Recognized Dealers Armchairs

Solid Wood Stool Minimalist Design Muted by Joel Escalona No15 — Dive into the world of understated elegance and architectural prowess with the Muted Lounge Chairs Collection by N...

A pair of 18th century Georgian painted and gilt armchairs with upholstered balloon backs, padded arms and upholstered seats on shaped and carved aprons, on turned legs, with gray pa...

These “New Berlin” chairs are among Swedish icon Carl Malmsten’s rarer models. The dark wood, the beautiful upholstery and timeless, clean design makes the “New Berlin” model a beaut...

Dining chairs, plywood, Netherlands, 1960s A set of innovative and durable chairs: these strongly curved dining chairs crafted from plywood. These...

Taken from “Femme á la téte rose,” 1935 (Woman with a head of roses). It was sufficient for this sculpture to be made as a three dimensional piece...

European furniture design of the 1930s saw a shift towards sleek, architectural lines with a focus on symmetry and proportion. Chairs, tables, and cabinets often featured strong, fra...

"Tokyo-Pop" is a white or black anthracite polyethylene monobloc iconic armchair, designed by Tokujin Yoshioka and manufactured by Driade. White version only is available in quick s...

Architect, urban planner and product designer Jan Bočan (1937–2010) was a vocal exponent of Czech brutalism. His efforts were valorised when, in 1971, he won a RIBA award for the Cze...

Armchairs, oak, rush, France, 1940s A striking set of French armchairs from the 1940s, crafted in oak and rush with a strong and powerful presence. The bold geometric lines and soli...

This beautiful armchair is an example of 20th century European design and outstanding craftsmanship with a quality that honours the materials and their users. The first half of the 2...

A cherry, poplar and white fabric "Springborn" armchair designed and produced by Wendell Castle, USA, 1993. Dimensions: 35.375” H x 28.375” W x 22.25” D Seat Height (inches): 19.25...

“Danish Modern” is a recognised term around the world, standing for the style of Danish design created during the 20th century. As these armchairs show, furniture created in this per...

The modular shelving system Elysée was born from the collaboration between Magis and the French designer Pierre Paulin. It was September 2002 when Eugenio Perazza, Magis founder, wen...

Pair of small armchairs by Carlo Scarpa for Bernini. Model 771 from the "1934 Series". Walnut frame and red/green reversible felt padding.

Contemporary Armchair 'Barba Club' designed by Andreas Engesvik for Fogia Materials: - Fabric, foam and wood Dimensions: H. 66 x 70 x 72 cm H. 26 x 27.5 x 27.5 in Fabric shown on...

Modern Chair Solid Oak Sculptural Form Muted by Joel Escalona No01 ——— Dive into the world of understated elegance and architectural prowess with the Muted Lounge Chairs Collection ...

Designed in 1994, the Hermann Czech chair represents the turning point of modern furniture towards the passion of reminiscence and intimacy: a contemporary design that evokes memorie...

The traditional and tapered mortice and tenon have been rebranded many times. We continue this evolution, converging to a sharp a point, becoming a piece of domestic hostile design. ...

Outdoor matilda easy armchair by Kenneth Cobonpue. Materials: Polyethelene. Aluminum. Also available in other colors and for indoors. Dimensions: 100cm x 110cm x H 63cm. The sa...

Designed by Sergio Rodrigues (1927-2014) in 1973 and produced by Oca, the Kilin armchair is composed of two sides and two crosspieces, with the back and seat made from a unique piece...

Guillerme et Chambron for Votre Maison, armchair model 'Fumay,' oak and fabric, France, 1960s Beautifully shaped armchair in blond oak by French designer duo Jacques Chambron and Ro...

Luigi Massoni for Poltrona Frau, set of four armchairs model ‘Dinette’, leather, chrome, Italy, 1972 This set of dining chairs showcases an exceptional design, defined by distinctiv...

A fine companion pair of Russian gilt bronze-mounted armchairs. Russian, circa 1870. The frame of each chair with exceptional gilt bronze mounts. The padded backs, seats, side...

Strip chair by Dutch designer Gijs Bakker for Castelijn, 1974. A rare version with armrests, only a limited amount had been produced. Made of 8 bended ...

