Furniture

Rattan bar stool with woven wicker seats and 3 strand rattan pull legs. Stool comes with a full formed back rest complimented by arches connecting each leg. Measures: Height- 38" Di...

Embleme 2 pendant lamp by Lea Ginac Unique Piece. Dimensions: diameter 45 cm Materials: handmade Ceramic. Technique: Hand-modeling. Available in two other designs. All our lamps ...

This yellow handsome jar with excellent condition would have served as a mortuary object (mingqi), placed in a tomb as a substitute for the more valuable bronze and lacquer vessels u...

This Mariolina chair is offered with iron legs in anthracite, a shell in polypropylene silk grey and the option to select an upholstered cushion material for your chair. The iron leg...

A rare ceiling lamp or chandelier (model Step) with a semisphere lampshade in white lacquered aluminum, it was designed by Elio Martinelli and produced by the Italian company, Martinelli Luce during the 1970s. The concentric shapes repeated in a precise sequence, from which the Step lamp is structured, reveal an attitude of the designer in search of geometric essentiality. It is a lamp characterized by simple and functional lines in which all the elements are inserted into each other reducing to a disk a few centimeters high, with closing system and telescopic opening. Its particular metal lamellar structure recalls some of the most famous lamps by Alvar Aalto and the hexagonal lamp designed in 1959 by Bruno Munare for Danese. Literature: Emiliana Martinelli, Elio Martinelli e Martinelli...

Embleme 3 pendant lamp by Lea Ginac Unique piece. Dimensions: diameter 45 cm Materials: handmade ceramic. Technique: hand-modeling. Available in two other designs. All our lamps c...

Large rectangular mirror featuring a single-strand Rattan frame with an inner rattan border. Restored to new for you. All rattan, bamboo and wicker furniture has been painstakingly r...

A rare ceiling lamp or chandelier (model Step) with a semisphere lampshade in black lacquered aluminum, it was designed by Elio Martinelli and produced by the Italian company, Martinelli Luce during the 1970s. The concentric shapes repeated in a precise sequence, from which the Step lamp is structured, reveal an attitude of the designer in search of geometric essentiality. It is a lamp characterized by simple and functional lines in which all the elements are inserted into each other reducing to a disk a few centimeters high, with closing system and telescopic opening. Its particular metal lamellar structure recalls some of the most famous lamps by Alvar Aalto and the hexagonal lamp designed in 1959 by Bruno Munare for Danese. Literature: Emiliana Martinelli, Elio Martinelli e Martinelli...

This Mariolina chair is offered with matching iron legs and polypropylene shell seat. The iron leg base is available in Anthracite silk gray, intense blue, marsala red, apricot, copp...

This Colony table is shown in natural Vienna straw base and size large. The large table base in Vienna straw, the table frame base is also available in soli...

An extremely rare Basalt model of a temple in the Aztec capital of Tenochtitlan, perhaps one that was next to the Templo Mayor itself, The Great Temp...

Full "S Arm" rattan living room set featuring three-seat sofa and matching lounge chairs. This arm style flows sinuously into a the rounded back of the sofa and chairs into an S shap...

An elegant circa 1760 English George II / George III period 'estate-made' Chippendale 'slab' or side table of clean design having original gray and ...

Restored Rattan Fan 2 Loveseat with the same fabric as seen in original "Golden Girls" show which ran 1985 till 1992. Harvey Schwartz was the original supplier of the rattan living r...

An extremely rare Basalt model of one of the main temples in the Aztec capital of Tenochtitlan, perhaps the Templo Mayor itself, The Great Temple. As a way of reinforcing the centralized power of the Aztec Empire and its Religious institutions, thousands of small clay models of the main temples in Tenochtitlan were mass produced in press molds and distributed throughout the Empire, where they were installed in household religious shrines...

Mid Century rattan living-room set including a matching 3-seat sectional sofa and lounge chair. Both feature the famous six-strand square pretzel side arms and stacked rattan base or...

Set of two single-strand "1949er" rattan living-room lounge chair with tripole back. Great example of early post-war American rattan furniture. Restored new for you Tropical Sun Rattan was started in 1934 at 117 West Colorado Blvd in Pasadena. By 1938 we had showrooms in the Los Angeles and San Francisco furniture...

