Seating

A Swedish period Baroque three-chair back carved-wood sofa, with upholstered seat, from the 18th century. This fabulous hand carved wood bench features three carved back splats for resting, flanked within wood arm rests at each far end. The top rail is adorn with four finials...

Three Baroque style inlaid Mahogany Veneered beechwood side chairs, Dutch, 19th century. Sold singly @ $1500 each.

Vintage Spanish Sgabello carved side chair or stool depicting the "Valencia" shield This chairs come from a Monte Picayo Casino, Valencia, Spain.

19th century English Gothic Revival style oak high back carved and filigree Bishop's throne chair with griffin finials.

Pair of 18th century style Italian walnut armchairs. Good carved details with pegged joinery. Hand caned seats with older custom fit cotton wea...

A beautiful 19th century Italian polychrome casapanca wood storage hall bench having a carved back with the hinged lid opening to reveal a storage well, raised on shaped bracket feet...

Pair of baroque chairs with carved backs with pinnacles, balustraded columns and shell decoration and H-shaped bracing between the curved legs.   

Sofa bench Swedish Baroque Period 1650-1750 brown black, Sweden. A sofa bench made during the Baroque Period 1650-1750 in Sweden / Northern Europe. The seat has been reupholstered in...

This pair of open armchairs are characteristic of the Haute Époque employing elegant barley-twist turnings and sweeping, curved, scroll arms. The bargello is a re-creation of a fashi...

This unusual stool has a fine sculptural quality, combining functionality with artistic merit. The kneeling cherub is in service, holding the elaborate ...

This is a very beautiful pair of elegant dining chairs hand carved in solid oak. Their shapes are gorgeous and the proportions makes them an important presence in a dining room. Dee...

Pair of neo-gothic chairs with high backs and gothic fretwork and carved details. Upholstered in embossed leather.

Charles Bevan under licence to Marsh Jones & Cribb. A 'New Registered Reclining Chair'. A Gothic Revival reclining upholstered arm chair, with pegged oak frame and original casters. The brass mechanism is in great shape still works effortlessly. Measures: Height 40 inches, width 26 inches, depth fully retracted 30", fully extended depth is 45". Marsh and Jones began making furniture around 1850, originally known as “Marsh and Jones: Medieval Cabinet Makers” of Leeds", becoming Marsh Jones and Cribb in 1867 and exhibited at the Paris Exposition in 1878. They employed Charles Bevan who in 1865 gave them licence to manufacture his successful ‘New Registered Reclining Chair'. Bevan designed the furniture and interiors for the son of Sir Titus Salt an enormous commission for his marital home Saltaire. Another leading architect and interior designer Bruce J Talbert...

Of comfortable size, the four beautifully turned legs joined by conforming stretchers, scrolling, carved arms. Clean up and polish included. The chair needs to be re-upholstered and...

John Pollard Seddon attributed, probably made by C. Seddon in collaboration with Kenton and Co. A well designed architectural Gothic Revival oak upholstered nursing or low chair wit...

Baroque Armchair, South Germany 19th century, walnut finely carved. Covered with a beautiful gobelin. In good condition. The armchair chair will be shipped from Germany. Shipping cos...

This open armchair is characteristic of the Haute Époque employing elegant barley-twist turnings and sweeping, curved, scroll arms. The bargello is a re-creation of a fashionable uph...

A W N Pugin. An extremely rare oak armchair probably designed for the The Red Drawing Room in the Speaker's House in The Palace Of Westminster, the room is...

Pair of baroque chairs made of solid oak with openwork backrests with an upholstered centre bar and carved vegetable décor with shell ornament on the curved frame. The chairs are covered with blue velvet. Shown in: Eller, Möbel des Klassizismus, Louis XVI and Empire, Munich 2002, p 204:301; and W. Schwarze, Antike deutsche Möbel...

Set of 11 English Gothic Revival style (19th Century) oak side panel back side chairs with finials and gray leather seats.

Large deep 17th century Spanish oak bench, or settee, in aged dark brown color. Long with deep seat. Sturdy mortise and Tenon construction, all ori...

With new leather seat and back, flat arms and carved stretchers. Provenance; Fogg Estate, Chestnut Hill Ma.

English Victorian Gothic Revival style carved burgundy painted and gold trim small (throne) armchair with carved center medallion and finials on back.

We are delighted to offer for sale this stunning set of six beautifully carved from solid Walnut with Gold Gilt metal fittings Gothic Revival chairs A very good looking, comfortab...

18th century French Gothic Revival period chateau settle with double lift seat handcrafted of solid old growth French walnut by talented artisans in Lyon, circa 1760s. This intricate...

Stunning pair of baroque style Savaranola chairs having rich ashwood frames and supple newly upholstered black leather seats with brass nailheads.

We are delighted to offer for sale this absolutely stunning Italian giltwood Baroque style bench stool with newly upholstered heritage oxblood leather top This stool is sublime… T...

Pair of mid-19th century american Gothic Revival mahogany (slipper) side chairs with spindle & spool design back and legs with finial on back t...

