Designer Faves

A wood and shearling lounge chair designed and produced in the US, c. 1940s. Reupholstered in brand new authentic shearling / lambswool. Dimensions: 29.5” H x 28” W x 36” D Seat H...

Vuccino And Rava 1958 - Slim Aarons Estate Edition Carla Vuccino, wearing a swimming cap, and a sunbathing Marina Rava, both wearing bikinis as they sit on the rear of a boat, on th...

Majuli Bronze Cane Trolley, Viya by Vikram Goyal Sinuous forms in a captivating rhythm of deftly woven cane, evoke the dynamic flow of Assam's rivers. Th...

A rare and exquisite asymmetrical wall mirror designed by Max Ingrand for Fontana Arte in 1958, epitomizing the refined craftsmanship and innovation of mid-century Italian design. T...

Italian hand-carved oak wood bar cabinet with four folding doors and central interior shelf. Discover the essence of Italian style with our stunning contemporary oak wood bar cabin...

A subtly curved golden metal disk fitted to a white glass globe housing the light source marks the extraordinary grace of this pendant lamp. Descending from a coordinated round ceili...

Medium Steel 'Epic' Coffee Table in Earthy Red by Gamfratesi for Gubi Designed by Danish-Italian duo GamFratesi, the Steel 'Epic' Table series for GUBI is executed in solid steel. T...

A beautiful early 19th Century Wedgwood 'Moonlight Lustre' Centerpiece in the form of an open Nautilus Shell decorated in iridescent tones of pink, pu...

The Bermuda lounge chair by Claesson Koivisto Rune (2020) offers a playful yet sophisticated design. Its low, triangular form floats on a slim, three-legged base, inviting free posit...

A brass and beige fabric wall light designed and produced in Norway, c. 1950s. Overall Dimensions (Inches): 12.5” H x 8.75” W x 5.5“ D Back Plate Dimensions (Inches): 3.3” H x 1.5“...

The Zen moss-green rug embodies the tranquility of a Japanese garden through its two-level weaving technique. Perfect for living spaces, bedrooms, and contract areas, it is the brain...

