Angus Ross Cabinet Tallboy Drawers

The compass desk was designed by Pedro Miralles Claver for Punt Mobles, circa 1990. One of Pedro Miralles last designs before his untimely death in 1993...

A vintage King Costes chair by Philippe Starck for Aleph, circa 1992. Curved plywood back with aluminium legs and beige leather seat. The condition is e...

Designed by Sottsass Associati and produced by Bieffeplast circa 1980’s. The ‘Crossing’ table features a robust black powder coated tubular steel frame, chrome trimmings and toughene...

Born in Poland in 1921, Knapp was arrested by the Russians in 1939 at the age of eighteen, and sent to a prison camp in Siberia. He was released in 1941 and then undertook an epic journey through numerous countries still at war, eventually making it to Britain, where he enrolled in the RAF and spent several years as a Spitfire pilot. The dramatic aerial perspective of the world that he experienced during this time would become highly influential in his painting. In 1947 he enrolled in London’s Central School of Arts, following which he studied at the Slade School of Art. In 1953 Knapp discovered the remarkable luminescent qualities of jewellery enamel while attempting to fix a girlfriend’s broach that she had broken after secretly borrowing it from her father’s collection. He immediately began experimenting on sheets of copper, and before long was producing enormous panels of up to ten feet long. There was a tremendous building boom at this time both in Europe and America and Knapp envisaged buildings throughout cities being clad with vibrant enamel exteriors. In 1957 he adapted his technique to suit steel which was stronger than copper and the earliest accomplished examples of this important development were shown in an exhibition at Pierre Matisse Gallery in New York the same year. In 1958 he received his first chance to realise his dream when he was commissioned to create seventeen large murals for Heathrow Airport. Many other major commissions followed, including an enamel mural for the Seagram Building in New York, and the Alexander Corporation, New Jersey, in 1960 which was the largest mural ever created, measuring 200 x 50 feet. Knapp created these large-scale works with the vision that they would transform the meaning of the architecture and buildings they adorned. By the 1960’s Knapp had achieved international acclaim and exhibited extensively throughout the world. The artist’s work is represented in numerous major museums of modern art, including: Museum of Fine Art, Dallas; Museum of Modern Art, New York; The Tate Gallery, London; Museum of Fine Arts, Boston; Hall of Fame Museum, Mexico City; Breda Museum; Katowice Museum, Poland; Royal Palace, Rabat; The Art Center, Milwaukee; San Jose Museum of Arts, U.S.A.; Holocaust Museum...

A vintage model 83 dining table by Alvar Aalto for Artek made of Finnish Birch ply & 8 model 66 chairs in the same wood. This set is over 20 years old but the exact production date is unclear. There are no stamps or marks related to Artek but the build quality and features are enough to verify its authenticity. The condition of the set is good, the table and chairs are all very solid with minimal dents or chips. There are a couple of chairs showing signs of more use than others, however all seat conditions are visible in the photos provided. There is one small mark on the table top which has been pictured with regular house keys...

A set of 4 newly restored No.222 stacking chairs by Robert Mallet Stevens. Lacquered black metal in excellent condition with new rubber pads under the legs. Dimensions: W40cm D46c...

C 1860 antique Swedish Gustavian painted chest of drawers commode with detailed decorative motifs on the top rail, f...

Please note - this item will be available to ship form march 2022 C 1870 antique Swedish Gustavian painted chest of 9 drawers commode with detailed...

19th century antique Swedish Gustavian painted chest of drawers commode with detailed hand painted designs on the top rail and gilt detailing. It has four drawers with brass ring ...

Jacobean Revival Ebonized Oak and Silver relief Chest of Drawers made in solid English Oak using the best high end cabinet makers. A fresh to market fi...

19th century architectural plan, collector's cabinet features multiple shallow drawers perfect for keeping a large inventory of blueprints and sketc...

Gilbert Rohde designed this chest for Herman Miller as part of his 1941 Paldao Line of streamline modernist and modular furniture in exotic veneer. This is model no. 4103, two-door cabinet with distinctively incised large round pulls, interior fitted with two adjustable shelves behind the left door and five pull-out drawers behind the right door, fronts finished in black enamel. The case top and sides are Paldao wood; the doors are in highly figured burl Acacia. The finish is called "Beaver" which is natural color, no stain, satin varnish. The back is numbered "4130." All of Rohde's designs for Herman Miller are marked with a 4-digit number; the first two numbers indicate the year, and the second two numbers indicate the individual piece. Newly refinished and ready to place in your home. The Herman Miller Furniture Company was devoted to manufacturing period reproduction furniture until Pioneer industrial designer Gilbert Rohde walked into their Grand Rapids showroom in 1930. A devout modernist, Rohde convinced D.J. De Pree to focus on modern furniture throughout the 1930s, and to produce exclusively modern furniture by the time Rohde died in 1944. Work by the pioneering American industrial and furniture designer, Gilbert Rohde, is notable for its thoroughly modern, informal, and multifunctional qualities. Rohde’s ability to create appealing modernist furnishings for middle-class homes, while also devising merchandising strategies to sell these goods, places him within a unique framework in American design history. Born and raised in New York, Rohde was the son of a cabinetmaker. He attended New York City public schools and his post-high school education included courses at the Art Students League and the Grand Central School of Art. Rohde’s visit to Europe in the spring and summer of 1927 (with later trips in 1931 and 1937) to see the Bauhaus in Dessau and the French modernist design that debuted in the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, profoundly inspired his concept of design and the role it should play in daily life. The French Art Deco and German rationalist styles he saw in Europe influenced the furniture he designed from the late 1920s into the 1940s, pieces he created to suit a rapidly changing American lifestyle. In addition to his work for Herman Miller Inc., Rohde also designed for several other furniture firms, including Thonet, Troy Sunshade, and Heywood-Wakefield. What set Rohde apart from his contemporaries was his all-encompassing understanding of the furniture industry, from design and production to marketing and showroom display.[1] During his time with Herman Miller Inc. (1932-1944), Rohde set the standard for collaborative efforts between designers and furniture firms, with George Nelson and Charles and Ray Eames later...