Baroque Armchairs

Opulent Italian wrought iron Savonarola armchair made in the Baroque or campaign style. The chair features an iron frame with curule style legs and imposing patinated bronze mace fin...

Beautiful baroque seating set consisting of a sofa and two armchairs. Extraordinary workmanship of the woods made according to the canons of the ti...

Stunning Danish baroque style high-backed ear-flap chair hand made in the 1930s The frame and armrests are made beautifully of turned and carved solid oak....

Stunning & rare Italian venetian highly carved walnut Baroque upholstered arm chair~~ Besarel~~mid-19th century We recently had the good fortune to obtain this rare work of art~~an antique carved walnut arm chair...

Late 17th century Italian walnut square back armchair with bobbin turned arms, legs and stretchers, the whole possessing good rich color and crisp t...

Antique Spanish carved walnut armchair with old cut velvet fabric, 19th century. Nicely carved chair frame, old walnut has excellent patina, old wo...

Gorgeous Baroque throne armchair made of full nutwood in Italy. The armchair was completely new upholstered inside / outside with red velvet, the cushi...

This is an extraordinary pair of magnificent solid walnut carved armchairs with their refined original embossed leather covers. This rare and exceptional pieces hails from the Late 1...

This sofa with two armchairs was created by the artisans of the famous Cantù company, Silik, in the 1960s, in Venetian Baroque style, in velvet and embossed velvet, the structure is ...

A Pair of Large Italian Carved GiltWood Arm Chairs These large arm chairs are very comfortable the arms legs and back are carved with Acanthus Leaves in the Baroque style. The upho...

Beautiful hand carved European walnut throne chairs circa 1900. Solid and very sturdy. Re-upholstered at a later date with aniline dyed leather seats & fabric backs finished with br...

Fine pair of Italian 19th-20th century baroque style giltwood carved winged throne armchairs, each finely carved throne with scrolls and wavy armrests, on cabriole carved feet. (New ...

An Italian Baroque period walnut armchair from the 17th century, with slanted back, large scrolling arms, turned legs and carved X-Form cross-stretcher. This Italian Baroque period w...

Pair of Italian 19th century Baroque carved arm throne chairs. The pair with figural carvings and putti sleeping on beds of leafs, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon (1662-1732). The ornately carved thrones, each flanked with figures of standing males supporting a branch-carved armrests with vines. Raised on cabriolet scrolled legs. Andrea Brustolon (20 July 1662–25 October 1732) was an Italian sculptor in wood. He is known for his furnishings in the Baroque style and devotional sculptures. Biography He was trained in a vigorous local tradition of sculpture in his native Belluno, in the Venetian terraferma, and in the studio of the Genoese sculptor Filippo Parodi, who was carrying out commissions at Padua and at Venice (1677). He spent the years 1678-1680 at Rome, where the High Baroque sculpture of Bernini and his contemporaries polished his style. Apart from that, the first phase of Brustolon's working career was spent in Venice, 1680–1685. Brustolon is documented at several Venetian churches where he executed decorative carving in such profusion that he must have quickly assembled a large studio of assistants. As with his contemporary in London, Grinling Gibbons almost all the high quality robust Baroque carving in Venice has been attributed to Brustolon at one time or another. In the Venetian Ghetto, at the Scola Levantina, Brustolon provided the woodwork for the synagogue on the piano nobile, where the carved, canopied bimah is supported on Solomonic columns, which Brustolon had seen in Bernini's baldacchino in the Basilica of St Peter's. His furniture included armchairs with figural sculptures that take the place of front legs and armrest supports, inspired by his experience of Bernini's Cathedra Petri. The gueridon, a tall Stand for a candelabrum, offered Brustolon unhampered possibilities for variations of the idea of a caryatid or atlas: the familiar Baroque painted and ebonized figural gueridons, endlessly reproduced since the 18th century, found their models in Brustolon's work. His secular commissions from Pietro Venier, of the Venier di San Vio family (a suite of forty sculptural pieces that can be seen in the Sala di Brustolon of the Ca' Rezzonico, Venice), from the Pisani of Strà, and from the Correr di San Simeone families encourage the attribution to him of some extravagantly rich undocumented moveable furniture. Andrea Brustolon's elaborate carved furniture aspired towards the condition of sculpture, such as the Dutch bases for console tables which look like enlargements of the work of the two Van Vianens, Paulus and Adam, perhaps the greatest Dutch silversmiths of the period. These carved pieces display the Baroque tendency to develop a form three-dimensionally in space. Brustolon's walnut, boxwood and ebony pieces transcend ordinary functional limitations of furniture; they are constructed of elaborately carved figures. The framework of Brustolon's chairs, side tables and gueridons were carved as gnarled tree branches, with further supports of putti and male figures carved in ebony. Backrests of the chairs, which were never touched in the rigidly upright posture that contemporary etiquette demanded, were carved with allegories of vanity, fire and music, etc. The most extravagant piece delivered for Pietro Venier was a large side table and vase-stand of box and ebony, designed as a single ensemble to display rare imported Japanese porcelain vases. The eclectic allegories include Hercules with the Hydra and Cerberus, males and reclining river-gods (see ref.). For the Correr, less extrovert chairs bear female nudes extended along the armrests. For the Pisani, he carved a suite of twelve chairs (now at the Palazzo Quirinale) with flowers, fruit, leaves and branches to symbolize the twelve months of the year. Work by Brustolon is at the Villa Pisani at Stra. In 1685 Brustolon returned to the house where he was born at Belluno, and from that time devoted himself mainly to tabernacles and devotional sculptures in walnut, boxwood or ivory. His polychromed ivory Corpus from a crucifix is in the Museo Civico di Belluno, which preserves some of Brustolon's preparatory drawings for frames to be carved with putti displaying emblems. A pair of boxwood sculptures, The Sacrifice of Abraham and Jacob Wrestling with the Angel...

