Is your chair Empire, Queen Anne, Chippendale, or even French Empire? Our identification guide will help you identify your collectible tables, chairs, chests, and more.
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Furniture styles can be determined by carefully studying and remembering what design elements each embraces. Here are some of the major design elements for each period to help you understand what defines it.

English, a Late seventeenth-century William & Mary carved a walnut and cane armchair with tapestry upholstery, and a William & Mary carved a walnut and cane side chair with tapestry upholstery.
Heritage Auctions

William and Mary, 1685-1720

The style is named for the English King William of Orange and his consort, Mary. New colonists in America brought their English furniture traditions with them and tried to translate these styles using native woods. The furniture was practical and sturdy. Lines of this furniture style tend to be crisp, while facades may be decorated with bold grains of walnut or maple veneers framed by inlaid bands. Moldings and turnings are exaggerated in size. Turnings are baluster-shaped. The use of C-scrolls was quite common. Feet from this period generally are round or oval. One exception to this is known as the Spanish foot, which flares to a scroll. Woods tend to be maple, walnut, white pine, or southern yellow pine. One type of decoration that began in the William and Mary period and extended through to Queen Anne and Chippendale styles is “japanning,” the lacquering process combining ashes and varnish.

Queen Anne chair
Krause Publications

Queen Anne, 1720-1760

The evolution of this design style began in Queen Anne’s court, beginning in 1702 and lasting until the Revolution in 1714. This furniture style is much more delicate than its predecessor. It was one way for the young colonists to show their unique style, with each regional area initiating special design elements. Forms tended to be somewhat diluted in New England. Chair rails were more often mortised through the back legs when made in Philadelphia. New England furniture makers preferred pad feet, while the makers in Philadelphia used triffid feet. Makers in Connecticut and New York often preferred claw and ball feet. The most popular woods were walnut, poplar, cherry, and maple. Japanned decoration tends to be in red, green, and gilt, often on a blue-green field. A new furniture form of this period was the tilting tea table.

Notice the pronounced claw-and-ball feet of the Chippendale chair.
Krause Publications

Chippendale, 1755-1790

This period is named for the famous English cabinetmaker Thomas Chippendale, who wrote a book of furniture designs, Gentlemen and Cabinet-Maker’s Director, published in 1754, 1755, and 1762. This book gave cabinetmakers real direction, and they eagerly copied the styles presented. Ancient cultures, such as Roman and Gothic, influenced Chippendale. Look for Gothic arches, Chinese fretwork, columns, capitals, C-scrolls, S-scrolls, ribbons, flowers, leaves, scallop shells, gadrooning (a decorative motif featuring convex curving shapes in relief in a series), and acanthus leaves.

The most popular wood used in this period was mahogany in conjunction with walnut, maple, and cherry. Legs became straight, but regional differences in design elements, such as feet, still existed. Claw and ball feet became even larger and more decorative. Pennsylvania cabinetmakers used Marlborough feet, while other regions favored ogee bracket feet. One of the most popular forms of this period was a card table that sported five legs instead of the four of Queen Anne designs.

Reflecting the architectural ornamentation of the Hepplewhite period, inlays were popular, as were carving and even painted highlights.
Krause Publications

Federal (Hepplewhite), 1790-1815

This period reflects the growing patriotism felt in the young American states. Their desire to develop their distinctive furniture style was apparent. Stylistically, it also reflects the architectural style known as Federal, where balance and symmetry were critical.

Woods used during this period were mahogany and mahogany veneer, but other native woods, such as maple, birch, or satinwood, were also utilized. Inlays, carving, and even painted highlights were popular, reflecting the architectural ornamentation of the period. Inlay motifs included bellflowers, urns, festoons, acanthus leaves, pilasters, and more. Inlaid bands and lines were also popular and often used in combination with other inlays.

The legs of this period tend to be straight or tapered to the foot. The foot might be a simple extension of the leg, bulbous, or spade-shaped. Two new furniture forms were created in this period: the sideboard and the worktable. The chairs and sofas were more comfortable, but the cushions or seats were not very thick.
When a piece of furniture is made in England or styled after an English example, it may be known as Hepplewhite. The time frame is the same. Robert Adam is credited with creating the style known as Hepplewhite during the 1760s and leading the form. Another English book heavily influenced the designers of the day. This was by Alice Hepplewhite, entitled The Cabinet Maker and Upholsterer’s Guide, published in 1788, 1789, and 1794.

