Croix Settee 2-Seat

A fine and delicate work of textured seaming, as if a geometric embroidery was made, makes this settee detailed and rich. An astonishing surprise, to perceive how embellished a space...

A fine and delicate work of textured seaming, as if a geometric embroidery was made, makes this settee detailed and rich. An astonishing surprise, to perceive how embellished a space...

Comfortable and elegant, Ava settee is a versatile piece where creativity meets no boundaries: fabrics, solid woods, lacquers and brass fittings are chosen and combined in many ways ...

Comfortable and elegant, Ava settee is a versatile piece where creativity meets no boundaries, fabrics, solid woods, lacquers and brass fittings are chosen and combined in many ways ...

A Queen Anne style two seat settee, custom made for Paramount Antiques of New York. The seat back has rounded shoulders carved with an acanthus leaf...

Robert Guillerme studied design and architecture at the École Boule, graduating in 1934. After the Second World War he moved to Lille, in the north of France, where he decorated home...

Mid-Century Modern Curved Sofa / Settee, Adrian Pearsall Style, Three-Seater Curvaceous three seater mid-century modern sofa in the manner of American designer, Adrian Pearsall. Ha...

Incorporating 'Stones of Bath' into this settee is inspired the pipers use of one of the five designs commissioned for their centenary, ‘The Glyders’, as loose covers for the chairs at their home Fawley bottom which John Betjeman called ‘Fawley Bum’. 'Stones of Bath' is one of five John Piper (1903-1992) designs commissioned by Arthur Sanderson & Sons in 1959 for their 1960 centenary celebrations. In 1962 Sanderson's screen printed ‘Stones of Bath’ on their Sanderlin fabric, a satinised linen which gave the design a shimmering, restless texture. This was ideally suited to the play of light depicted on the stone in the architectural repeat of buildings in the city of Bath. A piece of this fabric which is in the collection of the V&A was exhibited at the John Piper retrospective held at the Tate Gallery, London, 1983. Reference: 'Artists’ Textiles in Britain 1945-1970', Cat. No. 74. From the late 1950s-early 1960s there was interest in painterly textiles that demonstrated the unique potential of screen printing, with its ability to capture the quality of brush-stroked color. 'The monumental grandeur of many artists' textiles in the early 1960s was necessary if they were to work in the large scale architectural interiors of the era which witnessed a rapid growth in new public buildings, all which required furnishing with suitably prestigious fabrics'. Artists' Textiles in Britain 1945-1970 by Geoffrey Rayner, Richard Chamberlain...