with knopped finials on moulded back rails and reeded frames, with padded backs, arms and stuffed seats on fluted turned tapering legs, the settee with castors
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Two photographed in the Carved Parlour, Crewe Hall, Cheshire in the late 19th century;

Crewe House, London, Inventory, Vol. 2, 1913, p.211, in the North Drawing Room; The Louis XVI suite in carved white enamelled frames, upholstered in drab corded silk floral brocade, comprising:
An open arm Settee with high back, fluted and spiral arms of fluted supports. 3ft. 6 wide.
5 [sic] Fauteuils en suite.

Robert Crewe-Milnes, 1st Marquess of Crewe (1858-1945) is captured sitting in one of the chairs in a photograph taken by Lafayette, circa 1910-20 at Crewe House, London;
Two photographed in the North Drawing Room🌸,𝐆 Crewe House, London, circa 1937.

Good quality. In Country House condition. Losses to paint. Later ceramic castors. Variations to upholstery, fabric covering marked in places. Settee with a loose frame. Chair frames slightly loose. Scuffs, old marks and scratches throughout. Worm throughout. Will be a superb set after re-covering and restoration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

These chairs are attributed to B Harmer; a prolific chair-maker who supplied pieces of fine quality in the period 1790 to 1810. These include the celebrated suite of carved giltwood dolphin seat furniture for the music room at Powderham Castle, attributed to Marsh and Tatham and executed by Harmer, the hall chairs at Petworth and an X-framed mahogany armchair after a design by Thomas Hope in Household Furniture and Interior Decoration, 1807. (see C. Gilbert, ed., Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds, 1996, pp. 258-259, pls 474, 475, 479 and 480).

Another giltwood armchair very similar to these chairs is illustrated in (Gilbert, op. cit., p. 257, fig. 471). Harmer's record of commissions to leading patrons during this period indicates that he managed an efficient business, often executing to order on a sub-contract basis. 
The design for these armchairs is based on an amalgam of elements for an engraving of two `Drawing Room Chairs' illustrated in Thomas Sheraton's The Cabinet-Maker and Upholsterer's Drawing Book, 1793, Appendix, plate VI.