Italian Armchairs

Louis XVI style pair of carved armchairs, Italy, 1900s Good antique condition with some minor marks from used and age. A set of two antique baroque side chairs hand-crafted out of walnut wood in a good condition. This set of dining chairs features a walnut color with a beautiful patina finish, hand-carved details through the entire frame, and intricated engraving leather...

Savonarola style folding chairs with Curule form bases. Backs and seats are gilt embossed taupe suede. Four bronze finials.

A most handsome pair of Italian mid-19th century Baroque st. dark oak and leather throne armchairs. Each chair is raised by elegant topie shaped feet below block reserves and unique ...

Extremely fine pair of decorative 19th Century Italian painted and parcel gilt armchairs of neo-classical design. Italian Late 19th C - Circa 1880. Oozing style these very attr...

A wonderful pair of Italian early 19th century Neo-Classical st. patinated and giltwood armchairs. Each armchair is raised by circular tapered feet at the with giltwood bands, Fine l...

A unique and most decorative pair of Italian 19th century Louis XV st. patinated and giltwood armchairs. Each armchair is raised by their original caster and elegant patinated cabrio...

Beautiful pair of Italian 19th century carved wood armchairs in Rococo Baroque style newly upholstered in white fabric with very elegant shape and great color of wood to highlight th...

Beautifully shaped 19th century Venetian armchairs.

Lovely Italian armchair in solid walnut. This beautiful armchair has an enveloping shape and a comfortable seat with silk. The enveloping and relaxing backrest.  

With slightly arched back with central portrait medallion over a pierced splat, upholstered seat , carved arms, seat rail with carved portrait medallion, raised on square tapered flu...

A very elaborate gilt marquise or wide bergère. This one-of-a-kind gilt Rococo style marquise is a must-have for any luxury living room, bedroom or home ...

This extraordinary and finely carved five piece suite comprising of one sofa, two armchairs and two single chairs with original gilding. It's part of an eleven piece s salon set pub...

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...

Beautiful neo Renaissance tapestry armchair, circa 1900 Solid wood, stained walnut. Classic seat and backrest upholstery with tapestry fabric c...

A fine Italian 19th century Baroque style carved walnut figural throne armchair, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon...

Fine set of of four Baroque Rococo "Cabriolet" armchairs. Gilt carved wood. Original vintage grey fabric (canvas). Italy, end of the 19th century.

19th century folding wood Savonarola chair with carved medallion of twin fish in back slat.

19th century antique Italian Renaissance carved walnut figural needlepoint yellow throne armchair. Item features figural needlepoint back and seat, flower and scroll work carved fram...

A pair of Italian walnut armchairs from the mid 19th century, with tapered legs and new upholstery. Created in Italy during the third ...

19th Century Italian Renaissance Revival carved oak cabinet chair with built in coal hod (and original liner) beneath the seat. This chair is one of few surviving examples, as thes...

Antique Italian Renaissance style chair. Well carved 19th century Italian Renaissance style carved walnut chair. This antique Italian Savonarola armchair or side chair is upholstered in neutral linen. This versatile Italian Gothic style chair...

Extremely fine pair of decorative 19th century Italian painted and parcel gilt armchairs of neoclassical design, Italian, late 19th century, circa 1880. Oozing style these very...

This grand pair of antique upholstered Italian oak armchairs are carved with remarkable details in relief. The backrest is covered with a number ...

A fine pair of Italian 19th century Baroque Revival style carved walnut throne armchairs. The high-back frames with recent upholstered back and seat and open carved scrolled armrests...

Italian Renaissance Savonarola style walnut armchair with cupids on back and lion carved arms (19th century).   

Neo Renaissance pair of armchairs recently upholstered in Italian velvet, the structure is in oak wood, at the end of the 19th century. " If you li...

Powerful pair of armchairs, with a small ottoman, from the mid-19th century in black lacquer and pure gold worked in agate stone, precious Venetian manufacture. Ottoman pouf size is...