Signed watercolour on paper landscape by American post impressionist painter Maurice Brazil Prendergast. The work depicts children playing on the beach in Saint Malo, France as boats sail in the blue sea and white clouds role through the sky overhead. This work has remained in the Prendergast family for 3 generations and depicts a rare view of Saint-Malo executed during Prendergast's visit to the french coastal town in 1907 Signature: Signed lower left Dimensions: Framed: 21"x22" Unframed: 13'x14" Proveance: The collection of Charles Prendergast (1863-1948) The collection of Eugénie Prendergast-Van Kemmel (1895-1994) -wife and inheritor of the estate of Charles Prendergast The collection of Henri Van Kemmel (Lille, 1903-1963) - cousin of Eugenie Prendergast
- Madame Henri Van Kemmel Maurice Prendergast came with his family to Boston in 1861. Working in a textile store, Maurice Prendergast was at first self-taught in painting, making souvenir cards and shop signs. He went to Britain in 1886, then to Paris in 1891 and registered at the Académie Julian with Jean-Paul Laurens, Benjamin-Constant, and Charles Blanc as teachers, working also with Gustave Courtois at the Académie Colarossi. More importantly he saw the Impressionists’ paintings and the Nabis at the Galerie Durand-Ruel. He returned to the United States in 1895, settling in Winchester (Massachusetts) and went frequently to New York. In 1898 he again went to Europe where he stayed until 1900, visiting Paris, Florence, Siena, Rome, Capri, and Venice, where he spent six months. Between 1907 and the beginning of World War I he went again four times to Europe but never returned there after the war. In New York where he finally settled, with William Glackens, Robert Henri, and John Sloan among others, Prendergast was one of the members ofThe Eight, gathered by Robert Henri to counter the pervading academicism. The group exhibited in 1908 at the Macbeth Galleries and took part in the Armory Show of 1913. After that Prendergast did not exhibit again with the group. In 1914 he left Boston definitively for New York. Prendergast was in his thirties before he began to devote himself to painting. In his late beginnings he painted in the open air as the Impressionists did, mainly in watercolours with clear brushstrokes and an elegant virtuosity recalling his then admiration for James Whistler and Claude Monet. Between 1892 and 1905 he carried out two hundred monotypes, a technique of which he was the undisputed master in America at that time and which expressed the influence of Japanisme. During his stays in France he painted views of Paris, but also Brittany and Normandy. In this period, in 1896, he was chosen to illustrate My Lady Nicotine by Matthew Barrie. During his third stay in Europe, from 1898 to 1900, he painted in Paris, at Saint-Malo, and mainly in Venice, where, influenced by Vittore Carpaccio he introduced brightly coloured banners into his animated compositions. In oils he painted slowly, touching up his paintings by superimposed brushstrokes, sometimes over several years. He chose to use the divided stroke in an early period, a technique which had similarities with Post-Impressionism. After his travels in Europe and his discovery of Paul Cézanne, he evolved in the direction of the neo-Impressionism of Georges Seurat, placing little dots of colours with a knife, then of the Nabis and even later Fauvism, painting large brushed surfaces in bright colours. After 1899, his Ponte della Paglia in Venice freed itself from strict divisionism, adopting the dense composition in vertically superimposed planes of the Nabis. Like the members of the group of eight, he took his subjects from the daily life of ordinary people, in scenes in the parks or on the beaches of New England, picnics or sometimes circuses. Nevertheless the happy vision that he had of the world separated him strongly from the evolution that led his companions to paint the most miserable and populous milieus, which gave them the name of The Ashcan School. His compositions are arranged in surfaces superimposed vertically, without depth; while the Impressionists and Post-Impressionists were influenced by the layout of Japanese prints, Prendergast was inspired more by Persian miniatures. The decorative elements and the build-up of characters in crowds are placed frontally, like garlands on a tapestry, particularly as he seeks a texture effect, covered entirely by the subject without any empty spaces. His attraction to colours caused him to research all the motifs that he introduced into these compositions: umbrellas, parasols, balloons, draperies. In 1911–1912, he experimented with pastel and treated new subjects, nudes and still-lifes. After 1913, in sympathy with the Symbolists, he put nude figures and everyday characters side by side in the same composition. In his last years, and above all in the watercolours, he discarded the divided stroke and applied larger brushstrokes, similar to the technique of Henri Matisse. Fidelity to the leisurely settings and elegant grooming of the period gave his works, apart from their artistic value, a charming sociological aspect. Singular, almost marginal in his time, his paintings stand out by the density of their composition, in form and colouring, characterised by the accumulation of detail, minutiae of scenery, the serried ranks of people that animate them, the chromatic polyphony of elegance, umbrellas, parasols, and flags. He is a complete painter, particularly generous, who would never be happy to provide only samples of his art. Following Whistler and Mary Cassatt, Maurice Prendergast is one of the most interesting and original Post-Impressionist American painters, and perhaps marks exactly the boundary between the 19th and the 20th centuries. He was considered to be an ‘old master’ from 1920 on, and his works appeared in very many exhibitions of modern American painting. He had his first solo exhibition in 1897 at the Chase Gallery of Boston, where his works were noticed by Madame Montgomery Sears, who made a collection, taking the advice of Mary Cassatt. In 1915 six paintings and watercolours exhibited at the Carroll Gallery of New York established his success and drew the great collectors to him, among whom were Albert Barnes and John Quinn. Group Exhibitions 1974, Ten Americans, Andrew Crispo Gallery, New York 1976, Art of Impulse and Color, University of Maryland Art Gallery, College Park (Maryland) 1982, American Impressionists, Smithsonian Institution, Washington, DC (also presented at the Musée du Petit Palais, Paris) 1999, Town and Country: American Artists, 1870–1920 (Ville et campagne: les artistes américains, 1870–1920), Musée d’Art Américain, Giverny 2002, Japonisme in America: Works on Paper, 1880–1930 (Le Japonisme en Amérique: œuvres sur papier, 1880–1930), Musée d’Art Américain/Terra Foundation for the Arts, Giverny 2007, American Impressionists: Painters of Light and the Modern Landscape, Phillips Collection, Washington, DC 2008, Coming of Age: American Art 1850–1950, Paintings from the Addison Gallery of American Art, Massachusetts, Dulwich Picture Gallery, London 2008, Portrait of a Lady: Paintings and Photographs of American Women in France 1870–1915, Musée des Beaux-Arts, Bordeaux Solo Exhibitions 1934, Maurice Prendergast Memorial Exhibition, Whitney Museum of American Art, New York 1938, Retrospective Exhibition of the Work of Maurice and Charles Prendergast, Addison Gallery of American Art, Andover, MA 1960, Maurice Prendergast, 1859–1924, Museum of Fine Arts, Boston 1990, Art Institute of Chicago 2009, Prendergast in Italy, Peggy Guggenheim Collection, Venice Museum and Gallery Holdings Andover, MA (Addison Gal. of American Art): At the Shore, St. Malo No. 1 and 2 (c. 1907, watercolour and graphite on wove paper, 2 works); Along the Cove (1910–1913, oil on canvas); seven sketches of Paris (1893, oil on wood) Chicago (AI): In the Park (1918–1919) Chicago (Terra Foundation for American Art Collection): Festa del redentore (c. 1899, monotype); The Opera Cloak...