A rare, matched pair of ebonised armchairs from The Baroque & Baroque-Revival Periods & An Antiquarian, Baroque stool - From a private, furniture collection, acquired to represent three different periods of European manufacture & collecting of ebonised furniture...

Solid oak. High-quality and richly carved chair from the Neo Renaissance period. Historic upholstery in good condition. (C-144)

An antique pair of high quality Cassapanca Walnut benches with the original finish, decorated with typical Italian Baroque motifs. The Cassapanche were used as storage in a castle in...

An exceptional, museum quality, English, baroque, walnut, open armchair with faceted legs and shaped ‘x’ stretcher, upholstered in fine Georgian needlework...

A fine pair of 19th century Portuguese mahogany hand carved benches. Elaborately carved and detailed with pawed feet

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...

Unique and impressive, Gothic style chair from the late 1800s. This rare and solid oak Gothic Revival church chair has a beautiful patination and it is as stabile as the day it was...

Italian Baroque style 20th century large settee with giltwood filigree frame & button-tufted burgundy & cream upholstery with embroidered flowers and burg...

Italian sofa probably Piedmontese painted with a light grey patina (original color) on a walnut frame. Flowers and vegetal carvings all around the front part of the frame. Entirely ...

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 ...

John Pollard Seddon. A rare Gothic Revival armchair with carved dogs heads to the arms, and inlaid dot details. This was probably made by his family firm Thomas Seddon (Seddon and Co), New Bond Street London. Founded by his Great Grandfather George Seddon They supplied furniture to Windsor castle and Buckingham Palace. J P Seddon exhibited a similar style armchair on the Morris, Marshall, Faulkner and Co stand at the 1862 International Exhibition, illustrated in Jeremy Coopers Victorian and Edwardian Furniture and Interiors, page 104 illustration 220 showing the original drawing and 227 (a variation of this chair) image attached. There is another version illustrated in Nineteenth Century Design by Charlotte Gere and Michael Whiteway, page 84 illustration pl 83 (last 2 images). Interestingly at one point Seddon's partner was E. W. Godwin, a friend of the Pre-Raphaelites and some of his pupils were Ford Maddox...

Pair of Italian baroque style 20th century armchairs with giltwood filigree frames, button-tufted burgundy and cream upholstery with embroidered flowers, and burgundy velvet seat cus...

Re-edition of an 18th century Venetian armchair, hand-carved with beautifully crafted detailing. Hand finished in a gesso white patina...

Chair Swedish Baroque oak gilt leather Sweden. An exquisite side chair made during the Baroque period in Sweden 1650-1750. Frame made from dark oak. Uph...

Venetian daybed of hand-carved wood with silver gilt accents on a Venetian grey blue ground. Ornate Rococo carving, highlighted by silver gilding and l...

Pair of Italian 19th century Baroque carved arm throne chairs. The pair with figural carvings and putti sleeping on beds of leafs, 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. 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 1678-1680 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 18th 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 set of four Venetian chairs 18th century red lacquered painted partially giltwood, Italy A set of four very charming and rare chairs from...

Ornately carved after designs by Daniel Marot.

From the Susanne Hollis collection, a Baroque “Style” splat back armchair in an ebonized finish. Side chair also available.

Pair of Italian Baroque style 20th century armchairs with gilt wood filigree frames & burgundy button-tufted upholstery with embroidered flowers and burgundy velvet seat cushions.

19th century pair of oak library armchairs in the Gothic manner. The rectangular padded upholstered back with down swept padded open Gothic arched supports over stuffed seat raised o...

Very elegant set of two Baroque Chiavari nickel-plated chairs made in Italy in the 1950. Measure: 33" H back, 18" H seat.

Armchair with arms and high backrest of the type known as "frailero" upholstered in red and yellow textile, with fringes on the seat and the lower part of the backrest. The carved de...

Unique and very unusual Italian Baroque furniture suite composed of two armchairs and one sofa. Exquisitely carved poplar wood with typical Baroque motifs including scrolls, flowers and leaves. The suite will be shipped from Germany, shipping costs to Boston are included. This suite came from the private collection of the daughter of the owner of the “Heinrich Lanz AG” in Mannheim, Germany, an agricultural machinery manufacturer, founded in 1859. In 1956 Lanz merged with John Deere...

Leonard William Collmann, stamped L W Collmann. A rare exhibition quality Gothic Revival oak chaise lounge or daybed with incised and inlaid details through out, a wonderful origina...

Attractive 19th century Italian Baroque style carved walnut armchair with beautifully scrolled arms and legs. Upholstered with white and gold fabric. Measures: Arm height is 28 i...

This elegant armchair exudes classic gravitas, with scroll arms, fall turnings and triple toe feet The tapestry back depicting Flora underneath a bower is a distinctive feature. It...

The straight, padded back re-upholstered in a modern linen to give a contemporary aesthetic. Originally with red velvet and embellished with 18th century, braid, fringe and tasse...

Pair of Baroque walnut chairs with carved oak-leaf décor, standing on curved legs with scrolled feet. Seat and backrest are reupholstered with a ...

Armchair Swedish Baroque oak, Sweden. A single armchair made in Sweden during the early part of the Baroque period. Frame made of oak with an upholstered b...