Furniture

Mid-Century Modern inspired Penedo Showcase, Hand-Crafted in Portugal - Europe by Greenapple The Penedo marble cabinet captures the enduring beauty of nature’s landscapes, shaped a...

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 ...

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...

Huge Italian vintage Murano chandelier made by 41 glass petals (transparent and orange) in a golden painted metal frame. This chandelier is a unique piece, glass created for this uni...

Fans of the pioneering furniture designer Emile-Jacque Ruhlmann will delight in this glamorous French Art Deco period chaise with a swooping crest of a seat back that rises from the ...

The Pallete Table Lamp distills the bold, organic-meets-geometric appeal of its floor lamp counterpart into a refined, space-saving design. Perfect for desks, bedside tables, or cons...

A beautifully constructed French settee from the 19th century incorporating Louis XVI decorative motifs and proportions that would also fit with Empire or Directoire tastes as well. ...

A brass and glass coffee table or side table designed and produced by Cesare Lacca, Italy, c. 1950s. Overall Dimensions (inches): 18.7"H x 28.55"W x 28.55"D All items ship from Hig...

Pair of painted metal chairs , the fabric is not perfect must be change probably

Matched Pair of Mid 20th Century Glass and Brass Cinema Wall lights A highly decorative pair of recently refurbished style mid 20th Century cinema wall lights. The brass surface sh...

Pair of Murano glass Mid-Century Modern pendant lights, Italy circa 2000s. The Italian chandeliers are made of olive green, terracotta and gold hand blown Murano glass elements. The ...

A French 19th century painted pine bibliotheque with original glass-front doors and charming, buttery yellow finish. At less than 13” deep, this antique case piece is a wonderful sol...

A rare and radical coffee table, side table, bedside table, or end table on wheels, Post-Modernist, Radical, Space Age, Seventies, featuring a geometric structure made of folded stee...

Scandinavian Modern, rare, zodiac mirror by Lars Bergsten, Sweden. Good vintage condition, wear and patina consistent with age and use. Marks and scuffs. Please notice, wall suspen...

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...

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...

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...

An antique Persian Bidjar rug from the early 20th century. The wine red small Herati pattern field is overlaid by a light blue involute Herati medallion which, in turn, is centered b...

This beautiful slant front secretary desk is in two pieces with a stunning blue surface. The top cornice is of a Rococo design with two doors opening to reveal shelves. The slant f...

Italian Murano handblown glass Millefiori table lamp, 1960s A mushroom shaped table lamp by Murano. A handblown glass lamp base with a handblown glass shade with the pattern of Mill...

Monumental iconic 20th century Mah Jong sectional sofa designed by Hans Hopfer for Roche Bobois. The colorful and festive mid-century modern sofa was designed and constructed in Fran...

Swiss alp pine armchair from Bulle village near Gruyere village

Exquisite Hand-Carved Arts & Crafts Wall Mirror in Solid Nutwood with Roses, Thorns & Butterfly – Museum Quality. If you're searching for a one-of-a-kind, museum-worthy antique to e...

An almost certainly unique Italian freestanding cabinet, circa 1970 A body of circular form curves into an huge arch peaking at over 9 feet in height. finished in parchment with lea...

ENGLISH GRAIN-PAINTED CHEST OF DRAWERS WITH ORIGINAL WOODEN KNOBS Circa 1850 39 7/8" H x 18 1/2" D x 35 5/8" W A richly patinated grain-painted pine chest of drawers from the midd...

These impressive stone garden statues are hand-carved of solid limestone to the form of two reclining rams. As motifs in Chinese art, rams and sheep represent the breath of light and...

SET OF FOUR ITALIAN MODERNIST BRUSHED STEEL AND BRASS DINING CHAIRS Manner of Maison Jansen Italy, circa 1960s Marked to underside of sabots "MADE IN ITALY" 32 1/4" H x 19" D x 18"...

Vase "Formose" made in cased opalescent glass with blue patina created by René Lalique in 1924. Engraved signature. Perfect condition. Very beautiful opalescence. Height: 1...

Spectacular circular ceramic wall light, with beautiful accents. Manufactured in Denmark in the 1970s. Labelled and signed by Soholm, in excellent condition. Cleaned, well-wired and...

Ubald Klug for De Sede, set of four DS-1025 'Terrazza' landscape sofa elements, patinated brown leather, Switzerland, 1970s. Waterfall shaped sofas in a heavily patinated leather b...

Mogens Koch for Rud. Rasmussen, modular bookcase or library, pine, Denmark, design 1928 Intriguing and substantial modular library by Danish designer Mogens Koch. This piece is con...

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 ...

AUTHENTIC BRITISH ROORKHEE CAMPAIGN "SAFARI" ARM CHAIR England, ca. early 20th century 35 1/4" H x 21 7/8" D x 22 3/8" W; 15 1/8" H to seat A rare early example of the Roorkhee Ca...

Vase "Rennes" made in glass with blue patina by René Lalique in 1933. Stamped signature. Perfect condition. Beautiful patina. Height : 12,5 cm Félix Marcilhac, René Lalique, cat...

Large Danish chest of drawers, crafted in 1833 by cabinetmaker Niels P. Dyhr in Nykøbing Mors, Denmark. A highly decorative and exceptionally well-preserved piece, showcasing rich, o...

This settle or bench is early 20th Century, possibly older. Original green and red paint full of rustic charm and an exquisite example of folk craftsmanship. Wonderful natural colo...

George Smith Italian Green Velvet Sofa This sofa measures: 74 wide x 39 deep x 34 inches high, with a seat height of 23 and arm height of 25.75 inches We take our photos in a cont...

