The richly sculpted parlour chair, with ribbon-scrolled 'truss' pilasters supporting a triumphal-arched and 'Venus' shell-headed cresting, is conceived in the Louis Quatorze 'Roman' manner popularised by pattern-books issued by the Paris-trained architect Daniel Marot (d.1752); while its antique-fretted 'vase' baluster back reflects the Chinese manner popularly known around 1700 as 'India' fashioned. The back, appropriate for a French-fashioned bedroom apartment/reception room, further evokes the theme of Love's triumph with its dolphin-scaled imbrications; while its Chinese 'vase' splat would have harmonised with the Chinese tea-equipment, whose display enlivened such rooms. A set of related 'bended' back parlour chairs, raised on bacchic satyr hooves, were commissioned in 1717 for George I's Hampton Court dining room from the court chair-maker Richard Roberts (d.1733), who traded at 'The Royal Chair' in Marylebone Street (G. Beard and J. Cross, Thomas and Richard Toberts, apollo, September 1998, pp. 46-48 and fig. 2). A related imbricated and satyr-hooved chair of this type, popularly known in the Netherlands around 1700 as 'English', is in the Rijksmuseum (R. Baarsen, The Rijksmuseum Amsterdam; Dutch Furniture, 1600-1800, Amsterdam, 1993, no.38).
The seat's early 20th Century inscription implies that it belonged to the Yorkshire family of Fairfax-Cookson.