These Four Bentwood armchairs depart from the standard and amazingly successful 1859 ‘cafe’ chair also designed by the brilliant Michael Thonet of Vienna.  With an upholstered seat and back as well as arms, this set feels markedly more substantial and comfortable.  Not to knock the ‘cafe’ chair, one of the best (if not THE best) selling chairs of all time, due to their ingenious design that could be flat packed and shipped and then easily assembled by any handyman or waiter upon arrival (the first of its kind).  This set was manufactured a good century later yet still embodies the design simplicity and elegance of the very first Bentwoods.

Price including shipping or delivery: $2,800.00 for the set of four

Dimensions: 20.5″W x 21.5″D x 32″ H

Seat Height: 18″

Arm Height: 25.5″

Fabric Content:

Wood Species: Beech with light walnut stain.

Condition: Excellent.

Please contact us for more information or to purchase.

Click on photo arrows for additional images.

These Four Bentwood armchairs depart from the standard and amazingly successful 1859 ‘cafe’ chair also designed by the brilliant Michael Thonet of Vienna.  With an upholstered seat and back as well as arms, this set feels markedly more substantial and comfortable.  Not to knock the ‘cafe’ chair, one of the best (if not THE best) selling chairs of all time, due to their ingenious design that could be flat packed and shipped and then easily assembled by any handyman or waiter upon arrival (the first of its kind).  This set was manufactured a good century later yet still embodies the design simplicity and elegance of the very first Bentwoods.

Price including shipping or delivery: $2,800.00 for the set of four

Dimensions: 20.5″W x 21.5″D x 32″ H

Seat Height: 18″

Arm Height: 25.5″

Fabric Content:

Wood Species: Beech with light walnut stain.

Condition: Excellent.

Please contact us for more information or to purchase.

Click on photo arrows for additional images.

These Four Bentwood armchairs depart from the standard and amazingly successful 1859 ‘cafe’ chair also designed by the brilliant Michael Thonet of Vienna.  With an upholstered seat and back as well as arms, this set feels markedly more substantial and comfortable.  Not to knock the ‘cafe’ chair, one of the best (if not THE best) selling chairs of all time, due to their ingenious design that could be flat packed and shipped and then easily assembled by any handyman or waiter upon arrival (the first of its kind).  This set was manufactured a good century later yet still embodies the design simplicity and elegance of the very first Bentwoods.

Price including shipping or delivery: $2,800.00 for the set of four

Dimensions: 20.5″W x 21.5″D x 32″ H

Seat Height: 18″

Arm Height: 25.5″

Fabric Content:

Wood Species: Beech with light walnut stain.

Condition: Excellent.

Please contact us for more information or to purchase.

Click on photo arrows for additional images.

Melvin is a classic late 50s guy, at the home in the office or the home office.  A perfect desk or accent chair, this piece was designed by mid-century great John Van Koert for Drexel’s ‘Profile’ line.  It is a wonderful example of ‘Space Age’ design creeping into Mid-Century Modernism with its futuristic back shape; a design element that would surely be well suited to the Jetsons compound.

Melvin is a classic late 50s guy, at the home in the office or the home office.  A perfect desk or accent chair, this piece was designed by mid-century great John Van Koert for Drexel’s ‘Profile’ line.  It is a wonderful example of ‘Space Age’ design creeping into Mid-Century Modernism with its futuristic back shape; a design element that would surely be well suited to the Jetsons compound.

A treasured family heirloom, Abigale is quite the Victorian lady.  However, she was in dire need of a fresh cloak that reflected her true style.  The delicate carving (in excellent condition all around) at the armrests and knees speak to the elegance and high quality of the overall design and form.  She surely would have been very much at home in any formal ladies parlor any day of the week in 1880-ish.

A treasured family heirloom, Abigale is quite the Victorian lady.  However, she was in dire need of a fresh cloak that reflected her true style.  The delicate carving (in excellent condition all around) at the armrests and knees speak to the elegance and high quality of the overall design and form.  She surely would have been very much at home in any formal ladies parlor any day of the week in 1880-ish.