A wonderfully painted oil on canvas by George Morland depicting a moment of life in a cottage on a snowy winter day. Signed lower right. George Morland (26 June 1763 – 29 October 1804) was an English painter. His early work was influenced by Francis Wheatley, but after the 1790s he came into his own style. His best compositions focus on rustic scenes: farms and hunting; smugglers and gypsies; and rich, textured landscapes informed by Dutch Golden Age painting...

Rare octagonal Venetian mirror in etched glass and micro-mosaic, Exposition Universelle de 1867, Venice, Italy, circa 1865. Decorated with micro-mosaic cartouches featuring flowers, ...

The Color Experience: Stained-glass windows “Color is a power which directly influences the soul” (Wassili Kandinsky, Moskou 1866 – Neuilly-sur-Seine, 1944) “Color! What a deep and mysterious language, the language of dreams!” (« La couleur ! Quelle langue profonde et mystérieuse, le langage des rêves », Paul Gauguin, Paris, 1848-Fatu-Hiva, 1903) ‘Color and feeling’, ‘color and meaning’, these are concepts that have gone together since time immemorial. Artists and craftsmen have a special bond with color. After all, it is a means of expression that can have a real reinforcing effect. Especially linking color with light offers unlimited possibilities. Glaziers and glass painters have tried to master both these ‘instruments’ for centuries. The set of beautifully restored neo-Gothic windows in our collection are enough reason for us to let these works of art figure in a broader story. As a bonus, we would like to introduce you to the contemporary stained-glass artist and stained-glass restorer, Daniël Theys. whose workshop is in Sint-Pieters-Rode (Belgium). He talked to us about the materials and techniques he used for the restoration of our set of neo-Gothic stained-glass windows. A fascinating look at the tricks of the trade from a specialist! A bird’s eye view of the history of the European stained-glass window. Although the Romans already used translucent glass plates to cover wall openings, the stained-glass window reached its peak in Europe between 1150 and 1500. A period also known as the era of the cathedrals. At that time, stained-glass windows became more than just a way to let in the light, and to keep the space closed off. From now on, their functionality was also found in their didactic value. The biblical and saints’ stories that adorned the stained-glass windows became a kind of poor man’s bible. They brought, as it were, the knowledge of the holy scriptures in an understandable, pictorial way. At the same time, the colored light provided additional symbolism. The invading light was interpreted as a manifestation of God. It is also no coincidence that the main altar was bathed in light. It was the place where the most important sacrament was celebrated, that of the Eucharist. How were these magical colors obtained? Well, during the 12th and 13th centuries, metal oxides gave color to the glass. Copper, for example, produced different colors in the various stages of oxidation. The metal could color the glass light blue, green and even red. It should be noted that from the 13th century onwards, clear glass, which was cheaper and at the same time allowed more light into the buildings, was used more often. A century later, in the years 1400 to 1500, glass painters frequently painted onto the glass with a ‘stain’ of silver chloride or sulfide. The painted piece of glass was heat-treated in a furnace. The heating process ensured that the silver ions migrated into the glass and became suspended within the glass network. The stain gave colors ranging from a pale yellow to a rather deep red. This new technique allowed glaziers to get more than one color on a single glass fragment. The shades produced by painting in silver chloride were well suited for depicting golden crowns, scepters and other gilded objects and ornaments. But the most important advantage of the technique was the fact that the glass painter could now make transitions from yellow tones to white without having to apply separations with lead strips! This also improved the legibility of the pictured scene. You can imagine that the labor-intensive process of the production of stained-glass windows was a very costly affair and therefore it was often patrons who donated them to a church or a chapel. The benefactors were usually eager to propagate their social status and were moved by concern for their salvation. In the 16th century, stained-glass windows also began to appear in secular buildings such as town halls, the homes of the wealthy and commercial premises such as inns. It is striking that during this period the use of lead strips that border many parts of the image was further reduced in favor of real painting on stained glass. This was due to an increasing love of detail. For example, one wanted realistically painted portrait heads. Working with enamel paints was cumbersome. Each newly applied color had to be burned into the glass before another color or overpainting could be applied. It was not only the coloring of the glass that was complicated, the process of obtaining flat glass plates required many steps as well. The glazier blew a glass bulb with a blowpipe and then cut it open. Finally, each half of the sphere was turned around so fast that it became a disc. In later periods, the glazier blew out his glass bulb into a cylinder. Once the cylinder had cooled, its closed ends were removed, and the long sides were cut open. The pieces of glass obtained were then heated and flattened. During the 16th century, there was a division of labor between the stained-glass designer, the glazier, and the glass painter. It happened as well that the stained-glass artist used prints as models for his stained-glass windows. Whoever drew the design, the glazier always needed a model on the right scale, the so-called cartoon. On the cartoon, the lead strips were clearly marked, and the use of colors was indicated. Contracts at the time show that the price of stained-glass windows was calculated per square foot. The price per square foot included the labor and material costs. The price of the cartoon was not included. In the 17th century, the work of glass painters remained important. At the same time, there was a growing popularity of stained-glass windows with heraldic themes. In the Low Countries there were several high-quality glass painters active. During the 18th century, glass painting went downhill in our regions. The French occupation of the Southern Netherlands resulted in the destruction and sale of religious stained-glass windows. It was only around the middle of the 19th century that the young Belgian state experienced a revival