A stained bentwood side chair designed by Werner West and produced by Wilhelm Schauman Fanerfabrik AB, Jyväskylä, Finland, 1930s. Seat height: 17.38”

Unio armchair by Poiat Designers: Timo Mikkonen & Antti Rouhunkoski Collection UNIO 2021 Dimensions: H. 72 x W. 75 D. 72 SH. 40 Model shown: Tiger mountain (graphite) by De...

Pair of French Art Deco (Circa 1940) Bergères Armchairs with tapestry upholstery having a round back and scroll design arm (by JULES LELEU) (Reference: Decorateurs Ensemble, Francois...

The seat was born from a very simple idea: two tubes bent into a “U” shape and connected together by a joint. Additional information: Materials: Upholstered seat with Black Metal Frame Color: Steelcut 2 Col...

PAIR of Swedish Art Deco (1930s) high back armchairs with burl wood veneer frames featuring an inlaid geometric floral design across the top back rails, two shallow wings topped with...

Set of 8 Mid-Century (1950s) Italian Modern dark brown finished walnut armchairs with shaped frames and red vinyl upholstered back rests and seats, standing on tapered front legs and...

In his designs, Percival Lafer sought ergonomy and comfort. This pair of MP-97 lounge chairs by Percival Lafer comprises a solid wood structure with a single piece of a loose foam se...

An intriguing and rare set of six vintage dining chairs by Finesse Furniture Ltd., comprised of four side chairs and two armchairs (also known as captain’s chairs). These sculptural, channel-tufted chairs exemplify 1970s Postmodern glamour and offer strong visual appeal with their plush, modular upholstery and cantilevered brass bases. The label from Finesse Furniture Ltd is intact and present on five of the six of the chairs. The distinct silhouette of these chairs defined by stacked, contoured cushions and bold lines recalls the maximalist interiors popularized by designers like Steve Chase, while their construction and proportions also nod to the Art Deco revival and Hollywood Regency influences of the late 1970s and early 1980s. The unique design invites creative reupholstery: each channel-tufted section could be re-covered in contrasting tones or textures for a highly personalized, expressive look. These chairs would pair beautifully with a high-gloss lacquered or burl wood dining table, or a round glass or travertine-top table for a more eclectic aesthetic. This sculptural set of dining chairs by Finesse Furniture Ltd would work great in a Mid-Century Modern, Postmodern, or Hollywood Regency interior, but could also add a splash of glam to a Contemporary, Transitional, or even Art Deco inspired home or penthouse apartment. Also consider mixing them in with a Traditional or Minimalist space for a bold juxtaposition. Ideal for a commercial project such as a hotel dining room, members club, or design studio showroom. Consider using as dining chairs, cafe or breakfast table chairs, side chairs, conference or meeting room chairs...

This rare pair of armchairs was designed by Anton Lucas and produced in Leiden, The Netherlands circa 1925. The frames are made of solid oakwood, with a geometric front detail in Mac...

Carl Malmsten, set of twelve dining chairs, teak, fabric, brass, Sweden, 1960s These high back armchairs are designed by the Swedish designer Carl Malmsten (1888-1972). These elegan...

With a balanced style and passion for high craftsmanship, Chiara Andreatti brands LOÏE, a lounge chair with harmonious curves, combining ease and refinement. A pursuit of elegant cra...

The “Stora Eva” chair model is from the timeless and iconic Paradiset Collection from the Triva Series, which was created in the 1950s by Kerstin Hörlin-Holmquist during her time at ...

