Wood Chairs

Armchair model 4488 designed by Kaare Klint for Rud. Rasmussen, Denmark, 1930s. Mahogany, ebony, cane, and black horsehair upholstery with cognac leather piping. Klint thought...

A relaxing miracle for all desires. Low- or high-backed chairs with a slender star base, as dining chairs or lounge chairs, for uplifting seating comfort with the highest esthetic st...

A Victorian rosewood medallion backed open arm chair by Holland & Sons, the rounded back and seat raised upon stop fluted front legs and kicked out ...

A wonderfully drawn early 18th century George I walnut shepherd's crook armchair covered in period needlework, circa 1730. England. A simply exquisite example of an early 18th-cen...

This is an exceptionally well crafted pair of asian inspired slipper chairs, newly upholstered in a cashmere velvet with bleached wood accents. Circa 1940s, these chairs reflect the ...

Located in the scenic Kawartha Highlands, there is a family of beavers who have made their home in the Canadian studio Objects & Ideas' pond. Their movements inspired the Beaver Tail...

Rare set of 4 chairs designed by Gunnar Asplund. Produced by Iwan B. Giertz in Flen, Sweden.

Stool model 927 designed by Josef Frank for Svenskt Tenn, Sweden, 1950s. Mahogany and rattan. Measures: H: 43 cm W: 43 cm D: 28 cm Josef Frank was a true European, he was also a pioneer of what would become classic 20th century Swedish design and the “Scandinavian Design Style”. Austrian- born Frank started his design career as an architect after having trained at the Technische Hochschule in Vienna between 1903 and 1910. After his training he went on to teach at Kunstgewerbeschule (The Viennese School of Arts and crafts) where he developed and espoused the new school of modernist thinking towards Architecture and Design that was coming to fruition in Vienna at the time. He also went on to lead the Vienna Werkbund throughout the 1920s. This was a truly progressive group of Architects and Designers who set about improving the daily lives of Austrian people through modernist design and architecture in partnership with Arts and Crafts ideals and construction. Frank’s leadership of the Werkbund had already cemented his place at the forefront of European design. Frank’s time in Vienna was typified by his design for the “Die Wohnung” exhibition of the Deutscher Werkbund in Stuttgart, 1927 where he exhibited along side his contemporaries at the forefront of design, such as the likes of Le Corbusier and Walter Gropius. Here he showed a specially designed pair of flat-roofed reinforced concrete houses in what is now seen as a typical modernist style. What separated Frank’s house from the other 32 houses of the exhibition was the interior and furniture inside the building. It was described as “Neo-Classical” and filled with an eclectic mix of period pieces, modern design and pieces designed by Frank himself that seemed to cross the two worlds. This was a complete opposite direction to that which his fellow Architects were travelling in with their pared back and angular aesthetics. Frank said of his own work: “The house is not a work of art, simply a place where one lives,” and by this reasoning Frank rejected the regimental mechanisation of the living space that his contemporaries believed in, instead he set about creating congenial and spontaneous interiors. Frank’s practice saw him placing the bright colours and the soft forms of nature back into the furnishings and interiors that he thought modernism sorely mist. Frank, along with Oskar Walch set up Haus und Garten in Vienna in 1925. This was Frank’s first commercial foray into furniture and home furnishings and the company went on to become the most influential furnishing house in Vienna with a riotous depth of colour and interesting shapes becoming the trademark of their design. However this success was to come to an end with rise of Nazism in Vienna in the early 1930’s. Frank was Jewish, and he and his wife Anna decided they would leave Vienna for her motherland: Sweden, in 1933. Frank continued to design for Haus and Garten, visiting Vienna occasionally and designing the pieces that would continue to be the company’s best sellers long after Frank was forced to hand the company over in 1938 after the Third Reich annexation of Austria. When Josef and Anna had moved to Sweden Frank had struck up a working relationship with Design shop owner Estrid Ericson. Ericson was the proprietor of Svenskt Tenn that at this point was a successful interiors shop in Stockholm with the royal warrant of appointment to the Swedish Royal Household. In 1935 Frank had become the chief designer for Svenskt Tenn and had set about putting all of his creative effort into his designs for the company. At the World Expositions in Paris in 1937 and New York in 1939 the world saw for the first time the wealth of products that Frank had been working on, ranging from candlesticks to cabinets, there was not a domestic object that Frank had not subjected to his colourful, comfortable and organic style of Modernism. Frank’s new school of Modernism championed ideas such as chairs having a freeing, open back and that “If one desires the room to be comfortable…all pieces of furniture should allow for a free view of the separating line between the floor and the wall. A cabinet without legs breaks this line and thus reduces the feeling of space.” A world-wide audience tired of classic Modernism’s furniture with solid planes and aggressive forms leapt upon these ideas and Franks natural and bright designs for Svenskt Tenn became internationally desired. Frank created over 2000 designs for Svenskt Tenn and his products continue to be the core of their brand. Frank’s rejections of tubular metal and heavy lacquers within his furniture have insured his unique light form of Modernism continues to influence and flourish today. His natural toned mahogany and walnut pieces along with his tactile leather covered and brightly shaded lighting still bring the forms of nature back into the home. Original Frank pieces are now increasingly rare, highly desirable and are the epitome of “Scandinavian Design”. Renowned Designer and Academic Isle Crawford...

