I recently wrote about how I knew of only two William Cole armchairs, one in a museum, and the other in private hands. Now, within a few days of each other, two more have turned up, both clearly marked with Cole's WC stamp on the tops of the back legs. (William Cole was Philip Clissett's brother-in-law. He lived and worked as a chairmaker in Bosbury, close to Philip, but had a much shorter career.)

The first  of these new chairs was brought to my attention by Rob Derrick, a dealer from Hay-on-Wye. Illustrated here, it is more or less identical to the two previously known chairs, having four spindles and the typically West Midlands timber seat. It's clearly marked with the initials WC in the usual places, on the tops of the back legs. Many thanks to Rob for contacting me about this, and for allowing the use of his photographs.

The second new chair appeared on the website of another dealer, and was brought to my attention by Oli Barling who saw it on Instagram (Thanks Oli). This chair is similar to the others in all respects other than having a woven seat. This would originally have been rush, but has been replaced by seagrass. I've asked for permission to use photographs of this chair, but it hasn't been granted, as yet - you can view it here as long as it remains up for sale.

I'm sure there are other William Cole armchairs out there, aside from these four. If you do know of any, please get in touch, and help take the research forward.

Until very recently, I was only aware of a single armchair by William Cole, Philip Clissett's brother-in-law and fellow chairmaker in the village of Bosbury. But it seems that, all along, there was a similar chair in the Museum of the Home (formerly the Geffrye Museum) in London.

The chair seems identical to the previously known one in all respects. While, at first sight, it appears identical to Philip Clissett's work, it differs in the form of the top part of the arm supports, and in the positions of the cross dowels in the lower part of the back - minor differences that show how closely these two chairmakers work is related. Of course, there is also the WC stamp to the top of the back legs, contrasting with Clissett's PC stamp.

WC-stamped chairs by William Cole are very rare, so I'd be pleased to hear about any of his chairs. Contact me here.

John Warrender (or Warander) was Philip Clissett's uncle, and made very similar chairs to Philip. He died in 1845, early in Philip's career, and there are relatively few of his chairs remaining. Like Philip's chairs, John's are stamped with his initials, IW.

Now, I can't really claim that the chair in the illustration is "new". It's news to me, but has been sitting in the Geffrye Museum (now known as The Museum of the Home) since 2005, and was part of Bill Cotton's collection. I simply didn't know it was there until today, when I was checking the museum collection online - a fairly new facility. In fact I found another relevant chair as well, but more about that later.

The chair is a standard Warrender side chair, apart from one feature - the front stretcher. Normally, chairs by Warrender have the double plain dowel front stretcher that we also commonly see in chairs by his nephew, Clissett, and his son-in-law William Cole. I know of just one example of a Clissett chair with a similar single pattern-turned stretcher, and a couple by Cole - all are the same, and of the same general form as this one by Warrender.

In fact, there are three identical Warrender chairs at the Geffrye. I shall try to see them if I'm ever in London again...

This chair is NOT by Philip Clissett, but I have a few reasons for discussing it here.

Firstly, it’s an armchair version of one of the chairs featured in the painting by Edward Thompson Davis that I discussed in a previous post. It’s likely to have been a common style of chair in the Worcestershire area in the mid-19th century. It was purchased by me from a private seller in Brierley Hill in the West Midlands.

Secondly, there’s a clear link to Clissett’s famous ladderback chair in that this chair has a similar taper and ball arm support (see below). Bill Cotton’s The English Regional Chair contains no clear examples of this particular pattern of support other than Clissett’s chair. A couple of Lincolnshire examples come close (NE196-197), but they lack the ball turning (well, half-ball, in reality). On Clissett’s chair, the underarm support looks at one with the overall Arts and Crafts look of the chair, and might be attributed to the influence of James MacLaren who commissioned the first of these, and made some design input. But the existence of a similar support on a this rather different West Midlands chair proves that it was in use as a local motif long before MacLaren arrived on the scene – there are other chairs that support this point, and I’ll post on them before long.

Thirdly, it’s an example of the sort of local chair that Philip Clissett must have been aware of, and that his own work must have stood alongside.

A more detailed description of this chair would not be amiss. It’s made entirely in ash and, unusually for a West Midlands chair, is pegged only at the rear of the top slat. There are the usual signs that it was made in cleft green wood, so that it would have been held together entirely by the shrinkage of the mortices around the tenons. That this has failed in the case of one of the arm supports is evidence by a large, old, iron nail having been driven into the edge of one of the through tenons.

