Baroque Italian 1950s Gilt Iron Throne Chair

Unusual and funky lounge chair with a tripod solid iron base and sturdy conical, egg-shaped wicker seat.

Dainty wrought iron set comprising a chair and an armchair. Pretty bow-motif backs. The seats are of cloverleaf-patterned sheet metal. Original off-white paint finish. Unusual and we...

Matching chair and armchair with a painted iron structure, upholstered in rich cognac-coloured leather. The armchair has black Bakelite armrests. Measurements provided below are ...

French midcentury gilt iron chandelier, with an elegant, bulbous centre part composed of multiple twirling rods, adorned with leaves. The arms extend down and out in an elegant, swee...

Pair of armchairs with a sleek, painted tubular metal structure and seats and backs made of geometric-patterned fabric. Original, putty-colored paint finish. The label on the base re...

A rare pair of armchairs with a tubular aluminium structure and seats made of strips of perforated sheet metal. Ingenious design by Claude Adrien for Meubles Artsitiques Modernes (M....

Opulent throne chair or armchair made in the Italian baroque style by Hendrix Allardyce Hollywood, CA. The armchair features a large hand-carved beech frame decorated with a dramatic...

A richly carved walnut Italian throne chair. This arm chair could make a wonderful statement in any room. Use it for a desk chair, next to a fireplace, an office or in the living roo...

Antique Italian Renaissance Baroque tapestry throne lounge arm chair. Item features figural tapestry upholstery, stetcher base, solid wood frame, beautiful wood grain, nicely carved details, very nice vintage antique item...

Pair of antique Italian Rococo high back silver-gilt carved throne style Armchairs with beige upholstered seat and back panels (1 similar-Inv. #037738A)

Gorgeous Baroque throne armchair made of full nutwood in Italy. The armchair was completely new upholstered inside / outside with red velvet, the cushi...

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...