Mahogany, mahogany veneer, maple, and pine were commonly used in the Sheraton period.
Krause Publications

Sheraton, 1790-1810

The Sheraton style closely resembles the Federal style. The lines are somewhat straighter, and the designs are plainer than Federal. Sheraton pieces are more closely associated with rural cabinetmakers. Woods utilized include mahogany, mahogany veneer, maple, pine, and other native woods. This period was heavily influenced by the work of Thomas Sheraton and his series of books, The Cabinet Maker and Upholsterer’s Drawing Book, from 1791-1794, and his The Cabinet Directory, 1803, and The Cabinet-Maker, Upholsterer, and General Artist’s Encyclopedia of 1804.

During the Empire (Classical) period, feet could be highly ornamental–these are carved to look like lion’s paws.
Krause Publications

Empire (Classical), 1805-1830

A new design style was emerging by the beginning of the 19th century. Known as Empire, it emphasized the classical world of Greece, Egypt, and other ancient cultural influences. The American craftsmen began incorporating more flowing patriotic motifs, such as eagles with spread wings. The primary wood used in the Empire period was mahogany. However, dark woods were so favored during this period that mahogany was often painted black. Ebony and maple veneer inlays were popular. The dark woods offset gilt highlights, as did the brass ormolu (the gilding technique of applying finely ground, high-carat gold–mercury amalgam to an object of bronze) mountings often found in this period. The legs of this period are substantial and more flowing than those found in the Federal or Sheraton periods. Feet can be highly ornamental—carved to look like lion’s paws, or plain, extending to the floor with a swept leg. Regional differences in this style are apparent, and New York City was the center of the design style, as it was also the center of fashion at the time.

New furniture from the period includes the sleigh bed with a headboard and footboard forming a graceful arch. Several new types of tables were produced especially sofa tables. Because the architectural style of the Empire period featured big, open rooms, the sofa was now allowed to be in the center of the room, with a table behind it. Former architectural periods were less roomy, and most furniture was placed against the outside perimeter of the walls and brought forward to be used.

Late Victorian Carved Mahogany Slant-lid Desk sold at auction for $4,000.
Skinner Auctioneers & Appraisers

Victorian, 1830-1890

The Victorian period, as it relates to furniture styles, can be divided into several distinct styles. However, not every piece of furniture can be dated or definitely identified, so the generic term “Victorian” applies to those pieces. Queen Victoria’s reign, with her love of ornate styles, influenced the design styles of furniture, clothing, and all sorts of items used in daily living. Think of a cluttered environment full of heavy furniture surrounded by plants, heavy fabrics, and lots of china and glassware.

Early 19th-century French Restoration Period walnut desk chair with leather seat.
1stDibs

French Restoration, 1830-1850

French Restoration is the first sub-category of the Victorian era. This style is known as the plainest of the Victorian styles. Lines tend to be sweeping, undulating curves. It was named for the style popular in France from 1814 to 1848 when the Bourbons tried to restore their claim to the French throne. The Empire (Classical) period’s influence is apparent, but the French Restoration lacks some of the ornamentation and fussiness of that period. Design motifs continue to reflect an interest in Greek and Egyptian culture. Chair backs are styled with curved and concave crest rails, making them a little more comfortable than earlier straight-back chairs. The use of bolster pillows and more upholstery emerged. The style was only popular in clusters, but it enticed makers from larger metropolitan areas, such as Boston and New Orleans, to embrace it.

Gothic Revival chair.
Krause Publications

The Gothic Revival, 1840-1860

Gothic Revival is a relatively easy style to identify for collectors. It is one of the few styles that features elements in the corresponding architectural themes: turrets, pointed arches, and quatrefoils—designs found in the 12th through 16th centuries, adapted to this mid-century furniture style. The furniture shelving form known as an étagère was born in this period, allowing Victorians more room to display their treasured collections. The Victorians of this era also embraced furniture that had mechanical parts. The wood makers of this period preferred walnut and oak, with some use of mahogany and rosewood. The scale used ranged from large and grand to small and petite. Carved details gave dimension and interest.

