Napoleon III Side Chairs

Antique French Louis Philippe gold bronze and rosewood parlor chair with red and gold upholstery, Circa 1880.

Prayer chair or Prie-Dieu of the period Napoleon III, French, 19th century Exotic wood and velvet with golden braid. Can be recovered to suit your interior. Good antique condition.     

This beautiful antique fruitwood "Duchesse Brisee" (French for broken duchess), or chaise, was crafted in Provence, circa 1890. The set is made up of two armchairs (his and hers), an...

Two french chairs Napoleon III, made circa 1880. Beech and cane in faux-bambou style. Antique, late 19th century. Sound and solid. Shipping: L42 / H 89 / P 55 cm 13 kg.

French 19th century Duchesse Brisee. Dimensions of the large bergere is 28'' W x 32'' D x 39'' H Dimensions of the ottoman is 28'' W x 17'' H Dimensions of the small bergere...

A gorgeous pair of 19th century Napoleon III opera chairs in ebonised wood, each with a wonderfully ornate spindle back and a gilded decoration of flowers and foliage on the top rail...

This elegant French Napoleon III chaise longue is a timeless classic. Its sophisticated "chapeau de gendarme" shape is one of its most distinctive features, evoking a sense of regal sophistication. The chaise longue has the original upholstery. Although sold as-is, the option for custom upholstery services is available upon request, ensuring this stunning piece can be adapted to any individual taste or style. Bring an air of 19th century French elegance to your space with this exceptional Napoleon III chaise longue. We have only restored the wooden part, polished the feet with shellac. Sold as is. We always recommend upholstering vintage seats...

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...

Matrice side chair is a steel corset compressing a velvet fleece, an organic, carnal form, compressed by a wire mesh. The interaction of two antagonistic materials reminds us of the poetry of blown glass, the bodice on the waist, the imprint left on the body by the wicker chairs. We tried to give the seat a feeling of comfort, both visually and in its use. The iconic Chesterfield sofa quickly became a reference to be summoned. Matrice is a reinterpretation, a sensitive statement of its imprint: the upholstery here is turned over like a glove, revealing the wire mesh structure. The latter forms a corset compressing the softness of the seat and backrest to give it an organic geometry. Matrice is customizable on demand (colors of steel and fabrics, other fabrics), modular in chair or multi-seater bench, and each piece is numbered. This handcrafted chair...

19th century French duchesse Brisée armchair with accompanying footstool in Louis XV style, the seat with slightly concave back, oak back rail with central carved rosette. Both the c...

French Antique Duchesse Brisée, sort of. This particular French chair and ottoman have been together for decades, but were not born at the same...

Extremely rare French Louis XVI Duchesse Brisee (Chaise Longue or Lounge chair) by Nicolas-Jean Marchand, circa 1730s. Beautifully hand carved oak wood, newly restored and reupholstered with Casamance blue velvet fabric. Both chairs are signed (Estampillee) by Marchand at the bottom. Nicolas-Jean Marchand was a Louis XVI cabinetmaker well known for his furniture workshop in rue Saint-Nicolas. Marchand provided the King's court through Gilles Joubert...