Armchairs

One of the most representative furniture of the Belloni "Il Classico" collection. Extremely refined armchair inspired by the Baroque style. Finely hand carved in Italy by skilled ca...

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...

19th century Swedish late Baroque style arm-chair from Skelleftea Vasterbotten, Northern Sweden. Charming unusually armchair with fantastic hand-carved upper part & colorful color. ...

This fine swivel walnut office chair is on wheels and in pristine condition. The wheels are new and in great working order.

An Italian carved-wood Baroque armchair from the 18th century, possibly older. This antique chair from Italy has meticulous hand-carvings throughout, with particular emphasis along i...

This amazing original mustard painted 19th century Windsor armchair has a wonderful undisturbed surface and in fine condition. The arms are all original as well and unpainted.

A fine, large, late 17th century, Flemish, open armchair in the style of Daniel Marot with an upholstered seat This fine, armchair is an, unusually, large size and the carving is of exceptional quality reflecting the status of the owner it was made for. It is sturdy and in usable condition. Chairs of this type, with tall, intricately carved backs, were placed in rows against a wall forming part of the decoration of a room. The carving of the back of this chair is French in style and was based on decorative prints by Daniël Marot The cresting carved with a profusion of acanthus leaf scrolls. The back with fine, pierced carving. The mid-section with a central flowerhead with scrolled shields above and below ornamented with flowerheads acanthus leaf crestings. Two pairs of carved ‘S’ scrolls ornamented with acanthus leaves either side. The tapering turned sections surmounted by ionic capitals and supporting back of the scroll arms carved with acanthus leaf ornament. The front arms supported by baluster and tapering turned sections ornamented with acanthus leaf carving. The legs joined by a shaped ‘H’ stretcher with central finial, on bun feet. The upholstered seat reupholstered in a bargello woven in tones of blue, green, red and gold faced with braid and brass studwork. The back of the chair has an incredible, 19th century, oak support from the cresting to halfway down the back, which has been beautifully carved to conform with the open sections of the back, and two braces down the length of the back. There are also two oak supports behind seat blocks at the top of the legs. These repairs are sensitive to the model of chair and have become part of its character and features in their own right and they are very interesting from a conservation history perspective. There are two old repairs to a small break in the cresting on the right hand side and the hairline cracks are visible, an old repair to a small break in the top right of the central splat with a small piece added and a visible hairline crack. The right side of the back has noticeable worm damage on the right seat block which is probably the root cause of the break on the block on this side from impact as the chair probably fell backwards at some point and either onto its right side or it hit something on that side and the block weakened by worm gave way as the damage to the chair is localised on the far right side. Because the backs are high on these Daniel Marot chairs they are top heavy and invariably do have damage to the backs and crestings from impact damage so this is not unusual. The right block has been repaired thoroughly and is stable and there is no live worm in the chair. It would be possible to disguise these repairs but I have left them as they are consistent with the 19th century date of the supports and conform with museum standards. A full set of photographs...

- Newly upholstered in velvet fabric - Wooden legs have been refurbished - Height of seat 43 cm.   

French baroque style hand carved fruitwood armchair with typical neoclassical rock and plant decorations, gold leaf gilded and painted over in additio...

A set of four green painted armchairs with gilt accenting and vining ivy across the back rail and the front apron. Recently upholstered with green silk stripe fabric on the drop in s...

A large, vintage, country house, knole armchair upholstered in a kelim textile A Classic country house piece with the high back and wings creating a ...

A museum quality, late-17th century, walnut, upholstered sleeping armchair • Exceptionally rare model; one of the first models of upholstered armchair with the addition of the wings intended to conceal draughts. • Transitional form : many of the carved features are characteristic of Baroque furniture dating from 1680 and the incorporation of upholstery is influenced by the desire for comfort post restoration of Charles II introducing French fashions to the English court. • Striking, statement piece. The cresting, “H” stretcher and scrollwork carving which features throughout the chair inject gravitas. • Practical size and ergonomic comfortable design, suitable for regular use. The original, carved, walnut cresting supported by a pair of dragons with scrollwork either side of a central stylised leaf spray. The shaped rectangular back with wings. The sweeping arms with carved scroll ends supported by tapering turned uprights emerging from blocks. The rectangular seat supported by double scroll carved and column turned legs joined by an ‘H’stretcher which mirrors the shape of the back in the centre with finial, column turned side and back stretcher and back legs. Exceptional original colour and patina. c.1690. CONDITION : re-upholstered in a recreation of 17th century, Italian, bargello embroidery which is characteristic of the period. Tiny marks, wear and losses as expected throughout the armchair. The finial is a C19 or early C20 replacement. The stretcher has suffered from worm damage and there are replaced sections at either end of 1” and 1½ “ respectively, and an area to the left of the finial has been filled. This work was not done by me and has some age to it and the finial was probably replaced at the same time. The armchair is sturdy and suitable for regular use. PROVENANCE: Private Collection, Cheyne Walk, London RELATED : Few sleeping chairs...