A pair of exquisite armchairs from the early 20th century, crafted by a skilled Danish cabinetmaker. Embracing the graceful curves and organic flower motifs of the Art Nouveau moveme...

18th century Italian giltwood armchairs.

A 19th Century Baroque armchair with original leather clothing from Sweden in dark wood.  

A very fine pair of palatial Venetian walnut carved mid-19th century Baroque figural throne armchairs, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon (1662-1732). The ornately carved thrones, each flanked with figures of standing males supporting a branch-carved armrests with vines. Raised on cabriolet scrolled legs. Provenance: The Castello di Giove in Umbria, Italy, circa 1870-1880. Height: 54 1/4 inches (137.8 cm.) Width: 37 1/4 inches (94.6 cm.) Depth: 32 inches (81.3 cm.) Andrea Brustolon (20 July 1662 – 25 October 1732) was an Italian sculptor in wood. He is known for his furnishings in the Baroque style and devotional sculptures. Biography He was trained in a vigorous local tradition of sculpture in his native Belluno, in the Venetian terraferma, and in the studio of the Genoese sculptor Filippo Parodi, who was carrying out commissions at Padua and at Venice (1677). He spent the years 1678-80 at Rome, where the High Baroque sculpture of Bernini and his contemporaries polished his style. Apart from that, the first phase of Brustolon's working career was spent in Venice, 1680–1685. Brustolon is documented at several Venetian churches where he executed decorative carving in such profusion that he must have quickly assembled a large studio of assistants. As with his contemporary in London, Grinling Gibbons almost all the high quality robust Baroque carving in Venice has been attributed to Brustolon at one time or another. In the Venetian Ghetto, at the Scola Levantina, Brustolon provided the woodwork for the synagogue on the piano nobile, where the carved, canopied bimah is supported on Solomonic columns, which Brustolon had seen in Bernini's baldacchino in the Basilica of St Peter's. His furniture included armchairs with figural sculptures that take the place of front legs and armrest supports, inspired by his experience of Bernini's Cathedra Petri. The gueridon, a tall stand for a candelabrum, offered Brustolon unhampered possibilities for variations of the idea of a caryatid or atlas: the familiar Baroque painted and ebonized figural gueridons, endlessly reproduced since the eighteenth century, found their models in Brustolon's work. His secular commissions from Pietro Venier, of the Venier di San Vio family (a suite of forty sculptural pieces that can be seen in the Sala di Brustolon of the Ca' Rezzonico, Venice), from the Pisani of Strà, and from the Correr di San Simeone families encourage the attribution to him of some extravagantly rich undocumented moveable furniture. Andrea Brustolon's elaborate carved furniture aspired towards the condition of sculpture, such as the Dutch bases for console tables which look like enlargements of the work of the two Van Vianens, Paulus and Adam, perhaps the greatest Dutch silversmiths of the period. These carved pieces display the baroque tendency to develop a form three-dimensionally in space. Brustolon's walnut, boxwood and ebony pieces transcend ordinary functional limitations of furniture; they are constructed of elaborately carved figures. The framework of Brustolon's chairs, side tables and gueridons were carved as gnarled tree branches, with further supports of putti and male figures carved in ebony. Backrests of the chairs, which were never touched in the rigidly upright posture that contemporary etiquette demanded, were carved with allegories of vanity, fire and music, etc. The most extravagant piece delivered for Pietro Venier was a large side table and vase-stand of box and ebony, designed as a single ensemble to display rare imported Japanese porcelain vases. The eclectic allegories include Hercules with the Hydra and Cerberus, males and reclining river-gods (see ref.). For the Correr, less extrovert chairs bear female nudes extended along the armrests. For the Pisani, he carved a suite of twelve chairs (now at the Palazzo Quirinale) with flowers, fruit, leaves and branches to symbolize the twelve months of the year. Work by Brustolon is at the Villa Pisani at Stra. In 1685 Brustolon returned to the house where he was born at Belluno, and from that time devoted himself mainly to tabernacles and devotional sculptures in walnut, boxwood or ivory. His polychromed ivory Corpus from a crucifix is in the Museo Civico di Belluno, which preserves some of Brustolon's preparatory drawings for frames to be carved with putti displaying emblems. A pair of boxwood sculptures, The Sacrifice of Abraham and Jacob Wrestling with the Angel...

