Tan-Sad chair, grey faux leather and black lacquered steel, front view, V26 De Luxe version

Tan-Sad castered and swiveling chair, overall view.

Tan-Sad V.26 De Luxe Chair – 1950s

Tan-Sad V.26 “De Luxe” armchair, upholstered in grey faux leather with black piping.
Great Britain, late 1940s–early 1950s.
Rooted in 1950s modernism, this model retains a streamline influence, visible in the softness of the lines and the continuity of the forms.
Removable armrests, reclining backrest, adjustable height.
Very well preserved, original upholstery.
H 86 CM X D 63 CM X W 70 CM.

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Ref: 014150580 Category: Chairs and Armchairs Tag: Armchairs

Tan-Sad V.26 “De Luxe” armchair and English industrial ergonomics

The Tan-Sad V.26 “De Luxe” armchair is part of the development of ergonomic office furniture in England in the mid-20th century. This Tan-Sad V.26 reflects a functional approach to seating, designed for professional use.

The name Tan-Sad comes from a contraction of the terms “tandem” and “saddle”, referring to a type of seat designed as early as 1919, before the company specialized in manufacturing technical seating. In 1931, Tan-Sad Chair was integrated into Parnall and Sons, itself linked to the W. and T. Avery group, marking an industrial structuring of production.

From the 1930s, Tan-Sad developed models based on a so-called “scientific” approach to seating. A patent filed in 1936 attests to improvements made to chairs and seats, aimed at optimizing comfort and posture in a context of prolonged work. This direction is confirmed by the brand’s regular presence at the British industrial fairs of 1937 and 1947, where its seats were presented as suitable for offices, factories, schools, libraries, and administrative use.

This research continued in the following decades, as shown by a 1957 patent for an improved pivoting backrest. The Tan-Sad V.26 “De Luxe” model follows in this tradition, combining robust construction with functional adaptation for professional use.

Although rooted in 1950s modernism, this model retains certain elements of the streamline vocabulary, visible in the softness of the lines and the continuity of the forms. By its design and production context, it reflects an industrial logic in which form follows function, characteristic of English technical furniture of this period.