A treasured family heirloom, Abigale is quite the Victorian lady.  However, she was in dire need of a fresh cloak that reflected her true style.  The delicate carving (in excellent condition all around) at the armrests and knees speak to the elegance and high quality of the overall design and form.  She surely would have been very much at home in any formal ladies parlor any day of the week in 1880-ish.

Donna’s elegantly splayed legs and curved arms give her a simple, yet highly appealing silhouette.  A classic piece of Mid-Century Modernism, she is also clad in classic Mid-Century texture.  A green-blue coarse weave is the perfect foil to Donna’s sleek, ruddy warm wood limbs.

Donna’s elegantly splayed legs and curved arms give her a simple, yet highly appealing silhouette.  A classic piece of Mid-Century Modernism, she is also clad in classic Mid-Century texture.  A green-blue coarse weave is the perfect foil to Donna’s sleek, ruddy warm wood limbs.

This dapper pair of 1950s low loungers are ready for a relaxed evening at home.  Petite in scale, but perfectly comfortable, they are transformed by an abstracted Greek-inspired print of gray and celery with an extra supportive lumbar pillow.  Their lines are clearly modern, but never too harsh or uncomfortably angular; they ring true in a clear Mid-Century ‘soft modern’ style.

This pair of French Rococo inspired armchairs and ottoman required something unexpected and modern to add an element of difference in a traditional space.  The distressed, silver finish was key inspiration for the chair fabric, with the dark accent pulled through to the lumbar pillows and faux woven leather on the ottoman.

This pair of French Rococo inspired armchairs and ottoman required something unexpected and modern to add an element of difference in a traditional space.  The distressed, silver finish was key inspiration for the chair fabric, with the dark accent pulled through to the lumbar pillows and faux woven leather on the ottoman.

This pair of French Rococo inspired armchairs and ottoman required something unexpected and modern to add an element of difference in a traditional space.  The distressed, silver finish was key inspiration for the chair fabric, with the dark accent pulled through to the lumbar pillows and faux woven leather on the ottoman.

This pair of French Rococo inspired armchairs and ottoman required something unexpected and modern to add an element of difference in a traditional space.  The distressed, silver finish was key inspiration for the chair fabric, with the dark accent pulled through to the lumbar pillows and faux woven leather on the ottoman.

This pair of French Rococo inspired armchairs and ottoman required something unexpected and modern to add an element of difference in a traditional space.  The distressed, silver finish was key inspiration for the chair fabric, with the dark accent pulled through to the lumbar pillows and faux woven leather on the ottoman.

This pair of French Rococo inspired armchairs and ottoman required something unexpected and modern to add an element of difference in a traditional space.  The distressed, silver finish was key inspiration for the chair fabric, with the dark accent pulled through to the lumbar pillows and faux woven leather on the ottoman.

This pair of French Rococo inspired armchairs and ottoman required something unexpected and modern to add an element of difference in a traditional space.  The distressed, silver finish was key inspiration for the chair fabric, with the dark accent pulled through to the lumbar pillows and faux woven leather on the ottoman.

Don & Roger are excellent examples of late mid-century modernism, with clear influence of the biomorphic sub-genre of the style that became increasingly popular throughout the 1960s as both pop art and the space age transformed furniture design.  While the overall form is clearly modern, the designer implemented a number of subtle curves, giving the piece a softer, more organic spirit.  The new upholstery clearly nods to the mid-century as well, in particular the abstract expressionist painters of the 50s.  Both pieces were in fact created to occupy an office building, and one cannot help but envision the workplace being just a bit like Madmen.

Price for the Pair, Including Shipping or Local Delivery: $2,750.00

Dimensions: 25” W x 21” D x 29.5” H

Seat Height: 17.5”

Arm Height: 25.5”

Fabric Content: 100% acrylic twill by Schumacher, Trina Turk indoor/outdoor line.

