Antwerp - Chairs

Rustic; France; Mid-Century Modern; Stools; Barstools; Rustic wooden stools made in France, we have four available. Every stool has three leggs and a round seating. Each chair is...

wonderful blue color, these plexi Ero chairs, designed by Philippe Starck for Kartell, Italy in the 1970's ...

Vintage mid-century chair by Pierre Guariche for Meurop, Belgium. Enameled black tubular steel frame with original black vinyl upholstery in excellent condition. Dimensions: 40W x 8...

Set of four Italian chromed steel and green leather chairs, 1970s. Arrben leather chairs all four in original good condition, comfortable seat.

Midcentury modernist chrome cantilever chairs by Romeo Rega, sculptural floating seat design, 1970s. New black ultra-suede upholstery. Dimensions: 47 W x 82 H x 50 D cm, seat: 46 cm...

Set of six radar chairs by the Belgium designer Willy Van Der Meeren for Tubax, Belgium, 1950s. Chairs made of a black painted metal structure with lacquered wooden seats, seat hight...

Set of four red metal folding chairs dating from the 80s. A decorative set to spice up your kitchen, dining room or even terrace. Very playful set,...

Great set of midcentury chairs. Combining traditional craftmanship and natural materials with a modern design. Beautiful proportions and good...

Set of 4 stackable orange chairs with chrome base and plastic seat. They were manufactured in the 70s by OVP Belgium and designed by J.P. Emonds. This designer is also known for ho...

This antique dentist chair, enameled cast iron, steel and leather was made in the USA during the 1920s.

Thonet; Austrian design; Furniture design; Armchairs: Hand-crafted; Mid-Century Modern; Sedie Bianche Lengno Scolato; Dining chairs; Craftsmanship; 1960's; Thonet style hand-carved wooden dining...

Lionel Jadot; Stools; Everyday Gallery; Contemporary; Belgian design; Belgian Art; Gesmonite; Presented at Art Basel 2021, Everyday Gallery is thr...

Manufactured by BelgoChrom, designed by Frans Van Praet. Extremely rare set of 12 chairs exhibited at the Belgian Pavillion in the Sevilla '92 world expo. Bronze patinated metal, b...

Fun object in your garden or interior, designed by Hungarian Peter Ghyczy in 1968. Measures: Height open 100 cm, height closed 45 cm.

A set of 6 chairs in pale elm wood. It perfectly matches any kind of natural-style table, such as travertine or wood. It creates the perfect wabi-sabi style due to its imperfection...

Wim Den Boon; Dutch Modernism; Dining chairs; Side chairs; Dutch design; Wim Den Boon was a Dutch designer, interior designer and architect. Boon w...

Collectible design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020 Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time. The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand. A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world. Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled. In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element. The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis...

Made in the 1970's these peacock chairs are highly decorative ... rare to find a pair ...

Set of 4 Sergio Rodrigues style Brutalist three-legged bar stools in dark oak with iron footrests. Set of four 'Brutalist' or 'Marbella' bar stools, in stained beech and metal, Spa...

A unique piece, this xl teacup chair, made for a shopwindow in Paris ...

Marc Newson, Felt chair, limited edition, 2005, 03-99, Lacquered fiberglass, mirror-polished aluminium.  

Carlo Bartali, model 'Solar', Arflex, Italy, 1965, four armchairs available Fiberglass and polyester resin with lacquer finish These elegant lounge chairs by Carlo Bartoli were made...

Postmodern Memphis style chair, Italy, the 1970's. As a typical characteristic of Memphis, The backrest is highlighted by a fun and elegant pattern. The Memphis Group, also known as Memphis Milano, was an Italian design and architecture group founded by Ettore Sottsass. It was active from 1980 to 1987. The group designed postmodern furniture...

Rare cantilever Pagholz chairs the seat and back was made at the Pagholz manufacture in Germany. The frame is beautifully chromed tubular with feets that come forwards to prevent tip...

'The King of Tiébélé' chair is a functional art piece and collectable design that features a frame attributed to Philippe Hiquily, a seat from a Pontiac 72, pocket spring seat from Lionel Jadot's grandfather’s workshop, a backrest made from a traditionally patterned woven motorcycle cover from Tiébélé in Burkina-Faso, and a headrest in the style of mountain decor...

1950s industrial iron atomic chair with tropical hardwood seat and back. This unique and impressive large space age chair looks like an assemble of org...

Walnut stool, hand-crafted, studio craft, USA Wendell Castle, Roger sloan, JB Blunk, Jawar, Richard Bronk, Gerald Mccabe, Bobby Falwell, David Scott, Charles Fischer, Howard Osinski...

this table and two chairs are by David Chapman, 1909-1978, US architect and Industrial designer Measures: table 130 cm x 70 cm x 78 cm high chai...

Lalanda dining chairs, Gianfranco Frattini, Italy 1980s Dark grey lacquered frame and cognac/whiskey patinated leather seating. Magnificent set in every sense, we offer ten pieces ...

Vintage 1970s Italian chairs. Gunmetal silver lacquer frames with sculpted legs. Bright orange velveteen upholstery. Dimensions: 42W x 80H x 50D cm Seat: 45cm high.

Unusual Dutch Art Deco armchair, 1930s, Netherlands Stained oak sculptural armchair on five ebonized conic feet. The sides and the back are...

