Le Corbusier, Jeanneret, Perriand Vitrines

Magnificent and rare Art Deco Amsterdamse School display cabinet or vitrine. Design by Napoleon Le Grand for 't Modelhuis N. Legrand Amsterdam. Solid macassar ebony base with two ori...

A Barbara Barry for Henredon wooden bow front vitrine cabinet from the late 20th century with oval motifs, glass doors and glass shelves. Designed by Barbara Barry for Henredon during the later years of the 20th century, this wooden cabinet features a thin curving cornice sitting above two bow-front glass doors, adorned with thin oval motifs and fitted with a single brass pull. These doors open to reveal four glass in wooden frames inner shelves offering convenient display opportunities. The ensemble is raised on four short tapered feet. The décor on the side shows great restraint as it is left bare and the back is simply planked. With its clean lines and modern design, this Barbary Barry for Henredon vintage vitrine...

Showcase with side hinged doors, interior with mirrored glass dowels, central concealed bar compartment with glass and bottle holders. Walnut veneer wood, lacquered carved wood legs.

Beautiful Smoked glass cabinet designed by Willy Rizzo for Mario Sabot, 1970s. The cabinet comes with smoked glass with accenting brass hardware. The frame of the cabinet is made of ...

American Mid-Century display / storage cabinet with a lower black powder coated steel cabinet with six compartments below three open upper compartments, framed in a chrome plated steel tube structure under three clear glass panels. (FRITZ HALLER FOR USM...

A rare and important Art Deco period Century of Progress Display Cabinet designed by Wolfgang Hoffmann (Austrian, 1900-1969) for Romweber Company, Batesville, Indiana, United States of America. circa 1933-1936 Created for the 1933 Chicago World's Fair, one piece design, having a rectangular showcase top with glass panel sides and a pair of sliding glass doors, over solid wood chest fitted with four drawers affixed with horizontal pulls, flanked by cabinet doors, opening to shelved interior. Rosewood, mahogany, richly figured blonde - golden birch or primavera, and glass. Signed, original label to drawer interior, featuring 1933 World's Fair mark impressed. **Please note, at the time of writing this, a matching sideboard - buffet (shown in last photo) is currently available separately** Provenance / Acquisition: Property from the important and iconic collection of Mr. James I. Rafftesaeth Jr., Dallas, Texas Acquired from highly reputable auction house, Heritage Auctions, Dallas, Texas. 2022 Design Signature Auction catalog #8091 History: Wolfgang Hoffmann was born in Vienna, Austria in 1900. He is the son of famous architect, pedagogue and Wiener Werkstatte cofounder, Joseph Hoffmann (1870-1956). Early on, following his father’s s interests, he was trained in the decorative arts and design. Wolfgang Hoffmann once reminisced, “I spent eight years at the Realschule, then three years went to a special architectural school, where I perfected my technical knowledge of architecture and general construction. From this school, I was graduated to the Kunstgewerbeschule [Studying under Oskar Strnad and Josef Frank in Vienna]. After finishing this school, I had one and a half years of practical in a well known architect’s office. Thereafter I worked in my Father’s office for two years”. Hoffmann met his future wife, Polish immigrant Pola (1902-1984) when they were both studying at the Kunstgewerbeschule. Joseph Urban (1872-1933) was needing an assistant for his architectural business in New York and contacted his friend and colleague, Joseph Hoffmann in Vienna. Hoffmann recommended his son Wolfgang. Urban hired him and sent a first class passage ticket to Vienna for Wolfgang to travel to New York. Wolfgang married Pola and traded his ticket for two tickets to America in steerage, arriving in New York City in December of 1925. Leaving the Urban office after nine months, Wolfgang and Pola formed an independent design practice with offices on Madison Avenue in Manhattan with the purpose of creating contemporary interiors and industrial designs. Early work included theaters, stores, and apartments mostly in New York City. During the late 1920’s and early 1930’s the Hoffmanns designed custom furniture for private clients. Some of these examples were shown in the February 1929 issue of House and Garden. Curiously, the examples’ design was attributed to Urban and the production to Pola Hoffmann, Inc. Established in the fall of 1928, the American Designers’ Gallery was “devoted exclusively to showing objects and interiors for practical use… by fourteen American architects and designers”. Its members included the Hoffmans and Urban as well as ceramist Henry Varnum Poor (1888-1971), architect Raymond Hood (1881-1934), artist designer Winold Reiss (1886-1953), graphic designer Lucien Bernhard (1896-1981), decorator Donald Deskey (1894-1989), and architect Ely Jacques Kahn (1884-1972). The Hoffmanns’ work was included in the American Designers’ Gallery’s two showcase events, its 1928 and 1929 exhibitions. Their dining alcove at the 1929 event featured a bench with a dinette table and two chairs in American walnut designed by Wolfgang and a rug by Pola. Lucien Bernhard, fellow Austrian immigrant who settled in New York a year before the Hoffmanns, operated the gallery and decorating service Contempora with Munich resident Bruno Paul (1874-1968). The Hoffmanns, occasionally participating with Contempora, designed a number of outstanding interiors, including the constructivist living room of 1930 for Mrs. O.R. Sommerich at 40 East 66th street. In 1934, Donald Deskey commissioned Wolfgang to design birchwood furnishings for the eclectic apartment at 625 Park Avenue belonging to Helena Rubinstein. In 1931, Wolfgang exhibited his work at the Pennsylvania Art Museum and the Museum of Modern Art in New York City. The same year, with Kem Weber (1889-1963) he organized the second and final exhibition of AUDAC- “Modern Industrial and Decorative Arts”- at the Brooklyn Museum. At this event, the Hoffmanns showed the dining room previously included in the American Designer’s Gallery’s 1929 exhibition in the Chase Bank Building lobby at 145 West 57th Street in Manhattan. In 1932 Wolfgang was asked to assist Urban in developing the color scheme for the 1933-34 Chicago World’s Fair “A Century of Progress”. He was also commissioned to design the interior and furniture for the fair’s lumber industries house. There he executed its living and dining rooms furnished by Kroehler Manufacturing Company of Chicago; the boys’ room by Shower Brothers...

