Jan's & Co Fine French Antiques Inc. Armchairs

A Pair of French Early 20th Century Louis XV Style Giltwood Carved Fauteuils Armchairs. The open-armed armchairs, with upholstered backs and seats, the top carved with a floral desig...

A Fine French 19th-20th Century Baroque Revival Style Parcel-Gilt Carved Walnut and Needlepoint Upholstered Hall Throne Armchair with raised carved scrolled armrests and fluted conjo...

Pair of French 19th-20th Century Louis XVI Style Mahogany and Gilt-Metal Mounted High-Back Armchairs. Circa: Paris, 1890-1900. Height: 47 3/8 inches (120.4 cm) Width: 26 inches (6...

A Fine and Rare Assembled Set of Four French Louis XV Style Gilt-Wood Carved and Japanned-Chinoiserie Lacquer Decorated Bergers Armchairs, attributed to Maison Jansen (House of Janse...

A very fine French 19th century Louis XVI style giltwood carved five-piece salon suite, comprising of a canapé and four fauteuils, all with recent upholstery. The finely carved frame...

A large nicely carved pair of Baroque Revival style Walnut and Parcel-Silver Leaf Winged Throne Armchairs. The tall padded winged back armchairs, with scrolled carved walnut frames in a dark finish stain, each with finely carved open-armrests with parcel-silver leaf edges and clam-carved supports, raised on scrolled conjoined legs with wavy corners, all upholstered with a recent whimsical Scalamandre/Old World...

A Pair of French empire revival style mahogany and gilt-bronze mounted horseshoe shaped game armchairs (reproductions). The arched back frames centered with a harp design below a lau...

A fine Italian 19th century baroque revival style carved walnut figural throne armchair, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolo...

A fine Country French 19th-20th century Louis XV style carved walnut Fauteuil à la Reine armchair. The finely carved wood frame with open scrolled armrests and cabriolet legs, uphols...

A fine French 19th century Louis XVI style white-painted lounge ottoman armchair with recent striped upholstery. The square back armchair with a padded backrest, sides and armrests f...

A fine pair of Italian 19th century Baroque Revival style carved walnut throne armchairs. The high-back frames with recent upholstered back and seat and open carved scrolled armrests...

A fine pair of French 19th-20th century Louis XVI style two-tone cream and green painted with parcel-giltwood carved fauteuils armchairs. The intricately carved wood frames with a pa...

A very fine pair of palatial Venetian walnut carved mid-19th century Baroque figural throne armchairs, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon (1662-1732). The ornately carved thrones, each flanked with figures of standing males supporting a branch-carved armrests with vines. Raised on cabriolet scrolled legs. Provenance: The Castello di Giove in Umbria, Italy, circa 1870-1880. Height: 54 1/4 inches (137.8 cm.) Width: 37 1/4 inches (94.6 cm.) Depth: 32 inches (81.3 cm.) Andrea Brustolon (20 July 1662 – 25 October 1732) was an Italian sculptor in wood. He is known for his furnishings in the Baroque style and devotional sculptures. Biography He was trained in a vigorous local tradition of sculpture in his native Belluno, in the Venetian terraferma, and in the studio of the Genoese sculptor Filippo Parodi, who was carrying out commissions at Padua and at Venice (1677). He spent the years 1678-80 at Rome, where the High Baroque sculpture of Bernini and his contemporaries polished his style. Apart from that, the first phase of Brustolon's working career was spent in Venice, 1680–1685. Brustolon is documented at several Venetian churches where he executed decorative carving in such profusion that he must have quickly assembled a large studio of assistants. As with his contemporary in London, Grinling Gibbons almost all the high quality robust Baroque carving in Venice has been attributed to Brustolon at one time or another. In the Venetian Ghetto, at the Scola Levantina, Brustolon provided the woodwork for the synagogue on the piano nobile, where the carved, canopied bimah is supported on Solomonic columns, which Brustolon had seen in Bernini's baldacchino in the Basilica of St Peter's. His furniture included armchairs with figural sculptures that take the place of front legs and armrest supports, inspired by his experience of Bernini's Cathedra Petri. The gueridon, a tall stand for a candelabrum, offered Brustolon unhampered possibilities for variations of the idea of a caryatid or atlas: the familiar Baroque painted and ebonized figural gueridons, endlessly reproduced since the eighteenth century, found their models in Brustolon's work. His secular commissions from Pietro Venier, of the Venier di San Vio family (a suite of forty sculptural pieces that can be seen in the Sala di Brustolon of the Ca' Rezzonico, Venice), from the Pisani of Strà, and from the Correr di San Simeone families encourage the attribution to him of some extravagantly rich undocumented moveable furniture. Andrea Brustolon's elaborate carved furniture aspired towards the condition of sculpture, such as the Dutch bases for console tables which look like enlargements of the work of the two Van Vianens, Paulus and Adam, perhaps the greatest Dutch silversmiths of the period. These carved pieces display the baroque tendency to develop a form three-dimensionally in space. Brustolon's walnut, boxwood and ebony pieces transcend ordinary functional limitations of furniture; they are constructed of elaborately carved figures. The framework of Brustolon's chairs, side tables and gueridons were carved as gnarled tree branches, with further supports of putti and male figures carved in ebony. Backrests of the chairs, which were never touched in the rigidly upright posture that contemporary etiquette demanded, were carved with allegories of vanity, fire and music, etc. The most extravagant piece delivered for Pietro Venier was a large side table and vase-stand of box and ebony, designed as a single ensemble to display rare imported Japanese porcelain vases. The eclectic allegories include Hercules with the Hydra and Cerberus, males and reclining river-gods (see ref.). For the Correr, less extrovert chairs bear female nudes extended along the armrests. For the Pisani, he carved a suite of twelve chairs (now at the Palazzo Quirinale) with flowers, fruit, leaves and branches to symbolize the twelve months of the year. Work by Brustolon is at the Villa Pisani at Stra. In 1685 Brustolon returned to the house where he was born at Belluno, and from that time devoted himself mainly to tabernacles and devotional sculptures in walnut, boxwood or ivory. His polychromed ivory Corpus from a crucifix is in the Museo Civico di Belluno, which preserves some of Brustolon's preparatory drawings for frames to be carved with putti displaying emblems. A pair of boxwood sculptures, The Sacrifice of Abraham and Jacob Wrestling with the Angel...