Beautiful armchair fully carved solid walnut, on the backrest with wickerwork right and left carved pillars in the middle of the chair a carved crown....

18th century Italian giltwood armchairs.

Our Custom Occasional chair in walnut with barley twist legs and stretchers. Beautifully carved scrolled arms. As shown in COL and nail heads. Can be made in any finish, in solid Wal...

Antique curved back carved walnut armchair with a very unusual form. Early construction / beautifully aged rich color / great old surface. Best guess is 18th century Italian. Direct ...

Fine French Louis XIII armchair. Made in the 17th century from walnut and equipped with hidden out sliding tray supports as a extra feature. We restored this armchair and reupholster...

A rare late-17th century French walnut, commemorative, open, vernacular, naive, folk armchair with incised initials 'JFP' on the left hand side block and 'dFP' on the right hand side...

French Baroque style hand carved fruit wood armchair with typical neoclassical rock and plant decorations, gold leaf gilded and painted over in additi...

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...

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...

Good early 18th Century Franco-Flemish walnut armchair with arched upholstered back over shaped arms and upholstered seat over"horsebone" (os de mouton) shaped legs joined by similar...

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 is a set of two rush woven seat armchairs. They are in there original condition Measure: Arm height 25 inches.

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...

Impressive 18th century baroque armchair, Sweden, circa 1730. Upholstered in raw linen. Good condition with wear consistent with age and use. Historical secondary color. Structur...

Single antique French armchair in a very nice as found condition. Structurally sound and requires no immediate repairs.

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...

Rare and very special Spanish armchair, the back featuring a prominent coat of arms carved and with painted accents, conforming front stretcher. O...

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

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 ...

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...

English country antique Windsor armchair with spindle and open splat round back, (19th century).

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

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

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.

English Country antique Windsor armchair with spindle and open splat back with metal rods. (19th century).

Oversized, stately armchair of comfortable proportions, leather covering with beautiful patina and accentuated with brass studs, turned legs and stretchers.

From the Veneto Region, very unusual and rare swivel chair with an open barrel back with three pierced splats, shaped seat above a swivel mechanism, on three exaggerated cabriole leg...

English country antique Windsor armchair with spindle and open splat back, (19th century).

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

American Country (19th century) stained pine armchair with spindle back and adjustable headrest.

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...

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...

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...

Very Comfortable and Rare Armchair of Generous Proportions and stately appearance, exuberantly carved Beech Wood frame, with scrolling floral motives, wavy open arms, cabriole legs j...

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...

Mid-Century Modern country pair of armchairs in solid durmast ideal for furnishing mountain houses or taverns Sanitized upholstery. In good condition. Restored and polished with s...

Exceptional Swedish Baroque 18th century armchair, circa 1740, origin: Sweden, with beautifully carved details such as shells, scrolls on...

Pair of early 19th century walnut armchairs with giltwood finials. The armchairs are upholstered in an embossed gold metallic glazed charcoal colored ...

Exclusive design by the Spanish family company Ascension Latorre. The company is known for their hand made furniture. The chair features an eboniz...

Unique English Oak Rocking or Porter Chair , of paneled and pegged construction, the back and sides enclosed with conforming panels, the back with rounded "roof". Restoration to clie...

We are delighted to offer for sale this stunning original 17th century attributed to Andrea Brustolon hand carved Italian walnut armchair with Cherubs...

Early 19th century original painted Hitchcock armchair with a decorated inside back. The condition is very good and sturdy. The back round has a won...

This early Baroque chair is made from rich Italian walnut. The broad antique frame was carved by the Italian sculptor and wood carver Andrea Fantoni, see accompanying photo. The arms...

English Country (19th Century) stripped pine Windsor armchair with spindle design and headrest.

English Country (18th Cent) provincial high back yew wood corner arm chair with triple splat back.

A Baroque style carved walnut camelback armchair from the mid 19th century with scrolled arms and legs, cross stretcher and new upholstery. This Baroque style fauteuil features a slightly slanted camel back, from which two exquisite scrolled open arms emerge. Delicate acanthus leaves adorn the surface of these tall arms, gently leading the eye to the splayed, scrolled extremities. The rectangular upholstered seat is raised on four richly carved Flemish scroll...