Adrian Alan Seating

A Gilt-Bronze Mounted Empire Style Mahogany Settee. France, Circa 1890.

A Pair of Gilt-Bronze Mounted Mahogany Salon Chairs by François Linke, The Design for the Mounts Attributed to Léon Messagé. Signed ‘FL’ to back of the bronzes. The underside seat...

A Magnificent and Palatial Neo-Rococo Giltwood Canapé. The top rail exuberantly carved with a trumpeting putto seated in a conche shell surrounded by acanthus leaves and flanked by...

A Pair of Magnificent Giltwood Armchairs. Each magnificent throne chair with oval padded back encircled by an elaborate cresting carved with flowering acanthus, oak branches, and fleurs-de-lis. The top rail with two putti holding an armorial star-shaped cartouche with the interlaced L's of Louis XVIII, King of France, titled ‘Bordeaux 12 Mars 1814’, beneath a crown. This armourial cartouche is the Order of the Armband of Bordeaux. The open arms with padded armrests above exuberantly carved sculptural terminals depicting dragons with human faces. The shaped seat rail with ribbon and rocaille ornament and to the front with a star representing the Décoration du Lys. On cabriole legs. Upholstered in flower pressed blue velvet. France, Circa 1820/30. These magnificent throne chairs commemorate an important event in the Bourbon Restoration precipitating the fall of Napoleon I. They celebrate the surrender of the city of Bordeaux to royal power and to King Louis XVIII (1755-1824), heralding the fall of the first Empire (1804-1815). The Duc d'Angoulême (1775-1844), nephew of Louis XVIII and elder son of Charles X, entered the city of Bordeaux to the acclaim of the crowd on 12th March 1814. Louis XVIII later called it ‘the happiest event of my life’ and on the 29 September 1820 named the heir to his throne, not—like previous Bourbon heirs—Duc de Bretagne, or de Bourgogne, but the Duc de Bordeaux. This armourial cartouche to the top rail of these chairs is the Ordre du Brassard de Bordeaux (The Order of the Armband of Bordeaux). It was adopted for the Royal Guard and volunteers who accompanied the Duc d'Angoulême when he entered Bordeaux on 12th March 1814. It was officially called the Brassard de Bordeaux, or Brassard Vert. At first it consisted of a silk band of green with white borders, worn, as the name signifies, on the arm, but was later adapted as a medal with oval gilt sunburst on which is superimposed an oval medallion of white enamel bearing the royal monogram ‘L.L.’, and surrounded by a green enamelled band with the words ‘BORDEAUX 12 MARS 1814’. The whole is surmounted by the royal crown. In 1824 the issue of the Brassard de Bordeaux was controlled by the Royal Order of...

A Pair of Regence Style Giltwood Fauteuils. The arched backrest above open arms with acanthus carved supports. The sprung seat above a rocaille carved seat rail and sides centred wi...

A Set of Eight Regency Polychrome-Painted And Parcel-Gilt Dining Chairs. In the manner of John Gee. Comprising a pair of open armchairs and six side chairs. Each with cream painted ...

A Fine Pair of Mahogany And Gilt-Bronze Bergères in the Manner of Jacob-Desmalter. The Bergères each having armrests headed by finely cast caryatid herms. French, Circa 1880.

A Set of Four Mahogany And Gilt-Bronze Second Empire Salon Chairs in the Manner of Jacob-Desmalter. French, Circa 1880.

A Fine Mahogany And Gilt-Bronze Second Empire Canapé in the Manner of Jacob-Desmalter, having armrests headed by finely cast caryatid herms. French, Circa 1880.

A Louis XVI Style Giltwood and Aubusson Tapestry Five-Piece Salon Suite. This suite of seat furniture comprises four fauteuils or open armchairs of generous proportions and a canapé...

A Louis XVI Style Gilt-Bronze Mounted Mahogany and Aubusson Tapestry Upholstered Corner Settee. French, Circa 1880.

A Fine Pair of Mahogany And Gilt-Bronze Bergères in the Manner of Jacob-Desmalter. The Bergères each having armrests headed by finely cast caryatid herms. French, Circa 1880. François-Honoré-Georges Jacob-Desmalter (1770-1841) was Napoléon’s pre-eminent court cabinetmaker. He built up the business of his father, the well-known chairmaker Georges Jacob, into one of the most important and successful furniture workshops in Paris which by 1808 employed 332 workmen producing annually furniture valued at 700,000 francs. Jacob-Desmalter et Cie produced neoclassical Empire style furniture often working to Percier and Fontaine's designs, such as for Napoléon’s throne...

A Louis XVI Style Beechwood and Aubusson Tapestry Five-piece Salon Suite. Comprising a canapé and four fauteuils, the beechwood frames crisply carved with beading, stylised petals a...