Condition: Excellent.

Please contact us for more information or to purchase.

Don & Roger are excellent examples of late mid-century modernism, with clear influence of the biomorphic sub-genre of the style that became increasingly popular throughout the 1960s as both pop art and the space age transformed furniture design.  While the overall form is clearly modern, the designer implemented a number of subtle curves, giving the piece a softer, more organic spirit.  The new upholstery clearly nods to the mid-century as well, in particular the abstract expressionist painters of the 50s.  Both pieces were in fact created to occupy an office building, and one cannot help but envision the workplace being just a bit like Madmen.

Price for the Pair, Including Shipping or Local Delivery: $2,750.00

Dimensions: 25” W x 21” D x 29.5” H

Seat Height: 17.5”

Arm Height: 25.5”

Fabric Content: 100% acrylic twill by Schumacher, Trina Turk indoor/outdoor line.

Condition: Excellent.

Please contact us for more information or to purchase.

The Ziggys are excellent examples of one of the great Mid-Century Modern creative partnerships between furniture manufacturer Thayer Coggin and designer Milo Baughman.  One of Baughman’s more iconic and enduring designs, the ‘1966 Classic Lounge’ chair exudes sophisticated modernist elegance.  The polished, chrome-plated frame attracts attention to extreme angles and recalls the best of (often) highly uncomfortable Modernism with a capital ‘M’, while the angle of the back and plush cushions add a comfort level only seen after World War II.  A bold and graphic pattern nods to the ‘Swinging Sixties’ while updating the pair for a contemporary, eclectic space.

The Ziggys are excellent examples of one of the great Mid-Century Modern creative partnerships between furniture manufacturer Thayer Coggin and designer Milo Baughman.  One of Baughman’s more iconic and enduring designs, the ‘1966 Classic Lounge’ chair exudes sophisticated modernist elegance.  The polished, chrome-plated frame attracts attention to extreme angles and recalls the best of (often) highly uncomfortable Modernism with a capital ‘M’, while the angle of the back and plush cushions add a comfort level only seen after World War II.  A bold and graphic pattern nods to the ‘Swinging Sixties’ while updating the pair for a contemporary, eclectic space.

The Ziggys are excellent examples of one of the great Mid-Century Modern creative partnerships between furniture manufacturer Thayer Coggin and designer Milo Baughman.  One of Baughman’s more iconic and enduring designs, the ‘1966 Classic Lounge’ chair exudes sophisticated modernist elegance.  The polished, chrome-plated frame attracts attention to extreme angles and recalls the best of (often) highly uncomfortable Modernism with a capital ‘M’, while the angle of the back and plush cushions add a comfort level only seen after World War II.  A bold and graphic pattern nods to the ‘Swinging Sixties’ while updating the pair for a contemporary, eclectic space.

The first time I heard of ‘French India’ I was quite perplexed.  The British Raj is certainly familiar to me, but the French in India?  In fact the French established a number outposts on the subcontinent in the late 1600s, and a little bit of France is still evident in these areas.  The marriage of French and Indian culture is evident in this settee; a typical French Louis XV (or French Rococo) form, now covered in a wonderful Indian chintz (a print with a hint of the Middle East, another region the French favored).

The first time I heard of ‘French India’ I was quite perplexed.  The British Raj is certainly familiar to me, but the French in India?  In fact the French established a number outposts on the subcontinent in the late 1600s, and a little bit of France is still evident in these areas.  The marriage of French and Indian culture is evident in this settee; a typical French Louis XV (or French Rococo) form, now covered in a wonderful Indian chintz (a print with a hint of the Middle East, another region the French favored).

Horatio is meant for the grand, private art galleries and libraries of the high Victorian era.  He has been clad in a suit of stylized acanthus, echoing the chair’s own carving, and likely that of its intended surroundings.  It is not hard to envision Andrew Carnegie or Henry Clay Frick enjoying a fine scotch, contemplating a newly acquired Old Master painting, and draping an elegant, cigar-holding hand over Horatio’s padded chair arm.  Yet remarkably, Horatio was created for a distinctly different purpose; he was destined instead to grace the grand halls of a house of god in the late 19^th century.  This was surely also a decent existence for such a sophisticated piece, as long as there was some alter wine in the vicinity to make up for the lack of scotch.