of stained glass. The renewed interest in the Middle Ages, the so-called ‘gothic revival’, caused a wave of restoration of old stained-glass windows of churches and orders for neo-gothic stained-glass windows. The Sint-Lucas art schools in Belgium played an important role in this. Industrial developments in the glass and steel industries naturally had an important hand in the popularity of stained-glass windows. Stained-glass had a wide range of uses; think of stained glasses in winter gardens, domes, windows, and doors of large mansions. Significant glazier’ studios arose in several larger Belgian cities. In Brussels, for example, you had the workshops of Capronnier and Colpaert, in Bruges the studios of Coucke and Dobbelaere, in Ghent the companies of Ganton-Defoin or Ladon. During the 19th century, glaziers followed the style developments in the visual arts. For example, the number of windows in Art Nouveau and Art Deco style is large. The restored stained-glass windows with male and female saints that we offer for sale, come from a building in Laeken, near Brussels. They probably decorated the space of a church, chapel, convent, or Catholic school. In the results of the interview with glass restorer Daniël Theys, you will learn more about the particularities of these splendid windows. Chatting and browsing in the workshop of Daniël Theys The Belgian Glass restorer and glass blower, Daniël Theys (), made a career switch at a later age and has been active in the profession since 1987. He is an important player in the field of stained-glass window art in Belgium. Moreover, he is the only one in the country who still masters the technique of glass etching. Daniël Theys receives many commissions from small parish churches to restore old stained-glass windows to their former glory. He made a name for himself in that niche and that is how Spectandum brought the set of 19th century stained glass windows to his workshop for reconstruction. They were delivered in old numbered wooden crates and Daniel had to start puzzling. Numbered wooden crates with sections of the stained-glass windows Normally a glazier starts working from a drawing with a scale of 1:1 (full size drawing), but in this case each piece had to be cataloged and photographed. The smaller pieces were grouped on the light box and photographed in their entirety. Then Daniël made a drawing of the remaining pieces that he had puzzled together with great care. Smaller pieces identified and grouped on the light box The restauration guidelines of the Agency for Monuments and Landscapes are not always the same as those of a restorer. For this reconstruction, Daniël primarily considered the purpose of the stained-glass windows. It had to be an aesthetic and salable set of stained-glass windows, so the choice of filling the gaps with neutral glass or epoxy was not really an option. Theys left well-executed previous restorations untouched. The windows may have been repaired three or four times in the past. Piece of a cloak with glass shards from different periods (restorations) Another problem Daniel faced during the restoration was the fact that some small parts of the old grisaille had been eaten away by microorganisms. The defect – caused by moisture – can be seen from the discoloration of the grisaille. The black-brown color is turned red. This fragment shows well how the brown grisaille has turned red due to the attack of micro-organisms The stained-glass windows of the 19th century are made of ‘in the mass-colored’ glass. This means that the colors were added to the liquid glass during its production process. This type of glass differs from glass colored with enamel paint, which became popular from the interwar period. The latter process involves applying enamel paint (this is a glass powder with a metal oxide to which a medium has been added) to the colorless glass. When firing the glass with the enamel paint, the powder fuses with the glass. The colors of email painted glass are less intense and less brilliant than those of ‘in the mass-colored glass’. Jars with colored powder for the enamel paints For the restoration Daniël only worked with mouth-blown glass, both with ‘in the mass-colored glass’ and with ‘verre plaqué’. This is blown glass composed of several layers of different shades. Over the years, Theys built up a large stock of old blown glass. Colored blown glass always has sliding shades. For example, a red piece of glass can have a color transition from bright red to light orange. These differences in shades are the result of the different thicknesses of the piece of glass. It allows the glazier to use a wide variety of shades. The purple-red foliage with light blue accents was obtained by etching away parts of a piece ‘verre plaqué’. A small part of the lower glass layer is exposed. The windows were completely re-leaded by the restorer because there was virtually no ‘lead net’ preserved. In general, lead strips only have a limited lifespan because of oxidation processes. Daniël removed the old lead remnants and placed new lead profiles. Then he applied putty between the glass fragments and the lead strips to seal the lead. A window must be made watertight. The current condition of the windows is excellent. Decorative glass part with original lead remnants New lead strip The set of stained-glass windows we present today, originally consisted of windows of 5 to 6 m high. After all, they originally adorned a neo-gothic church. Since the original dimensions are not suitable for private buildings, it was decided to only restore the figurative representation. The original spire of one of the windows Thanks to a suspension eye, the window can be hung. There is also the possibility to place the window in an upright position. Thanks to the craftsmanship of the Theys-Studio, we can once again enjoy the brilliance of color! Looking for the missing link The set of 19th-century stained-glass windows came into the possession of Spectandum without a clear provenance. The renowned Leuven antiques dealer, Cornelius Engelen, recalls that the windows came from a church in Laeken. There is no solid starting point for a search for the provenance. Based on the style of the stained-glass windows – most probably the late 19th century -, their religious iconography, and their original shape (pointed arch windows) and dimensions (5 to 6 cm high), we can assume that they were once displayed in a (neo-)gothic cult building. On the one hand, the stained-glass windows may have been removed after storm damage or other calamities, on the other they may have been taken away during a renovation or a demolition of a church. The Church of Our Lady in Laeken is the most famous church building in that municipality