A pair of French 19th-20th century Baroque style carved walnut and needlepoint upholstered hall throne armchairs with raised carved armrests and fluted conjoint legs. The tapestries ...

A fine Italian 19th century Baroque style carved walnut figural throne armchair, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon...

A late 17th century French Os de Mouton armchair, circa 1690. Completely stripped and reupholstered using a high quality stylish off whit...

We are delighted to offer for sale this stunning original 17th century attributed to Andrea Brustolon hand carved Italian walnut armchair with Cherubs...

Extraordinary and exquisite set of original Louis XV salon gold gilded chairs with curved wood edges, intricately carved surfaces and Grey Green Pat...

Very Comfortable and Rare Armchair of Generous Proportions and stately appearance, exuberantly carved Beech Wood frame, with scrolling floral motives, wavy open arms, cabriole legs j...

This finely handcrafted armchair, made by a Danish cabinetmaker in the 1930s, exemplifies the grandeur of the Baroque style. Constructed from solid oak, the chair features intricate ...

This 18th-century Elmwood Flemish armchair epitomizes both resilience and refinement. Its commanding presence is underscored by a broad crest rail intricately adorned with a delicate...

An absolutely fantastic set of four original Louis XVI French armchairs made by Jean Baptiste Lelarge. All four chairs have Lelarge stamp on them . He was one of the most famous furn...

On offer here is a beautifully crafted set of 10 armchairs made in France around the mid-20th century, circa 1950. These chairs feature solid walnut frames with turned legs and hand-...

Rare and very special Spanish armchair, the back featuring a prominent coat of arms carved and with painted accents, conforming front stretcher. O...

This hand-carved and decorated wooden chair from the mid-18th century embodies timeless French elegance. A classic French dining chair, it features a curved back with intricate carvi...

This elegant pair of 20th-century French armchairs exemplifies timeless design and craftsmanship. Constructed from solid walnut, the chairs feature beautifully styled carved frames w...

Our Custom Occasional chair in walnut with barley twist legs and stretchers. Beautifully carved scrolled arms. As shown in COL and nail heads. Can be made in any finish, in solid Wal...

