Alain Michel Antiques Office Chairs and Desk

Armchair model 3758 A in original red indian leather and mahogany base. Model designed in 1927 for the Danish Museum of Decorative Art, produced by Rud Rasmussen in the 1940’s. Signed with manufacturer’s label to underside: (Rud. Rasmussens Snedkerier). Kaare Klint is widely recognized as the father of Danish modern design. It is hard to overstate his influence. He developed an entirely new analytical approach to furniture design that his students at the Danish Academy of Art would emulate for years to come, yet was also inspired by historic designs from various cultures, modernizing and re-interpreting classic pieces for new generations. Literature: Kaare Klint, Harkær, pg. 28-30. Dansk Møbelkunst Gennem 40 Aar: 1927-1936, Jalk, pg. 169. Danish Chairs, Oda, pg. 22-23. Kaare Klint (1888-1954) is regarded as the founding father of Danish Modernim. As an architect, furniture designer and leading professor at the Department of Furniture Design at the Royal Danish Academy of Fine Arts, Copenhagen, Klint established the principles of modern Danish furniture by combining a profound appreciation of traditional construction techniques with a modernist emphasis on function and a rejection of ornaments. Klint’s design was always based on relentless research; he never compromised. Every piece had to fulfill its purpose, be completely clear in its construction with dimensions and proportions corresponding to the human body and display materials and craftsmanship of the highest quality. Logic, often using a mathematical system of measures, and a constructive way of thinking were the foundation of Klint’s philosophy of furniture design. Like many of his contemporaries, counting Le Corbusier and Walter Gropius, he advocated standardization and functional requirements and dismissed the use of all ornamentation. But Klint realized his vision in wood and leather, using traditional craftsmen and working methods and often finding inspiration in historical models. In this way, he charted the course for an alternative Nordic Functionalism that idealized the workshop and the collaboration between furniture architects and cabinetmakers as opposed to the factory. Kaare Klint’s first major work was a collaboration with his mentor, the architect Carl Petersen. In 1914 they were commissioned to design furniture and fixtures for Faaborg Art Museum. One of the highlights to emerge from this commission was the Faaborg chair, a light and elegant chair with clear references to classical furniture. The construction and proportions of an 18th century English Chippendale...

Armchair in patinated leather made by Danish Cabinetmaker in 1930s. Great original condition.

Pair of friar armchairs. Walnut wood, leather, metal. Spain, 17th century. Armchairs with arms and high backs of the type known as “frailero”, which have leather with studs on the s...

Stunning original handmade in England hand dyed deep green leather captain's chair, a stunning piece, the frame is solid and beautifully finished mahogany, the leather is English cow...

Rosewood desk / armchair in original black leather in the style of Niels Vodder. Measures: Seat is 16.5" high, arm is 25" high.

This amazing chair has a fantastic color and can easily fit into both classic and modern interiors or office spaces. It has a wooden frame with a cowhide leather seat and backrest. T...

After a design by E W Godwin. An Aesthetic Movement OAK armchair originally named,' A Jacobean or Old English Armchair '. Probably made by Collier and Plunkett or James Peddle. See...

This is a good quality English armchair from the George III, Hepplewhite period, made circa 1785. The hardwood, possibly red walnut, frame has a camel back with a well carved centra...

Spanish seat, in the curule styla, made circa 1880 The cordovan leather used for the seat is held in place by studs. Strips of embossed leather are used ...

Harbo Sølvsten armchair in teak, upholstered with red Wool and leather by Thomas Pedersen/J.C.A. Jensen. An organic shaped chair designed in the mi...

Armchair In Carved Walnut And wool Tapestry, Late 17th Century

During the first half of the seventeenth century chairs evolve towards a new model today known as Louis XIII foreshadowing the armchair. Chairs adopt a widen and lower silhouette. Horizontal lines prevail. Cushions disappear supplanted by horse hair upholstery. This chair stands on four feet linked by an H-shaped spacer and a frontal cross-bar. Legs, spacers, cross-bar and arm-rests are all turned as rosary beads...