Rococo Revival chair.
Krause Publications

Rococo Revival, 1845-1870

Rococo Revival features the use of scrolls, either in a “C” shape or the more fluid “S” shape. Carved decorations in the form of scallop shells, leaves, and flowers, particularly roses and acanthus, add to the ornamentation of this furniture style. The legs and feet of this form are cabriole or scrolling. Other than what might be needed structurally, finding a straight element in Rococo Revival furniture is often difficult. Using marble for tabletops was quite popular, but expect to see the corners shaped to conform to the overall scrolling form. To accomplish all this carving, walnut, rosewood, and mahogany were common choices. When lesser woods were used, they were often painted to reflect these more expensive woods. Some cast-iron elements can be found on furniture from this period, especially if it was cast as scrolls. The style began in France and England but eventually migrated to America, evolving into two other furniture styles, Naturalistic and Renaissance Revival.

Bishop’s Elizabethan Style barley twist chair, late 19th-century
Kovels.com

Elizabethan, 1850-1915

This sub-category of the Victorian era is probably the most feminine-influenced style. It also uses the new machine-turned spools and spiral profiles that were fast becoming popular with furniture makers. New technology advancements allowed more machined parts to be generated. By adding flowers, either carved or painted, the furniture pieces of this era had a softness to them. Chair backs tend to be high and narrow, with a slight back tilt. Legs vary from straight to baluster and spindle-turned forms. Needlework upholstery and decoratively painted surfaces became more popular during this period.

Straight legs or fluted and slightly tapered legs, ovals, and arches are fixtures of Louis XVI chairs.
Krause Publications

Louis XVI, 1850-1914

One period of the Victorian era that flies away with straight lines is Louis XVI. However, this furniture style is not austere; it features ovals, arches, applied medallions, wreaths, garlands, urns, and other Victorian flourishes. As the period aged, more ornamentation appeared in the finished furniture styles. Furniture of this time was made from more expensive woods, such as ebony or rosewood. Walnut was popular around the 1890s. Other dark woods were featured, often to contrast lighter ornamentation. Expect to find straight legs or fluted and slightly tapered legs.

John Henry Belter sofa.
The Met

Naturalistic, 1850-1914

This furniture period takes the scrolling effects of the Rococo Revival designs and adds more flowers and fruits to the styles. More detail is spent on the leaves—so much that one can tell if they are to represent grape, rose, or oak leaves. Technology advances enhanced this design style as manufacturers developed a way of laminating woods together. This layered effect was achieved by gluing thin layers together, with the grains running at right angles on each new layer. The thick panels were then steamed in molds to create the illusion of carving. The woods used as a basis for the heavy ornamentation were mahogany, walnut, and some rosewood. Upholstery of this period is often tufted, eliminating any large flat surface. The name of John Henry Belter is frequently connected with this period, for it was when he did some of his best design work. John and Joseph W. Meeks also enjoyed success with laminated furniture. Original labels bearing these names are sometimes found on furniture pieces from this period, giving further provenance.

Renaissance Revival carved mahogany and brass-mounted specimen marble top center table, New York or Philadelphia, circa 1870.
Sotheby’s

Renaissance Revival, 1850-1880

The Renaissance Revival style period reflects cabinetmakers’ interpretation of the 16th- and 17th-century designs. Motifs range from curvilinear and florid early in the period to angular and almost severe by the end of the period. Dark woods, such as mahogany and walnut, were primarily used, with some use of rosewood and ebony. Walnut veneer panels were popular in the 1870s designs. Upholstery, usually of a more generous nature, was also often incorporated into this design style. Ornamentation and high-relief carving include flowers, fruits, games, classical busts, acanthus scrolls, strapwork, tassels, and masks. Another prominent design feature is architectural motifs such as pilasters, columns, pediments, balusters, and brackets. Legs are usually cabriole or have substantial turned profiles.

