20th Century Specialists

Pair of model 257 wall lights by Sergio Asti for Arteluce. Designed and manufactured in Italy, circa the 1960s. Frosted glass diffusers, chrome armature. Retains original manufacture...

Pair of ebonized Ming style low tables with natural contrasting grain alder wood parquetry tops. Can be used as a two piece coffee table or low ...

Striking pair of two open armchairs by Baker, finished in a cinnabar red lacquer. Seats and back upholstered in black patent leather.

Colorful expressionist mountain scene with lake in reds, gold, yellow, violet, blue and white; most likely by Barbara Leadabrand (1922-1994), a renowned Pasadena painter and sculptor...

Kovacs Art Déco glass fixture, circa 1930. Mounted in a chromed metal frame. Molded signature A.Kovacs France.  H. 21.7 in. (55cm,) D. 20.3” (49cm.)

With a nod to the immense popularity of Charles Eames's swivel lounge chair and ottoman, Wormley capitalized on the popularity of his own stationary, winged lounge chair and ottoman ...

"Compact" tea set by Ambrogio Pozzi for Ceramica Franco Pozzi. Set composed by one pitcher, six cups with plates, tea pot and sugar box. The set was distinguished for Compasso d'Or...

Gilbert Rohde slipper chair for Herman Miller, from the Hollywood glam years. Chair shown is already spoken for but we have another not yet reupholstered that is available. 4 yards ...

A rarely seen pair of tables designed by Edward Wormley for Dunbar. Label below

These armless, wide and comfortable newly restored RARE black wood and upholstered Grosfeld House vintage 1960s Hollywood Regency meets modern dramatic and sexy lounge chairs are sculptural from every angle. They have a flair, a classic sense and refinement to them. They echo the original way they were upholstered in the 1960s only with new off-white to off chenille silk velvet upholstery. The wood frames have all been newly stained black. The curve of the bases and frame flow. We have never seen another pair like these. They are very sculptural and are on the rare side. The buttons are boundless and in multitudes as they were in the original upholstery. The seat depth is 20.5". They are like mini settees...

Custom midcentury style 6 arm brass chandelier with black & white metal hourglass shaped shades by Adesso Imports. Can be done in different sizes, configurations and colors.

Mid-Century Modern chrome adjustable desk light, Italy, 1960s Very sculptural yet practical. Base diameter is 7 inches, the dome shade itself is 12 inches wide.

Richard Schultz for Knoll Dinette Petal Table

Remarkable plywood double bed headboard. Piece features three integrated doors revealing a storage area and small tables. Top shelf also features ...

The daughter of Jules Leleu, Paule joined the family company at a young age. Over time she became the firm's colorist and the head of the design studio, where she oversaw the textile...

This lovely vintage hand-hammered silver plate Italian bowl is hallmarked on the bottom: Battuto a Mano-silver plated. It is perfect for so many uses and occasions and for serving. I...

Hans Pieck, Dutch, "Lawo" Molded armchair in birch plywood, circa 1946.

This Guillerme et Chambron Sofa displays a beautiful contrast between the light wooden oak frame and the elegant light fabric of the cushions. With a solid wooden frame, the support ...

"Centurion Desk" in black lacquer with three drawers, elegant bronze pulls and sabots, and leather top by Lobel Originals. This desk can be customized in any way.

"Ellipse" Bronze light fixture by Hervé van der Straeten Monogrammed: HV Edition of 30 Measures: Overall drop 76.5", height of ellipse alone 36" Bulb: T-3 halogen bulb...

A multi-tier Italian Mid-Century Modern Venetian / Murano glass chandelier or pendant by Vistosi. The piece is composed of round hand blown glass discs in an amber and off-white colo...

Very nice and comfortable Merkur lounge chair designed by Arne Norell and manufactured by Arne Norell AB in Aneby, Sweden, 1960. The chair has very nice olive green tufted leather cu...

Single Eames aluminium group chair by Vitra, 1980s.

Great pair of 1970s Hart Associates with off-white glazed ceramic clamshell table or sconce lamps, with brass bases. Gives off similar lighting as a sconce. No breaks to ceramic shel...

Moorish style tall back lounge chair with an ebony glazed gold lacquer frame and cane sides. Upholstered in high quality black leather-like Naugahyde. Loose seat cushion and fixed back.

This wonderful vintage bronze sculpture is dimensional and large. The polished bronze large skull head and small apple are yin and yang. It sits on an a black stained wood original base that has been redone. It is signed inside by an unknown sculptor named Elias on the inside. The wood on the inside has not been ebonized because of the signature. It definitely elicits conversation. The bronze parts...

With a cast aluminum pedestal and a rosewood round top. Designed by Pierre Paulin, edited by Artifort.  