This octopus glass can be combined with the octopus pitcher to make a striking statement on any dining table, whether in a contemporary or classic decor....

Henning Kjaernulf - Razorblade Chairs, 1960. Unique lounge chairs manufactured by Nyrup Møbelfabrik, Denmark 1960. The chairs feature razor blade shaped carved backs and thick, wide...

A Dutch Art Deco modestly sized elegant occasional table or side table in oak and black laquered balls for feet. A very nice accent piece in interesting, eclectic interiors. It is a ...

Auguste-Louis Lepère (French, 1849-1918) Untitled Landscape, c. 1910 Watercolor Signed lower right 14 x 16.5 inches 20 x 22.5 inches, framed Auguste-Louis Lepère was a French painte...

This stunning round mirror is marked by a clean and essential design enhanced by soft and sinuous lines that will bring a refined touch to any wall in a modern home. The graphite met...

Hans-Agne Jakobsson Darkly Patinated 'Tratten' Outdoor Pendant. An exclusive made for U.S. and UL listed authorized re-edition of the classic Swedish design from Jakobsson, executed...

Handcrafted in Bulgaria, our Marbre collection brings a rustic elegance to any table setting, with its dreamy marbled pattern. Available in Blue, Green and Brown, the Marbre collecti...

This English bamboo bookcase from the Aesthetic Movement of the late 1800s was given a creative update with recent decoupage and painted ebony finish. Schools of fish animate the ext...

mixed media incorporating heliogravure and drypoint etching hand-colored on Arches paper , Edited in 1964 limited edition, numbered in lower left corner 84/150 signed in pencil by a...

Located in Arches National Park in Utah, USA, Double Arch is a grand natural formation which results from an underground sandstone pocket where water and wind erosion gradually sculp...

This mid-20th century Chinese Art Deco rug, measuring 8' 10" x 11' 3", showcases a beautifully refined design with a rich terracotta field. Scattered across the open expanse are trad...

Gucci 1970s Quail salt and pepper shakers. Signed Gucci Italy

Beautiful six-light handmade Italian Gold Leafed France with Lead Crystal Pendant. All new American wires and sockets matching chain and ceiling canopy. Ready to install with all mou...

Side Table Newton Dark Green with all structure in stoneware in glazed finish.

Sideboard, pine and walnut, Spain, 1970s Beautiful Spanish sideboard with geometrical front, made in pine and walnut wood. The door panels feature car...

Hubert Thornley British, (exh. 1858 -1898) Moonlight Whitby Harbour, Low Tide Oil on canvas, signed, indistinctly inscribed in pencil to the stretcher verso Image size: 9.25 inches x 15.25 inches Size including frame: 16.25 inches x 22.25 inches An atmospheric moonlit painting...

Josef Hillerbrand was a prominent German architect and designer in the mid-20th century era. He is best known for his work in the Deutsche Werkstätten, Munich. The Deutsche Werkstätt...

The frame of the mirror is shaped using various hand tools, making each piece unique with its own distinctive wood grain. The mirror is made from high-quality red oak, which is light...

This striking pair of painted iron tables, with their thick glass tops and arrow-form feet, channels the refined neoclassicism and impeccable craftsmanship attributed to Maison Janse...

Designed by the legendary Paavo Tynell, the 1972 pendant features a conical shade in bamboo, crafted by master artisans. The the bamboo slats are hand sewn into a pleated mat and fas...

"Pretty small French tapestry from the late-20th century, featuring a beautiful design and nice colours, woven in jacquard loom by wool acrylic a...

Swedish designer Jan Ekselius studied at the art academy in Stockholm and later at the Royal College of Art in London. He made his international breakthrough in the early 1970s with ...