A 19th-century Neo-Greek Revival carved walnut side table.
Getty Images

Néo-Greek, 1855-1885

This design style effortlessly merges with both the Louis XVI and Renaissance Revival. It is characterized by elements reminiscent of Greek architecture, such as pilasters, flutes, columns, acanthus, foliate scrolls, Greek key motifs, and anthemion high-relief carving. This style originated with the French but was embraced by American furniture manufacturers. Woods are dark and often ebonized. Ornamentation may be gilded or bronzed. Legs tend to be curved to scrolled or cloven hoof feet.

Eastlake design ornamentation was created using brackets, grooves, chamfers, and geometric designs.
Krause Publications

Eastlake, 1870-1890

This design style is named after Charles Locke Eastlake, who wrote a popular book in 1872 called Hints on Household Taste, published initially in London. One of his principles was the relationship between function, form, and craftsmanship. Furniture shapes in this style tend to be more rectangular. Ornamentation included brackets, grooves, chamfers, and geometric designs. Legs and chair backs were produced straighter, often with incised decoration. American furniture manufacturers were enthusiastic about this style since it was easy to adapt for mass production. Dark woods were popular, but more native woods, such as oak, maple, and pine, were also incorporated.

Sideboard by Gustav Stickley, circa 1905. Arguably the most famous of all Arts & Crafts furniture designers, Stickley advocated a return to a simple, vernacular aesthetic that exploited the natural beauty of pure materials and that depended on the skill and acuity of the craftsman.
Indianapolis Museum of Art/Getty Images

Arts & Crafts, 1895-1915

The Arts & Crafts period of furniture represents one of the strongest trends for current collectors. Quality period Arts & Crafts furniture is available through most major auction houses. And, for those desiring the look, good quality modern furniture is also made in this style. In the Arts & Crafts period, furniture was generally rectilinear, and a definite correlation was seen between form and function. The primary influences of this period were the Stickley brothers (especially Gustav, Leopold, and John George), Elbert Hubbard, Frank Lloyd Wright, and Harvey Ellis. Their furniture designs often overlapped with architectural and interior design, including rugs, textiles, and other accessories. Oak was the wood of choice for Arts & Crafts furniture. Finishes were natural, fumed, or painted. Hardware was often made of copper. Legs are straight, and feet are small, if present (they were frequently a simple extension of the leg). Some pieces included an inlay of natural materials, such as silver, copper, and abalone shells.

A glorious Art Nouveau bed in molded and carved walnut, with a female head on the headboard.
Getty Images

Art Nouveau, 1896-1914

Just as the Art Nouveau period is known for women with long hair, flowers, and curves, so is Art Nouveau furniture. The Paris Exposition of 1900 introduced furniture styles that mirrored what was happening in the rest of the design world. This style of furniture was not warmly embraced, as the sweeping lines were not conducive to mass production. The few manufacturers that did produce it found interest to be slight in America. The French held the style in higher esteem. Legs tended to be sweeping or cabriole. Upholstery becomes slimmer.

Round Art Deco French glass top coffee table with a burled finish.
1st Dibs

Art Deco, 1920-1945

The Paris “L’Exposition International des Arts Décorative et Industriels Modernes” became the mantra for designs of everything in this period. Lines are crisp, with some use of controlled curves. The Chrysler Building in New York City remains among the finest examples of Art Deco architecture, and those same straight lines and gentle curves are found in furniture. Makers used expensive materials, such as veneers, lacquered woods, glass, and steel.
The cocktail table first enters the furniture scene during this period. Upholstery can be vinyl or smooth fabrics. Legs are straight or slightly tapered; chair backs tend to be either low or extremely high.

Charles Eames designed the DCW chair in 1946. The all-plywood chair is an exceptional example of Mid-Century Modern design.
Indianapolis Museum of Art/Getty Images

Modernism or Mid-Century, 1940-1970

Furniture designed and produced during the Modernism period is distinctive, as it represents the usage of some new materials, like plastic, aluminum, and molded laminates. The Bauhaus and also the Museum of Modern Art heavily influenced some designers. In 1940, the museum organized competitions for domestic furnishings. Designers Eero Saarinen and Charles Eames won first prize for their designs. A new chair design combined the back, seat, and arms as one unit. The tables were designed to incorporate the top, pedestal, and base. Shelf units were also designed in this manner.