Furniture

Guido Faleschini for Mariani, ‘Pace Collection’ set of queen bed, two nightstands and two stools, leather, chrome-plated brass, enameled steel, Italy, circa 1975 This eccentric set...

This central Turkish carpet in quite good condition shows a small cartouche all-over textile lattice pattern enclosing eight petal star rosettes on a warm sand -cream ground. A plain...

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...

This elegant set of four bread plates a vibrant dance of colors and a stunning combination of classic and modern aesthetics. Designed by Luke Edward Hall, these pieces in porcelain i...

Part of the Oriente Italiano Collection, this Ming-style vase is crafted of porcelain and boasts the superb decoration. Its green background is adorned with a series of blue patterns...

Huge Italian vintage Murano chandelier made by 52 clear glass petal, brass plated metal structure. The glasses are very high quality, the photos do not do the beauty, luster of thes...

Longchamps Paris Decorative brown ceramic and leather box Original perfect condition Vintage decorative piece Signed under the base Longchamps Paris Height 20 cm Large 11 cm ...

Part of the Polpo Collection, the Polpo Martini Glass features the mesmerizing elegance of an octopus, seemingly climbing the glass stem. Crafted with remarkable precision, this piec...

Murano Glass Pendant Lamps Pair Lantern Iridescent Blue Glass Lights, circa 1960, Italy- priced as a pair- 6.7" x 24.5" (light shade only, hardware bottom to top) overall height/drop...

This quilt is c. 1930. Created with a wonderful color palette of what appears to be feed sack fabric, meticulously arranged with pattern orientations in mind, accented by a dusty pea...

Transform your space with a talisman for the home of beauty, good energies and comfort. Elevate your home’s ambiance with our handcrafted cushions, designed to bring beauty, positive...

Pair of wall lamps, entirely handmade in Murano, Italy, that bring the energy of Nature and Feng Shui into your interior. This pair of modern organic wall lamps consists of a hand-wo...

This 1-door and 3-drawer cabinet is designed by Eric Gizard - Paris. It is 100% made in France with solid ash wood, veneer and lacquered doors in MDF panels. Each door and each dr...

A grid formed out of solid oak wraps the facade of this floating, wall-mounted credenza. Three touch-latch doors reveal storage and a central shelf. Shown in honeyed oak with natur...

Iconic De Sede Boxing Glove Sofa or Chaise Longue DS-2878/10 Right Version. Designed in 1978, new - current production, Iconic boxing glove sofa. A unique statement with exceptional...

Mogens Koch for Rud Rasmussen, modular book case or library, mahogany, Denmark, design 1928 Intriguing and substantial modular library by Danish designer Mogens Koch. This piece is ...

Pair of Easy Chairs in Teak and Leather by Ib Kofod-Larsen, 1950s Additional Information: Material: Teak and original cognac brown leather Style: midcentury, Scandinavian Rare ...

Beautiful mahogany veneer screen. Designed by Charles and Ray Eames in 1946, for Herman Miller. Wood has been professionally restored. There are no chips or breaks. The canvas ...

Ubald Klug DS-1025 'Terrazza' Sofa Island (4 pieces together) for De Sede, Switzerland. New, current production. The timeless classic 'Terrazza' sofa by De Sede in wonderful high-en...

A beige velvet and oak sofa designed and produced in the US, c. 1950s. Reupholstered in brand new velvet. Dents and patina present to wood frame. Overall Dimensions (inches): 30” H...

'Island' Round Dining Table in Beige Travertine Stone Island dining table showcases the refined simplicity and subtle elegance characteristic of Italian minimalist style. Constructed...

Set of 4 Iris porcelain coasters from Oriente Italiano Collection. This set of four floral motif coasters with The lustrous pure gold trim accentuates the beauty of the Iris blue dec...

Set of Classic Le Klint Oak Wood Floor Lamps designed by Esben Klint for Le Klint in 1957. A rare set for an exquisite home. * Set (2) of oak wood floor lamps with white hand-pleate...

Transform your space with a talisman for the home of beauty, good energies and comfort. Elevate your home’s ambiance with our handcrafted cushions, designed to bring beauty, positive...

Composed of a hammered wrought iron wall bracket with a golden patina, decorated at the bottom with an attractive graphic pattern running the entire length of the wall light and at t...

