1890s Lounge Chairs

A beautiful generous Arts and Crafts armchair with sweeping arms , arching top rail and pad feet raised on brass castors. This chair has a presence and proportion that is difficult to capture on a camara its a statement piece designed in every way to capture a sense of a changing style. Typifying the English Art Nouveau style with its flowing lines, subtile detail and restrained elegance. The top rail not only arching but thinning out to almost a blade at the top and the upholstery billowing out to meet the underneath of the arm. Not by accident but by a skillful eye for design and detail. We have chosen ‘Ianthe’ Velvet fabric from Liberty of London’s new range of takes on old designs. First introduced as a wallpaper in 1902 for Liberty, designed by French Art Nouveau designer, R. Beauclair , this design rescaled in velvet seems to of been made for this chair. Design attributed to Walter Cave Made in oak Fabric by Liberty of London ‘Ianthe...

A caned walnut folding steamer deck chair, circa 1890. 58 inches long by 22 inches wide by 33 inches tall.

A wonderful pair of wing back chairs, in walnut, hand crafted of the finest materials, and newly recovered in a classic silk plaid. The walnu...

A rare late Victorian folding campaign chair with accompanying lidded storage ottoman chest, circa 1890s. Chair measures 24.25" wide, 30.5" deep, 37....

Pair of rustic American Victorian steer horn lounge chairs with matching ottomans. All upholstered in the same tan, white and brown cowhide u...

Antique 19th Century Thames Valley English Gothic Windsor Chair,,, carved seat,, pierced back.,,cabriole legs..Wonderful patina,, Hand delivery avail to New York City or anywhere en ...

Early 20th-century English club chair, freshly reupholstered in a beautiful charcoal linen. With ebonized turnip-style feet and capacious rolled arms, the classic shape is comfortabl...

Circa 1890 Rare Teak and leather lounge chair that was formerly used in a Tea Estate in India. Hand made with pull out leaves that transform into leg rests and can be tucked back ...

Original cane and black finish, stamped Thonet. Beautiful lines.

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 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...

Jas Shoolbred. In the style of Morris and Co, after a design by Phillip Webb. A pair of Aesthetic Movement adjustable reclining armchairs. Professiona...