An Important Pair of Empire Style Carved Giltwood Tub Chairs with Green Velvet Upholstery. The Lion Monopedia side supports feature finely carved detail and a realistic pose. These...

A fine Napoleon III Carved Giltwood Armchair In The Manner of Michel-Victor Cruchet. This fine fauteuil is richly carved with foliage, shells and 'C'-Scrolls and is upholstered 'a chasis' with floral Beauvais tapestry. The generous proportions, ornamentation and the modified Louis XV style of this grand fauteuil is in the manner of Michel Victor Cruchet who supplied related chairs to the Duke of Nemours for the Pavillon de Marsan in 1842. French, circa 1850. Michel-Victor Cruchet Michel-Victor Cruchet (1815-1899), was a celebrated sculptor, carver and ornamentalist. Working with the cabinet-makers Ringuet-Leprince, Thuiller and Maigret he was a supplier of the Garde-meuble providing many pieces of furniture to the households of both King Louis-Philippe and Emperor Napoleon III. Important commissions included audience seating for the Duke of Nemours at the Pavillon de Marsan, in a neo-Louis XV style; Gothic furniture for the Tuileries Palace for Princess...

A Pair of Louis XVI Style Giltwood and Sèvres-Style Porcelain Mounted Salon or Bedroom Chairs These charming chairs are delicately carved and adorned with attributes of love. The to...

A Pair of Louis XVI Style giltwood and tapestry fauteuils. The tapestry 18th century and attributed to the Beauvais Manufactory. The frames are finely carved with guilloche bandin...

A pair of Empire Period gilt-bronze mounted side chairs. French, Circa 1820.

A fine set of fourteen gilt bronze mounted mahogany dining chairs attributed to Jeanselme. The floral tapestry to the back of each chair is in superb condition, of good design and with fine colors; two chairs retain their original tapestry upholstery...

A Louis XVI style Canapé, upholstered with Aubusson tapestry depicting a scene from Aesop’s Fables. French, circa 1880. The small town of Aubusson, on the River Creuse in France, had a long history of producing elaborate and costly tapestries. They were known for their elegance and delicate colouring and often depicted romantic pastoral scenes derived from artists such as Boucher; historic scenes, inspired by classical mythology; or more formalized architectural vistas. Aubusson was particularly noted for its finely balanced compositions of garlands and bouquets which became famous and sought after throughout Europe. Aesop was by tradition a labourer who was a contemporary of Croesus and Peisistratus in the mid-sixth century BC in Ancient Greece. The various collections that go under the rubric "Aesop's Fables" are still taught as moral lessons and for centuries have been influential subject matter for artistic endeavour. The Shepherd Boy and the Wolf: In a village was a young boy who had a job watching the village's sheep. Two times he called out, "Wolf! Wolf!" Each time the villagers came running to help the boy. And both times the boy just laughed at the villagers and called them names. But then the wolf really did come and start eating the sheep. The boy called, "Wolf! Wolf!" but the villagers just ignored his calls. They thought he was just trying to trick them again. The wolf took his time and had a huge meal of the entire flock of sheep. The Wolf in Sheep's Clothing: Once upon a time there was a wolf who decided to disguise himself so he could get some food without working too hard. He took a sheep's skin and hung it over his body. Then he went into the sheep pasture and pretended to graze with the sheep. He fooled everyone. Even the shepherd didn't realize she had a wolf grazing with her sheep. Soon the shepherd moved the sheep into the barn and the wolf went with them. The barn door was closed and locked and the wolf was just about ready to have a nice meal when the shepherd came back. She decided she wanted some food for her meal. She grabbed the wolf who was still disguised as a sheep and killed him for her meal. The Wolf and the Crane: One day a wolf had a bone stuck in his throat. He called to a crane and hired him for a large sum of money to put her head in his mouth and remove the bone. The crane did as she was hired to do and got the bone out and then asked to be paid. The wolf just grinned and said, "Ha! You've already been paid. I let you take your head safely out of my mouth when I could have crushed you with my powerful jaws”. The Wolf and a Mountain Goat: One day a wolf looked up and saw a mountain goat eating on a ledge high up on the side of a steep mountain. The wolf called out to the goat, "You should come down here to eat, you might fall if you stay up there. And the grass is very tender down here." But the mountain goat was too smart for the wolf and called back, "I don't think you are worried about my dinner. You are just looking for your own food!" The Wolf and the Lamb...

A set of eighteen red walnut dining chairs attributed to Gillows. English, circa 1830. Each chair has a waisted balloon back, with incised foliage and panelled horizontal spla...

A fine companion pair of Russian gilt bronze-mounted armchairs. Russian, circa 1870. The frame of each chair with exceptional gilt bronze mounts. The padded backs, seats, side...

A gilt bronze-mounted mahogany desk chair by François Linke. French, circa 1910. Signed 'F. Linke' to one acanthus clasp. Linke made six versions of this chair in two sizes...