The chair is quite heavily constructed with legs of about 1½ inches in diameter, tapering to 1¼ inches at the top. Aside from the tapered arm support, the stand out features are the sinuous arms – they are really beautifully shaped (see below). There are vestiges of green paint in places – I haven’t got a clue whether that is original.

Overall height is about 40 inches, about 5 inches shorter than Clissett’s tall chairs. Seat height is 15 inches, about 2 inches lower than Clissett’s adult chairs – low chairs like this seem quite common. But it’s quite a wide chair – the seat measures 21⅜ inches at the front. With the sinuous arms, it will accommodate a substantial person.

There’s a lot of wear to this chair. The top left finial is part worn away. The arm ends are well worn, particularly to the right where much is missing. The lower front rung is well worn, a good indicator of age. But the best indicator of substantial use is the amount of wear to the inside of the arm supports which has completely removed the ring turning at the bottom.

No indication of maker, I'm afraid, which is a pity but pretty standard for chairs from this area.

or a while during my research into Philip Clissett, previously unknown examples of his designs turned up fairly frequently. But the past two or three years have been a barren period, until I was contacted by Stephen Farr. Stephen is related to Philip Clissett, and has recently acquired a chair that appeared to be by Clissett (having the PC stamp) but differed from anything on this website in several respects.
The chair is a high-backed armchair with a rush seat, and it follows the general pattern of Clissett’s spindleback armchairs. But this one has a spindle pattern not previously seen on an armchair, and is an elongated version of the most complex of Clissett’s known patterns – known only from one or two side chairs by Philip himself (chair no 10 on the spindleback chair page), and by his brother-in-law William Cole (chair no 3 in the WC section of the relatives’ chairs page). The pattern is based on other Clissett patterns, but includes a ball with V-cut below at the top, an ovolo with taper below at the bottom, and a double V-cut (instead of the usual single) at the mid-constriction.

While the fancy spindle singles this chair out as something special, additional turned rings on the front legs add to the distinction – there are two extra below each arm support turning, and two extra above the feet. Similar additional rings are seen on the fanciest of Clissett and Cole’s side chairs, which have equivalent fancy spindles.

The last distinctive feature of this chair is the single front stretcher, in contrast to Clissett’s almost universal double stretcher. The only other exception to his double rule are, again, the fanciest of side chairs which sport the only known examples of Clissett pattern-turned stretchers .

Overall, this chair is the most complex armchair by Philip Clissett found to date. Certainly, there will be others out there. Please get in touch if you know of any.

Harold Gilman (1876-1919) was an important member of the Camden Group, a group of artists that included Walter Sickert and Augustus John. This picture, painted in 1916, includes a clear and prominent Clissett chair. The image is known to be of Gilman's own rooms in Maple Street, off Tottenham Court Road. He had previously lived in Letchworth where he may well have come across Clissett's chairs, which we know to have been in a number of houses.

We can only assume that this chair belonged to Gilman himself. Whatever the case, Gilman can be added to the lengthening list of artists and architects who lived with Clissett's chairs.

This painting is in the Kirklees Collection of the Huddersfield Art Gallery. Gilman was the subject of a major exhibition at the Pallant House Gallery in 2019.

The rate of discovery of new Philip Clissett chairs seems to have slowed, but I came across this one because of a photograph of a William Cole chair in Christopher Gilbert's book English Vernacular Furniture 1750-1900. Enquiries at Leeds led to this unusual armchair also owned by the Gallery. 

The chair is unusual chiefly because it is a spindleback with tapered arm supports, and the broad flat arms - these are exactly the type seen on most of Clissett's well-known ladderbacks. They contrast sharply with the bulbous arms support and the deeper light or heavy arms usually seen on the spindlebacks. This cross-over could indicate that this spindleback is later in date, with a customer demanding these elements from the ladderback. Alternatively, it's equally possible that these elements always existed in Clissett's repertoire, but were rarely used. Unfortunately, in the absence of perfect provenance for the spindleback chairs, we cannot date them to any particular phase of Clissett's life.

The use of these elements from the ladderback links this chair with an unstamped hybrid chair discussed in an earlier post. That chair has pretty good provenance, and the existence of this very similar chair with Clissett's stamp makes it even more likely that it is one of his.

The Leeds chair is also unusual in having a crest rail made from sycamore. Clissett often used cherry for the crest rail and the arms; walnut and laburnum have also been recorded.

A photograph of this chair also appears in Christopher Gilbert's Furniture at Temple Newsam House and Lotherton Hall.

