Amber Antiques Interiors Office Chairs and Desk

Pair of office chairs from the administrative offices of Chandigarh (PJ-SI-28-B).  

French fauteuil, open armchairs side or desk chair Louis XVI revival, circa 1880 The upholstery and the fabric have been recently redone Good condition Walnut frame sound and so...

An authentic mid-century piece from Pierre Jeanneret’s legendary Chandigarh commission. Teak frame with hand-woven bamboo-rattan seat & back. Letter : P.S.A./CH/149 (Punjab Secretar...

English fauteuil, open armchairs side or desk chair in the Victorian style. Walnut and upholstery. The fabric can be change, or needs to be repared. The ornamentation of this armchai...

Pair of French fauteuils, open armchairs side or desk chairs Louis XIII revival, To be recovered. circa 1880. Good condition. Frames sound and solid. Shipping: L146 P 68 H 12...

Early 19th century Gainsborough mahogany armchair in the manner of Chippendale, upholstered in sage green silk damask in the traditional 19th century style with brass studding, the s...

During the first half of the seventeenth century chairs evolve towards a new model today known as Louis XIII foreshadowing the armchair. Chairs adopt a widen and lower silhouette. Horizontal lines prevail. Cushions disappear supplanted by horse hair upholstery. This chair stands on four feet linked by an H-shaped spacer and a frontal cross-bar. Legs, spacers, cross-bar and arm-rests are all turned as rosary beads...

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...

This striking 19th-century French armchair is a superb example of the curule or “Dagobert” style, inspired by early medieval throne designs and reinterpreted in the Renaissance Revival tradition. Hand-carved from solid walnut and richly patinated with time, the desk chair showcases a sculptural silhouette formed by its signature X-shaped base, accented with scrolled legs and detailed stretcher supports. Both the seat and back are upholstered in dark brown tooled leather, secured with large brass nailhead trim for a bold, architectural presence. The upper backrest is topped with ornate carved motifs including stylized foliage and wave-like trim, while the sides are decorated with foliate carvings and rolled armrests for added refinement. Sturdy, elegant, and full of historic character, this antique curule chair...

19th century wing armchair, the shaped reclining back above large movable arm rests, leading down to fully adjustable stool, Upholstered in tartan fabric. Raised on four tuned legs t...

An English 17th Century Oak Wainscot armchair Ca 1680 English oak armchair with a carved panel backrest. The armrests have a beautiful patina,...

Of comfortable size, the four beautifully turned legs joined by conforming stretchers, scrolling, carved arms. Clean up and polish included. The chair needs to be re-upholstered and...