Hand-Painted Chairs

Hand carved, painted, and pickled wood, barrel back, French bergère atop fluted, tapered legs. Beautiful proportions. Newly upholstered.

Black painted American Empire child's chair with upholstered seat, turned front legs and front stretcher. The back has a decorative double cross rail separated with five round wooden...

Rare Norweigen Kubbestol, circa 1850, origin: Telemark, Norway Rosemaling and acanthus carvings in this extraordinary Kubbestol indicate it is most likely from Telemark, Norway, a region known for this exact carving and painting. A Kubbestol is a traditional Scandinavian chair carved from a single log...

18th century blue-gray painted Venetian side chairs with leather seats. Chairs have a Heraldic style cross maker's mark engraved on backs of chairs. Features hand carved stretchers a...

Italian made in the 1970s of excellent Louis XV form and have great proportions, the fabric is still very attractive and very usable but tired in places, the paint finish has a soft ...

Decorate a master bathroom with this elegant antique chair; crafted in France circa 1870, the decorative chair stands on cabriole legs over a scalloped apron. The piece features wond...

Michael Taylor style painted spoon chair, newly upholstered in chartreuse velvet.

Pair of English Regency black lacquered arm chairs with a carved spiral ringed bulbous crest, flanking filigree splat backs, sweeping carved scrolled arms, cane hole seats, and termi...

A very rare Monteverdi young chair with Jack lennor Larsen hand-painted fabric, it is quite rare All original, the patina is so much more beau...

Authentic, signed hand-painted and gold leafed Pedro Friedeberg butterfly chair in excellent condition.

An armchair made during the late Gustavian period and early part of the 19th century. Most likely later added blackened ball feet. Repainted in our custom paint "Laserow Black".   

Outrageous pair of extraordinary antique French Directoire style chairs finished in a great distressed celadon paint. Very comfortable, large scale antique chairs like these are few ...

Asian (possibly Japanese) bamboo fan back throne chair with a rough red painted finish and round seat with a slat and woven design

Hand-carved Swedish Baroque Captain's chair in black with gold trim and Swedish flag. Arms are covered in distressed leather with nail head trim. The chair is covered in gold design with motifs including leaves and shells. Exact provenance and meaning of symbols and letters is unknown. It is believed that this chair was created for the captain of a ship, making it a unique conversation piece for your space. Could be recovered or reupholstered with new leather or left distressed to highlight the age, patina, and history of the chair. This captain's chair would work well as an accent chair, side chair, or a statement dining room head chair...

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...