An architect's idea of a chair. The frame is built from squared lengths of solid timber in two tones. A warm, reddish-brown Australian blackwood forms the legs and arms, set against a paler upright, jointed cleanly and left to speak for itself. Slung across it, front and back, is firm saddle leather, thick enough to hold its own shape, trapped to the rails by slim contrasting battens and saddle-stitched along the edges.

It is the leather that marks it as a considered piece rather than a factory one. This is structural hide, not soft upholstery, the kind of vegetable-tanned leather a saddler would know, and it has been cleaned, fed and conditioned so it sits taut and rich again while the blackwood has been waxed back to life.

There is no maker's stamp to be found, which is ordinary for studio-quality work of this period. The two-tone blackwood framing speaks the same language Australian mid-century makers like Fler built a name on, and the likeness is genuine. But a likeness is not a signature, so we point to it honestly rather than borrow the name. It is offered on its own considerable merits.