Queen Anne Mahogany Trapezoidal Seat Armchair, Philadelphia, circa 1760.

The elements of this Queen Anne chair offer subtlety to its curvilinear composition. The outline of the vase-shaped splat is uncomplicated and flows evenly into the trapezoidal seat. The finely developed cabriole leg surrenders to a sinewy pad foot.

Transitional Tiger-maple Drake Foot (trifid) Armchair, William Savery, Philadelphia, circa 1770’s.

This transitional form unites the elements of Queen Anne designs with the emergence of the Chippendale motifs. The transitional elements are denoted by the use of superbly moulded drake or trifid feet and a solid vase-shaped splat. This William Savery design achieves the same elegance as in the claw-and-ball-foot chair. Simpler but no less effective because of its stately proportions and flowing union between crest and beaded stiles, proud apron that sets off the perfect bend of the cabriole leg, a graceful parrot and0i its finely moulded drake feet. This chair is the perfect alternative to the claw-and-ball-foot design.

William Savery Armchair

This William Savery armchair is an earlier version. It has one carved shell on the crest and the overall design is less refined but offers the same proportioned construction.

Chippendale Carved Pierced Back Tiger-maple Claw-and-ball-foot Armchair, Attributed to William Savery, Philadelphia, circa 1790.

This outstanding example of superb proportion and balanced distribution of carved elements describes fully what is so appreciable of 18th colonial craftsmen. The Chippendale and Queen Anne chair, unlike most forms, is one of the most challenging designs to attempt. It is not simply a matter of the proper construction but the specifics in each aspect of the chair combined with a discriminating eye to proportion and style that produces a superlative product. Compounding the complexity is also the grueling prospect of adding carved elements in an attempt to embellish a superior design, neither should it seek to overwhelm nor to distract. The ultimate test is to examine this chair from varying perspectives, much like a sculpture, where subtle undulating curves continues to reveal yet another dimension of pleasure. This William Savery design is a tribute to a successfully orchestrated creation of grace, strength and artistic expression.

Chippendale Tiger-maple Corner Chair with Four Cabriole Legs, Claw-and-ball-feet, and Incurvate Arm Supports, Philadelphia, circa 1760-1765.

This is another example of the superlative efforts accomplished by 18th century craftsmen where carving transcends to sculpting. The complexity of its construction is hidden beneath the seamless flow of endless sinewy curves. There is perfect symmetry between the sweep of the arms and related curves of the cabriole legs. The continuous interaction between all the elements suggests a design so well integrated that neither a beginning nor an ending can be detected.

Double Chippendale Settee