Cantilever Sharkskin Petite Chairs or Stools, Five, circa 1960

This set of six classic mid-century modern Mahogany and cane 'Yucatan' dining chairs was designed by Swedish designer Edmond J. Spence in the 1950s and produced by Industria Mueblera...

This gorgeous set of 8 dining chairs by Arne Norrell for Sibast (1960s Denmark) features gorgeous teak frames with Nakashima-styled slatted spindle backs and newly reupholstered whit...

An important set of six (6) Jacaranda Rosewood 'Cantu' dining chairs by Sergio Rodrigues for Oca Arquitetura e Interiores in original leather, signed with labels and Brazilian tax st...

An exceptionally unique set of wrought iron chairs stamped 'BRETEAU' with rope corded seats, circa 1955 France. A similar chair sold in 2009 at Christie's, sold as 'Jean Luc Breteau'. This chair was also stamped and hand crafted in the same fashion, only difference with a leather wrapped seat. It sold for well over the estimate given by Christie's, with Buyers Premium and accounting for inflation the single chair cost around $9,000 to the lucky winning bidder. This set, even more special as a rare set of four, allowing the opportunity to use around a cafe or center table. Three of the four chairs are stamped on the upper circular backrest, as can be seen in the photos. Each chair exhibits unique characteristics throughout consistent with hand-crafted and hand-hammered items. Exceptionally unique, and exquisitely refined. These unique Breteau iron chairs would work great in a Mid-Century Modern, Scandanavian Modern or Danish Modern home or penthouse apartment but could also look fantastic in a Contemporary or Post-Modern room. Also consider mixing it up in a Traditional, Transitional, Classical or Art Deco room with a splash of juxtaposition. Would also be an apt choice in a commercial project such as a hotel lobby lounge or members club, creative design studio or high-rise executive office. Consider using as side chairs, dining, cafe or breakfast table chairs...

This stylish chair by Italian maker Fasem International is named 'Charming' and is crafted in light weight die-cast aluminum with tufted leather seats. This set of four was completed...

This classic Post-Modern design by Massimo and Lella Vignelli for Knoll International is called the 'Handkerchief' stacking chair, labelled underneath with early production (original...

Nordic stools in rich brown wood with four pegged legs. Very nice patina and good condition. Seat height 45 cm.

Made from rolled aluminum — in a non-directional satin finish — and sheepskin, the Magna chair, designed by Charles Constantine, takes its inspiration from...

The FDA stool is made of stainless steel and comes with six colors: White, black, mirror, copper, grey and gold. The collection is designed by celebrated American designer-duo Ara...

The forms designed by Tan vary from being environmental (water drops, tree roots) to being figurative (spinal cords, pelvic structures). The Lily collection brings together the botan...

This one-of-a-kind sculptural beeswax chair with sides is designed by Rooms Studio in collaboration with Shotiko Aptsiauri and was produced in Tbilisi, Georgia. The molded, beeswax sculpture, which can be interpreted as a stool, seat, side table or art object, is cylindrical in shape with two rectangular blocks at the top, representing a backrest or arms for the seat. About the Design Studio: Works of Rooms Studio refers to the sculptural forms and abundant materials in juxtaposition with the feminine instincts. Born and raised in Tbilisi, Georgia, the duo behind the Rooms, Nata Janberidze and Keti Toloraia, lean towards preserving the inherited craftsmanship techniques unique to the region. Massive wood and stone objects are hand-crafted using traditional techniques to create raw and symbolic forms often rooted in the designers' childhood memories. Growing up in a culturally diverse environment, where the two worlds - Western and Eastern collide, remarkably influenced their design language. Over the years, Rooms has created eight independent collections and collaborations equally memorable and representative of the duo's perpetual mission to bring life to omitted elements of a former life. Through their series of works, Janberidze and Toloraia try to examine the boundaries between the public and private. Experiencing adolescent years in the 90s - a significant decade of cultural and societal shifts - their work is a narrative of personal experiences of womanhood. By contrasting the new feminine monumental shapes with architectural brutality, Rooms challenges the status quo and also bridges the conventional and contemporary design with a confluence of female energy. The studio’s largest U.S. exhibition to date, Distant Symphony, expands upon this impulse to focus inward. The title is again a chief concern—some of the objects included here were designed during the global pandemic, under a regime of forced isolation that made the studio’s typically collective work process untenable. The pieces shown here are the results of Rooms’ search for a way forward. The first room, an antechamber of sorts, evokes the intimate quality of a private home. Shown here are trinkets and personal effects chosen by Janberidze and Toloraia for their emotive qualities; a low background noise emphasizes the climate of urban domesticity. The ensuing gallery space features highlights of Rooms’ recent design output. Here, the subtle scent of organic materials provides a sensory indication of the atelier’s interest in dichotomies: natural and man-made, personal and collective, local and cosmopolitan.   In light of the global circumstances, Janberidze and Toloraia felt it was especially important to pursue collaborative work. Rooms invited three artists—Shotiko Aptsiauri, Salome Chigalashvili and Mariana Chkonia—to conduct a dialogue and shared design process. As such, this exhibition is a kind of polyphonic meditation on a need for solitude and desire for companionship. The practice of polyphonic singing, essential to Georgian folk culture, is reinterpreted here as a design endeavor. Chigilashvili, working with unprocessed yarn, interpreted folk motifs by adapting embroidery to the scale of furniture with expansive stitches applied to painted boards...

Stool circa 1970, by Guillerme and Chambron, edition "Votre Maison".