed. Height of pole and banner screens adjusted by tightening the brass ring attached to the back of the panel with a wing screw. Sheraton introduced a new mechanism with a hollow pole and counterbalanced weights adjusted on a pulley and cord system. The lower weight was hidden within a tassel below.
Carving of fashionable details according to date. Typical papier mache decoration, often enclosing popular views.
Victorian screens decorated with ephemera are very collectable today. Though often damaged, relatively easy to repair as reproduction ephemera is widely available.
Polish, gilding, japanning, paint (sometimes simulating bronze or gold).
For both cheval and pole screens, an 18th rather than 19th century date makes all the difference to value; four figures for the first, seldom more than three for the latter, though an exceptionally fine or interesting panel filler could push the price up. Folding screens really too scarce and varied to evaluate in general terms.
Late-Victorlan Japanese 19th century painted leather folding bamboo’ and lacquer screen.