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.