Article: Wall mirror Producer: Vereinigte Werkstätten München / Münchener Zierspiegel Design: in style of JOSEF FRANK Origin: Germany Material: Wood, glass, metal and br...

A dark-stained birch cabinet designed and produced in Sweden, c. 1930s. Dimensions: 58.8” H x 38.5” W x 18.375” D

Shirley Smithers (British, 20th Century) March Hares Watercolour Signed ‘Shirley Smithers’ (lower right) 6.7/8 x 8.7/8 in. (17.4 x 22.5 cm.)

19th century hand painted Swedish pine side table circa 1880. Lovely traditional Swedish side table in original striking blue paintwork. Rectangular slightly over-sailing top with ...

An adjustable chrome metal and white fabric wall light designed and produced in Denmark, 1930s. The metal arm presents with very light oxidation.  Overall Dimensions (Inches): 11.6...

A patinated bronze vase manufactured by GAB, Sweden circa 1930s. Model number 260. Marked by manufacturer. Engraving.

Architecturally refined and rooted in artisanal tradition, this contemporary bench is meticulously crafted from solid oak wood and upholstered in premium wool bouclé, offering a soph...

A modern East Turkestan Pictorial Khotan room size carpet handmade during the 21st century. Measures: 10' 0" x 13' 3"

Mid-Century Modern style wall lights made in Italy from Murano glass, mouth blown and satin finished on the inside, while the outside is polished. The glass is embellished with numer...

Signed oil on canvas nude figure circa 1946 by French painter Andre Masson. The work, painted in mostly greens and blues, depicts a front view of a seated nude woman. Signature: Si...

CERAMIC TISSUE BOX, designed in 2023. Artisanal ceramic tissue box created by skilled artisans in Project 213A's own ceramic workshop. Each piece is unique due to its handmade natu...

This exquisite three-tiered table by Émile Gallé presents a stunning vignette of water flowers, each tier depicting a different flower. The top tier features intricate marquetry depi...

This striking pair of sculptural planters was designed by Willy Guhl for Eternit in the mid-20th century. Crafted from fiber cement, these biomorphic planters feature an organic, und...

Rupert Scott Lovejoy American, 1885-1975 Low Tide Oil on canvas 32 ¼ by 36 ¼ in, w/ frame 37 ⅝ by 41 ¾ in Signed lower right Rupert Scott Lovejoy was born in Portland, Maine on 3 J...

Vintage French artisanal “mediterranean style” armchairs. Comprised of a black wrought iron frame which forms into swirls in the arm and backrest sections. On the frames rest thick, ...

Mid-century Slovak wall mirror from 1970 with a unique retro design, the frame is made of glued veneer with an elegant pattern, both the veneer and the mirror have patina and signs o...

Illuminate your space with the Finnish mid-century modern ceiling lamp by Itsu. This exquisite piece marries function with a beautiful form, accent...

Art Deco blue ceramic vase with dancers by Mougin Frères
design by Georges Condé. Grès Ceramic with incised decor of dancing nudes. France 1930. This vase is illustrated in: Jacque...

Large three-seater sofa with an inclined side upholstered side ending with upholstered eggs, in the style of Madeleine Castaing. France 1970s.

Late Classicist chest of drawers Southern Germany Walnut Early 19th century Dimensions: H x W x D: 83 x 124 x 60 cm Description: Strictly cubist chest of drawers from the transiti...

Throughout the 20th century, wood had been the most important furniture material. This is especially true for the mid-century era, during which it was a staple material across the wo...

Hunt Slonem "Maxim" Single Black and White Bunny A single rabbit gestured in black on a white background in a vintage frame Unframed: 10 x 8 inches Framed: 13.5 x 11.5 inches *Paint...

Wonderful mid-century rectangular serving tray fully made in a gorgeous and vibrant tortoiseshell effect lucite. This charming piece was produced in Italy during the 1970s and is att...

Atlantis Lamp by Cécile Philibert Material: Rattan, silk paper, alabaster, metal. Dimensions: D 33 x W 33 x H 57 cm All our lamps can be wired according to each country. If sold to ...

Exquisite table or desk lamp in the manner of Jean Royère circa 1950s Loop design tubular metal base in vivid green with center brass orb finials Supporting two conical shades pois...

Chaise longue/armchair made entirely of rattan mod. P3 by Tito Agnoli for Bonacina, 1960s. The structure is composed of a single component that "bends" to form the inclined backres...