A very fine early 20th Century cold painted Austrian bronze study of a standing cockatoo with superb naturalistic colour and excellent hand chased surface detail, signed with the Ber...

Vintage Cornaro Sofa by Carlo Scarpa, Italy, 1973 Designed by renowned Italian architect Carlo Scarpa in 1973, the Cornaro sofa is a striking example of his unique fusion of moderni...

Marvelous mid-century palm cocoon table lamp in spectacular conditions, with no rips or stains. This incredibly charming and rare lamp was designed by Achille Castiglioni and produce...

Whether arranging metal pieces to create panels of intricate metal relief for his Sculpture Front series, fusing together a collage of steel sheets to form his Welded Steel collectio...

Spectacular circular ceramic wall light, with beautiful  accents. Manufactured in Denmark in the 1970s. Cleaned, well-wired and ready to use The fixture requires 1 E14 standard bulb.

Condition: Expertly Refinished, Newly Reupholstered With over 15 years of experience, our workshop has followed a careful process of restoration, showcasing our passion and creativi...

28 x 14 ft Palace Size Rug in Style of Persian Tabriz by Djoharian Collection A huge sized floral rug with design in style of Persian Tabriz Carpets. This beautiful rug was hand kno...

A modern East Turkestan Khotan room size carpet handmade during the 21st century. Measures: 11' 6" x 14' 11"

Haimi - Karu Armchair, by Dagmar The Karu chair is a contemporary update of a classic design first produced in Finland by the Haimi Oy company in the early 1950s. The inviting curve...

This sofa features a wonderfully elegant fan-shaped motif, with its accentuated curvy lines with decadent and lavish finish. The feminine curves are ravishingly enhanced by the diffe...

An early 20th Century Antique Persian Malayer Antique washed Rug in gray and blue Details rug no. j2555 size 10' 5" x 13' 3" (318 x 404 cm)

16th Century Brussels Tapestry Great condition beautiful color and design

Fantastic Florian Schulz white counter balance pendant by Florian Schulz. Design period: 1970-1979, production period: 2022. The brass pendant with lackered white top is suspended wi...

The Karu Sofa is a contemporary update of a classic design first produced in Finland by the Haimi Oy company in the 1940s. The inviting curved arms and subtle winged back are the epi...

A pair of pieces that have been together since 1971, both of which are well-known by the designer and the design, so I'd better tell you about this one that's gracing our gallery. It...

This exceptional two-seater sofa was designed by Cesare Lacca and produced in Italy in the early 1950s. The elegant, rounded lines of the backrest and curved seat create a sophistica...

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...

Florian Schulz SELA Large Flush Mount Light in polished Brass, 1970s Magnificent, large version of flush-mount light or wall sconce made of full polished shiny brass by Florian Schu...

Philippe Starck Privé Sofa For Cassina A family of elegant, comfortable seating options, ideally suited to any decor style, formal or informal, and any siz...

C 1850 antique Swedish Gustavian painted chest of 3 drawers commode with detailed gustavian ribbed decorative motifs on the top rail, front and brass detailing. It has 3 drawers wi...

This rare antique sugar cane press stands as a striking example of early agricultural craftsmanship, preserved in its true, unrestored form. Made from solid teakwood, the press featu...

Discover the elegance of Persian Natural Collection featuring Area Rugs in Circa 1990. Designed with Wool and Yellow, this exclusive design is perfect for enhancing your space.

Luxury at its finest, set of 24 high-end drink glasses in clear crystal and 1 decanter by Baccarat. The Polignac glassware showcases Baccarat’s meticulous craftsmanship. Deep orgue ...

With rustic texture and simplicity of form, this petite 19th-century stool is a timeless example of casual seating in rural China. Crafted of northern elm (yumu) with mortise-and-ten...

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...

Mid-Century Modern Set/3 Bordeira Nesting Coffee Tables, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Designed by Rute Martins for the Contemporary Colle...

A Magnificent French Louis XVI style Gilt Bronze Birdcage Form Multi Light Chandelier with Two Hand-Carved PInk and Amethyst Rock Crystal Birds Perched on the Inside. The exterior is highly embellished with multi-colored porcelain enameled flowers...

Sculptural Organic Modernism in Wood and Woven fabric. This exceptional pendant light was designed by Temde Leuchten, one of Germany's leading mid-century lighting manufacturers, kn...

Nice pair of Sirocco Safari Lounge Chairs designed by Arne Norell and manufactured by Norell Möbel AB in Sweden. Solid Ash wood frames with the original leather cushions in beautiful...

Raphael Raffel for Honore Paris 'Croissant' sofa, leather, France, 1970s An iconic and sculptural sofa designed by Raphael Raffel for Honore Paris during the 1970s. This particular...

Chair designed by Pierre Jeanneret, circa 1950, relaunched in 2019. Manufactured by Cassina in Italy. This chair is one of the most recognisable in Chandigarh’s Capitol Complex, fou...

Mushroom hand-carved by Robert Haussmann for the interior design of a boutique in Zurich, circa 1970. A key figure of postwar European design, Swiss architect and designer Robert Ha...

'Neverrino' series A rare and original lamp, which will give style and elegance to your home space. Very good conservation conditionsmurrine-blown glass table lamp designed by Gae ...

Edward Wormley for Dunbar Model 5407 Mid Century Black Leather Party Sofa This sofa measures: 100 wide x 36 deep x 23.5 inches high, with a seat height of 14.5 and arm height of 23....

Capture the essence of Italian artistry with this exquisite vintage art glass bowl, crafted in the renowned style of Murano glassmakers. The bowl features a captivating organic, scal...

Carousel suspension lamp has a delicate balance of form and function that produces a quiet, modern light ambiance for all to savour, with its Contemporary Art Deco lines. The struct...