JOSE ZANINE DE CALDAS (1919-2001). Pair of armchairs model “H.” Manufactured by Moveis Artísticos Z. Brazil, 1949. Marine plywood, fabric upholstery. Measuremenents 58 cm x 50 cm x 80 H cm. Literature: Habitat, nº9, Sao Paulo 1952. José Zanine Caldas (Belmonte, Bahia, 1918 - Vitória, Espírito Santo, 2001) was an architect and designer. Caldas stands out on the national architecture in Brazil for his exploration of the constructive qualities of Brazilian woods, defining his work with a warm rustic ambience, working on both high-end residential projects and also popular constructions. Never actually training as an architect, he starting working in the 1940s as a designer at Severo & Villares and as a member of the National Artistic Historical Heritage Service (Sphan). He opens a maquet studio in Rio de Janeiro, where he worked between 1941 and 1948, and, at the suggestion of Oswaldo Bratke (1907-1997), moved the studio to São Paulo, from 1949 to 1955. The studio served important modern architects of the two cities, and was responsible for most of the models presented in the book Modern Architecture in Brazil, 1956, by Henrique E. Mindlin (1911-1971).. During the 1940s, he also began developing and researching at the Institute of Technological Research of the University of São Paulo (IPT/USP), and was first introduced to plywood. In 1949, he founded the Fábrica Móveis Artísticos Z, with the objective of producing large-scale industrialized furniture, good quaility and afforable, the furniture was to be materialized using plywood sheets. This method minimized material waste and the need for artisan skills, as the parts were mechanically produced and the use of labor was only needed for the assembling of the furniture. His time at Móveis Artísticos Z, in 1953 was rather short lived and left the company in 1953 and instead worked on landscape projects until 1958 in São Paulo, when he moved to Brasília, where he built his first house, also in 1958, and coordinated the construction of others until 1964. Appointed by Rocha Miranda to Darcy Ribeiro (1922-1997), he joined the University of Brasília (UnB) in 1962 and taught modeling classes until 1964, when he lost his position due to the military coup. He set off and travelled through Latin America and Africa, an experience that had a remarkable effect on his work. On return to Brazil he built his second house, the first of a series of projects in the Joatinga region of Rio de Janeiro. In 1968, he moved to Nova Viçosa, Bahia, and opened a workshop, which ran up until 1980. His experience in the Bahian city was shaped by his renewed love and contact with nature, and he began working closely with environmentalists. In one of these collaborations, he participated in the project of an environmental reserve with the artist Frans Krajcberg (1921-2017) for whom he also designed a studio in 1971. The furniture he designed during this period, is reflective of his ecological sensitivity, his works were constructed with crude logs of wood, whose twisted lines inspire his drawings. It is also in Nova Viçosa that the architect builds the Casa dos Triângulos (1970) and casa da Beira do Rio (1970), in which he adopted a very artisanal construction system with typical woods of the region. According to the historian and architecture critic Roberto Conduru, Caldas' performance was relevant for the diffusion of environmental values in architectural projects: a "taste for the alternative and the rustic was disseminated throughout the Brazilian territory [...], encouraged by environmental preservation campaigns, by the wear and tear of the current models in reinforced concrete and by the re-emergence of the regionalist ideal in the international panorama"1. Between 1970 and 1978, he kept an office in Rio de Janeiro, where he returned in 1982. In 1975, the filmmaker Antonio Carlos da Fontoura made the film Arquitetura de Morar, about the houses of Joatinga, with a soundtrack by Tom Jobim (1927-1993), for whom Caldas designed a house. Two years later, the architect's work was exhibited at the Museum of Modern Art of Rio de Janeiro (MAM/RJ), at the São Paulo Museum of Art Assis Chateaubriand (Masp) in Belo Horizonte, and the following year at Solar do Unhão, in Salvador. Between 1980 and 1982 The Helium House Olga Jr was designed and built in São Paulo. Caldas outlined the plans for the construction sourcing the all the wood, the actual assembly of the house was carried out by the owner. The house, is defined by wooden structure that stands out from the fence walls, the clay tile roof of wide eaves and the demolition materials that give the building the feeling of rusticity, warmth and nostalgia. The house was similar to those built in the 1970s for Eurico Ficher and Pedro Valente, in Joatinga. In 1983, Calders founded the Center for the Development of Applications of The Woods of Brazil (DAM), and gave it to UnB in 1985. During this period, he proposed the creation of the Escola do Fazer, a teaching center focused on the use of wood for the construction of houses, furniture and utilitarian objects for the low-income population. Despite the fact that much of Calders early work was centered around building houses for the elite, in the 1980s the designer dedicates himself the DAM where he rigorously researches popular housing based on artisan construction processes and whereby the users participate in the construction process. At the Brasília unit, he developed prototypes of popular houses with eucalyptus logs as a structure and sealing in soil-cement, betting on an ideal of self-construction already tested at Casa do Nilo, in São Gonçalo, Rio de Janeiro. From that moment on, as occurred with his the furniture designs, Caldas adopts the use of crude wood logs rolled...

Art Deco Period cherrywood armchair by André Arbus.

The ‘Oskar’ armchair was designed in 1939, the same year that Carl Malmsten participated in the New York World’s Fair. It was there that the expression “Swedish Modern” was coined, b...

