Originating at the turn of the twentieth century, the Vantelle Settee reflects a transitional moment in Western domestic furniture, when late Victorian formality gave way to more adaptive, spatially responsive seating shaped in part by lingering Eastlake principles. Settees of this period functioned as intermediary objects—neither bench nor sofa—used to organize circulation within halls, galleries, and reception rooms rather than anchor a single use. The asymmetrical configuration present here, defined by a single arm on the right when seated, signals this shift toward directional placement and controlled informality within the interior.
The frame is constructed in carved hardwood and articulated with a crest rail, turned finials, and a spindle panel on the left side. Turned legs terminate in original casters, allowing movement without diminishing presence. The proportions favor breadth and horizontal stability, giving the settee architectural weight while maintaining openness through negative space and articulated rails.
The internal materials remain original, including a softened seat depression formed through prolonged use and preserved as material record rather than corrected for uniformity. Surface refinement was limited to careful cleaning and light refinishing of the wood to clarify tone while preserving age and character. No alterations were made to the structure or proportions.
Well suited to placement in an entry hall, gallery passage, or at the foot of a bed, the settee structures movement while maintaining visual openness. It belongs to The Vesperline Collection, a capsule of heirloom silhouettes defined by compositional restraint and contemporary textile application, conceived for collectors and designers who value distinction shaped by structure rather than excess.
Available through private acquisition.
Originating at the turn of the twentieth century, the Vantelle Settee reflects a transitional moment in Western domestic furniture, when late Victorian formality gave way to more adaptive, spatially responsive seating shaped in part by lingering Eastlake principles. Settees of this period functioned as intermediary objects—neither bench nor sofa—used to organize circulation within halls, galleries, and reception rooms rather than anchor a single use. The asymmetrical configuration present here, defined by a single arm on the right when seated, signals this shift toward directional placement and controlled informality within the interior.
The frame is constructed in carved hardwood and articulated with a crest rail, turned finials, and a spindle panel on the left side. Turned legs terminate in original casters, allowing movement without diminishing presence. The proportions favor breadth and horizontal stability, giving the settee architectural weight while maintaining openness through negative space and articulated rails.
The internal materials remain original, including a softened seat depression formed through prolonged use and preserved as material record rather than corrected for uniformity. Surface refinement was limited to careful cleaning and light refinishing of the wood to clarify tone while preserving age and character. No alterations were made to the structure or proportions.
Well suited to placement in an entry hall, gallery passage, or at the foot of a bed, the settee structures movement while maintaining visual openness. It belongs to The Vesperline Collection, a capsule of heirloom silhouettes defined by compositional restraint and contemporary textile application, conceived for collectors and designers who value distinction shaped by structure rather than excess.
Available through private acquisition.
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