Figural Full Body Carved Teak Wood Lioness Club Chairs, Pair

This spectacular pair of hand carved teak lioness club chairs are front-cover-magazine-worthy and can add a bit of the unexpected to any style of room. The color is a deep reddish br...

This incredible design is a pair of Model 120 LF 'Tulip' lounge armchairs by Erwine and Estelle Laverne for Laverne International. Ingeniously designed in 1957, this wide span armchair is crafted from molded fiberglass, and enameled steel. This elegant Tulip easy chair by Erwin and Estelle Laverne would work great in a Mid-Century Modern, Scandanavian Modern or Danish Modern home or penthouse apartment but could also look fantastic in a Contemporary or Post-Modern room. Also consider mixing it up in a Traditional, Transitional, Classical or Art Deco room with a splash of juxtaposition. Would also be an apt choice in a commercial project such as a hotel lobby lounge or members club, creative design studio or high-rise executive office. Consider using as a side chair, bedside chair...

An incredibly rare and highly sought-after Vladimir Kagan 'Ondine' wingback armchair, this early production example from circa 1970 and in its original fabric with animal motif. Sign...

Incredible set of five collectible 'Skaala' lounge armchairs by Yrjo¨ Kukkapuro for Avarte, made in Finland, circa 1970. Featuring original burgundy red leather seat cushions, birch and tubular steel frames with sleigh legs capped with rubber feet. *NOTE*, we have sold 2 chairs, so we have 3 left at this time. This listing is priced individually. There is so much that make these chairs great. First, the birch wood backs and arms are so cool - making the chairs excellent to float within a room where the backs can be seen. Consider using as office guest chairs...

A beautiful off-white leather pair of lounge chairs by illustrious architect and designer Guido Faleschini for i4 Mariani, Italy. Designed in the 1970s, this pair of soft, comfy, lea...

A beautiful Warren Platner for Knoll lounge chair (Model 1715L), upholstered in a gorgeous burgundy (wine) color velvet fabric over a bronze finish frame. The deep burgundy velvet is a luxurious upgrade over the standard knit fabric that is more commonly seen, the fabric is called "Knoll Velvet...

A wonderfully sculptural teak wood chair featuring intricately carved curves and ribbed detailing. Resembling a curved lotus leaf it features a strong organic form. The mix of wood t...

A wonderfully sculptural teak wood chair featuring intricately carved curves and ribbed detailing. Resembling a curved lotus leaf it features a strong organic form. The mix of wood t...

This pair of vintage vinyl club chairs feature stylish sloped armrests, tufted seat backs, and teak frames. Mid-Century Modern design makes these a me...

Faux bois carved wood lounge arm club chair by New York furniture manufacturer Casa Stradivari. This generous sized chair features sloped arms and fantastic carved faux bois detailing in organic natural wood...

Pair of uncommon Curule front arm chairs in updated slate gray lacquer over wood. Seats and backs are upholstered in a modern gray and saffron print on white cotton. Deep sloped arms...

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...