Velvet Floral Button Tufted Chaise Longue with Pleated Skirt

A bright blue circular wicker basket. A great great basket for use as a planter, or as a waste bin. This piece features a woven wicker body and a woven floral knot pattern top. Di...

Beautiful floral plate with scalloped edges. The piece features roses and other flora throughout and gold designs around the rim and in center. The bottom reads: Gold Castle made in Occupied Japan...

A fabulous Chinoiserie sofa in Broyhill fabric by the Lenoir Chair Company. This sofa will make a statement in any room. It is upholstered in a stunning chinoiserie fabric from top t...

A pretty floral painting of a bouquet of flowers in a vase. This piece features creamy white flowers with accents of yellow. The roses sit in a black neoclassical style vase upon a b...

A superb quality 19th century regency period Mahogany chaise longue of rare design having Elegant carved decoration which includes eagles Head to back and scrolling end raised on unu...

Sublimely sexy small neoclassical chaise longue having marbleized and gilded frame with scroll arms 24.5 h and impressive paw feet. The uph...

Chaise longue sofa great rest with solid wood structure, upholstered and covered with grey velvet fabric (Cat B.). Cushion in option. Available ...

Russian designer Maxim Scherbakov‘s new exhibition at Rome’s Contemporary Cluster gallery, he pushes that idea to the extreme: What if design could be all about emotion, and little else? His barely functional pieces, and his general conceit, feel uncomfortable at first — we’re not sure we want to live in a world where design is purely an aesthetic indulgence — but in an era when furniture is increasingly difficult to distinguish from art, it does feel in some ways like we already are. And the ornate backdrop of the gallery’s home, the 14th-century Palazzo Brancaccio, serves as a potent reminder that it’s possible we always have. Maxim Scherbakov, who works under the studio name Supaform, says that he developed the new collection “as a result of a careful visual search for the frontiers of comfort,” seeking to celebrate “beauty for no reason,” he says. His floor lamp has no bulb, his coffee table is too bumpy to hold a glass upright, and his desk has trick drawers and a gap in the middle where its writing surface should be. Yet his various seating elements look no less functional than, say, Rick Owens’s, and Scherbakov has a compelling raison d’etre: Also a longtime painter, he pulled all of the works directly from his canvases, making them a literal elision of the two-dimensional realm and the three. If he can celebrate fantasy and feeling in one of them, he wondered, then why not the other? This wooden sofa is a part of the 'Hidden Entourage...