Sculptural Side Chairs in Carved Dark Stained Oak by Scandinavian Cabinetmaker

Charming pair of armchairs in dark stained pinewood with seats of woven seagrass. The chairs are made in Denmark in the 1930-40s and have never been refinished. The design is simplis...

Charming side chair from around 1900. The chair is made from solid mahogany with a stunning patina. In the style of Martin Nyrop, Fritz Hansen and other early Danish Modernism. Great...

Set of Danish Modern side chairs made in the 1940s and attributed to Danish architect Magnus Stephensen. Executed in solid elm tree and black leatherette. Big chairs with wonderful o...

Stunning antique cabinet in dark stained oak with carvings. Made in Denmark in the 18th century. The cabinet has 2 shelves and can be locked. Original key in wrought iron included. A...

Wonderful traditional "Monk´s chair" made in Sweden around 1900. Made from solid Scandinavian oak with an amazing patina. Cushion in romantic silk upholstery. A monk's chair is a piece of furniture that was particularly popular in national romanticism...

Charming cabinet made in Denmark in 1930 by an unknown cabinetmaker. The cabinets exterior is made of dark patinated oak and the interior in warm pinewood. The style is typical for t...

A Baroque dark stained oak wood side chair circa 19th Century, Sweden. Reminds me of a chair that Picasso owned. Wonderful time worn patina.

Victorian Hand Carved Oak Gothic Revival side throne chair with woven cane wicker back and seat. Circa 1860.

This hand-carved and blackened reclaimed oak chair, designed by Rooms Studio (from their 2018 Wild Minimalism collection), is inspired by the legacy of traditional Georgian craftsmanship. The Sculptural Chair is meticulously handcrafted of ancient wood, and features a diamond shape cut-out on the top rail, which is curved gently, cradling the back, with a round seat and circular cross stretcher. 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 work of Rooms Studio has concerned itself with questions of nomenclature since the Tbilisi-based design atelier was co-founded by Nata Janberidze and Keti Toloraia in 2007. Take, for instance, the studio’s name: in adopting the basic unit of interior space as the title of their practice, Janberidze and Toloraia also emphasized the emotional force of interiority and inner life in determining their creative output. 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...

Sculptural oak side chair by Guglielmo Pecorini, Italy, the 1950s This describes a midcentury sculptural chair designed by Guglielmo Pecorini in the 1950s. The chair is made with an...

The Bluff side chair is an homage to the foothills surrounding Luft Tanaka's hometown of Kasugai, Japan. Poetic and architectural; planar yet curvy, t...

The Bluff side chair is an homage to the foothills surrounding Luft Tanaka's hometown of Kasugai, Japan. Poetic and architectural; planar yet curvy, t...