Hand Carved Grey Queen Throne With Emma Shipley Fabric
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Hand Carved Grey Queen Throne Chair Seat
When I saw this chair I knew it had potential. It came wearing gold paint and a bright hurt your eyes pink and loose limbs. It’s only when you start the cleaning process you see the bones of a piece, it’s history and this piece has plenty of history. I removed two layers of material one velour and one like the old carpet bag material. The seat was packed with old long reed or grass like material and 3 rusty springs. The back material was stitched to a piece of cardboard box with Arabic writing on which was more in keeping with the velour timescale. But what intrigued me more was the wood it was hand carved with hand tools only and evident in the tool marks, finish and texture and symmetry. It was then covered with a white plaster like substance to curve out the joints and even the look no sanding down here or machinery to help the process, now I know I have a one off piece and a very heavy piece at that. After a good sand and clean and necessary strengthening of arms put a new wood baseboard and a board for foam to sit on I could start the transformation. Painted it in Fusion Little Lamb a beautiful soft grey added a defining wax to slightly age it and black wax to define the detailing. For the material I chose Emma J Shipley’s Audubon cotton satin fabric, which is part of her magical animalia collaboration with interior experts Clarke and Clarke and is inspired by botanical Illustrator John Jame Audubon, whom is known for his paintings depicting magical creatures of the sky. I just loved that pop of yellow against the white and black. To finish I added black gimp to really make it pop. Now doesn’t she look just look exquisite.
Dimensions are Height to seat 40 cm back of chair 122 cm Depth 70 cm Width 75 cm
Please note the seating conforms with all upholstery fire regulations and as with all hand painted or preloved furniture there may be some small imperfections or evidence of a past life, with this piece I wanted to conserve as much of it’s past as possible so there are signs of where the odd tack or pin has been but nothing to take away from its beauty.