Furniture

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 ...

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 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...

'Sportstugemöbler' corner cabinet, designed by Göran Malmvall. Produced by Karl Andersson & Söner in Sweden, 1950s. Made from dark stained pine. Interior with two shelves, single doo...

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

A pair of Biedermeier style two tier salon side tables made by Weiman furniture, circa 1950. The round tabletops are covered in green leather with a gold tooled border, and skirts are decorated with flame mahogany veneer panels. Slender beveled saber legs support the round lower table which is marked underneath “Weiman Tables Heirloom Quality...

Top class, hand carved two-light alabaster chandelier. Thanks to its unique design, aesthetic beauty, large size and great condition this antique alabaster chandelier is bound to li...

a mid-20th-century Moroccan rug with 6 "trippy" lions on an ivory ground Details rug no. j4441 size 5' 2" x 6' (157 x 183 cm)  

A black-lacquered wood console table with cabinet attributed to Paul Frankl for Barzilay, USA, c. 1950s. Overall Dimensions (inches): 28.5" H x 35.8" W x 11.8" D Materials: Wood A...

A pair of iron, wood and off-white fabric lounge chairs designed and produced in Brazil, c. 1950s. Overall Dimensions (inches): 33.75” H x 30.25” W x 34” D Seat Height (inches): 19...

This is a superb example of a totally original 19th century Vendange table. These tables were most commonly used in Vineyards and kept in the cellars. Folded up and brought out speci...

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...

Over 2000 items in stock, scroll down and select view all to see our current ready to ship furniture and accessories! Price is per item, this is custom made to order. We do have 1 floor sample in stock we can offer at a discount. This club chair, is a reproduction of the classic Napoleon style chair found in Europe. We took an antique and replicated its frame to create our classic Napoli Chair...

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...

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, ...

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...

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

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 iconic "606 Series" unit, designed by the legendary Dieter Rams in his signature minimalist style, is a two-section shelving system with off-white and brushed aluminum, a double...

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...

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...

A pair of oak table lamps designed and produced in the United States, 1950s. Sold without lampshades. Dimensions of Lamp (inches) : 21.25 x 7.25 x 7.25 (H x W x D) Dimensions of S...

Breathtingly beautiful chandelier from the 1950s. Loving design with plexiglass flowers by Rupert Nikoll. There is a very cozy light. Manufacturer: Rupert Nikoll The plexiglass par...

This is a very special low table that combines an old Japanese large board with a table base made from repurposed traditional Japanese drums. The top panel is made of cedar wood fro...

Antique Sculpture, 1930s, proposes a Warrior an Archer with bow and arrow expressing strength and power. The work proposed here is in Antimony Metal made in the first half of the tw...

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

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...

Antique Swedish chest of drawers from the 1700s in gustavian style. The chest is a genuine Swedish gustavian furniture with four drawers made by hand in solid pine around 1790. Class...

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...

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...

Exceptional A. Lanternier Limoges 135 Piece Art Deco Porcelain Dinner Set, Limoges, France, 1930s. This is a truly exceptional 1930s art deco porcelain dinnerware set by famous manufacturer A. Lanternier from Limoges - the French porcelain capital of the world. This set has been a family heirloom for nearly a hundred years and has only been used on special and festive occasions. It is very rare to find such a desirable and complete set of art deco Limoges dinnerware. This set displays a truly mesmerizing quality and a very distinct design. A sharp art deco design with geometric and octagonal shapes is combined with a timeless and quintessentially French classical elegance as can be seen in the ornamentation in blue, red and gold. With 135 pieces it is a wonderfully complete and versatile set. Please find a complete list of pieces at the end of this listing. About A. Lanternier François Frédéric Lanternier...

Roger Tallon for Galerie Lacloche, 'Helicoid' staircase, aluminum, rubber, France, design 1964, production 1960s This striking staircase with a rubber step surface is called the 'He...