Horatio is meant for the grand, private art galleries and libraries of the high Victorian era.  He has been clad in a suit of stylized acanthus, echoing the chair’s own carving, and likely that of its intended surroundings.  It is not hard to envision Andrew Carnegie or Henry Clay Frick enjoying a fine scotch, contemplating a newly acquired Old Master painting, and draping an elegant, cigar-holding hand over Horatio’s padded chair arm.  Yet remarkably, Horatio was created for a distinctly different purpose; he was destined instead to grace the grand halls of a house of god in the late 19^th century.  This was surely also a decent existence for such a sophisticated piece, as long as there was some alter wine in the vicinity to make up for the lack of scotch.

Horatio is meant for the grand, private art galleries and libraries of the high Victorian era.  He has been clad in a suit of stylized acanthus, echoing the chair’s own carving, and likely that of its intended surroundings.  It is not hard to envision Andrew Carnegie or Henry Clay Frick enjoying a fine scotch, contemplating a newly acquired Old Master painting, and draping an elegant, cigar-holding hand over Horatio’s padded chair arm.  Yet remarkably, Horatio was created for a distinctly different purpose; he was destined instead to grace the grand halls of a house of god in the late 19^th century.  This was surely also a decent existence for such a sophisticated piece, as long as there was some alter wine in the vicinity to make up for the lack of scotch.

Horatio is meant for the grand, private art galleries and libraries of the high Victorian era.  He has been clad in a suit of stylized acanthus, echoing the chair’s own carving, and likely that of its intended surroundings.  It is not hard to envision Andrew Carnegie or Henry Clay Frick enjoying a fine scotch, contemplating a newly acquired Old Master painting, and draping an elegant, cigar-holding hand over Horatio’s padded chair arm.  Yet remarkably, Horatio was created for a distinctly different purpose; he was destined instead to grace the grand halls of a house of god in the late 19^th century.  This was surely also a decent existence for such a sophisticated piece, as long as there was some alter wine in the vicinity to make up for the lack of scotch.

Hattie & Hettie are clearly small town girls.  While this cute pair is not the highest style set around, they have lots of personality, and amazingly, show clear Paris-influenced style.  Whomever did the chair rail carving in the late 1920s or early 1930s knew a thing or two about that newfangled style called Art Deco.  Despite the fact their overall form is traditional Rococo Revival, the owner or maker decided they wanted a shot of the new, something bold to give a simple chair a splash of the big city.  The stylized leaves shoot out from the blossom with great force and sharp angles mimicking depictions of radio waves or the profile of a New York skyscraper.  These are not your ordinary kitchen chairs, no, these embrace the new, the modern.

Hattie & Hettie are clearly small town girls.  While this cute pair is not the highest style set around, they have lots of personality, and amazingly, show clear Paris-influenced style.  Whomever did the chair rail carving in the late 1920s or early 1930s knew a thing or two about that newfangled style called Art Deco.  Despite the fact their overall form is traditional Rococo Revival, the owner or maker decided they wanted a shot of the new, something bold to give a simple chair a splash of the big city.  The stylized leaves shoot out from the blossom with great force and sharp angles mimicking depictions of radio waves or the profile of a New York skyscraper.  These are not your ordinary kitchen chairs, no, these embrace the new, the modern.

Hattie & Hettie are clearly small town girls.  While this cute pair is not the highest style set around, they have lots of personality, and amazingly, show clear Paris-influenced style.  Whomever did the chair rail carving in the late 1920s or early 1930s knew a thing or two about that newfangled style called Art Deco.  Despite the fact their overall form is traditional Rococo Revival, the owner or maker decided they wanted a shot of the new, something bold to give a simple chair a splash of the big city.  The stylized leaves shoot out from the blossom with great force and sharp angles mimicking depictions of radio waves or the profile of a New York skyscraper.  These are not your ordinary kitchen chairs, no, these embrace the new, the modern.