A rare collectors item, this fully restored Tommi Parzinger for Charak Modern (c. 1955) display cabiinet / vitrine, features beautiful french polish with Parzinger's signature statement door handles. Signed with Charak Modern label on the backside of the upper cabinet. This refined and sophisticated Parzinger credenza with glass display hutch is perfect for those high-end luxury pads looking for an incredible and collectible statement piece, which Parzinger was known to create. The gorgeous color is close to the Hermès orange, but perhaps a little bit deeper and bolder - perhaps somewhere between Hermès orange and blood orange. Beauty in every detail, from the cross-cut glass panes, to the upper flared embellishments and the signature Parzinger door handles. Let's not skip one more aspect of this table that is equally important - the collectors appeal. Furniture by Tommi Parzinger is one of the most sought-after and cherished items of sophisticated collectors. This isn't for your typical Eames and George Nelson collector, it is much more for a refined collector, perhaps a connoisseur of fine rarities. The quality of the materials and craftsmanship and design details are something to be admired. Parzinger and Charak Modern designed and crafted some of the highest quality furniture of the early and mid 20th Century. That was at a time when US manufacturing was at its best. And now in this day and age of cheap products not meant to last - this table is your daily reminder that 'they don't make them like they used to.' We restored this incredible sideboard display cabinet with hand-applying a new French Polish lacquer. French Polish is the most laborious and expensive finish because it requires many repetitive coats and each one hand polished to a fine glass-like finish, and while it is very expensive, it is worth it for rare and valuable pieces like this Tommi Parzinger vitrine. The results are nothing short of spectacular - such a smooth, clear and deep finish - it looks almost like a sheet of glass (much more incredible in-person than you can see (or touch / feel) in the photos). And besides how incredible it looks - it will also protect your investment for the decades ahead. This Parzinger cabinet is an ideal example for the most discriminating interior designer client or collector. This french polish cabinet...

Magnificent and ultra rare Art Deco Amsterdamse School vitrine or display cabinet. Design by Napoleon Le Grand for 't Modelhuis N. Legrand Amsterdam. Striking Dutch design from the 1...

Designed by Leo Jiranek, a forefather of mid-century American Modern furniture, this vintage vitrine was created for his "Outlook" Collection made by Virginia's Bassett Furniture. Hi...

Sculpt Cabinet by Hermhaus Crafted with a timeless design philosophy, the Sculpt Multipurpose Cabinet seamlessly combines aesthetics and functionality. Featuring two glass shelves, ...

Exceptional Hollywood Regency, Art Deco Revival style display cabinet, vitrine, china cabinet, designed by Paolo Barracchia, for Roman Deco, retailed by Artebella 8687 Melrose Ave LA...

Postmodern Italian Design TORCELLO Series Display Cabinet Set of 2 by Afra & Tobia Scarpa for Stildomus. Made in Italy, 1980's period. Marked with a stamp inside one of the doors. Very well designed and constructed 4 door display cabinets...