An iron, wood and brown velvet lounge chair designed and produced in Brazil, c. 1950s. The metal frame presents with very heavy oxidation. Overall Dimensions (inches): 31” H x 25.5...

A dark-stained wood and green velvet sofa designed and produced in Sweden, c. 1930s. Vintage fabric in distressed condition, ideally reupholstered. Dimensions: 32” H x 74” W x 36” ...

A truly amazing large low rectangular brutalist sofa / side table in solid stained oak. Handcrafted by a French Cabinetmaker in the 1970s. This table has a beautiful patina and simpl...

An early 19th Century, antique set of four Austrian dining room chairs made of hand crafted shellac polished, partly veneered Walnut, in good condition. The detailed side chairs have...

Handwoven in the cc-tapis atelier in Kathmandu, Nepal. The rug is made with a cotton weave, Himalayan wool and bamboo silk pile coming from the areas surrounding the atelier. The sal...

Lips Vago, 'Congresso' shelving units, lacquered steel, Italy, 1960s. Very large library consisting of ten 'Congresso' units. Constructed from steel sheets, the 'Congresso' shelf is...

An antique Persian Heriz room size carpet in square format handmade during the early 20th century. Measures: 12' 6" x 14' 0".

A black-lacquered iron and beige fabric chaise longue designed and produced in Brazil, c. 1950s. Reupholstered in brand new fabric. Overall Dimensions (inches): 33.5” H x 26.25” W ...

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

This rare, iconic "606 Series" unit, designed by the legendary Dieter Rams in his signature minimalist style for Vitsoe, is a wall mounted floating credenza, consisting of two out o...

Antique White and Grey Painted Cupboard Dimension: H. 191 cm - W. 127 cm (137 cm to the corners) - D. 46 cm (53 cm to the corners) Wood essence: Fir Period: c. 1810 Origin: Austria - European Alps Description: Antique Alpine wardrobe...

Part of the Polpo Collection, the Polpo Manhattan Glass features the captivating design of an octopus seemingly climbing the glass stem. With intricate details, this piece pays tribu...

A pair of pine and white fabric lounge chairs designed and produced in Italy, c. 1970s. Reupholstered in brand new fabric. Overall Dimensions (inches): 23.75” H x 22.675” W x 36” D...

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

This timeless beautiful Italian classical sink is cut from one single block of white marble, these designs have not changed since Greek and Roman times, it carries superb artistic me...

A pair of walnut and brass nightstands designed and produced by Widdicomb, Grand Rapids, Michigan, USA, 1950s. Dimensions: 22.25” H x 24” W x 16” D All items ship from High Point, ...

Striking Brutalist copper mirror handcrafted by Les Ateliers, Erge Enr., a Quebec-based artisan studio active during the 1970s. The mirror features a bold torch-cut copper floral fra...

Restored 1960s Herman Miller Eames chair. Vintage fiberglass shell on later base of steel and wood runners. Signed and guaranteed authentic. Embossed with Herman Miller emblem undern...

Gio Ponti Longue Chair for Cassina Made for Hotel Parco Dei Principi Sorrento 1960.Chair is in original condition.

Large Murano Vase with vertical beads in Cobalt blue and baloton regularily spread bubbles in the clear part. The clear part carries 24K gold leaf that is printed with baloton (a pin...

Fantastic contemporary faux-bamboo dry bar cabinet mounted to a gilt stand embellished with chinoiserie Asian motifs. The cylindrical top is crafted from wood veneers and features a ...

Large lounge sofa in cognac leather by George Bighinello for Eurosalotto, Italy, in the 1970s. A large lounge sofa in cognac leather by George Bi...

A vintage Turkish flatweave Kilim room size carpet handmade during the mid-20th century. Measures: 11' 0" x 14' 0".

Jindrich Halabala, lounge chairs, model 'H269', stained beech, reupholstered in sheepskin "Maori" Honey by Skandilock, Czech Republic, 1930s. Extraordinary easy chairs in beige brow...

A primitive low table/coffee table in heavily patinated 18th C. Portuguese chestnut. Single piece top. Designed and built by us in our London workshop. Complimentary worldwide shi...

This exquisite 19th-century Biedermeier chess table is a true testament to masterful marquetry craftsmanship. Made in Germany around 1835, it features an intricately inlaid chessboar...

