Furniture

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 ...

Paul Evans for Paul Evans Studio, welded and enameled pewter, copper, and bronze, reupholstered leather, United States, 1971 Designed by Paul Evans for Paul Evans Studio, this sofa ...

Paul Evans for Paul Evans Studio, ‘Loop’ wall-mounted cabinet, welded copper with applied verdigris patina, steel, brass, painted wood, United States, circa 1968 Made around 1968, t...

Wonderful set of 16 botanical prints Lithographs after the original botanical drawings by Hooker. Original color Published, circa 1850 Unframed. The measurement given is for one...

Andre Arbus Sloping mahogany secreter with two drawers and a drop-leaf door. Sycamore maple interior with six small drawers and a central niche lined with parchment; gilt bronze knob...

A birch and brown floral-printed fabric rocking lounge chair produced by Väsby möbel- & inredningsfabrik AB, Sweden, 1940s. Design attributed to Gustaf Axel Berg. Overall Dimensions...

1960s Gorgeous wall clock in Murano glass by "Cà dei Vetrai" it's signed on the back. Made in Italy. It's in excellent condition and it works perfectly with an AA battery (quartz mec...

Beautiful and very elegant and organic looking Danish 1930-40s curved two-seat sofa raised on a beech frame and legs. These type of sofas was manufactured from the 30's and up throug...

A stained beech and off-white fabric lounge chair designed and produced in Denmark, c. 1940s. Overall Dimensions (inches): 39.8"H x 25.0"W x 29.0"D Seat Height (inches): 14.0" Arm...

Rare Danish mid-century corner sofa. This sofa was made around 1950 well before corner sofas and sectionals really became a thing and the proportions are reflective of the homes at t...

A pair of iron and white fabric wall lights designed and produced in France, c. 1940s. Brand new fabric shades. Overall Dimensions (Inches): 17.75” H x 9” W x 7“ D Back Plate Dime...

Pair of Mid-20th Century mercury glass style table lamps newly rewired with UL parts.

A very unique pair of 18th century French wrought iron chenets–or andirons–forged with zoomorphic heads of bulls atop the otherwise square & straight proportions. The stylized animal...

A pair of brass and white fabric wall lights designed and produced in Norway, c. 1960s. Overall Dimensions (Inches): 8.75” H x 6” W x 6“ D Back Plate Dimensions (Inches): 5.15” H x...

Meet our stunning Queen French Oak Bed, a beautifully replicated Louis XVI bed made from white oak with meticulous attention to detail. Each intricate carving is embellished with lov...

Solingen set of cutlery made of high-quality stainless steel in the amount of 68 pieces for 12 people in a stylish package. Germany, 1960s. Rust resistant. Mirror polishing technol...

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...

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...

Transforming a piece of Mid-Century Modern furniture is like bringing history back to life, and we take this journey with passion and precision. With over 17 years of artisanal exper...

Murano glass chandelier. Hand made in Murano. It made by 58 Murano crystal glasses in a gold metal frame. The chandelier has also a Murano glass ball in the end of the lamp. Murano b...

Inspired by Luke Edward Hall's love of Greco-Roman mythology, the Viaggio di Nettuno collection represents a creative vision where classical dialogues with modern. A superb object of...

Rare 19th Century Set of 5 Porcelain Leaves & Birds Plates. Rare colors and pattern.

A black-lacquered tubular steel, teak and brown suede lounge chair designed by Hans Olsen and produced by Lea Design, Denmark, c. 1960s. Overall Dimensions (inches): 26.0"H x 30.5"W...

  Elevate your home's ambiance with this exquisite pair of professionally restored brass vintage wall lanterns. These charming sconces offer a touch of timeless elegance and a warm...

Large English Victorian Hunt Scene Jardiniere Circa 1890. Decorated with hound dogs with a deer. Dogs heads handles. 19.5 by 8.5 inches.

Wonderful set of 4 dining chairs from the 1920s in the style of Axel Einar Hjort.

