Belgian Armchairs

Grands fauteuils by Olivier de Schrijver (born in 1958) in teak. Model Zen with teak wavy headband, comfortable armrests and base, curved seats, Belgium, 2020.

Pair of large De Coene Frères Art Deco Armchairs. Cherrywood with bronze details and sabots.

Pair of armchairs Oak Chunky shape Slatted back Original upholstery can be changed if required Seat height 45cm 1960s/1970s

Fauteuil "Polaris" de Pierre Guariche fabriqué par la société Meurop en Belgique .En 1967, Meurop présente deux nouveaux sièges dans les journaux : Polaris et Luna. Ils font fait par...

This 18th-century Elmwood Flemish armchair epitomizes both resilience and refinement. Its commanding presence is underscored by a broad crest rail intricately adorned with a delicate...

Discover the understated grandeur of this pair of 20th Century Belgian wooden armchairs, a duo that exudes classical elegance and robust charm. The chairs are a symphony of dark, pol...

Liège armchair dating from the 19th century Magnificent rock sculpture and acanthus leaf Oak armchair Perfect state of conservation

Pair Conseil Red Armchairs by Pierre Guariche from Meurop Belgium 1960s. Pair of armchairs model Conseil by Pierre Guariche production Meurop Belgium 1960 .These pair of armchairs ar...

Contemporary Armchair - Collectible Design Lounge Chair - Grey Leather Living Room Chair Designed by Stefan Diez for collectible furniture brand Dante Goods and Bads...

Art deco inspired armchair with a chrome and wooden frame and grey fabric cushions. The chair dates from the 1950s where a lot of designs where still very much art deco inspired. B...

Rare pair of lounge chairs by the known Belgium designer Alfred Hendrickx. The models shown is documented as the S12 model produced by Belform, Belgium in the late 1950s. Freshly re-...

Beautiful design by Pierre Guariche for Meurop, this "Rio" armchair features a black-colored tubular metal structure, accentuated with Oakwood elbow rests. A seat and backrest padded...

Vintage Midcentury Modern Belgian Design Floating Lounge Chair. Made in Belgium, 1960's period. Square architectural design arm chair in the manner of Pierre Guariche. Green fabric c...

Vintage bamboor armchair with a comfortable brown fabric tufted cushion. Beautiful timeless piece with which adds a nice bohemian touch to your home. Good condition 1970s - Belgiu...

Fit for a king or queen, this royal-looking hall chair was actually designed for a bishop. Bishop's chairs were larger than other seating in the church a...

Armchairs in bentwood and textiles from the late 60s. Design in the style of the Dutchman Just Meijer, who worked for the publisher Kembo. Multi-ply bentwo...

Timeless crocus ball armchair, designed by Pierre Guariche for Meurop Belgium, in 1967. The chair is reupholsered in a soft wool bouclé fabric by Dedar...

Vintage outdoor chairs. Solid wooden slat construction with armrests. Fold-able for easy storage. Dimensions: 63 W x 97 H x 78 D cm, seat 42 cm...

Set of 4 black fabric armchairs on casters designed by Geoffrey Harcourt for Artifort. The chairs are labeled on the side with a round metal plate and marked underneath the seates. ...

A very handsome 17th century Flemish Armchair. Beautifully constructed from handsome walnut. Stunning patina - warm and luminous. A wonderful a...

Edward Wormley for Dunbar executed by Mobilier Universel, Jules Wabbes, set of six armchairs, lacquered black wood and fabric, Belgium, 1960s. This set of six grand armchairs is exe...

Armchair "MORO M" & Sofa "MORO DUO" - Belgian contemporary design made out of 3D printed recycled material.

The RIO Armchair by CAPORUSSO finished in wenge wood and leather. Handmade in Belgium, the Rio Armchair is available in a selected leathers and is made t...

Set Of 6 Directoire Style Armchairs , Wood and Fabric, Belgium

The Mid-Century Modern era cemented the design principles of quality, functionality, and an unadorned, understated look for future pieces in Belgium as well. Accordingly, this chair created in the 1970s is defined by its materials, the finely worked solid wood and woven papercord. This classic armchair stands as evidence why many Belgian craftsmen succeeded at furniture design: the precision of the structure, the joinery, and the papercord weaving is evident at first glance, showing great geometric order. Driven by function, Frits Schuitema’s focus was evidently on practicality, structural stability, and a design in favour of these principles. The combination of subtle curved and straight lines and the absence of excess decoration is very typical of Belgian modern designers who like their contemporary European designers, saw possibilities in the aesthetics of modernist design and materials. The use of papercord is the defining material of this model. Noteworthy for its durability, the organic material has also been beloved for its functional and aesthetic qualities. The woven or basket form of seat and back of this chair have a tight, visually pleasing pattern in great condition. This armchair has an equally arresting solid wood structure that shows great craftsmanship evident in the dovetail joinery on the arms. The producer, Shaker Furniture Schuitema en Zonen...

Belgium, Contemporary Armchair in customized upholstery by The Apartment. H 73 x W 72 x D 78 cm

Emiel Veranneman, pair of lounge chairs model 'La chaise', cherry, fabric, Belgium, design 1952 Belgian designer Emiel Veranneman designed this model for the lecture hall of an elec...