Muted by NONO No08 Sculptural Lounge Chair Artistic Elegance — Dive into the world of understated elegance and architectural prowess with the Muted Lo...

A Regency Klismos chair in the manner of Thomas Hope having mahogany ribbed frame with ebonized details, shaped padded back and caned seat, as well as decorative brass ball finials o...

Early 19th century Restauration (Consulat) period armchairs. Amazing hand-carved, solid mahogany, ebonized frames with patined gold leaf details and a lustrous French polish finish. ...

Italian Modern furniture is defined by unique design, perfect execution, and exclusivity. This pair of armchairs is attributed to Italian design icon, Paolo Buffa. Coinciding with contemporary debates about the role of design and its responsibility to the larger population, Buffa reworked the presiding neoclassical idiom. The architect incorporated simplified forms into his designs in order to streamline production techniques, whilst always retaining a high regard for materials and harmonious portions. This pair of armchairs is said to have been designed by Buffa during the 1950s and elegantly balances comfort and functionality with high-quality craftsmanship and materials: the refined, articulated lines of the armchairs’ frames counter the volume of its cushions and uniquely patterned upholstery. By the mid-1930s, Buffa had established his own studio, where the Milanese architect designed expertly crafted furniture featuring intricate details and combined luxurious materials for an elite clientele. Buffa developed close relationships with cabinetmaking workshops in Brianza, renowned for their traditional furniture manufacturing, and during the following decades collaborated with some of the period’s most skilled artisans. These relationships enabled Buffa to introduce a modern vocabulary into his work whilst adhering to Milan’s heritage of artisan furniture production, in order to realize inventive furniture designs that revealed a skilful union of design and execution. These chairs embody this patently, with their most intricate feature being the upholstery covering the elegant, stylish shape of the solid wood frames. The elaborate pattern invites the eyes to spend time observing and exploring it, therefore the overall impression is interesting and stylish, while it also makes these chairs a one-of-a-kind pair. The exposed architectural, tapered legs supporting the comfortable seats and curved backs complement the design of this model greatly. The slim look serves as a counterweight to the voluptuous bodies, and the colour of the wood complements the pattern as well. The overall design is focused on elegant and measured proportions, balanced compositions, and refined décor elements including the exclusive materials. Besides the upholstery, the versatile shapes, from the curving, rounded edges on the top to the characteristic armrests and tapered legs, make these chairs stand out. Buffa’s designs were featured in important publications, such as Roberto Aloi’s L’arredamento moderno series, through which a coherent evolution can be traced in Buffa’s work as he interpreted the formal elegance of Italian design with a subtle yet recognizably modern rigour evidenced by this pair. Paolo Buffa was especially passionate about furniture and product design, an area where he remained faithful to a figurative repertoire of substantial classicism, while not disdaining impulses of authentic modernity. He was extremely active in the Milanese design scene that was just as vibrant and unique as these armchairs. In an atmosphere committed to the reinterpretation of the Lombard classicism and Milanese architecture, exceptional pieces were created, as this pair shows. Condition: In good vintage condition. Wear consistent with age and use. Small scratches and marks on the wood. The chairs have been reupholstered recently in a premium patterned fabric. Each of our items can be reupholstered by our in-house atelier in a fabric of choice. Please reach out for more information. Dimensions: 29.52 in W x 34.44 in D x 37 in H; Seat height 15.15 in; Arm height 22.44 in 75 cm W x 87.5 cm D x 94 cm H; Seat height 38.5 cm; Arm height 57 cm Literature: 'Alcuni Mobili di Paolo Buffa', Domus, no. 178, October 1942, p. 431 for a similar example Roberto Aloi, L’Arredamento Moderno, quarta serie, Milan, 1949, fig. 366 for a similar example Roberto Rizzi, I mobile di Paolo Buffa, exh. cat., Mostra Internazionale dell'Arredamento, Cantù, 2002, pp. 30, 34-35 for a drawing and images of a similar example About the (attributed) designer: Paolo Buffa (born 1903, Milan – died 1970, Milan) was an Italian furniture designer who defined his own unique design aesthetic to become one of the most sought-after Italian designers of his day. Renowned for pairing elements from both the opulent Neoclassical and the streamlined Art Deco styles around a more modern sensitivity, Buffa excelled in creating high quality pieces that spoke to the well-to-do clientele of the time. Born in Milan in 1903, Buffa trained at the Politecnico di Milano. Following his graduation in 1927, he worked briefly for Gio Ponti, and in 1928, he partnered with architect Antonio Cassi to establish their own design studio in Milan. By 1936, Paolo Buffa opened his own independent studio where he became particularly successful, in part because he had already tapped into his unique combination of stylistic elements. His incorporation of more traditionally Neoclassical motifs or materials – for example, rich rosewoods or supple, velveteen fabrics – with the relatively avant-garde forms and themes of a lighter Art...