I am very grateful to Adam Toole of Lotherton Hall for all his help with this chair, and for providing the photograph.

I'm told that Tinsmiths of Ledbury, Herefordshire is staging an exhibition during July 2017 of handmade chairs. Tinsmiths hold annual craft exhibitions, and the subject this year is to celebrate the legacy of Philip Clissett in his bicentennial year. Currently, the chairmakers taking part will be Mike Abbott, Sebastian Cox, Gudrun Leitz, Koji Katsuragi, Neil Taylor and Lawrence Neal. Lawrence, of course, still makes a version of the famous Clissett ladderback chair.

The exhibition will run from 30th June until 30th July. I don't know more about it, but you can get further information by emailing press@tinsmiths.co.uk, or keep an eye on the Tinsmiths' Facebook page.

This photograph was given to me ages ago by Bill Cotton, to whom I'm eternally grateful for this record of the only known stool by this chairmaker. Yet another example of the country craftsman's willingness to produce whatever his customer's wanted.

It's possible that Clissett made many of these, but this is the only one that's turned up so far. How do we know it's by Clissett? Well, I have Bill's word for it, and the style is exactly right. The turnings on the top and feet of the legs are exactly those used by Clissett on his ladderback side chairs. I'd still like to handle the stool myself though, and I'm sure that there would be other clues not visible in the photograph. Unfortunately, we have no idea of the stool's whereabouts. If you know, or think you have a stool made by Clissett, then please contact us.

I've included the stool on the Special Chairs page of the website.

Here is a list of Clissett's chairs in public and private collections. In most cases, these are not on public display, though I have noted when they are. But, to counter that, they are generally shown on the organisation's website. If you want to see chairs that are not on public display, then this is usually possible if you make arrangements ahead of a visit. In some cases, there is an entrance fee – this will be obvious from the organisation's website.

Where possible, I've given a link to the organisation's website, followed by link(s) to any online information about the chair(s) they hold. In some cases, there is no online information, or only some of the chairs they hold have online details (e.g. the Geffrye Museum).

Not all of the information given on these websites is accurate, and it is always best to use this Philip Clissett website to make any statement about him or his work.

If you know of any other museums or collections holding examples of Clissett's work, please contact us.

Victoria & Albert Museum
Has a ladderback armchair and a very unusual ladderback child's high chair.

Art Workers Guild
The Meeting Hall contains by far the largest collection of Philip Clissett chairs in the world, all ladderback armchairs. That these are by Clissett is well known, so it is odd that the AWG's website now (at the time of writing) claims them to be by Ernest Gimson and his apprentices!

No. 7 Hammersmith Terrace (Emery Walker's House)
Has a single ladderback armchair on display in the dining room (see photo on linked web page).

Geffrye Museum
Has a ladderback chair and two PC-stamped spindleback armchairs.

William Morris Gallery
Has a ladderback armchair.

 Worcestershire County Museum, Hartlebury
Has a ladderback armchair and a number of PC-stamped spindleback chairs.

The Wilson, Cheltenham Art Gallery & Museum, Cheltenham
Has a ladderback armchair (usually on display as part of the permanent Arts & Crafts exhibition), and a PC-stamped spindleback chair. The ladderback originally belonged to the Arts & Crafts designer Ernest Barnsley.

Herefordshire Museums (Museum Resource and Learning Centre, Hereford)
Has a ladderback armchair and several interesting PC-stamped spindleback and other chairs including two flap-seated prayer chairs.

Butcher Row House Museum, Ledbury
Has a ladderback armchair and a ladderback side chair on permanent display.

New Walk Museum, Leicester
Has a good collection of ladderback armchairs and a side chair (scroll down the linked web page to see several Clissett-made chairs).

Rodmarton Manor, Gloucestershire
Has two ladderback armchairs on display.

Hunterian Museum & Art Gallery, Glasgow
Has a single ladderback side chair that's now properly attributed to Clissett/MacLaren, though it's still misattributed to Charles Rennie Mackintosh on the Hunterian web catalogue.

Los Angeles County Museum of Art
Has a single ladderback side chair. The online record for this chair used to have a photograph of the chair, but this had been removed at the time of writing. It can, however, be seen on Flickr. Note that some of the information about Clissett is incorrect, as is the species of timber the chair is made from.

Crab Tree Farm, Illinois
Has a ladderback armchair originally misattributed to Ernest Gimson but now properly attributed to Clissett and MacLaren (parts of the original misattribution are still showing on the website at the time of writing).