Beautiful curved grey wooden armchairs Belgian work, 1980-90 painted in grey 74 x 73 x 79 cm Very confortable and large armchairs.

Elegant art deco armchairs with ebonized wooden armrests and bases and faux leather upholstery. Beautiful art deco design and above all very comfortable. The chairs look great from...

A set of four antique armchairs, handsomely carved with an acanthus flourish at the crests and at the centers of each front seat rail, the arms and turned tapered legs attractively c...

As we found a small but amazing batch of root walnut we decided to make a pair of chairs suitable for this rare woodspecies. Our choice of style was a classic high quality Gainsborou...

Big "Club" armchair, light wood, French polish and chocolate leather new upholstery. Belgium, circa 1940.

Mid-Century Modern period set of 2 Rudi Verelst for Novalux, Belgium, 1974. The 'Delta' armchairs, chromed metal, lacquered wood and leather two colour fabric. The model consis...

A rare armchair or desk chair in solid oak from the ‘Abtracta’ series designed by Jos De Mey for Van Den Berghe-Pauvers during the 1960s. This chair belonged to a desk which is also ...

This striking Art Deco armchair was manufactured in Belgium in the mid 1920s. The distinct tiered and angular shape of the design is a great example of the influence of cubism in this particular era. The originality of the design and the craftsmanship of the production make this a unique piece. The chair has a rounded and curved backrest and a deep seat. The optional loose pillow adds additional seating comfort to the back. The elegant frame is executed in solid European maple wood which has been finished in a darker brown stain. The chair is upholstered in a sumptuous deep pile mohair velvet in a beautiful vermilion color. Provenance: Yves de Smet, Gent, Belgium Literature: Paul Maenz...

Mid-century egg-shaped armchairs, Belgium 1950, oak and brass legs, newly reupholstered in ivory wool boucle' by Larsen.   

VC01 Brass Armchair by Chanel Kapitanj Dimensions: D62 x W40 x H100 cm Materials: Brass, stainless steel. Unique Piece Brass and stainless steel armchairs, with a chainmail seating....

A "Robert" armchair, fireside chair and footstool designed by Pierre Guariche and produced in the 1960s by Meurop. Formed of tubular metal and the armchair featuring wooden arms, th...

Antique French Neogothic Armchair ~ Desk Chair is an instant classic! Such chairs were designed for work before the days of ubiquitous casters. The low wraparound seat back provided ...

Armchair Lonam Black with structure in solid teak in black stained finish, back seat structure in wicker and cord alliage in anthracite finish, with upholstered seat covered in cem...

Eye Candy armchair by Amber Dewaele Dimensions: D 95 x W 70 x H 70 cm. Materials: Anodised aluminum, coated foam. EYE CANDY CHAIRS Concept A chair for every eye. As every int...

Groovy armchairs, Pierre Paulin, Artifort.

Armchair Lonam Natura with structure in solid teak in natural finish, back seat structure in wicker and cord alliage in clear beige finish, with upholstered seat covered in cream ...

These rare exceptionally impressive handmade chairs designed by Olivier de Schrijver (born 1958 in Congo) combine, with a unique style, an original and spectatular elegance to a comf...

Belgo chrome set consisting a table with 2 chairs - 2 armchairs Belgo Chrome is a Belgian brand which was known for high quality handmade luxuriou...

Contemporary armchair in patinated raw steel by Arno Declercq Limited edition of 8 Dimensions: D 80 x W 90 cm x H 80 cm Material: Patinated and raw steel combined with belgium...

Set of 2, Wilson chairs by Eloi Schultz Materials: Solid European walnut with waxed finish Dimensions: H 94 x 60 x 60 cm Eloi Schultz graduated as an architect at the Ecole Nationale de la Villette...

Set of 4, Wilson Chairs by Eloi Schultz Materials: Solid European Walnut with Waxed finish Dimensions: H94 x 60 x 60 cm Eloi Schultz graduated as an architect at the Ecole Nationale de la Villette...

Wilson chair by Eloi Schultz Materials: Solid European Walnut with Waxed finish Dimensions: H94 x 60 x 60 cm Eloi Schultz graduated as an architect at the Ecole Nationale de la Villette...

'Left At The End of the Corridor' conversation piece by Lionel Jadot for Everyday Gallery, 2020 Collectible Design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020 Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time. The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand. A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world. Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled. In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element. The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis...

A pair of comfortable outdoors lounge chairs, can stand sunshine or rain.

Memphis Milano style chairs by Belgo Chrom from the 1980s. Also a beautiful deskchair The green fabric is Alcantra, the backside is decorat...

Faeröer armchair in Iroko wood by Arno Declercq Edition of 20 pieces Dimensions: W 82 x D 86 x H 73 cm Materials: burned and waxed Iroko wood, shee...

Collectible design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020 Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time. The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand. A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world. Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled. In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element. The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis...

Fantastic pair of black curvy armchairs!

The Knoll international Saarinen conference armchair in license with the De Coene manufacturer Belgium is a design by Eero Saarinen.Featur...

Limited edition Zoumey armchair in solid walnut by Arno Declercq Dimensions: W 82 x D 86 x H 73 cm Materials: American walnut, natural wool Limited edition of 12, signed and numb...

Art Deco armchair made around 1930. Made of green velvet and brown Leatherette. Has some nice brass details. Price per piece.