Late 19th Century Armchairs

Beautifully carved French Louis XVI-style armchair painted in original French green hue, 19th century With gilt highlights, having a reeded carved leg. New upholstery in cream linen.

Pair antique French Provincial carved walnut bergeres, Circa 1890.

A pair of Chinese official's hat armchairs from the late 19th century, with carved splats, curving structures, scalloped aprons and side stretchers. We currently have two pairs avail...

A classic Minister's hat armchair from Henan, China. Northern elm wood, original finish, circa 1890. Open hand-carving of "Good Fortune" on back-splat. Tw...

Decorate a study or office with this elegant antique armchair. Crafted in southern France circa 1880, the comfortable fauteuil sits on four cabriole legs decorated with acanthus leav...

Pair of English lolling chairs with noteworthy carved and turned oak frames, circa 1870s. Custom upholstered in brown tone-on-tone raised fabric ...

Of generous proportions and presence . The front mounted with well cast bronze mounts (of some size and weight ). The top with French interpretations of the Greek Caryatids (very att...

Pair of antique French Louis XVI armchairs.

An impressive late 19thC American mahogany and brass library armchair. The seat and back rest are covered with dark burgundy leather and riveted. The slightly curved armrests protrud...

A beautiful pair of Napoleon III armchairs with walnut frame with burled walnut and ebonized details. Shield-back has carved laurel leaves with a cartouche over the crest rail with f...

Late 19th century art chair with exquisitely carved floral design. Upholstered in gorgeous Art Nouveau upholstery. Rolls on wooden casters. Solid c...

This is a Classic French Louis XVI arm chair in remarkable condition. The chair was made from solid walnut. It is very solid with no signs o...

A fine French 19th century Louis XIV style Baroque Revival carved walnut throne armchair. The upholstered back and seat frame with open scrolled and carved armrests with carvings of ...

Art Nouveau open armchair Measures: Arm 25 1/4" H Seat 17" H.  

A large French carved walnut early Rococo style armchair with wings and interior armrest. Fauteuil en confessionnal in French.

Handsome hand forged wrought iron and burnished brass chair with printed sturdy weight armorial fabric. The frame is solid hand forged iron with brass fleur-de-lis finials and cast b...

A charming set of four 19th century decorative dining chairs with French Empire influence. The handcrafted frames feature sweeping curved barrel backs being flanked by carved swan ne...

With shield back and painted Prince of Wales plume over a pair of arms, serpentine caned seat raised on tapered circular legs.

Beautiful 19th century Directoire style armchair with pegged construction. Newly upholstered in textured purple/white fabric with plum linen back. Shell details carved to back with s...

Exceptional carving with intricate open pierced carving on the back of This chair. Gracefull curved arms that curl at the ends. New cream upholstery make this Piece especially desi...

A pair of antique Chinese hardwood chairs with Fretwork designs and high relief panels. Each chair is beautifully hand carved with exceptional d...

This pair of 19th century fruitwood armchairs feature carved acanthus leaves and reeded arms.

A 19th century French Voltaire Armchair with a faux rosewood painted finish. This imposing lounge chair has a wide well-sprung seat pad sitting on pl...

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...

Antique French armchairs, intricately hand-carved in the late 1800's, in as found condition. The pair of French antique armchairs, sti...

Pair of Antique French finely carved walnut armchairs.

Louis XV style walnut fauteuil with brown leather, intricate carved floral designs.

Regence style walnut fauteuil caned seat and back with cushion.

English walnut carved needlework armchair, the back and seat stitched with birds, dogs, and deer. The center panels are stitched with holy warriors done in petit point. The arms are ...

A pair of French Louis XV style fauteuils with a beautiful old painted finish and Aubusson tapestry upholstery.

This charming 19th century French Louis XV style diminutive child's armchair features a sculptural giltwood fame carved with scrolls, leaf work and rosettes. The fauteuil has the or...

An exceptional French 19th century Napoleon III reading chair. This unique chair is upholstered in an elegant green-gold velvet, featuring intricate braided detailing, and elaborate ...

Nicely carved chairs that are solid and will stand the rigors of use.

Excellent pair of armchairs in the Louis XVI style with lovely new white silk Upholstery having a reeded leg and a graceful arm.

Lovely pair of Louis XVI style armchairs with square back with slight oval at the center back. The gilt finish in soft gold patina. Upholstered in silk rose damask. Fabric without s...

An impressive set of four late 19th century Louis XVI style carved wood armchairs The oversized chairs with high backs and wide seats, hand carved strong and sturdy floral designe...

Pair of 19th century French Louis XVI giltwood armchairs represents the epitome of the craftsmanship from the Belle Époque period in France...

A fine quality, beautifully hand carved and constructed walnut armchair in the manner of Giles Grendey (1693-1780). Hoop back design being of open strap...

English Queen Anne style (19-20th century) walnut open armchair with white upholstered seat and back. (similar to PPF333A).

A fine example of English woodwork in this single armchair.  

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

A set of 4 19th century French Louis XVI oval back fauteiuls. Carved and gilt large size.

American Victorian Gothic Revival mahogany arm chair with ogee arched back & green striped seat. (late 19th Cent)

A pair of painted and gilded wood medallion back chairs. Delicate bead and swag detail surround a central flower. Padded scroll form arms sit atop...

Late 19th century pair of majestic French Empire mahogany fauteuils (open armchairs) finished in a rich black lacquered color. This pair of chairs consist of a top rail leading down ...

Pair of 1880s French Directoire painted and gilt armchairs. Paint is chippy, and off in areas. Needs reupholstering.

A very Fine pair of french 19th century Louis XV style giltwood carved marquises bergère armchairs. The ornately carved gilded frames with floral and acanthus motifs with rounded edg...

A fine and palatial pair of Italian 19th century renaissance style carved walnut figural throne armchairs. The intricately carved Baroque frames with the backrests depicting a pair o...

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 English Chinese Chippendale style (19th-20th Century) mahogany bergere arm chairs with cluster legs with stretcher and gold damask upholstery

Antique French walnut bergère. Comfy and a good size.

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...

Unique 19th century armchair, originally from a mansion in Newport RI. Exquisite wood carved and gilt frame. In very good condition, covered with a prestigious Scalamandre fabric.

A fine pair of Jacobean Style throne chairs from the late 1800s with carved royal plumes, block and barley turnings, and upholstered back and seat. A very similar throne chair is see...

Pair of antique large size French armchairs, circa 1880.  

A Chinese Ming Dynasty style elmwood scholar's lamp-hanger armchair from the late 19th century, with carved splat, dark patina, curving arms and side stretchers. Born in China in the...

Pair of French 19th century Louis XVI style walnut armchairs with original needlepoint upholstery. Chairs feature padded arms, channel backs, bow carvings, fluted legs. Each chair ha...

Antique Anglo Indian Savonarola Inlaid Moorish Peacock armchair. Savonarola Folding chair with brass Inlays British India with Peacocks birds ...