The influence of Chinese design on the West has been subtle, almost by osmosis, but we can see references in much of western art and design. Much of Europe has long had a magpie tradition of taking from the different cultures it has come into contact with in its past, furniture being no exception. Similar to European Chinoiseries, Britain formulated an Anglo-Chinese style that copied Chinese models yet adhered to British fashions affecting furniture design. The resulting aesthetic is quite unique and has evolved much in the past decades as demonstrated by these armchairs. These solid, exotic wood chairs...

Pair of teak and leather occasional chairs by Ejner Larsen and Aksel Bender Madsen for Willy Beck. Replaced cream colored leather. Chairs bei...

Set of six dining chairs model 2027 designed by Josef Frank for Svenskt Tenn, Sweden, 1950s. Mahogany, leather and brass. Josef Frank developed his characteristic style combining e...

Pair 19th century mahogany corner chairs with shaped backs, scroll arm supports and decoratively carved back splats to the centre. Both chairs sit on four cabriole legs, the front...

Pair of Simone chairs by William Stuart Made by Costantini, United States, 2009 Material: Engineered macassar ebony, walnut, rosewood, leather ...

Set of seven Transenna chairs by Titina Ammannati and Giampiero Vitelli for Pozzi and Verga. Sturdy seating with wood plot backrest.

Pair 18th century French fauteuils in Louis XV style with cut velvet upholstery in fawn and green. The cartouche-shaped padded back, arms,...

Oak Captain's chair. England circa 1890. Carved seat and back, turned spindles, legs, and stretchers. Measures: 22.5”L x 19”D x 34”H x 19.5”seat.

A side chair with a warm-toned undulating laminated teak seat on a chromed steel base.

Fine and very rare pair of early 18th century Swedish Baroque chairs in their original finish, circa 1700 Sweden. Leather is original with some ...

Pair of soda fountain wrought iron ice cream parlor chairs. The frame is painted in a dark green and good condition and some surface disco...

A set of four Edward Wormley for Dunbar high back dining chairs with mahogany bases. Fully restored and reupholstered.

19th Century occasional chair in the French style, with simply turned mahogany legs to the front terminating on brass castors, and two plain mahogany legs to the rear. This piece has recently been re-upholstered in a simple fabric with decorative brass nail detailing just above the front legs. Often called ‘Slipper Chairs’, these types of chairs...

Antonio Ronchetti for Sormani Set of 6 sculptural chairs, circa 1970 Black lacquered wood, black leather Measures : H. 135 x 46 x 42 cm.

A pair of armchairs designed by Kurt Östervig for Brande Möbelindustri, Denmark, 1960s. Rosewood and leather. Dimensions: H: 7...

Fashioned with the geometry of a cube in mind, the square proportions of this chair are a self contained exercise in simplicity. The solid wood arms border the suspended back and sea...

Fine pair 18th century Swedish late baroque chairs in their original finish with great patina and proportions. Ca 1850 Sweden.

Piece and Quiet by Nathaniel Wojtalik is a series that draws upon the literary, musical, and cinematic idea of découpé, or cut-up. The technique of découpé stems from the notion that a text, musical score, or image could be cut up and rearranged to create a new body. Off-cuts and partially completed prototypes float around Wojtalik's studio; some more machined and worked than others, many just raw materials laying in their natural form. Wojtalik practices design by intuition: limited, but simultaneously expanded within the constraints of what is salvaged. Each piece is unique and hand made in the Brooklyn studio, so no two will look exactly alike, but all will look close to as pictured. All materials are locally sourced and finishes are derived from non-toxic plant based...

Edwardian Oak and Leather Library Armchair, Ca. 1905 This unusual shape library armchair is English of the Edwardian period (1901-1910). It...

Vernacular early 19th century Swedish Folk Art log chair or “kubbestol” a provincial Scandinavian chair made from a log. Ca 1800 - 1820 Sweden.

Contemporary interior design refers to the style of the moment, which means it is constantly evolving with time. These low chairs are about recognizing beauty in humble simplicity while showcasing exceptional craftsmanship. Low chairs have been common around Asia for centuries. These types of chairs, like the Japanese “zaisu” or the traditional Indian “Pida” chairs...

New England Hitchcock chairs, Set of Six, Most likely Connecticut, Circa 1840 The set of six side chairs have stenciled gilt decorations of flow...

Primitive wooden chairs. France circa 1960 Hewn wooden chairs with wicker seats. LEFT: 21.5”W x 18.5”D x 37”H x 16.25” seat RIGHT: 21.25”W x 17.5”D x 38.25”H x 16.5”seat.

A rare pair of iconic chairs by Mario Ceroli appearing into a famous painting by Giorgio de Chirico (1888-1978) "Mobili nella valle" from 1963.