An Italian reclining wood and upholstered chair from the early 19th century. This antique chair from Italy has a rectangular-shaped back with wood arched...

Beautifully carved, Italian, walnut chairs featuring serpentine arms terminating in lion's heads with flowing manes. Each atop turned legs and stretchers. Finished in a contemporary, chocolate and crème silk velvet fabric, and trimmed in nailheads. "Hotel Chair...

Beautiful set of painted Venetian armchairs painted, gilded and carved with original finishes.

Two Italian walnut armchairs from the early 19th century with pierced splats, wraparound backs and new upholstery, priced and sold individually. Each of these Italian walnut armchair...

Pairs of Italian Renaissance style gilt jester armchairs with swan arms, eagle sides, and red upholstered seats and backs. Priced per pair, additional pair available.

A monumental 19th century Baroque style giltwood armchair, very regal.

A fine pair of neoclassical armchairs. Rosewood with fine giltwood carved details.

Pair of Genoese armchairs from the mid-19th century. Furniture carved in walnut wood of Louis XVI line finely chiselled with feral ornament in the upper part (see photo). Armchairs f...

Pair of Italian Rococo style gilt high back carved eagle back armchairs with cupid stretcher and upholstered seat, 19th-20th century.

This magnificent and finely carved suite comprising of one sofa, two armchairs, two single chairs, Two window benches and four benches with original gildi...

This extraordinary and finely carved five piece suite comprising of one sofa, two armchairs and two single chairs with original gilding. It's part of an eleven piece s salon set pub...

This magnificent and finely carved suite comprising of one sofa, two armchairs, two single chairs, Two window benches and four benches with original gildi...

Mid-19th century Italian Baroque style armchair in hand carved walnut and leather upholstery.

Pair of 19th century Italian walnut armchairs with carved giltwood details. Carved lion's head and paw motif.

Italian Renaissance-style (19th Century) walnut armchair with carved round back and seat with reclining figures and stretcher.

Elegant Italian, French Consulate style and period carved walnut fauteuil having Klismos style tablet form backrest above central X-form open splat, a...

A Fine Anglo-Dutch 19th Century Baroque Style Ornately Carved Walnut Five Piece Parlor - Salon Suite, After Daniel Marot (French-Dutch, 1661–1752); comprising of a settee, two armchairs and two side chairs. The intricately pierced high-backs carved frames with scrolled and floral designs, curved armrests and cabriolet conjoined legs. Circa: 1890. Measures: Settee height: 54 3/4 inches (139.1 cm) Settee width: 70 3/4 inches (179.7 cm) Settee depth: 24 inches (61 cm) Armchairs Height: 52 inches (132.1 cm) Armchairs Width: 28 inches (71.1 cm) Armchairs Depth: 21 1/2 inches (54.6 cm) Side chairs Height: 50 inches (127 cm) Side chairs Width: 21 1/2 inches (54.6 cm) Side chairs Depth: 20 1/2 inches (52.1 cm) Seat height: 20 3/8 inches (51.8 cm). Daniel Marot or Daniel Marot the Elder (1661–1752) was a French-born Dutch architect, furniture designer and engraver at the forefront of the classicizing Late Baroque Louis XIV style. He worked for a long time in England and the Dutch Republic, where he was naturalised in 1709. Born in Paris, he was a pupil of Jean Le Pautre and the son of Jean Marot, who was also an architect and engraver. Marot was working independently as an engraver from an early age, making engravings of designs by Jean Bérain, one of Louis XIV's official designers at the Manufacture des Gobelins, where far more than tapestry was being produced. The family were Huguenots and were part of the wave of émigrés who left France in the year of the Edict of Fontainebleau and Revocation of the Edict of Nantes (1685) to settle in Holland. Daniel Marot brought the fully developed court style of Louis XIV to Holland, and later to London. In the end, the English style which is loosely called "William and Mary" owed much to his manner. In the Dutch Republic, Marot was employed by the Stadthouder, who later became William III of England; in particular, he is associated with designing interiors in the palace of Het Loo, from 1684 on. Though his name cannot be attached to any English building (and he does not have an entry in Howard Colvin's exhaustive Dictionary of British Architects) we know from his own engraving that he designed the great hall of audience for the States-General at the Hague. He also decorated many Dutch country-houses, introducing the “salon” and popularizing ornamented ceilings in The United Provinces/ Netherlands. State bed, designed by Daniel Marot, engraving, ca 1702 In 1694, he traveled with William to London, where he was appointed one of his architects and Master of Works. In England his activities appear to have been concentrated at Hampton Court Palace, where he designed the garden parterres, which were swept away in the following generation and have been restored at the end of the 20th century. His designs for the Great Fountain Garden survive. Much of the furniture, especially the mirrors, guéridons and state beds, in the new State Rooms readied for William at Hampton Court bears unmistakable traces of his authorship; the tall and monumental embroidered state beds, with their plumes of ostrich feathers, their elaborate valances and cantonnieres agree very closely with his later published designs. After William's death Marot returned to Holland where he lived at the Noordeinde 164 in The Hague from 1720 until his death in 1752. The house with his salon, kitchen, hallway and possibly some of his ceilings still exists. We owe much of our knowledge of his work to the folio volume of his furniture designs published at Amsterdam in 1712. Not surprisingly the designs show strong French and Dutch influences; what reads as their "English" look is more probably the result of Marot's court style on other London designers. Marot was a nephew of Pierre Gole...

