Identifying Chippendale Chairs
The outstanding feature of the mahogany chair with an open back
designed in the Rococo taste around the middle of the 18th century was the variety of design of the back. The openwork splat, which was always joined to the seat and which generally retained its vase-shape outline, was manipulated in many ingenious designs by Chippendale and his contemporaries. It was frequently pierced with interlacing strapwork ornament.
Ribbon-Back Chippendale Chair
As the cabinetmaker's skill increased in handling mahogany the splat was pierced in more delicate designs and was often finely carved with Rococo foliation's, scrollwork and cabochon ornament. Undoubtedly the most famous was the ribbon-back of French origin, which was executed in the highest degree of delicacy and grace. In this design the splat, which was formed of two long C-scrolls, was interlaced with crisply carved ribbon fastened at the top in a bow and tassel. The seat frame was usually straight on all four sides. The seat was either of the slip seat variety or the seat rail was covered in fabric. The top of the seat rail was sometimes carved with a small classic molding and the seat rail was often finished with a richly carved valance in the Rococo taste.
Cupid's Bow Chippendale Chair
There were two principal kinds of crest rails. One kind is usually referred to as a cupid's bow. This serpentine-shaped top rail was so-called because it strongly resembled the bow used by Cupid in representations of Roman mythology. A marked feature of this crest rail was the turned-up extremities, which sometimes extended one or more inches beyond the uprights. These ends were often twisted in a manner to form whorled terminals. Variations in design frequently occurred in this form of crest rail. The other kind of crest rail, which was also serpentine-shaped, had the ends curving downward to form a continuous rounded end where they joined the uprights.
The carved legs were of cabriole form and terminated in claw-and-ball or French whorl feet. Around the middle of the century straight quadrangular legs, usually chamfered, were introduced and were generally joined with stretchers. Chippendale illustrated in the DIRECTOR both the cabriole and straight leg, the latter generally being the preferred type for the dining room. These Chippendale chairs were designed as side chairs and also as open armchairs. The straight arms were shaped and they rested on incurvate supports.
Chinese Inspired Chippendale Chairs
The mahogany Chippendale chair with an open back designed in the Chinese taste was characterized by its pagoda-like ornament, the delicacy of its fretwork and the brackets beneath the seat rail. A principal variety designed in the Chinese taste had an open back filled with Chinese fretwork or lattice-work. The crest rail sometimes had a pagoda-shaped carved cresting. The quadrangular legs, which were frequently headed by fretwork brackets, were often carved with card-cut lattice-work and were joined with stretchers. When designed as an armchair the space enclosed by the arms was also filled with fretwork. A caned seat with a loose cushion was often used in place of an upholstered seat. The chair was sometimes lacquered. Chippendale regarded chairs in the Chinese taste as being especially suitable for the bedroom.
Gothic Inspired Chippendale Chairs
The mahogany Chippendale chair with an open back designed in the Gothic taste was chiefly a combination of the contemporary English Rococo type with some trace of Gothic detail. Occasionally the pierced splat was designed to simulate a Gothic traceried window. The straight quadrangular legs were usually joined with a stretcher.
Ladder-Back Chippendale Chair
Mahogany ladder-back Chippendale chairs were a popular design from about 1750 to 1790. With the exception of slight modifications the chair displayed little variation in its design. In a characteristic Chippendale variety the slightly flaring uprights supported a serpentine fret-pierced crest rail over three conformingly shaped and pierced cross rails. The quadrangular chamfered legs were connected with plain stretchers. Occasionally some of the later ladder-back chairs reflected the prevailing Neo-Classic influence in the carved detail, such as a carved patera appearing on the crest rail, as well as in a modification of the shape of the crest rail.
"French" Chippendale Chairs
The mahogany upholstered armchair with open padded arms, incurvate arm supports and a broad seat was termed "French" by Chippendale, and was a Tree adaptation of contemporary French models. The back was slightly raked and often serpentine-arched. 
The chair frequently had a valanced apron and the cabriole legs commonly terminated in French whorl feet. The undulating curves of the exposed frame were noteworthy for their vigorous execution. The chair was richly carved in Rococo motifs and the carvings were praiseworthy for their crisp quality. Some of the elaborate examples of this chair were gilded. It was also designed as a side chair. This type of "French" chair design was also made in a plainer variety. After the middle of the 18th century this plainer type of open arm chair was commonly designed with straight quadrangular chamfered legs joined with a stretcher. It had little or no carved detail. This plainer chair was notable for its fine proportions and excellent lines and it was exceedingly comfortable, which fact further increased its popularity. Apparently Chippendale continued to favor the Rococo influence, for he gave new designs for "French" chairs in the third edition of the DIRECTOR.
Chippendale gave six designs for hall chairs in the third edition of the DIRECTOR. He also suggested their use for summer houses as well as in the halls of the great mansions.
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