A set of (8) upholstered dining chairs on solid teak bases. Requires new upholstery.

A pair of 670 lounge chairs designed by Charles Eames for Herman Miller in rosewood and original black leather. Both signed and dated 1978.

A pair of George Nakashima Chairs. Beautiful original finish. Original clients name on underside of the seat. Elegant details include splines on the ba...

Set of twelve dining chairs ‘Darby’ designed by Torbjörn Afdal for Bruksbo. Norway, 1960s. Rosewood and leather. This dining chair model 'Darby' is simple yet elegant with a s...

Two rosewood Luisa chairs with seats and backs upholstered in a patinated and weathered leather. These examples are the versions for Poggi, rather than the reissued Cassina versio...

Available in three different heights, the Morrison stool by Jasper Morrison has a slightly concave seat that is a harmonious contrast to the straight, well-defined lines of the base:...

A fine example of this form. The family requested an extra wide slab -arm. Signed with the clients name.

Armchair ‘Eva High’ designed by Bruno Mathsson for Karl Mathsson, Sweden, 1960. Birch framing, braided leather upholstery and a textile neck pillow. Stampe...

Set of twelve dining chairs by Melchiorre Bega for Cassina. Comfortable and compact chairs with artificial leather seats.

Set of four dining chairs model 2027 designed by Josef Frank for Svenskt Tenn. Sweden, 1950s. Mahogany and leather. Together with Estrid Ericson and her furnishing company, Svenskt...

Very rare set of six dining chairs model 195 designed by Ole Gjerløv-Knudsen. Produced by France & Son in Denmark.

This mid-century easy chair revolves around high-quality materials, comfort and the mastery of Danish cabinetmakers. Danish design is a remarkable combination of concern for comfort ...

Stool designed by Ejner Larsen and Aksel Bender Madsen for Willy Beck, Denmark, 1950s. Brazilian rosewood and leather. Marked. Dimensions: H: 50 cm / 19 3/4'' W: 56 cm / 22'' D: 4...

Set off four dining chairs by Niels O. Møller Impressed manufacturer's mark to underside of two examples ‘JL Møller Models Made in Denmark’ with im...

Contemporary interior design refers to the style of the moment, which means it is constantly evolving with time. These low chairs are about recognizing beauty in humble simplicity while showcasing exceptional craftsmanship. Low chairs have been common around Asia for centuries. These types of chairs, like the Japanese “zaisu” or the traditional Indian “Pida” chairs have very short or no legs at all. These chairs are inspired by these predecessing traditional seating...

A set of four Louis XVI style giltwood fauteuils French, Early 20th century Measures: Height 92cm, width 60cm, depth 55cm These...

Model designed for the Auriol House, France. En 1965, Dominique Zimbacca expose les meubles issus de sa collaboration avec Françoise Sée à la galerie M.A.I situé au 12 rue Bonaparte, aujourd’hui remplacée par la Galerie Yves Gastou...

Suite of six chairs in walnut. Front legs with patinated brass shoes. White fabric.

Pair of dining chairs designed by Axel Einar Hjorth for Nordiska Kompaniet, Sweden, 1934. Veneered Macassar ebony and velvet. Stamped. Provenance: The chairs are said to have stoo...

Alias 301 Laleggera Chair in Whitened Oak Wood by Riccardo Blumer Stacking chair with structure in solid maple or ash. Maple veneer or oak veneer. Interna...

Easy chair designed by Alvar Andersson for Ferdinand Lundquist & Co, Sweden, 1940s. Textile and birch. Marked. H: 89 cm / 2' 11'' W: 71 cm / 2' 4'' D: 69 cm / 2' 3 1/4'' SH: 43 cm...

Chair ‘Spade’ model FD 133 designed by Finn Juhl for Frankrike & Søn, Denmark, 1954. Teak and fabric. Marked. Juhl initially wanted to be an art historian, but his father doubted the financial prospects of the profession. The compromise was that Juhl would become an architect, instead. Throughout his life, Juhl was continuously inspired by contemporary art, particularly by the artists Henry Moore, Jean Arp, Barbara Hepworth, Erik Thommesen, and Vilhelm Lundstrøm...

Armchair, anonymous, Sweden, 1940s. Fabric and birch. Measurements: H: 100 cm / 3’ 3 1/2’’ W: 66 cm / 2’ 2’’ D: 92 cm / 3’ 1/4’’ SH: 47 cm / 18 1/2’’ AH: 59 cm / 23 1/4’’

Set of four dining chairs, Model 79 by Niels O. Møller Branded manufacturer's mark to underside of each example ‘J.L. Moller Models Made in Denmark Furnituremakers Danish Control’...

Arthur Espenet Carpenter Wishbone Chair, Walnut Frame with vellum sling seat. Carved signature and number to the underside of the chair ‘Espenet 8010 3 ...

A Pair of Louis XVI Style Giltwood and Sèvres-Style Porcelain Mounted Salon or Bedroom Chairs These charming chairs are delicately carved and adorned with attributes of love. The to...