A very fine and rare pair of French 19th century Louis XVI style giltwood carved marquises bergere wide-armchairs, each with four fluted scrolled legs, a bowed finely carved top back...

Fine pair of Italian 19th-20th century baroque style giltwood carved winged throne armchairs, each finely carved throne with scrolls and wavy armrests, on cabriole carved feet. (New ...

A fine pair of French Louis XV style gilt and green-cream painted carved Fauteuils armchairs, attributed to Maison Jansen. The arched back frame crowned with carvings of flowers with...

A fine pair of French 19th-20th century Louis XVI style giltwood carved bergères, the recently upholstered and restored armchairs with a padded back, sides and loose cushion seat in ...

A fine Italian 19th century Baroque style carved walnut figural throne armchair, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon...

A large and impressive French 19th century Napoleon III Egyptian revival mahogany and bronze-mounted throne armchair with bronze figures of winged sphinxes, circa 1870-1880. Measu...

A fine pair of French Belle Époque 19th-20th century Louis XV style giltwood carved Bergère Armchairs. The finely carved frames centered with floral torch tied with a ribbon, flanked...

A fine pair of French 19th-20th century Louis XVI style Belle Époque mahogany and ormolu mounted dining or desk armchairs. The ovoid cane-backrests and seats, with padded open armres...

A fine and large French 19th century Louis XV style carved walnut three-piece salon suite. The high back intricately carved frames with floral and wreath design, comprising of a thre...

A set of four French 19th century Louis XVI style giltwood carved and Aubusson (worn) tapestry upholstered fauteuils a la reine armchairs. The banded oval back surmounted by a carved...

A fine and rare pair of English 19th century William & Mary style mahogany and silk-upholstered armchairs. The high-back frames with scrolled upholstered corners, rounded armrests wi...

A fine French 19th century Louis XIV style Baroque Revival carved walnut throne armchair. The upholstered back and seat frame with open scrolled and carved armrests with carvings of ...

A fine pair of Italian 19th-20th century Baroque Revival style walnut figural carved high-back throne armchairs, each upholstered in a floral cream silk and gold fabric...

A fine French Louis XVI style 19th century giltwood carved three-piece salon suite, comprising of a three-corps settee and...

A pair of French Louis XVI Style giltwood carved lacquered Fauteuils (armchairs). The elegantly carved wood frames with rounded backrests, open and padded armrests and fluted legs, i...

A fine and palatial pair of Italian 19th century renaissance style carved walnut figural throne armchairs. The intricately carved Baroque frames with the backrests depicting a pair o...

A pair of French Louis XV style giltwood carved Rococo fauteuils (armchairs). The intricately carved wood frames with open scrolled and padded armrests...

A fine pair of Italian venetian rococo revival style giltwood carved throne armchairs. The ornately carved frames with wide open and scrolled armrests, a padded backrest crowned with...

A fine set of four French 19th century Louis XV Rococo style giltwood carved Fauteuil à la Reine armchairs, the arched upholstered paneled backs with foliate scroll cresting and simi...

A fine pair of French early 20th century Regency style mahogany carved armchairs, each upholstered in a light cream color pleather,...

A very Fine pair of french 19th century Louis XV style giltwood carved marquises bergère armchairs. The ornately carved gilded frames with floral and acanthus motifs with rounded edg...

