18th Century and Earlier Lounge Chairs

A very chic pair of Louis XV period 'fauteuils cabriolets' armchairs, in natural wood, their frames sculpted with great finesse and upholstered in cream fabric. Delightful hand carved floral motifs adorn the back crown, apron and the top of each elegant cabriole leg, while the armrests terminate and bend towards the seat in typical 'whiplash' Rococo curves. These wonderful chairs, with their curved and enveloping backrests, and broad, padded seats (originally designed to accommodate the voluminous dresses...

18th century pair of French Louis XV carved walnut armchairs The chairs currently have a lightly distressed green linen fabric. Ea...

A fantastic pair of Period Louis XV petite fauteuils! The giltwood frames have been carved with exquisite craftsmanship. The giltwood has been worn with age and use, giving the pair ...

Pair of Louis XV armchairs, 18th century “oak” carved wood, pretty velvet in good condition

A pair of 18th century Louis XV style oak frame chairs. Upholstered with burgundy velvet fabric, the seat height is 16 ¾” without the cushion and 19 ⅛” with the cushion. The caning i...

A pair of late Napoleon III fauteuils or armchairs in a hardwood with a burnished gold overtone. In the Louis XV style, chair frames offer carved cabriole legs with escargot feet, sc...

18th century pair of Italian Louis XV carved Giltwood armchairs The elegant pair of armchairs was made in Turin, Italy, around the middle of the eighteenth century, Louis XV. Ea...

Lovely proportioned Regence ladies armchair with grey wash finish. The chair has cabriole legs and upholstered back and seat in neutral silk stripe.

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

Large 18th century English library chair, UK, circa 1760. Unique because seat converts into a sleeping cot.

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...

Handsome and comfortable pair of bergere Louis XV-Style chairs with floral and foliate Carving at the crest. Painted in creamy gold hue. The back is gracefully curved and extends ...