The Solstice Crest forms one half of the sculptural pair that defines the Cliffs of Gold Collection. Informed by 17th-century Baroque design, the armchair is composed through carved mass and proportion, where ornament operates as structure rather than applied detail. Its presence is formal, defined by continuity of form.
Hand-carved from solid oak, the frame is articulated through scrolling arms, floral relief, and a scalloped back that establishes hierarchy and enclosure. The carving follows the internal logic of the form, allowing curvature and depth to guide the eye without interruption. Each element resolves into the next, producing continuity across the silhouette so the chair reads as a unified volume.
A sculptural apron anchors the seat, while gently flared legs introduce lift and measured cadence. Balance is achieved through proportion, allowing the chair to hold its position with clarity.
The original oak frame remains in its existing finish, with age and surface character left fully legible.
Paired with its counterpart, The Horizon Crest, the form establishes a continuous architectural presence. As a single object, it maintains orientation through mass and structure.
Optional matching pillows in the same fabric are available.
This piece is explored in What Is Not Made Again | On the Restoration of an Antique Chair, where its structure, surface, and restoration are considered in full.
The Solstice Crest forms one half of the sculptural pair that defines the Cliffs of Gold Collection. Informed by 17th-century Baroque design, the armchair is composed through carved mass and proportion, where ornament operates as structure rather than applied detail. Its presence is formal, defined by continuity of form.
Hand-carved from solid oak, the frame is articulated through scrolling arms, floral relief, and a scalloped back that establishes hierarchy and enclosure. The carving follows the internal logic of the form, allowing curvature and depth to guide the eye without interruption. Each element resolves into the next, producing continuity across the silhouette so the chair reads as a unified volume.
A sculptural apron anchors the seat, while gently flared legs introduce lift and measured cadence. Balance is achieved through proportion, allowing the chair to hold its position with clarity.
The original oak frame remains in its existing finish, with age and surface character left fully legible.
Paired with its counterpart, The Horizon Crest, the form establishes a continuous architectural presence. As a single object, it maintains orientation through mass and structure.
Optional matching pillows in the same fabric are available.
This piece is explored in What Is Not Made Again | On the Restoration of an Antique Chair, where its structure, surface, and restoration are considered in full.
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