A very fine French 19th century Louis XV style three-piece giltwood carved and silk Aubusson tapestry three-piece salon suite, comprising of a settee and two fauteuils (armchairs), the Aubusson silk...

A pair of French 19th-20th century Baroque style carved walnut and needlepoint upholstered hall throne armchairs with raised carved armrests and fluted conjoint legs. The tapestries ...

An Impressive French 19th-20th century Louis XVI style five-piece giltwood carved salon or parlor suite, comprising of a canapé (settee) and four fauteuils à la reine (Armchairs) uph...

A Fine Anglo-Dutch 19th Century Baroque Style Ornately Carved Walnut Five Piece Parlor - Salon Suite, After Daniel Marot (French-Dutch, 1661–1752); comprising of a settee, two armchairs and two side chairs. The intricately pierced high-backs carved frames with scrolled and floral designs, curved armrests and cabriolet conjoined legs. Circa: 1890. Measures: Settee height: 54 3/4 inches (139.1 cm) Settee width: 70 3/4 inches (179.7 cm) Settee depth: 24 inches (61 cm) Armchairs Height: 52 inches (132.1 cm) Armchairs Width: 28 inches (71.1 cm) Armchairs Depth: 21 1/2 inches (54.6 cm) Side chairs Height: 50 inches (127 cm) Side chairs Width: 21 1/2 inches (54.6 cm) Side chairs Depth: 20 1/2 inches (52.1 cm) Seat height: 20 3/8 inches (51.8 cm). Daniel Marot or Daniel Marot the Elder (1661–1752) was a French-born Dutch architect, furniture designer and engraver at the forefront of the classicizing Late Baroque Louis XIV style. He worked for a long time in England and the Dutch Republic, where he was naturalised in 1709. Born in Paris, he was a pupil of Jean Le Pautre and the son of Jean Marot, who was also an architect and engraver. Marot was working independently as an engraver from an early age, making engravings of designs by Jean Bérain, one of Louis XIV's official designers at the Manufacture des Gobelins, where far more than tapestry was being produced. The family were Huguenots and were part of the wave of émigrés who left France in the year of the Edict of Fontainebleau and Revocation of the Edict of Nantes (1685) to settle in Holland. Daniel Marot brought the fully developed court style of Louis XIV to Holland, and later to London. In the end, the English style which is loosely called "William and Mary" owed much to his manner. In the Dutch Republic, Marot was employed by the Stadthouder, who later became William III of England; in particular, he is associated with designing interiors in the palace of Het Loo, from 1684 on. Though his name cannot be attached to any English building (and he does not have an entry in Howard Colvin's exhaustive Dictionary of British Architects) we know from his own engraving that he designed the great hall of audience for the States-General at the Hague. He also decorated many Dutch country-houses, introducing the “salon” and popularizing ornamented ceilings in The United Provinces/ Netherlands. State bed, designed by Daniel Marot, engraving, ca 1702 In 1694, he traveled with William to London, where he was appointed one of his architects and Master of Works. In England his activities appear to have been concentrated at Hampton Court Palace, where he designed the garden parterres, which were swept away in the following generation and have been restored at the end of the 20th century. His designs for the Great Fountain Garden survive. Much of the furniture, especially the mirrors, guéridons and state beds, in the new State Rooms readied for William at Hampton Court bears unmistakable traces of his authorship; the tall and monumental embroidered state beds, with their plumes of ostrich feathers, their elaborate valances and cantonnieres agree very closely with his later published designs. After William's death Marot returned to Holland where he lived at the Noordeinde 164 in The Hague from 1720 until his death in 1752. The house with his salon, kitchen, hallway and possibly some of his ceilings still exists. We owe much of our knowledge of his work to the folio volume of his furniture designs published at Amsterdam in 1712. Not surprisingly the designs show strong French and Dutch influences; what reads as their "English" look is more probably the result of Marot's court style on other London designers. Marot was a nephew of Pierre Gole...

A very fine and rare pair of French 19th-20th century "Belle Époque" Louis XVI style mahogany and ormolu-mounted bergéres armchairs, each with an arched-back gilt bronze-mounted fram...

A fine French 19th century Louis XV style giltwood carved three piece salon suite, comprising of a canapé (Settee) and two fauteuils à la reine...

A very fine and palatial French 19th century Louis XV style giltwood carved five-piece salon suite, comprising of a canapé (Settee) and four fauteuils à la reine (Armchairs), all of ...

A rare pair of French Mid-Century designer ebonized metal painted armchairs with forged decorative castings representing faux leather equestrian strap straps with buckles and rings, ...

A fine pair of Italian 19th century Rococo style giltwood carved armchairs; the arched upholstered paneled backs with foliate scroll cresting and similar borders, having padded arm s...