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, having elegant square upright supports and divisions, over one frieze drawer, raised on unusu...

A Very Good Quality 19th Century, Regency Period Mahogany Tea Table, Having Superbly Figured Foldover Top With Banded Decoration And Well Figured Interior Retaining Good Surface And Patina, Above Elegantly Figured Frieze With Matchstick Fluted Decoration, Raised On Rare Extravagant Turned Sabre Legs With Carved Scrolling Decoration To Feet. As suggested by the name, tea tables were made to serve tea from. Often part of a pair, with an identical matching card table, or even a wider suite of furniture they would simply stand to one side in a room and be pulled out, then opened up when required to allow for the placement of trays containing all that is required to serve tea from. Now of course aside from its original purpose this table suits a whole variety of different spaces around the home. It could be used as a console table, a pier table, a simple side table or even as a card games table. Constructed from well figured, high grade mahogany which would have been expensive to purchase in the late 18th century it is incredibly elegant and very good quality. Clearly a lot of effort has gone into the overall look of the table and the cabinet making has been well executed. The legs are quite spectacular, a design which we have actually never come across before. They are certainly something very special and, dare we say it, possibly even a unique feature, which will no doubt be a talking point once the table is standing proudly in position. As with all items which we offer for sale it has been through our workshops, where our highly skilled, traditional antique furniture...

Chaise longue sofa great rest with solid wood structure, upholstered and covered with grey velvet fabric (Cat B.). Cushion in option. Available ...

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.