Pair of Ca' Bragadin Murano Glass Chandelier: Cobalt & Crystal, Hand-Formed Candlestick Design, Venetian Elegance This Ca' Bragadin Murano glass chandelier presents a striking inter...

Rare and practical bar cabinet model Times designed by Torbjørn Afdal and produced by Mellemstrands Møbelfabrik in Norway. Exceptional piece in beautiful all original condition. To...

Made with handwoven wool, this 12x18 antique French Beauvais tapestry represents an iconic museum-quality addition to Rug & Kilim's Tapestry Collection—an extremely collectible and r...

A black-lacquered wood, beige-lacquered metal and white acrylic floor lamp attributed to Joaquim Tenreiro, Brazil, c. 1960. Moderate staining to metal shade. Dimensions of Lamp wit...

Ubald Klug Pair of DS-1025 'Terrazza' Sofas, Outdoor Version in Fabric Upholstery for De Sede, Switzerland. New, current production. The timeless classic 'Terrazza' sofa by De Sede ...

A primitive low table/coffee table in heavily patinated 18th C. Portuguese chestnut. Single piece top. Designed and built by us in our London workshop. Complimentary world wide sh...

Twins Day Bed, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Twins daybed and its matching curved sofa share the ...

Hand‑carved in Italy during the early 1960s, this compelling and monumental table lamp turns functional lighting into a true piece of modernist sculptural art. The solid walnut base ...

These mid-century modern Italian side chairs in wenge and leather are the epitome of effortless elegance and functional artistry. Born from the golden age of design, these chairs fus...

A cream white and black-lacquered metal and brass floor lamp designed and produced in Brazil, c. 1950s. Light oxidation present on brass neck. Dimensions of Lamp with Shade (inches...

This beautiful antique Heriz Serapi rug, hand-knotted in the early 1900s, is a stunning example of Persian craftsmanship and artistry. Despite its age, the rug is in excellent condit...

The buffet is the first item of the collection Una (Articolo Indeterminativo) by the Italian woodworker Stefano Marolla. The title refers to the indeterminate article in the Italian grammar, as these pieces trick the eye playing on the ambiguity of the matter: A sturdy element like wood, hand-curved and levigated, looks like a light tapestry. The curves and the soft drapery of the wood are inspired by a long and attentive study on the usage of drapery in art’s history, going back from the ancient Greece to Bernini’s sculptures...

Lounge chairs in Patinated Cognac leather, France 1970. Oversized, large, modern lounge armchairs that feature straight lines and shapes invite you to take a seat and relax—design...

Elegant and refined, this set of four Egoluce wall sconces from Italy, circa 1980s, showcases a beautiful blend of brass structure and frosted glass shades, offering a timeless desig...

1 of the 2 pendant lamps by Carlo Nason for Mazzega. Four crystal clear and purple leaves compose this beautiful handmade piece of thick Murano glass. Please notice the price is for...

1 of the 6 of light fixtures designed by J.T Kalmar, manufactured by Kalmar Franken, Austria in the 1960s. High-end and handmade design from the 20th century. The large squares of wh...

Sculpture representing a fragment of the bust of Apollo. Sculpture in resin and plaster, metal base, representing a fragment of a bust of Apollo, Greco/Roman style. H: 63cm, W: 32cm...

WOODEN STELE OF HERES-IB, DAUGHTER OF PADI-AMUN, SON OF HOR Third Intermediate Period Dynasty 22, ca. 945-900 BC. Egypt, Thebes 25 x 22.5 x 2 cm Without base: 15.3 cm PROVENANCE Co...

Just Andersen An elegant jardiniere crafted in pewter, featuring a fluted body in the distinctive Art Deco style. Designed by Just Andersen, one of Denmark’s leading decorative artis...

A pair of early"Queen chairs" by Hans Wegner for Johannes Hansen / AP Stolen 1960. Both of them completely reupholstered with fine Kvadrat Denmark fabric and cognac leather accents. ...

An Eames lounge chair for Herman Miller. This is a gorgeous contemporary model of the classic Eames lounge chair and ottoman. Dated 2020, this chair carries an absolutely timeless de...

A spectacular and rare sculptural floor lamp designed by Carlo Giorgi for Bottega Gadda, Italy, circa 1970s. This impressive piece features three large rhubarb-shaped leaves in gilt,...