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 wood and cream-white wool velvet slipper chairs or slipper lounge chairs designed and produced in Brazil, c. 1960s. Overall Dimensions (inches): 27.75” H x 25” W x 34” D ...

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...

Beautiful Woka ceiling lamp, also available with a 50 cm diameter radius - total drop is custom-made. Materials used are brass and opaline glass. Available in different finishes. L...

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...

A birch side table produced by TMF, Sweden, 1930s. Dimensions: 23.5” H x 33.625” Diameter

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...

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...

Beautiful set of seven Tulip Chairs by Eero Saarinen, produced by Knoll in Germany around 1975/76. All original and great condition with white seat shells, no discoloration! Comes ...

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...

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...

A circa 1960's Italian leather chest of drawers. Measurements: Height: 42" Length: 42" Depth: 20"

We are now manufacturing this model in Carrara Marble Bianco. Custom sizing available As tradition this timeless Italian classical sink is cut from one single block of white marble, ...

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

From Defiance Mine, Costello Mine group, Gleeson, Turquoise District, Dragoon Mts, Cochise Co., Arizona, USA Classic aesthetic specimen of lustrous sharp Wulfenite crystals in a s...

An incredible & important antique 19th century Naples porcelain/Capodimonte 215 piece dinner & tea/coffee service, "Au Roi de Rome" (King of Rome). In perfect condition! This extraor...

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...

A wood and marble coffee table produced by Celina Decorações, Rio de Janeiro, Brazil, c. 1960s. Dimensions: 12” H x 60” W x 32” D All items ship from High Point, North Carolina.

Italy, circa 1940 A mid twentieth century Murano glass hanging lantern in ice blue glass, with twisted rod and unfurling leaves, with bullicante double canopy and body, terminating i...

A French gouged oak cabinet circa 1940s. Warm wood tone with white washed cerused finish and forged iron hardware. Ball feet. Six interior cupboards. In the style of Jean-Michel Fran...

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...

A very charming table-lamp by Hoffmann, with a silk shade. Custom-made adjustments of color and finish are possible. Originally manufactured at the Wiener Werkstaette Atelier, now c...

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...

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...

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

Charming set of 4 chairs handmade in Italy.

A pair of pine and fabric lounge chairs produced by Collden, Sweden, c. 1970s. Dimensions (inches): 35.75” H x 33.25” W x 38.75” D Seat Height (inches): 14”  Arm Height (inches): ...

A bamboo, stone and beige paper table lamp designed by Robert Sonneman and produced by George Kovacs, USA, c. 1990. Dimensions of Lamp with Shade (inches): 31.4” H x 25.3” Diameter ...

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

Gorgeous Large grandfather clock, in excellent working order, Winsminster and Ave Maria Clock from the Portuguese house of the 19th century, "Reguladora", the oldest house in the Ibe...

This Turkish Oushak rug is truly one of a kind! It is hand-knotted with soft wool and features a stunning red color field that perfectly complements its striking all-over floral desi...

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 petite French drop front dresser / desk circa 1940s. Cerused oak finish in the manner of Jean-Michel Frank. Three lower drawers for storage. The upper drawer pulls out and by relea...

Original Vladimir Kagan Serpentine Cloud sofa for Directional. This sofa was originally manufactured during the 90s and has been recovered at some point. Fabric is still in very goo...

This striking studio-crafted cantilever chair from the 1970s channels the bold spirit of Mexican and Brazilian modernism mixed with American craftsmanship, Crafted from solid oak, ...

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...

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...

Vintage, petite colorful glass bowl. Made in Czechoslovakia.

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...

Italy, circa 1940 A fine early twentieth century blue Murano glass hanging lantern, with double canopy connected by glass rods and orbs, with unusual twisted finial to the base, and ...

George III Style Chinese Chippendale Carved Wood Pagoda Mirror. Mirror features hand carved cerused pine surface. Intricate carving on frame features acanthus leaves, pagoda top, and...