Regency Mahogany Chaise Longue

A Fine Quality Early 19th Century, Regency Period, Mahogany Pedestal Desk Of Nice Small Proportions, Having Attractive Gilt Tooled Leather Inset To Crossbanded Top, Over Nine Drawers...

A Very Fine Quality Regency Period, Georgian, Mahogany Box Cellarette, The Well Figured Lift Up Lid Enclosing Recently Fabric Lined Interior Storage Cavity, Having Moulded Panel Fron...

A very good quality early 19th century Regency period mahogany boat shaped canterbury with pierced carrying handle over four divisions and elegant turned...

A Good Quality Regency Mahogany Boat Shaped Canterbury Having Elegant Turned Upright Supports And One Well Figured Frieze Drawer Raised On Elegant Turned...

The custom made contemporary chaise lounge in the style of Juan Pablo Molyneux with an open side is upholstered with burgundy colored cotton velvet fabric and edged with a white and ...

A fine tuscany mahogany swan neck sofa The front side of the curved arm ends on carved swan, The settee rests on four lion paw feet. Upholstery in a...

Russian designer Maxim Scherbakov‘s new exhibition at Rome’s Contemporary Cluster gallery, he pushes that idea to the extreme: What if design could be all about emotion, and little else? His barely functional pieces, and his general conceit, feel uncomfortable at first — we’re not sure we want to live in a world where design is purely an aesthetic indulgence — but in an era when furniture is increasingly difficult to distinguish from art, it does feel in some ways like we already are. And the ornate backdrop of the gallery’s home, the 14th-century Palazzo Brancaccio, serves as a potent reminder that it’s possible we always have. Maxim Scherbakov, who works under the studio name Supaform, says that he developed the new collection “as a result of a careful visual search for the frontiers of comfort,” seeking to celebrate “beauty for no reason,” he says. His floor lamp has no bulb, his coffee table is too bumpy to hold a glass upright, and his desk has trick drawers and a gap in the middle where its writing surface should be. Yet his various seating elements look no less functional than, say, Rick Owens’s, and Scherbakov has a compelling raison d’etre: Also a longtime painter, he pulled all of the works directly from his canvases, making them a literal elision of the two-dimensional realm and the three. If he can celebrate fantasy and feeling in one of them, he wondered, then why not the other? This wooden sofa is a part of the 'Hidden Entourage...

Edward Wormley for Dunbar chaise longue sofa.