Lovely pair of Victorian Period, sterling silver bud vases, London, year-hallmarked for 1896, Goldsmiths and Silversmiths Co., Ltd. - makers. Each vase measures 6 3/4 inches high x 2...

This stunning pair of wall sconces from Andrew Kornat Designs are 100% handmade from scratch from a single sheet of hand cut thick grade sheet brass, curled by hand into a scroll sha...

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...

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...

French style wrought iron greenhouse with doors and windows that open outwards in white color. Ready for glass panels to be installed.

French style wrought iron greenhouse with doors and windows that open outwards. Ready for glass panels to be installed.

Outstanding spanish foliage floral sunburst flush mount ceiling light in gilt iron, Ferro Art, 1950s To be used as ceiling light fixture or as chandelier / pendant light adding a cha...

Pair of iconic art nouveau or decorative arts style Samarkanda hand-crafted glass pendant lamp shades attributed to Fortuny Venice, Italy. Beautifully crafted with delicate gilt desi...

A French 19th Century brass and tole chandelier in classic bouillotte style to softly illuminate a foyer or dining area. Five candle arms arranged in a concave pentagram are partiall...

Introducing Cyclo, a versatile and elegantly crafted bowl made from premium marble stone. Cyclo blends natural beauty with functional design, making it a perfect addition to any spac...

Elevate your space with the timeless elegance of the Pink Marble Tray. Crafted from exquisite burgundy marble adorned with striking white veining, thi...

Elegant 1940s Danish sofa features a gracefully curved form with vertical channel-back tufting, offering both sculptural presence and structured comfort. Built with exceptional craft...

A Pair of Deka Pencil Reed Rattan Table Lamp Crafted with precision and artistry, the Deka Pencil Reed Rattan Table Lamp is a stunning handcrafted creation by Rattanology, designe...

"shipping note: If your region or country is not listed under the shipping options please contact us directly" Three organically shaped ceramic vases, handcrafted in Switzerland, in...

A set of three candle sconces designed by Pierre Forssell and produced by Skultuna, Sweden, c. 1960s. Overall Dimensions: 19.25” H x 1.5” W x 3.25” D Dimensions of back plate: 13.6...

This is a gorgeous, colorful doubly polished Malachite and Chrysocolla slice from the Congo. Boasting intricate and artistic textures consisting of well-defined, thick, concentric an...

Beautiful made 60s make-up Table mirror. Hidden hinges . In very good vintage condition. Mirror is tillable. 1 magnifying mirror for applying make-up, for example, and 1 normal mir...

Introducing our exquisite Rosso Levanto Marble Bowl, a fusion of elegance and functionality. Crafted from luxurious Rosso Levanto marble, this stunning bowl is a testament to timeles...

A stunning pair of sculptural chairs by Kodawood, circa 1960s, fully restored by Stamford Modern. Featuring exposed frames in medium walnut and reupholstered in natural velvet, these...

Amazing period piece. Beautiful small iron door that most likely once had its place in an Italian Chapel. It is depicting Saint George killing the dragon. Beautiful naive style. Ital...

Ulbald Klug DS-1025 "Terrazza" sofas for De Sede, dark brown leather, Switzerland, 1974, set of four. Ubald Klug designed this rare modular DS-1025 "Terrazza" sofa as a real living ...

A stunning late 16th-century Flemish historical tapestry, possibly from Oudenaarde, woven with rich gold, blue, and green threads. The central field possibly depicts the story of Pom...

Set of six model 71 chairs, designed by Niels O. Møller, manufactured by J.L. Møllers Møbelfabrik, 1950/1960. Teak frame with papercord seat. Good vintage condition, minor patina con...

Elegant pair of 19th century Georgian demi-lune console tables crafted from mahogany. The distinctive tables once ends of a grand banquet table feature serpentine or undulating apron...

Incredible hand-carved fireside chair with studded seating. This ornate piece displays Spanish artisan craftsmanship at its finest. Low and wide...

This vibrantly contrasting specimen showcases moderately sized emerald-green Dioptase crystals growing atop a matrix of lustrously crystallized Calcite, accented with rare powder-blu...