Pair of armchairs Manufactured by Casa e Giardino Italy,1936 Fabric, walnut Measurements 80 cm x 75 cm x 81,5 cm h 31,5 in x 29,5 in x 32,1 in h Literature Laura Falconi, Gio Ponti...

This rare armchair was produced in Italy in the late 1950s. The design is attributed to Gio Ponti. The geometric shape and the angled placement of the seat make this a distinct, mode...

Gio Ponti for Cassina rare architectural armchair model 110 with oak frame, upholstered seat and back in ivory bouclé, Italy, 1950s. These Ponti classic armchairs have sculptural cur...

Paolo Tilche (1925-2000) Pair of armchairs model “Silvia” Manufactured by Arform, Italy, 1956 Rattan Pair of Italian 20th century ratan armchairs ...

Office Desk Chair Ergonomic Solid Wood Muted by Joel Escalona No17 — Dive into the world of understated elegance and architectural prowess with...

Hidden among Brazil's modern furniture heritage are pieces whose origins remain a mystery. These designs, beautifully crafted and steeped in the aesthetics of their time, are yet to ...

In 1920, the term "Nieuwe Haagse School" was first mentioned by the architect C.J. Blaauw. And not in a positive way. Blaauw thought nothing of the latest developments in modern arch...

Oscar Niemeyer (1907-2012) Single armchair model “Alta” Manufactured by Mobilier international France, 1974 Steel, wool upholstery Measurements 104,1 x 68,6x 56,5h cm 41 x 27 x 22,25h in Literature Gilles de Bure, Inte´rieurs: Le Mobilier Franc¸ais 1965-1979, Pa- ris, 1983, p. 101 Provenance Private collection, Antwerp. Details Certificate by Oscar Niemeyer Foundation. Biography Niemeyer was a Brazilian architect who is considered to be one of the key figures in the development of modern architecture. His exceptional architectural work has been unanimously hailed, and his influence on how the world looks like today has been reminded. In 1960’s Oscar Niemeyer started developing furniture projects, in collaboration with his daughter Ana Maria. The first piece designed by the team was “the Alta easy chair” and its footrest, but the most famous piece designed by Oscar and Ana is the “Rio Chaise Longue...

Teak ''Papa Bear'' chair and ottoman by Hans J. Wegner for A.P. Stolen Bearing the tag: "Furnituremakers Danish Control" Provenance: Acquired in 1959 by the original owner Private C...

The expression “Swedish Modern” was first used in the 1930s, when modern Swedish design was becoming increasingly well known in Europe and the United States. It was at its height in ...

Safari lounge chair, leather, stained beech, metal, Europe, 1970s Stunning safari lounge chair covered in original upholstery made of natural cognac brown leather. The chair shows v...

Bibendum is one of a kind. Nowhere in the history of design will one find an armchair that compares to this. It is captivatingly harmonious despite its size and unites a majestic imp...

Armchair in Mahogany and Leather by Tove & Edvard Kindt-Larsen, 1930s Additional Information: Material: Mahogany and leather Style: Mid Century, Scandinavian Armchair Produced by ca...

Embrace cormo emerald armchair by Royal Stranger Dimensions: W 96 x D 85 x H 68 cm. Different upholstery colors and finishes are available. Materials:...

The mid-20th century marked a golden era for Italian interior design. Amidst a booming economy and a newfound sense of optimism, Italian designers began to explore new materials, exp...

The company Votre Maison is one that has left an indelible mark on the history of French design. The soul of Guillerme et Chambron’s work was in the company’s name (“Your House”). Th...

Set of 3 Danish mid-century dining/conference armchairs with teak wood frames, caned seat backs, and faintly striped orange fabric upholstered seats. (JENS RISOM)(PRICED AS SET)