Hattie & Hettie are clearly small town girls.  While this cute pair is not the highest style set around, they have lots of personality, and amazingly, show clear Paris-influenced style.  Whomever did the chair rail carving in the late 1920s or early 1930s knew a thing or two about that newfangled style called Art Deco.  Despite the fact their overall form is traditional Rococo Revival, the owner or maker decided they wanted a shot of the new, something bold to give a simple chair a splash of the big city.  The stylized leaves shoot out from the blossom with great force and sharp angles mimicking depictions of radio waves or the profile of a New York skyscraper.  These are not your ordinary kitchen chairs, no, these embrace the new, the modern.

Zelda displays classic Queen Anne style cabriole legs ending in a clean, rounded pad foot.  While her lines and form are decidedly traditional, her sophisticated cloak of abstracted zebra screams of champagne-doused twenties excess.  The black welt detail draws attention to her curves, amping up her sensuous quality, while the exceedingly straight lines of her back shows us there is structure and substance below.  Her new look is inspired by the deco era and by her namesake, the always elusive Zelda Fitzgerald, featured as many a heroine in her husband’s novels.

Zelda displays classic Queen Anne style cabriole legs ending in a clean, rounded pad foot.  While her lines and form are decidedly traditional, her sophisticated cloak of abstracted zebra screams of champagne-doused twenties excess.  The black welt detail draws attention to her curves, amping up her sensuous quality, while the exceedingly straight lines of her back shows us there is structure and substance below.  Her new look is inspired by the deco era and by her namesake, the always elusive Zelda Fitzgerald, featured as many a heroine in her husband’s novels.

Zelda displays classic Queen Anne style cabriole legs ending in a clean, rounded pad foot.  While her lines and form are decidedly traditional, her sophisticated cloak of abstracted zebra screams of champagne-doused twenties excess.  The black welt detail draws attention to her curves, amping up her sensuous quality, while the exceedingly straight lines of her back shows us there is structure and substance below.  Her new look is inspired by the deco era and by her namesake, the always elusive Zelda Fitzgerald, featured as many a heroine in her husband’s novels.

Zelda displays classic Queen Anne style cabriole legs ending in a clean, rounded pad foot.  While her lines and form are decidedly traditional, her sophisticated cloak of abstracted zebra screams of champagne-doused twenties excess.  The black welt detail draws attention to her curves, amping up her sensuous quality, while the exceedingly straight lines of her back shows us there is structure and substance below.  Her new look is inspired by the deco era and by her namesake, the always elusive Zelda Fitzgerald, featured as many a heroine in her husband’s novels.

This lovely pair comes to us from the roaring twenties, when lounging without cocktail in hand was socially unacceptable.  These two pieces were rescued from a very extended stay in the lobby of an historic Idaho hotel.  The walnut was restored to its former glory, and the newly christened Claras were clad in a cheeky black and white dot with subtle fan pattern; an understated nod to Art Deco.  Fan or sunburst patterns are classic 20s Deco.  Mixed Asian and Ancient Mexican themes are two primary elements in that wonderful mish-mash of historic styles that created the iconic style.   The Claras now act as a perfect bit of historic weight in a fab mid-century turned modern home of a favorite interiors client.

A lovely Federal style side chair regains a neoclassical air clad in a bold, conventionalized anthemion print and ebony stain.  The anthemion, a stylized flower motif (hugely popular with any ancient Greek or Roman who did not have to actually pronounce the term), oft graced a temple frieze, supporting the likes of gods and goddesses that occupied the pediments above. The flowing back leg of the chair, and gentle curve of the backsplat subtly echo the forms of such a flower.