that could qualify. In the early 1920s, the central windows of the transept were badly damaged by a hurricane. Today, glass fragments of these windows (dating from 1893-1894) with the names of the sixteen missing saints and an arch infill of the western window are officially known. It would be interesting to find out if our set of eight saints once were part of the transept of Our Lady in Laeken. Research in the records of the church administrators could provide clarification. Knowing that most neo-gothic stained-glass windows from the Church of Our Lady come from the Jules Dobbelaere’s glass studio in Bruges, it is useful to consult that company’s archive as well. It is kept in the KADOC (Documentation and research center for religion, culture and; in Leuven. Of course, the sizes and shape of the stone window openings of the transept can also provide an indication. If we stylistically compare the grisailles of the set of stained-glass windows with the work of Jules Dobbelaere, we do see some relationship. Especially with a stained-glass window in the chapel of Our Lady of the Saint Anthony Church in Aalst. Another line of research that we could follow, is that of the iconography of the series. One of the saints depicted is Saint Roch. There once was a Saint-Roch church in Laeken with 19th-century stained-glass windows from the Brussels studio of Jean-Baptiste Capronnier. The company archive of the glaziers François and Jean-Baptiste Capronnier is owned by the Flemish government and can be consulted in the above-mentioned KADOC. We already searched the sales catalog of 1892, in which Capronnier’s drawings and cartoons are described one by one. The saints that are represented in our set of windows, does not correspond with the names of the saints mentioned for the church of St. Roch in Laeken. Building on this argument, it can be concluded that the eight saints were not destined for this house of worship. In the absence of lavishly illustrated monographs on the various glazier-companies in Belgium, the execution of a comparative study of the stained-glass windows is time-consuming and complex. Although a limited number of old photos of stained-glass windows can still be found in the database ‘Balat’ of the KIK-IRPA (), this remains far too limited to get a good picture of the output of the various companies. 19th C, Saint, Neo-Gothic Stained-Glass Window with Saint Martin, Belgium, 163 x 73 cm Most people know Saint Martin (Szombathely, ca. 316 – Candes, 397) as the Roman Tribune who cut his cloak in two with his sword and gave one half to a beggar. The artist of the stained-glass window has opted for a different, less common iconographic representation here. Saint Martin is presented as a bishop with a miter and staff. According to a legend, Martin was lured to the city of Tours with a trick to consecrate him as a bishop. He refused the ecclesiastical office and hid in a barn with some geese. The birds betrayed him with their twittering. In the end Martin received his episcopal consecration. The goose at the feet of the saint clearly refers to this event. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Angela, Belgium, 163 x 73 cm Angela de Merici was an Italian woman who taught young women religion, health care, and household skills. She founded the monastic community of the Ursulines. They played an important social role as founders of schools and orphanages. Saint Angela died in Brescia in 1540. It should therefore come as no surprise that the saint on the stained-glass-window is depicted with a girl by her side. 19th C, Saint, Neo-Gothic Stained-Glass Window with Charles Borromeo, Belgium, 163 x 73 cm Charles Borromeo (Milan, 1538-1584) grew up in a noble family. He was already made Cardinal and Archbishop of Milan at the age of 24. With his writings he contributed to the implementation of the Church reforms determined at the Council of Trent. Among other things, he released a new catechism. With his book on the design of church buildings, “Instructiones Fabriacae et Supellectilis Ecclesiasticae”, he left a mark on Baroque church construction. At the outbreak of the plague in his diocese in 1576, he devoted himself to the care of those affected. Hence, people sometimes pray to him when they have been hit by a serious illness. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Roch, Belgium, 163 x 73 cm Saint Roch (Montpellier, 1295? /1350? -1327? /1380?) was born with a port-wine stain in the shape of a cross on his left hip. It was interpreted as a sign from God. After the dead of his parents, he gave his money to the poor and went on to live the life of pilgrim. He cared for plague sufferers and healed some of them by making a sign of the cross. He is especially invoked as protector against the plague. 19th C, Neo-Gothic Stained-Glass Window with St. Bernard of Clairvaux, Belgium, 163 x 73 cm Bernard of Clairvaux (Fontaines, 1090-Clairvaux, 1153) decided to become a monk at the age of 21. In 1112 he entered in the monastery of Cîtaux. He was soon commissioned by the abbot to find a new monastery in Clairvaux. Because of his intellectual capacities and eloquence, he was consulted by various ecclesiastical and secular leaders. He ensured the expansion of the Cistercian order throughout Europe. As a Doctor of the Church, he wrote many tracts and sermons and established a new rule for the Templars. Above all, he was concerned with the discipline of the clergy. Therefore, he wrote a spiritual manual for the priests and bishops. Saint Bernard can be seen as a true mystic. He envisioned the union of the human soul with God as the most important goal in life. According to a legend, Bernard once had a vision in which the Blessed Virgin appeared to him and strengthened him with her mother’s milk. In the arts, the saint is mainly depicted with an abbot’s staff and a book with the Cistercian rule. His vision was also often portrayed. 19th C, Neo-Gothic Stained-Glass Window with St. John Berchmans, Belgium, 163 x 73 cm The Belgian Jan Berchmans (Diest, 1599-Rome, 1621) was the eldest of five children. When his mother became seriously ill, he initially took care of her, but at the age of nine he was housed with the town’s priest. After a few years he moved to Mechelen to become the servant of a canon. It also gave him the opportunity to begin his studies in the seminary for priests. He eventually joined the Jesuits of Mechelen. He got their permission to study philosophy in Rome. In the Eternal City, he visited working-class neighbourhoods to teach the children about God. He died of an illness at the age of 22. Saint Jan Berchmans is the patron saint of school children and students. 19th C, Neo-Gothic Stained-Glass Window with Saint Clare...

