Take time to pull up a comfortable armchair, light a candle, warm yourself by the fire and walk through the Georgian era with us. The Danes have a perfect word for this feeling, ‘Hygge’, which derives from the Norse word ‘Hygga’, or ‘Hugr’, which means to give courage, comfort and joy. We encourage you to surround yourself with treasures which give you happiness and that ‘Hygge’ feeling.

George I style walnut upholstered wing chair with carved cabriole legs on pad feet. English Georgian Revival, late 19th century. ZA19838 (read about wing chairs) — George I style walnut upholstered wing chair with carved cabriole legs on pad feet. English Georgian Revival, late 19th century. ZA19838 *(read about wing chairs)*

The exquisite, clean lines of the Georgian era are highly sought after. The classic style is marked by symmetry and proportion, based on classical architecture of Greek and Roman times. Ornamentation, when not completely absent, is in the classical, restrained tradition.

The Georgian era is the British period in history from 1714 to 1830 during the continuous reigns of the Hanoverian kings. The era encompasses the Early Georgian period of George I (1714-27), the Chippendale period of George II (1727-60), the Classic Georgian period including the Hepplewhite and Sheraton styles of George III (1760-1820), and the Regency period of George IV (1820-30).

Georgian sterling silver coffee pot with hinged lid, London 1744. Size: 9 ¼ in (height) C19361

One of the major factors influencing the design of the Early Georgian period is the decline of walnut and the rise of mahogany in the mid 18th century. Traditionally, the finest furniture was made of walnut, however the severe winter of 1709 threatened French supplies and the export of walnut was banned. The timber became so scarce that craftsmen had to look to importing mahogany from the colonies. The highly polished mahogany surface quickly became more popular than the fashions of Dutch and French walnut furniture of the first half of the 18th century. The gentry who ordered the furniture and silver from the craftsmen would often get directly involved with the final crucial lines of the design and this enhanced the final product. This personal involvement seems to have partly disappeared by the first quarter of the 19th century and the beginning of the Industrial Revolution. A typical example is the elegant and wonderfully designed cabriole leg which appeared in the early 18th century and is very hard to replicate.

Chippendale Period (1754-1779)
Thomas Chippendale was the first cabinet maker to publish his designs, The Gentleman and Cabinet Maker’s Director, in 1754. The refined and elegant Chippendale style saw Dutch elements disappear and borrowed features from the French Rococo and Louis XV, Chinese and Gothic styles. Cabriole legs with ball and claw foot replaced the typical round Dutch foot. Often embellished with carvings and elaborate fabrics, the furniture harmoniously incorporates the classical elements.

Georgian walnut side table with three drawers, period swan-neck pulls, front and side carved decorative frets and oak secondary wood. English circa 1750. Size: 28 ¼ h x 32 ½ w x 19 ¾ d in A17253

Technological advancements and a boom in the building industry during the 18th century led to towns growing rapidly and the rise of the Industrial Revolution. Three Scottish brothers, Robert Adam (1728-1792), James Adam (1732-1794) and their youngest brother William Adam, set the style for domestic architecture and interiors for most of the latter half of the century. In 1758 the three brothers started their business in London, designing complete projects for the decoration and furnishing of houses. The brothers believed in a unified design for both architecture and interior design, with all elements of the home being designed and installed by them. Palladian design was already very popular by this time, but the Adam brothers introduced further influences including Roman, Greek, Byzantine and Baroque styles. Robert and James published two volumes of their designs, Works in Architecture of Robert and James Adam. The delicate, elegant style helped reset taste toward simple and graceful lines and was a major influence on the designs of George Hepplewhite (1727-1786) and Thomas Sheraton (1751-1806).

Georgian sterling silver taper stick, with later bobeche, London 1762, maker likely WC. Size: 5 ½ h x 3 w x 3 d in C19693 (read about tapersticks) — Georgian sterling silver taper stick, with later bobeche, London 1762, maker likely WC. Size: 5 ½ h x 3 w x 3 d in C19693 *(read about tapersticks)*

Pair of George II brass candlesticks with scalloped petal base, push rod ejectors and flared top drip flange, English circa 1750. Size: 7 ½ in G16364

Late 18th century George III period English country house three-seater sofa settee, in mahogany, in the Sheraton style, English circa 1810. Size: 34 h x 70 w x 26 d in A19506

Hepplewhite Style (1762-1786)
The elegant Hepplewhite style became fashionable in 1765 until circa 1800. It is best known for square, tapered legs often ending in spade feet on sideboards and shield-back chairs. Although no furniture is recognized to exist by George Hepplewhite or his firm, his name is evocative of the graceful and light furniture of the period.

Sheraton Style (1780-1806)
The Neoclassical and straightforward design of Thomas Sheraton made him a master of the later Georgian era. One characteristic of the style was the use of specific woods for certain rooms, often embellished with detailed marquetry or contrasting veneers. Furniture tended to be geometric in shape, and the straight legs slightly tapered.

Pair of sterling silver stuffing spoons in the Old English pattern, hallmarked London, 1796, maker Thomas Ollivant. Size: 12 ¼ h x 2 w in C19845 — Pair of sterling silver stuffing spoons in the Old English pattern, hallmarked London, 1796, maker Thomas Ollivant.
Size: 12 ¼ h x 2 w in C19845

George III sterling creamer, London 1777. Size: 4 ¼ x 3 ¾ in C17475

Regency Period (1800-1830)
King George III was deemed unfit to rule and his son, the Prince Regent, ruled as his proxy from 1811 to 1820. Upon George III’s death in 1820 the Prince Regent became King George IV. The period from 1795 to 1837 is broadly referred to as the Regency era, encompassing the reigns of the latter part of George III, his son George IV. A time of great social and economic change, the period is known for its elegance as well as achievements in fine arts and culture. Stylistically this period incorporated dark, heavy woods such as rosewood and zebrawood, extensive brass inlays and metal mounts, and saber-shaped legs.

Georgian Regency period sarcophagus shaped tea caddy, sides with applied cast brass ring loop handles and on four claw feet, English circa 1830. Size: 7 ¾ h x 12 w x 6 ¼ d in M19792

Pair of late Georgian brass andirons, circa 1820. Size: 16 ¾ h x 18 w x 9 ½ d in ZG18135 (read about andirons) — Pair of late Georgian brass andirons, circa 1820. Size: 16 ¾ h x 18 w x 9 ½ d in ZG18135 (*read about andirons)*

George III pierced brass fire fender, English circa 1820, superb pierced design, four cast paw feet and original steel pan. Size: 7 ¾ h x 48 w in M19879

George III oil chamberstick detachable frosted glass globe mount, Sheffield plate bayonet, Birmingham 1818, maker Matthew Boulton. Size: 4 ¼ h x 5 ½ w C17489

Georgian sterling silver teapot with hinged lid and ebony handle, chased decoration,  both teapot and lid marked London 1824, inscribed with maker's mark for Charles Fox II. Size: 7 ¼ in C19360 — Georgian sterling silver teapot with hinged lid and ebony handle, chased decoration, both teapot and lid marked London 1824, inscribed with maker's mark for Charles Fox II. Size: 7 ¼ in C19360

Georgian mahogany canterbury with three compartments, carved with foliate and flowers, with drawer, on turned legs with brass casters, circa 1820. Size: 19 ½ h x 22 w x 15 d in A18649 — Georgian mahogany canterbury with three compartments, carved with foliate and flowers, with drawer, on turned legs with brass casters, circa 1820. Size: 19 ½ h x 22 w x 15 d in A18649