A large, elegant, timeless French midcentury style modern neoclassical, gilt iron coffee table in the style of Maison Ramsay. The table features Classic Ramsay details such as turned...

Paul A. Lobel (1899-1983) modernist silversmith, sculptor and artist. Lobel sold his jewelry and art at his Greenwich village shop in the 1940s and 1950s. This two-piece sterling Kin...

Pair of Paul Frankl for Johnson Furniture Co. Corset side or dining chairs also know as plunging neckline or "V" back chairs. Chairs are in need of re-upholstery, price includes refi...

Wonderful modern design and sturdy oak framing, these nesting tables by Harold Schwartz for Romweber have finely carved legs and stretchers. The top table has three oak trays for ser...

Pair of Gio lamps by Stone and Sawyer.  

Extra large concrete bowl planter by Swiss architect Willy Guhl for Eternit. Gorgeous patina.  

Early pieces by CAB for Primavera were inspired by ancient ceramic methods as well as early Japanese metalware. Félix Gête developed the green overglaze seen in this vase, obtained f...

Clyde Burt ceramic platter glazed stoneware with incised, abstract details. Signed to underside: [CB]. American, circa 1965.

A remarkable and elegant Cuban mahogany round center table with a sculpted tripod base.

This beautiful intertwined abstract figure bronze sculpture on a white marble base is very sensual and has an amazing and different presence from every angle. The bodies are intertwi...

Contemporary patinated bronze candlestick by Herve Van Der Straeten. Available in three sizes, each sold individually. Stamped: HV.

Zogrophos desk, slab of dark Emperador marble (brown with white veining). Polished bronze uprights, legs have self leveling glides, with combed oak sus...

Beautiful and rare example by Hans Wegner, Model JH 555 for Johannes Hansen, Denmark, circa 1950. Very good original condition oak frame and original fabric, b...

A lounge chair formed by an armless button-tufted upholstered seat resting on a matte steel, rectilinear architectural frame.

Piet Hein for Fritz Hansen, set of three bar stools, metal, red fabric upholstery, Denmark, 1970s   Set of three bar stools designed by Piet Hein for Fritz Hansen. These stools hold ...

Bruno Rey for Dietiker, coffee table, plywood, Switzerland, 1970s This coffee table embodies four red lacquered legs and a round white table to...

An incredibly stylish travertine sideboard credenza by Stone International S.p.A., this example is signed with its original Stone International label. With so few Travertine side...

Hollywood Regency Italian gold gilt faux bamboo magazine rack or even a log holder with handle. In fine condition, minor wear.

Classic French Art Deco ceiling fixture/chandelier by Maurice Dufrene, circa 1920, in gilt bronze; with Daum (signed) glass shades. 27” diameter overall x 33” high. Maurice Dufren...

'Maja' table lamp by Giuliano Cesari for Nucleo Sormani. Designed and manufactured in Italy, 1969. Travertine, original cord. Retains original manufactu...

Impressive Murano glass centerpiece "Vulcano" designed by Toni Zuccheri for VeArt.

Tito Agnoli for Matteo Grassi "Korium" desk chair. Original leather with nice patina. Tilt, swivel adjustable hydraulic up/down on casters.  

A pair of oversized Asian influenced Lounge Chairs. Reupholstered Frames stamped SABEL on underside. Possibly by Widdicomb.

Gorgeous brass king size headboard with framed teak panels designed by Michael Taylor for Baker.   

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

This original and authentic Mid-Century Modern French stone lithograph designed by Jean Cocteau from the 1950s is for a ceramic exhibition of his pieces at Galerie Pont de Arts in th...

Incredible collection of pre-columbian clay sculptures / figures / statues / pottery, mounted and framed. The pieces date from the pre-classic (Formative) period of Meso-American cul...

Set of four chrome base dining chairs, in the manner of Harvey Probber. Dark chocolate vinyl upholstery. Fixed three-button back cushions and...

Jacques Adnet: A fine French midcentury mahogany curved desk with a leather top and bronze details. Provenance: Palais des Consuls of Rouen, France. 2 rectangular desks with a simi...

A fine French Art Deco wrought iron coat rack with an umbrella and hat stand, a beveled mirror and a small marble shelf.

Pair of custom wrought iron side tables with X-stretcher bases and curule legs in the style of Jacques Adnet. Square top has a leather covered Masonite board inladed into a wrought i...

Pierre Paulin for Artifort, sofa model '442/3', fabric upholstery, chromed steel, The Netherlands, 1962 This modest sofa is based on a solid construction featuring clear lines and g...

Queen size headboard model no 861-80 with curved mahogany slats and brass frame by Harvey Probber, American, 1950's.