Restored Rattan fan arm living room set featuring a lounge chair and 3 seat sofa with the same fabric as seen in original "Golden Girls" show which ran 1985 till 1992. Harvey Schwartz was the original supplier of the rattan living room set used in all seven seasons of the "Golden Girl". This set comes with the iconic "Golden Girls" upholstery included. Measures: Sofa: 33in. H x 77in. W x 36in. D. Chair: 33in. H x 37in. W x 36in. D. Restored to new for you. Also available in any quantity are matching Lounge Chair ($6,000) Ottoman ($900) Settee ($9,000) Three-seat sofa ($12,000) Four-seat sofa ($15,000) Three-seat sofa + Lounge Chair ($19,000) Three-seat sofa + 2 Lounge Chairs ($24,000) Four-seat sofa + Lounge Chair ($21,000) Five-seat sofa (Call) Six-seat sofa (Call) This chair can be seen in the living room of "The Golden Girls" TV show which ran from 1985-1992. Tropical Sun Rattan was started in 1934 at 117 West Colorado Blvd in Pasadena. By 1938 we had showrooms in the Los Angeles and San Francisco furniture...

Harveys Collection features a newly made Mid-Century styled "staple"leg rattan ottoman. This ottoman features bent rattan "staple" 3-strand arms legs and raised open bases. Ottoma...