Set of four Baroque style carved giltwood and velvet throne armchairs Italian, 20th Century Height 170cm, width 93cm, depth 73cm This magnificent set of four throne armchairs was crafted in Italy during the 20th century. Their design is inspired by the Baroque style, popular in Europe in the 17th and early 18th centuries. Each armchair is adorned with an intricately carved giltwood frame, featuring pierced backs lavishly decorated with scrolling acanthus leaves. The top rail of each backrest is carved with two putti perched atop grape vines, likely a nod to Bacchus, the Greco-Roman god of wine and celebration. These figures flank a central cartouche filled with additional ornate scrollwork. At the centre of the backrests is a coat of arms surrounded by more detailed acanthus carvings. Upholstered in sumptuous maroon velvet, the seats and armrests offer both luxury and comfort. The armrests culminate in striking carved winged busts, supported by scrolling elements that further enhance the armchairs' regal presence. Each throne stands on four legs, with the front two carved into lion paws—a popular symbol of strength and majesty. The cabriole-style legs are embellished with acanthus leaves at the knees, while the stretchers and aprons are decorated with more acanthus detailing, some parts complemented by delicate floral motifs. Embodying the decorative richness of the Baroque period, this set of thrones...

A museum quality, late-17th century, walnut, upholstered sleeping armchair • Exceptionally rare model; one of the first models of upholstered armchair with the addition of the wings intended to conceal draughts. • Transitional form : many of the carved features are characteristic of Baroque furniture dating from 1680 and the incorporation of upholstery is influenced by the desire for comfort post restoration of Charles II introducing French fashions to the English court. • Striking, statement piece. The cresting, “H” stretcher and scrollwork carving which features throughout the chair inject gravitas. • Practical size and ergonomic comfortable design, suitable for regular use. The original, carved, walnut cresting supported by a pair of dragons with scrollwork either side of a central stylised leaf spray. The shaped rectangular back with wings. The sweeping arms with carved scroll ends supported by tapering turned uprights emerging from blocks. The rectangular seat supported by double scroll carved and column turned legs joined by an ‘H’stretcher which mirrors the shape of the back in the centre with finial, column turned side and back stretcher and back legs. Exceptional original colour and patina. c.1690. CONDITION : re-upholstered in a recreation of 17th century, Italian, bargello embroidery which is characteristic of the period. Tiny marks, wear and losses as expected throughout the armchair. The finial is a C19 or early C20 replacement. The stretcher has suffered from worm damage and there are replaced sections at either end of 1” and 1½ “ respectively, and an area to the left of the finial has been filled. This work was not done by me and has some age to it and the finial was probably replaced at the same time. The armchair is sturdy and suitable for regular use. PROVENANCE: Private Collection, Cheyne Walk, London RELATED : Few sleeping chairs...

A Mid 18th Century Swedish writing desk armchair painted in black, in solid oak wood. This Scandinavian baroque seating is sturdy and ready to place directly in a studio, a hall or i...

An exceptional, museum quality, English, baroque, walnut, open armchair with faceted legs and shaped ‘x’ stretcher, upholstered in fine Georgian needlework...

Pair of Sicilian armchairs in red lacquer in the style of Barocco 1700, lacquered in red lacquer, the Sicilian and delicate style of great passion and design, a pair of very rare arm...

Mid-18th Century baroque hand-carved 1750 Venetian walnut armchair. Straw seat not original. The 18th Century was in Venice the Golden Age and this armchair is a remarkable work by ...

This early Baroque chair is made from rich Italian walnut. The broad antique frame was carved by the Italian sculptor and wood carver Andrea Fantoni, see accompanying photo. The arms...

Good provincial 18th century Swedish Baroque armchair in it's original finish with great patination. ca 1750 Sweden.

This antique Italian Rococo 17th century throne armchair sourced in a palazzo in Rome, features swirls, curls and foliate motif richly hand carved...

A fine pair of walnut Baroque Italian armchairs dating to the middle part of the 17th century retaining parts of extremely old leather seating. Italian circa 1650-70. T...

A richly carved walnut Italian throne chair. This arm chair could make a wonderful statement in any room. Use it for a desk chair, next to a fireplace, an office or in the living roo...

Discover a remarkable piece of history with this 18th-century Baroque armchair, meticulously preserved and dating back to 1750. Originating from Germany, this exquisite piece embodi...

This pair of open armchairs are characteristic of the Haute Époque employing elegant barley-twist turnings and sweeping, curved, scroll arms. The bargello is a re-creation of a fashi...