A lovely Federal style side chair regains a neoclassical air clad in a bold, conventionalized anthemion print and ebony stain.  The anthemion, a stylized flower motif (hugely popular with any ancient Greek or Roman who did not have to actually pronounce the term), oft graced a temple frieze, supporting the likes of gods and goddesses that occupied the pediments above. The flowing back leg of the chair, and gentle curve of the backsplat subtly echo the forms of such a flower.

These slight arms cascade into almost impossibly delicate Queen Anne Revival cabriole legs and tiny slipper feet.   While this is decidedly a revival piece (read produced in the teens or 1920s when everyone wanted a piece of American furniture history), it has all the marks of an excellent original American Queen Anne chair, often considered the absolute height of American furniture craftsmanship.  Maxine, like many pieces of the Queen Anne, appears to as if she may well pitter-patter around the house at night atop her little feet.  She seems to have landed from some ballet leap, poised to spring again.

This mid-century armchair exhibits classic elements of the ‘handicraft’ sub-genre (read wood and right angles), a definitive revolt against the somewhat cold tubular steel and leather furniture of high Modernism of the 20s and 30s.  Most mid-century pieces elegantly combine the three sub-genres of handicraft, modernism and the organic, creating the warm, livable, yet unmistakably modern feel of the overarching style.

This mid-century armchair exhibits classic elements of the ‘handicraft’ sub-genre (read wood and right angles), a definitive revolt against the somewhat cold tubular steel and leather furniture of high Modernism of the 20s and 30s.  Most mid-century pieces elegantly combine the three sub-genres of handicraft, modernism and the organic, creating the warm, livable, yet unmistakably modern feel of the overarching style.

This mid-century armchair exhibits classic elements of the ‘handicraft’ sub-genre (read wood and right angles), a definitive revolt against the somewhat cold tubular steel and leather furniture of high Modernism of the 20s and 30s.  Most mid-century pieces elegantly combine the three sub-genres of handicraft, modernism and the organic, creating the warm, livable, yet unmistakably modern feel of the overarching style.

A deep seat and a rich sea colored fabric make for a splendidly subtle Rococo Revival piece (subtle and Rococo Revival, two terms that rarely make an appearance in the same sentence).  This fantastically comfortable family heirloom needed a little refreshing for the 21st century.  I selected a delicate, radial dandelion pattern to echo the chair’s original nature theme without overwhelming the incised flowers scattered along the chair frame.  The channel back was a challenge, but due care was taken to align each dandelion with each channel, and perfection was obtained.

This armchair, circa 1940s, with its solid stance, wide back and extra thick seat cushion, exudes personality.  I suspect this is where Rosie the Riveter would relax after a day of welding on bomber wings.   Despite the feminine curves, Gertie is decidedly staunch, and a delicate floral would never do.  A black and white quatrefoil feels appropriate, and, just like the chair, bridges between soft, rounded forms and an unreserved boldness.

This represents a very small part of the infamous ‘Sea Of Chairs’ shipped from Liverpool to Salt Lake City, rumored to be the largest private sale of antiques between individuals.  The collection is currently housed in a massive warehouse, and you can only begin to image the hours spent rummaging through the dross to find this little gem.  Produced during the Aesthetic Movement (see Ada), Adelaide can serve double duty for your feet or as an extra seat.  And yes, I did say Liverpool to Salt Lake City, just in case you were still trying to process that.

This undeniably feminine Baroque Revival chair is notable for the elegant lines of its decidedly long arms, almost embracing the sitter.  Note the lovely little rondel carved into the front support (more Renaissance that Baroque, but these were often mixed and matched during revival).  The piece is clad in a whimsical, delicate fabric (complete with abstracted flowers, clouds and even fish) that mimic the carving.

This undeniably feminine Baroque Revival chair is notable for the elegant lines of its decidedly long arms, almost embracing the sitter.  Note the lovely little rondel carved into the front support (more Renaissance that Baroque, but these were often mixed and matched during revival).  The piece is clad in a whimsical, delicate fabric (complete with abstracted flowers, clouds and even fish) that mimic the carving.