Sculptural Chairs Art Nouveau by Giacomo Cometti in Ebonized Hand Carved Walnut

Early 20th century Italian pair chairs, Art Nouveau , solid hand-carved cherry and leather upholstered. Only strengthened the structure and polished to wax Measure cm: H 108\50, W 4...

Early 20th century Art Nouveau elegant robust couple of side chairs in blond walnut, new upholstered, restored and polished to wax. Measures cm: H 45/100, W 40, D 43.

Code: FA41 Elegant Venetian Baroque side chairs in walnut hand-carved and silvered with new blue velvet upholstery.

Italian Art Nouveau 1890s pair of bed room chairs, with hand-carved walnut legs, spring seat, newly upholstered with light dove gray fabric Measures cm: H...

Early 20th century Art Nouveau bedroom chair with stool in ebonized hand-carved walnut restored and polished to wax. Original tapestry fabric in g...

Elegant Mid-19th century Chiavarine side chairs in turned walnut and with hand-carved seat, restored and finished to wax Measure cm: H 101\47 x W 45 x D 45.

Classic collectible chair by famous German-Austrian cabinetmaker Michael Thonet. Bentwood frame with hooped legs. The seat is embossed with a decorative floral motif.  

Solid walnut wood construction, upholstered seat. Made in France in 1900-1905. New upholstery on request possible. Delivery time 2-3 weeks. Two pieces available.

Hello, These exceptional set of six Viennese Art Nouveau solid oak chairs from circa 1910 represent a high level of craftsmanship and elegant design. Viennese Art Nouveau is a trend...

Hello, These exceptional set of twelve Viennese Art Nouveau solid oak chairs from circa 1910 represent a high level of craftsmanship and elegant design. Viennese Art Nouveau is a trend in Austrian art, architecture and design at the turn of the 20th century. The name was taken from the association formed by a group of artists who protested against the rejection of their work by the Vienna Academy. Gustav Klimt, Otto Wagner, Josef Hoffmann and other artists decided to completely break with the prevailing historicism and promote a new style in art, architecture, and interior design. Art Nouveau focused on simplicity, which foreshadowed modern 20th century design. The elaborate decorations emphasized the close relationship between crafts and Fine arts. Ornamentation (carvings, paintings, marquetry) referred to the world of nature - plants, birds' feathers, insects' wings. Embossed leather with lovely floral elements blends beautifully with the elegant form of the chairs. In the field of ornamentation plant and animal elements were the most important, but not the only set of motifs typical of Art Nouveau in furniture making. They were accompanied by geometric and abstract motifs, and although Art Nouveau is associated with ornamentation, some Art Nouveau furniture is rather simple in form, using shape and line rather than decoration. Compared to other trends of this style, the Vienna Secession was devoid of splendor and rich decoration. It was characterized by sublime simplicity and attention to detail, which paved the way for modern design. Artists creating in the style of Vienna Secession preferred geometric and floral ornaments. Even when using organic motifs, they tended to keep them geometric. Buildings designed in the spirit of the Viennese Art Nouveau often have elegant floral decorations which resemble these beautiful chairs. The set of twelve chairs...

This hand-carved and blackened reclaimed oak chair, designed by Rooms Studio (from their 2018 Wild Minimalism collection), is inspired by the legacy of traditional Georgian craftsmanship. The Sculptural Chair is meticulously handcrafted of ancient wood, and features a diamond shape cut-out on the top rail, which is curved gently, cradling the back, with a round seat and circular cross stretcher. About the Design Studio: Works of Rooms Studio refers to the sculptural forms and abundant materials in juxtaposition with the feminine instincts. Born and raised in Tbilisi, Georgia, the duo behind the Rooms, Nata Janberidze and Keti Toloraia, lean towards preserving the inherited craftsmanship techniques unique to the region. Massive wood and stone objects are hand-crafted using traditional techniques to create raw and symbolic forms often rooted in the designers' childhood memories. Growing up in a culturally diverse environment, where the two worlds - Western and Eastern collide, remarkably influenced their design language. Over the years, Rooms has created eight independent collections and collaborations equally memorable and representative of the duo's perpetual mission to bring life to omitted elements of a former life. Through their series of works, Janberidze and Toloraia try to examine the boundaries between the public and private. Experiencing adolescent years in the 90s - a significant decade of cultural and societal shifts - their work is a narrative of personal experiences of womanhood. By contrasting the new feminine monumental shapes with architectural brutality, Rooms challenges the status quo and also bridges the conventional and contemporary design with a confluence of female energy. The work of Rooms Studio has concerned itself with questions of nomenclature since the Tbilisi-based design atelier was co-founded by Nata Janberidze and Keti Toloraia in 2007. Take, for instance, the studio’s name: in adopting the basic unit of interior space as the title of their practice, Janberidze and Toloraia also emphasized the emotional force of interiority and inner life in determining their creative output. The studio’s largest U.S. exhibition to date, "Distant Symphony," expands upon this impulse to focus inward. The title is again a chief concern—some of the objects included here were designed during the global pandemic, under a regime of forced isolation that made the studio’s typically collective work process untenable. The pieces shown here are the results of Rooms’ search for a way forward. The first room, an antechamber of sorts, evokes the intimate quality of a private home. Shown here are trinkets and personal effects chosen by Janberidze and Toloraia for their emotive qualities; a low background noise emphasizes the climate of urban domesticity. The ensuing gallery space features highlights of Rooms’ recent design output. Here, the subtle scent of organic materials provides a sensory indication of the atelier’s interest in dichotomies: natural and man-made, personal and collective, local and cosmopolitan.   In light of the global circumstances, Janberidze and Toloraia felt it was especially important to pursue collaborative work. Rooms invited three artists—Shotiko Aptsiauri, Salome Chigalashvili and Mariana Chkonia—to conduct a dialogue and shared design process. As such, this exhibition is a kind of polyphonic meditation on a need for solitude and desire for companionship. The practice of polyphonic singing, essential to Georgian folk culture, is reinterpreted here as a design endeavor. Chigilashvili, working with unprocessed yarn, interpreted folk motifs by adapting embroidery to the scale of furniture with expansive stitches applied to painted boards...

This chair is carved on all sides with intricate interlaced grapevines with grape clusters on a stipled background.