Neoclassical Office Chairs and Desk Chairs

Swivel chair 4 stars chromed steel base padded and upholstered

A classic leather office chair in Chateau blue. This stately chair has a smooth leather interior and exterior and is accented with nailhead trim accents. It rests on a 5 prong base. ...

French pair of low back walnut armchairs with gorgeous armrests. Feet turned with spacer in X. Style Louis XIII, 19th century. Measures: Height 86 cm, width 63 cm, depth 51 cm.

A refined late 19th century French Napoleon III desk chair executed in richly toned mahogany with gilt bronze mounts and olive green leather up...

A set of four side chairs made during the Gustavian period in Sweden 1790-1810. The original paint in a grayish green which has a stunning patina. Rounded legs with channeled details.

Charles Pollock for Knoll International Model 1258 Swivel Tilt Desk Chairs, 1965 Iconic executive chair designed by Charles Pollock for Knoll International, model 1258. A hallmark of...

A delightful pair of painted wooden side chairs in the Swedish tradition, featuring softly shaped crest backs with elegant scroll detailing and turned legs. Finished in a serene pale...

A very fine pair of palatial Venetian walnut carved mid-19th century Baroque figural throne armchairs, 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. Provenance: The Castello di Giove in Umbria, Italy, circa 1870-1880. Height: 54 1/4 inches (137.8 cm.) Width: 37 1/4 inches (94.6 cm.) Depth: 32 inches (81.3 cm.) 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 1678-80 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 eighteenth 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...

19th century painted and carved ribbon cane back open armchairs painted in a soft pale Swedish gray color, with natural cane back and seat. No fl...

Authentic 'Office Chair' from the administrative buildings of Chandigarh (Ref. PJ-SI-28-B). In excellent condition - joints have been restored and cane work replaced. Pierre Jeanneret (22 March 1896 - 4 December 1967) was a Swiss architect who collaborated with his cousin, Le Corbusier, designing furniture for Le Corbusier's vast modernist complex at Chandigarh. Jeanneret remained for over 15 years as the project’s chief architect and the city remains a masterpiece of the modern vision. The pair pioneered a new aesthetic that placed function and order over embellishment—Jeanneret’s work imbuing the strict geometry of modernism with lighter materials like cane and wood. Jeanneret also collaborated with other modern masters, Charlotte Perriand on experiments in aluminium and wood, and Jean Prouve developing prefabricated housing. Literature: Catalogue Raisonné du Mobilier: Jeanneret Chandigarh, 2019. Le Corbusier, Pierre Jeanneret, The Indian Adventure...

Handsome 19th century English Victorian period captains chair or smokers' bow chair crafted from mahogany. The chair features a round horseshoe shaped seat crest with a deep contoure...

A 20th Century Victorian style patinated Oak bankers desk Chair . Very solid construction. Very good vintage condition. Mesures 24" in width, 22" in...