Harveys Collection features a newly made Mid-Century stacked rattan ottoman. This ottoman features stacked 9-strand base with stick rattan accents. Ottoman: 24" wide, 24" deep, 18" high Tropical Sun Rattan was started in 1934 at 117 West Colorado Blvd in Pasadena. By 1938 we had showrooms in the Los Angeles and San Francisco furniture...

Streamline Art Deco rattan writing desk with a rattan border, Mahogany sides, and top with four pull drawers and 3-tier side shelf along the side. Restored to new for you. Tropical Sun Rattan was started in 1934 at 117 West Colorado Blvd in Pasadena. By 1938 we had showrooms in the Los Angeles and San Francisco furniture...

Art Deco era four-strand square pretzel style, Four-seat sectional sofa. This sofa features the famous square pretzel side arms with a unique Zig-Zag pattern in the arm and stacked r...

Mid-century era rattan side table drink stand featuring a bent structure suspending two floating mahogany table tops. Comes with U-shape top whi...

Vintage 1940s two-tier rattan side table featuring stylized three strand legs and beautiful half round mahogany tops. Restored to new for you. Tropical Sun Rattan was started i...

Rattan 2-strand X-Back rattan living-room lounge chair with 2-strand streamline speed arms. Great example of early post-war American rattan furniture. Chair: 34" tall x 22" wi...

Mid-century era black 3-seater rattan sofa, with what we at the shop call the "Half Moon", two-strand side arms. Inspired by Paul Frankl this lounge is a Mid-Century chair featuring ...

This "President's" Art Deco rattan Livingroom was named such because FDR used the same type of furniture aboard his presidential yacht the USS Potomac beginning in the late 1930s. It features a 3 seat stick rattan sofa...

Modernist Circa 1980 lamp featuring a Dark stained mahogany base and top plate wrapped in decorative strung woven wicker grass-mat side. The lamp comes with its original Fabric Shade...

Three-strand "Double Tear Drop" rattan living room set which includes one lounge chair with matching three-seat sofa. Each Measures: Sofa 31 in. H x 74 in. W x 41 in. D. Chair 32 in...

This is where the antique mixes with the modern. Where worlds collide and give rise to something fresh, new and unique. A mid 19th Century British print presented in a Kulicke frame which had it's origins in the mid 20th Century in America. This print of Improved Lincolnshire Sheep printed...

This is where the antique mixes with the modern. Where worlds collide and give rise to something fresh, new and unique. A mid 19th century British print by Henry Strafford presented ...

Sculpture: Tsar's Falconer. Description: Excellent and detailed quality of the composition, very lifelike, finely detailed representation of a Tsar’s falconer, a main personage of every Tsar's grand hunting event. Designer; Evgeny Alexandrovich Lansere (1848 - 1886) was a famous Russian sculptor of the 19th century; Lansere came from a family who came to Russia from France; he studied with the animal sculptor Nikolai Iwanowitsch Lieberich and specialized in the representation of horses and riders. In search of appropriate motifs, he traveled through the interior of both European and Asian Russia every year, and Algeria in 1883. Artist: Evgeny Ivanovich...

Vase With apps and gold Sign: Daum Nancy France Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an indus...

Sign: Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy G...

Baccarat Created under the reign of Louis XV, the crystal manufactory owes its international reputation to its participation all along the 19th century and until 1937 to the importan...

Sign: Daum Nancy France Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of N...

Postwar two-tier round rattan coffee table with twin mahogany tops and wrapped stick rattan ladder sides. Restored new for you. Tropical Sun Rattan was started in 1934 at 117 West ...

Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy Glass, ...

Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy Glass, ...

Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy Glass, ...

Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy Glass, ...

Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy Glass, ...

Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy Glass, ...

Sign: Daum Nancy glass with applications Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial ...

Sign: Daum Nancy glass with applications Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial ...

Sign: Daum Nancy glass with applications Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial ...

Sign: Daum Nancy glass with applications Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial ...

Sign: Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy G...

Sign: Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy G...

Sign: Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy G...

Sign: Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy G...

Sign: Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy G...

Sign: Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy G...

Sign: Daum Nancy Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of Nancy G...

Sign: Daum Nancy France Daum is the name of a factory established in 1875 in the city of Nancy, France. When the notary Jean Daum became the owner of an industrial furnace, that of N...