An Italian leather and suede jewelry tray, Modern/Midcentury Modern design, made exclusively for B. Altman & Co. New York, NY, circa mid-20th century or e...

A fine and gorgeous Malachite Stalactite slice from Congo with rich, velvety bands of light and dark green and a magical chatoyance that morphs and gleams in the light as you move th...

Part of the Arlecchino collection, this set of six champagne flutes will enrich any celebratory event, thanks to its exquisite craftsmanship and the delicate three-color combination ...

Rendered in solid walnut with a time-softened patina, this Spanish Baroque buffet emerges as both sculpture and storage—an artifact of vernacular nobility from the Castilian heartlan...

Vintage, petite colorful glass bowl. Made in Czechoslovakia.

Art deco table lamps with fabric shades vienna around 1920s Brass polished and stove enameled The fabric shades are replaced ( new ) we have a total of 3 of this model not includet i...

Standout large mid century footed bowl or wine cooler handcrafted in silver plate on hammered copper in a pleated form featuring two stone clad parrots as handles. Stamped Emilia Cas...

Kick back on this stunning chair by French designer Jacques Adnet. An iron frame is wrapped completely in beautiful camel-colored leather. Four legs extend to form a tripod base. The...

Pair of high end wall sconces made of hand blown clear and opal and brown (smoked) Murano glass on a messing hardware designed and produced by J.T. Kalmar, Austria in the 1960s. Mini...

Bronze Mounted Steinway Model M Baby Grand Piano A Model Of Francois Linke Dimensions : Height 43 in., Length 67 in., Width 56.25 in A Gilt-Bronze Mounted Steinway & Sons Baby G...

Vintage 1960s Set of 4 chairs produced by Franco Asnaghi, in steam-bent plywood, padded seat and backrest covered in fabric. light signs of aging on the legs.

A large artistically created birds for table decor, taxidermy pheasant. This figure is Classic Hollywood Regency! They are each unique from one another, with slightly different positions and physical characteristics. Its is very well-weighted and well-balanced piece, beautifully crafted with rare bread of colourful pheasant. The spirit of this bird is a great problem-solver and can invent a way for any of your troubles. Native American lore states that the pheasant symbolises protection and concealment because the bird spends most of the time squatted down in the grass. The presence of a pheasant at your home is, therefore, symbolic of protection from evil eye and power This superb Ringneck Pheasant specimen comes from a Taxidermy collection...

Italy, circa 1950 An unusual mid twentieth century Murano glass lantern by Venini, in dappled pink glass with blue rims. Height 90.00cm Diameter 30.00cm Please note: Currently ...

Commanding yet understated, this monumental draper’s counter from 1930s Spain is a tactile manifesto of the Castilian Revival movement—a return to th...

Elegant ceiling flush mount light Utah-18™, designed by Gallery L7, handcrafted and finished in Los Angeles from American brass, suspended perforated raw, aged brass disc (18inch dia...

This is a modern burlwood gentleman’s armoire by John Widdicomb. It dates to the 1970s and was manufactured in Grand Rapids, Michigan. It is marked , and the interior opens to open s...

A walnut and rush stool designed and produced in Italy, c. 1940s. Dimensions (inches): 27.5” H x 25.8” W x 16.5” D Seat Height: 17.4”

Wonderful asymmetrical double arm wall lights by Gallery L7, handcrafted and finished in Los Angeles from American brass with one fully adjustable two-tone cone shade and one reflect...

Hand-Blown Murano Box in Aqua Blue with Silver Flecks and Chrome Fittings captures the essence of Venetian artistry through an exquisite fusion of form, material, and luminosity. Thi...

Art Deco Vase “Montlhery” made in frosted glass with sepia patina by René Lalique in 1926. Engraved signature. Perfect condition. Some molding lines from manufacturing like all thic...

Unique hand forged iron weathervane. Beautiful eyecatcher, France, circa 1650-1750. Weathered. Measurement here below is inclusive the wooden base. H:74cm W:32cm D:11,5cm