Louis XVI style pair of carved armchairs, Spain, 1900s Good antique condition with some minor marks from used and age. Beautiful Solomonic c...

A pair of Italian Baroque ‘poltrone’ or armchairs. Probably from the Umbria region, 17th century and later. Solid walnut with upholstered seat and backrest and remnants of the origin...

A fine, large, late 17th century, Flemish, open armchair in the style of Daniel Marot with an upholstered seat This fine, armchair is an, unusually, large size and the carving is of exceptional quality reflecting the status of the owner it was made for. It is sturdy and in usable condition. Chairs of this type, with tall, intricately carved backs, were placed in rows against a wall forming part of the decoration of a room. The carving of the back of this chair is French in style and was based on decorative prints by Daniël Marot The cresting carved with a profusion of acanthus leaf scrolls. The back with fine, pierced carving. The mid-section with a central flowerhead with scrolled shields above and below ornamented with flowerheads acanthus leaf crestings. Two pairs of carved ‘S’ scrolls ornamented with acanthus leaves either side. The tapering turned sections surmounted by ionic capitals and supporting back of the scroll arms carved with acanthus leaf ornament. The front arms supported by baluster and tapering turned sections ornamented with acanthus leaf carving. The legs joined by a shaped ‘H’ stretcher with central finial, on bun feet. The upholstered seat reupholstered in a bargello woven in tones of blue, green, red and gold faced with braid and brass studwork. The back of the chair has an incredible, 19th century, oak support from the cresting to halfway down the back, which has been beautifully carved to conform with the open sections of the back, and two braces down the length of the back. There are also two oak supports behind seat blocks at the top of the legs. These repairs are sensitive to the model of chair and have become part of its character and features in their own right and they are very interesting from a conservation history perspective. There are two old repairs to a small break in the cresting on the right hand side and the hairline cracks are visible, an old repair to a small break in the top right of the central splat with a small piece added and a visible hairline crack. The right side of the back has noticeable worm damage on the right seat block which is probably the root cause of the break on the block on this side from impact as the chair probably fell backwards at some point and either onto its right side or it hit something on that side and the block weakened by worm gave way as the damage to the chair is localised on the far right side. Because the backs are high on these Daniel Marot chairs they are top heavy and invariably do have damage to the backs and crestings from impact damage so this is not unusual. The right block has been repaired thoroughly and is stable and there is no live worm in the chair. It would be possible to disguise these repairs but I have left them as they are consistent with the 19th century date of the supports and conform with museum standards. A full set of photographs...

This is a good pair of early 18th century Italian Baroque hall chairs. The chairs are in overall good condition considering their three hundred years of use. The appropriate upholste...

Nicely carved frame and very sturdy with caning in excellent condition. Includes a loose cushion. From a Fifth Ave New York estate.

Baroque Swedish armchair hand-carved from beechwood and ash (circa 1670-1699), with traces of early ruddy-color paint. Well-worn prominent, almost-serpentine shaped, claw arms, origi...

One of the most representative furniture of the Belloni "Il Classico" collection. Extremely refined armchair inspired by the Baroque style. Finely hand carved in Italy by skilled ca...

An statement making and most decorative pair of Italian 19th century Baroque st. Giltwood armchairs. Each wonderful chair is raised by four legs, with the back legs being square and ...

Opulent pair of grand fauteuil armchairs or throne chairs designed by Hendrix Allardyce Hollywood, CA. Known as Avignon chairs featuring large carved beech wood frames in the French ...

This open armchair is characteristic of the Haute Époque employing elegant barley-twist turnings and sweeping, curved, scroll arms. The bargello is a re-creation of a fashionable uph...

A early 18th century walnut French wingback armchair. This Louis XIV model is also known as Os de Mouton or 'Sheepclaw feet'. The shape of the feet were a provincial take on the gild...

A nicely carved Spanish Baroque style carved oak armchair with detailed scroll carved crest, decorative arms, carved corner figures, foliate carved front stretcher, Spanish feet, and...

Unique Spanish finely carved walnut armchair with a crown over coat of arm, Late 18/early 19 century. The armchair was possibly designed for a member of the royal family back then. ...