Italian Neoclassical Ram's Head Settee

Italian neoclassical hall bench. Large and handsomely proportioned cassapanca / walnut bench in two parts with upper dental carved trim around arms and paneled back. All fitted into ...

Six foot six inch long neoclassical wood carved bench in original vintage condition with black leather tripartite upholstered top on eight wood car...

Jansen neoclassical Louis XVI bench. Six foot six inch long neoclassical wood carved bench in original vintage condition with burlap upholstered to...

Jansen neoclassical Louis XVI bench. Six foot six inch long neoclassical wood carved bench in original vintage condition with burlap upholstered to...

An exquisite Italian mid 19th century neo-classical st. settee with an Egyptian revival influence. The light green patinated frame is stunningly decorated with giltwood designs throu...

19th Century Swedish Neoclassical Settee in Mahogany with Lyre Shaped Backsplats & Paw Feet

A stunning and unique Italian early 19th century Neo-Classical st. settee. The settee with all original paint and faux marble finished is raised on a solid rectangular base. With squ...

Small Settee in the neoclassical taste Boston, Massachusetts (active 1804–17), about 1810 Mahogany (secondary woods: ash) Measures: 35 1/8 in. high, 59 3/4 in. long, 19 1/8 in. deep Although the diminutive scale of this settee places it in a unique category, the piece itself partakes of a vocabulary that is common in Boston furniture of the Late Federal period. Its sabre legs, for example, as seen straight on from the left and right ends, are closely related to the legs, as seen from the front, on a group of chairs of undisputed Boston origin, including a spectacular armchair with scrolled arms (see Stuart P. Feld, Boston in the Age of Neo-Classicism, 1810–1840, exhib. cat. [New York: Hirschl & Adler Galleries, 1999], p. 37 no. 6 illus. in color), as well as a number of side chairs, including a set made for Nathan Appleton (see Page Talbott, “Boston Empire Furniture, Part I,” The Magazine Antiques, CVII [May 1975], p. 887 fig. 12). In all, the legs are ornamented with two bold, somewhat flattened reeds set between corner beads, a pattern which is repeated here on the front and end seat rails as well. The superb quality of the piece is further demonstrated in the finely drawn profile of the arms, as well as the delicately bulbous surface of the fronts of the arms and legs. As in the best of the related chairs, the sabre legs end in delicately carved paw feet. The added refinement of the beautifully carved rosettes at both the fronts and backs of the arms suggests that the piece may have been designed to be used in the round. Stylistically harmonious with these pieces is also a group of larger sofas with frontally set sabre legs and scrolled arms (see Page Talbott, “Seating Furniture in Boston, 1810–1835,” The Magazine Antiques, CXXXIX [May 1991], p. 963 pl. 11) that represent an indigenously Boston form. Although none of the furniture in this group has been effectively attributed, they can certainly be related to various Boston card tables...