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...

Pair eagle armchairs in yellow taffeta. Italian Empire painted and parcel-gilt carved armchairs with finely carved eagle arm terminals and yellow Italia...

Pair of elegant Italian 19th century walnut finely carved armchairs with a white striped upholstery. Measures: 130 x 60 x 50.

Set of 4 Italian Renaissance-style (19th Century) gilt jester armchairs with swan arms, eagle sides, and red upholstered seats and backs.

A pair of Italian Rococo style walnut armchairs from the 19th century, with carved skirts, cabriole legs and upholstery. Born in Italy during the 19th century, each of this pair of Rococo style armchairs...

Elegant pair of Italian Cabriolet seats, 19th century. Completely reupholstered and refinished. Very refined style.  

An attractive pair of restored carved walnut armchairs, Italy, circa 19th century. Each chair features a curved crest rail, padded back and seat covered in a new sturdy cotton fabric...

Antique Italian armchair from Sicily and matching footrest, an exclusive elegant Louis Philippe poplar armchair dating back to the last quarter of 19th century, with a dark lacquer wooden frame decorated with an elegant vegetal gilded motif and gilded profiles. Elegant upholstered arms decorated by fringes. Curved legs ending with working brass castors. it comes from a private house in Milan and it is upholstered with red velvet. The back is lacquered. Fair padding with a comfortable seating, but distressed upholstery, this antique Sicilian...

Pair of large, Italian, walnut hall chairs featuring dramatic scrolling arms above a relief carved apron with foliate details. Each chair atop delicate scrolled feet. Upholstered in ...

Italian neoclassic style white and gold painted round back carved armchair with front scroll design and gold damask upholstery (19th century).  

Set of 4 Italian Renaissance style (19th Cent) walnut Savanarola style arm chairs with slatted sides & legs and tapestry backs with carved scroll arms & claw feet

Set of four 19th century Italian wood Grotto armchairs.

An Italian painted wood Rococo style armchair from the early 19th century, with carved splat, scrolling arms, cabriole legs and cross stretcher. Born in Venice during the early years...

This extraordinary and finely carved five piece suite comprising of one sofa, two armchairs and two single chairs with original gilding. It's part of an eleven piece s salon set pub...