A griffin is half eagle and half lion, and the join between the two is the whole problem of carving one.
Get it wrong and the piece reads as a lion with wings stuck on. The junction has to happen across the shoulder, where the feathered breast gives way to the furred foreleg, and it has to happen gradually - a band of transition several centimetres wide where the feathers shorten and coarsen and the fur lengthens to meet them.
Our artisans carve that band last, after both the wing and the shoulder are fully modelled, working back and forth between the two so neither dominates. It is the only part of the figure where the carver is deliberately blurring rather than defining, which cuts against every other instinct in the craft.
The wings themselves are then swept back against the arm board rather than spread, because a griffin under an arm is carrying load and needs to look like it. A spread wing would read as flight; a folded one reads as strength - and this chair is entirely about strength.