1680s Armchairs

Beautiful baroque seating set consisting of a sofa and two armchairs. Extraordinary workmanship of the woods made according to the canons of the ti...

A Laguna occasional chair designed by Aciole Félix for Uultis, with black wood finish, black and gold cane and light gray fabric. The Laguna oc...

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...

An extraordinary chair with superb color, large proportion. The wood has a very soft hand and great marking. With polychrome leather embossed back a...

Jacobean-style bobbin armchair made in the Netherlands, early 1900s-1930s. Dark stained beech frame features characteristic turned bobbin detailing and an original rush woven seat. G...

Jules Leleu: A fine French Art Deco walnut armchair with bronze sabots. Original Aubusson tapestry (in vintage condition).

Fine tall German late 17th century Baroque walnut throne armchair with a rectangular arched padded back and seat covered in 17th century Gobelin depicting ‘Susanna and the Elders’ wi...

A late 17th century walnut Flemish armchair, later reupholstery (ca 1850) in mid 19th century embossed, gilt and painted leather - possibly Spanish 'Cordoba' A maximalist statement p...

Royal House Antiques Royal House Antiques are delighted to offer this original early 17th century Jacobean Wainscot armchair with Tudor style panelling Please note the delivery fee listed is just a guide, it covers within the M25 only for the UK and local Europe only for international, if you would like an accurate quote, please send me your postcode and I’ll provide you with the exact price. A good early original piece, hand carved, very naïve by today's standards but at the time this would have been considered very ornate. Condition wise for the period is sublime, this chair is so tactile, and the patina is to die for, think how many hundreds and maybe thousands of people have used this chair, how many centuries of love and use it took to get looking like this. It is the best part of 380+ years old from new Dimensions: Height 103.5cm seat height 41cm Width 59.5cm Depth 54cm Please note all measurements are taken at the widest point.  ABOUT US Royal House Antiques is a privately owned family ran business founded in Wimbledon SW19 and now based in Pulborough RH20. We specialise in finding, restoring very Fine luxury antique leather seating...

A charming early 20th-century armchair, characterized by its elegant turned wooden frame and softly balanced proportions. The seat and armrests are upholstered in a delicate floral ...

An English 17th Century Oak Wainscot armchair Ca 1680 English oak armchair with a carved panel backrest. The armrests have a beautiful patina,...

Late 19th century bobbin turned wood armchair with rush seat, ca 1900 Manufactured in The Netherlands. Beautiful antique bobbin/ knitting chair with t...