Oxford low back desk chair by Arne Jacobsen for Fritz Hansen. Designed in 1963 for the professors of St. Catherine’s College in Oxford. Blue uphols...

Pierre Jeanneret, library chair, a pair, India, 1952-1965 H.C 14 / 33, 43, 47, 79 Meaning chairs nr 33, 43, 47, 79 for Room 14 of the High Court of Chandigarh It's a rare feat t...

Collectible Design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020 The chair made with scrap metal laser cuts and a prototype element of one of Lionel’s coffee table, the legs are made with the pantograph of a drawing table from the 30s, hung on an inked piece of Japanese wood from the 19th piece of furniture. Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time. The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand. A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world. Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled. In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element. The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair...

Vintage 1950s high back chairs. Features original floral upholstery with brass tacks. Dark stained wood. Metal spring seats with cushion.Beautifu...

"Plaster Whip" sculpture by Lionel Jadot A stool made of leftover plaster vats from a molding company, scrap metal, leather whips from the 1950s and a bodybuilder’s belt from the 1930s Collectible Design / Functional art , Lionel Jadot for Everyday Gallery, Belgium 2020 Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time. The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand. A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world. Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled. In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element. The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis...

Pierre Chapo style, Mid-Century Modern high back chairs, French elm, France, 1960s. Naturalist set of eight dining chairs with a woven cord seating. Also from the same original house we have a daybed, desk, side tables and coffee table available. Would fit well in a Brutalist decor...

A good authentic set of two Chandigarh chairs. Artisanally and locally made with pegged solid teak and braided canework in the 1960s. This type is known as the Library chair. The x- “frame” is beautifully complemented with the convex 'banner' type backrest. Previously restored preserving their patina and sturdy enough for everyday use. The original lettering and numbering (referring to their place in one of the government buildings still present. The way Jeanneret designed these chairs is a wonderful example of modernist ideas paired with craftsmanship and classical proportions. Together with the amazing story...

This iron garden chair was designed by the Belgian architect and furniture designer Gustave Serrurier-Bovy for Serrurier et Cie in 1903. This chair is the only ‘garden furniture’ or ‘metal furniture’ mentioned in early advertisements...

Fred Sandra's "Up 636" dining chairs from the 1960s as part of the Madison series for De Coene. Crafted with a rich walnut frame, these chairs feature chic...

These dining chairs ‘Tribute to Mackintosh’ were designed by the Belgian designer and artist Frans L. Van Praet (°1937). The chairs can be dated in the 1980s, in the collection ‘Hommages ‘ – ‘Tributes’. They are a nice example of Belgian postmodern...

1970s quirky iron/rattan chair.

Dom Hans van der Laan, Bossche school, Netherlands, 1960s. The chair was designed by the Dutch Benedictine monk and architect, Dom Hans van der Laan ...

Assemblage functional art bench or sofa made from sections of a wooden ceiling installed in a bank by Christophe Gevers in the 1970s, burn-treated by Lionel Jadot, leather shapes are...

Mid-Century Modern, set of six 'S2' chairs designed by Alfred Hendrickx in 1958 for Belform. The chairs are made of black lacquered cherry wood and have woven cane seats. The elegan...

The 'T-Shink' functional art throne chair is constructed of elements from wooden moulds which date back to the 1950s and originally used to make stainless steel sinks...

The ‘Frozen Culture’ chair is a unique functional art piece with a history. Constructed from a set of 35,000 VHS cassettes that were recorded over the course of 25 years by an indivi...

Great Chippendale chair with beautifully executed curves in finely grained mahogany. The Chippendale style was part of the English answer on French Rococo and incorporated oriental, ...

‘Ornamentum 1’ chair made from 6mm lasered aluminium. Designed as part of a collaborative project between spatial designer Orson Van Beek and fashion designer Quinten Mestdagh, consi...

'Tale of Frac' armchair is a contemporary functional art object created by artistic duo touche—touche. touche—touche are interested in tactile exploration, creating illusions by man...

Sculptural bamboo chair in the style of Konstantin Grcic. Mid-Century modern, designed in the 1970s. Measures: H 107 cm, D 85 cm, W 46 cm.

Wim Den Boon ’s prototype chair for ‘Goed Wonen’ 1947. Important and Historical piece of Dutch modernist furniture Wim Den Boon formed 'Groep &' just after the liberation of The N...

Thonet armchair with a printed illustration. The seat and backrest are weaved in rattan. The rest of the frame is covered in a print that could have influenced by the great Fornase...

This butterfly chair has been molested in 2015 for the exhibition ‘Van vlinders en mieren’ (Of butterflies and ants) for the 60th anniversary of Arne Jacobsen’s Butterfly chair...

A set of two fine quality 20th century Georgian style chairs. Walnut frame with a carved bow and floral motif at the backrest the seats are upholstered in a neutral damask style mate...

Set of four dining chairs,1950s. Measures: Height seat 42 cm.

Three-low slung African lounge chairs, probably from Congo, circa 1950s-1960s. Each chair is hand carved and unique and has a slightly different design.

Set of six chroom Bauhaus chairs with plywood seat and backrest, 1930s The set has two armchairs and four normal chairs. German Art Deco black enameled wood armchair with chrome tri...