Todd Merrill 20th Century Seating

Taken from a design developed by the Greeks in the 5th century BC. The design was then resurrected in the English Regency period. The chair is made of Sono wood similar to rosewood. ...

An iconic 1970's carved mahogany wood with gold leaf Hand - Chair by Italian - born Mexican artist Pedro Friedeberg. The piece is a rare finding suitable for collectors of Mexican ar...

A finely detailed studio carved cocobolo hand chair crafted in Guadalajara, Jalisco Mexico, circa 1960. The Studio carved hand has an incised love line and life line. The artist ha...

The INVICTA II dining chair has an exclusive and impressive design, with just one leg in the back, it brings sophistication to all dining room....

A pair of chic black and grey striped swivel chairs by Milo Baughman for Thayer Coggin, 1990s. The fabric has been newly upholstered five years ag...

Ribbon Flame Chair, Maria Pergay, circa 1975 very good condition. Reupholstery of fabric. I can sent more detail picture.please contact me. Each price

A charming primitive stump chair made in solid pine. Hand carved by an unknown Swedish cabinetmaker in 1960s. A lovely wabi sabi piece for the modern interior. This appealing chair ...

This is a very good quality example of an English occasional side chair in the Rococo style, from the mid Victorian period, circa 1850, made from Beech. The back is a Classic balloon back shape, but with intricate cut-out and carved detail to the frame and particularly to the cross splat. This carved detail is continued on the front legs and front stretcher. The foot of the legs are splayed slightly outwards which adds to the features of this chair. Twin side stretchers give additional strength to this chair but overall this is a delicately made chair. It has a good wool-work covered seat with a rose spray design. Please note: This chair is not a strong dining room chair and is not recommended for regular use as a chair to sit on. The chair is light and would make a very pretty bedroom or hall side chair, to be used principally for display either on its own or with say teddy bears displayed on it, or for draping light...

Vico Magistretti, set of four bar stools, straw and ash, Italy, 1960s Italian set of five barstools by Vico Magistretti. The stools embody a sim...

We are very pleased to offer a stunning pair of barrel back chairs in the style of Milo Baughman, circa the 1970s. Each exquisite chair is anchored upon a sleek black wooden plinth,...

A nice early “Hand” chair circa 1970, after the artist Pedro Friedeberg, carved in walnut with a nice patina and details. Nice smaller scale - would make a cool desk chair for a kid.

This hand-carved and blackened reclaimed oak chair, designed by Rooms Studio (from their 2018 Wild Minimalism collection), is inspired by the legacy of traditional Georgian craftsmanship. The Sculptural Chair is meticulously handcrafted of ancient wood, and features a diamond shape cut-out on the top rail, which is curved gently, cradling the back, with a round seat and circular cross stretcher. About the Design Studio: Works of Rooms Studio refers to the sculptural forms and abundant materials in juxtaposition with the feminine instincts. Born and raised in Tbilisi, Georgia, the duo behind the Rooms, Nata Janberidze and Keti Toloraia, lean towards preserving the inherited craftsmanship techniques unique to the region. Massive wood and stone objects are hand-crafted using traditional techniques to create raw and symbolic forms often rooted in the designers' childhood memories. Growing up in a culturally diverse environment, where the two worlds - Western and Eastern collide, remarkably influenced their design language. Over the years, Rooms has created eight independent collections and collaborations equally memorable and representative of the duo's perpetual mission to bring life to omitted elements of a former life. Through their series of works, Janberidze and Toloraia try to examine the boundaries between the public and private. Experiencing adolescent years in the 90s - a significant decade of cultural and societal shifts - their work is a narrative of personal experiences of womanhood. By contrasting the new feminine monumental shapes with architectural brutality, Rooms challenges the status quo and also bridges the conventional and contemporary design with a confluence of female energy. The work of Rooms Studio has concerned itself with questions of nomenclature since the Tbilisi-based design atelier was co-founded by Nata Janberidze and Keti Toloraia in 2007. Take, for instance, the studio’s name: in adopting the basic unit of interior space as the title of their practice, Janberidze and Toloraia also emphasized the emotional force of interiority and inner life in determining their creative output. The studio’s largest U.S. exhibition to date, "Distant Symphony," expands upon this impulse to focus inward. The title is again a chief concern—some of the objects included here were designed during the global pandemic, under a regime of forced isolation that made the studio’s typically collective work process untenable. The pieces shown here are the results of Rooms’ search for a way forward. The first room, an antechamber of sorts, evokes the intimate quality of a private home. Shown here are trinkets and personal effects chosen by Janberidze and Toloraia for their emotive qualities; a low background noise emphasizes the climate of urban domesticity. The ensuing gallery space features highlights of Rooms’ recent design output. Here, the subtle scent of organic materials provides a sensory indication of the atelier’s interest in dichotomies: natural and man-made, personal and collective, local and cosmopolitan.   In light of the global circumstances, Janberidze and Toloraia felt it was especially important to pursue collaborative work. Rooms invited three artists—Shotiko Aptsiauri, Salome Chigalashvili and Mariana Chkonia—to conduct a dialogue and shared design process. As such, this exhibition is a kind of polyphonic meditation on a need for solitude and desire for companionship. The practice of polyphonic singing, essential to Georgian folk culture, is reinterpreted here as a design endeavor. Chigilashvili, working with unprocessed yarn, interpreted folk motifs by adapting embroidery to the scale of furniture with expansive stitches applied to painted boards...