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 ...

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...

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

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...

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

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...

Inspired by a key fashion trend, Fringes features a delightful double fringe that adds a lively and flirtatious touch to outdoor spaces. This continuous fringe detail completes its c...

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-cr...

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...

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...

Rattan sofa designed by Isamu Kenmochi and manufactured by Yamakawa Rattan. Circa 1960s. No restorations or modifications have been made. The rattan on this chair is broken in only ...

This is a unusual desk made out of pine. Produced in Sweden around the 1940s. It is a so unique in the shape, the base is very unusual with the shelf as a feet. It will brighten any...

1960s Stilnovo Perforated Black Metal & Opaline Glass Flush Mount. A quintessentially 1950s Italian design executed in opaline glass, black painted perforated metal and brass mounti...

These pillows are made from Fortuny fabric, which is known for its luxurious, hand-printed textiles. The design features an ornate, stylized botanical motif in various shades of gree...

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...

Charcoal Black, Bauhaus Inspired Design, Colorful Geometric Pattern, Arts and Crafts, Hand Knotted, 100% Wool, Oriental Rug Primary materials: Wool Latex: No Pile height: 0.25 Inche...

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

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

Vintage Italian table lamp with painted metal of the face of Lina Cavalieri (lithographical and transfer-printed) and brass / made in Milan Italy in the 1980s Original label on the b...

Pair of 1960's brass bird sculptures. Joaquin Taller Tinta, an Ecuadorian silversmith, designed these pieces, and they are known for their unique blend of South American influences ...

Elegant ceiling lamp created by Valenti in the 1970s, this is a truly exclusive version inspired by the designs of Jacques Adnet, adapting his visual language into a suspended piece....

A rare six-drawer sideboard, wooden structure with brass handles, design by Paolo Buffa, Italian craftsmanship, 1950s Every piece of furniture designed by Paolo Buffa reflects a syn...

A superb raised relief, carved in fine native limestone during a golden era of cultural and artistic flourishing in ancient Egypt. The scene portrays a high-ranking official, elegant...

This is the Hildegard club chair by Vladimir Kagan circa 1986. The Hildegard chair is a rare model and came out of the personal collection of Vladimir Kagan in NYC. Newly upholster...

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...

Large 1950s Gino Sarfatti Model #155 Ceiling Lamp for Arteluce. Executed in a perforated brass dome mounted on a white painted curved metal plate with patinated metal detail on the ...

Dramatic polychrome painted Moorish Islamic star-shaped side table or drinks table featuring Middle Eastern arabesque designs and motifs. The large top is star-shaped and has a small...

Beijinho 4-seat sofa, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Beijinho sofa seamlessly combines the soft texture of high-quality fabric with the...

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

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...

An antique Persian Heriz large room size rug handmade during the early 20th century. Measures: 11' 8" x 14' 0".

This exquisite rocking armchair is a quintessential example of mid-century Danish craftsmanship, expertly created by a skilled cabinetmaker in the 1950s. Sculptural in form and organ...

Pai Italian vintage chandeliers in Murano glass and nickel plated metal structure. The armor polished nickel supports 101 large pink glass tubes in a star shape. Can be used as a cha...

Please feel free to reach out for efficient shipping quote to your location. Pair open arm lounge chairs designed by Milo Baughman for Thayer Coggin. Known as the "Archie" chair. So...

A beautiful handmade vintage sommerso glass vase, made and signed by talented Nils Landberg for Orrefors glassworks, Sweden in the 1960s. This vase has a dark grey/green colour which...

Original photographic production still for Alfred Hitchcock's 1955 Thriller To Catch a Thief. This photo shows the stars Cary Grant and Grace Kelly. This piece is framed in a Sapele ...

Italian Pendant Lamp (1960s–1970s) Vintage Italian pendant lamp from the 1960s–70s featuring a hand-blown glass shade in a warm cream color with a distinctive brown rim. The shade m...

Pre-owned goods are exempt from import duties for U.S. customers. Therefore, no import tariffs will be applicable to your purchase. Royal Copenhagen Blue Flower Curved. Sauce boat ...

A celebration of floral grace and Italian craftsmanship, this elegant airy chandelier transforms lighting into a sculptural experience. Inspired by the finesse of tulips in bloom, th...

Finished in Batavia Black with a Sandbar finish interior, this bookcase showcases rhythmic, crescent-shaped oval cut-outs that form an architectural silhouette—an homage to the sculp...

Set of 8 Books - Nordens Flora Carl Axel Magnus Lindman (* April 6, 1856 in Halmstad, Sweden; † June 21, 1928 in Adolf Fredriks församling, Stockholms län) was a Swedish botanist. ...

High-end wall sconces made of blown clear and opal Murano glass on a messing hardware. Designed and produced by J.T. Kalmar, Austria in the 1960s. Minimalistic design executed with a...

5 Verner Panton X-Design Bar Stools, Wire Cylindrical Body & Wool Seats in Various Colours. Model 250S. Literature: “Vitra Museum: Verner Panton The Collected works”, model ill. on ...

Pre-owned goods are exempt from import duties for U.S. customers. Therefore, no import tariffs will be applicable to your purchase. Wilhelm Kåge for Gustavsberg, Sweden. Tall squar...

A large characterful 19th Century antique stone planter on pedestal, beautifully weathered appearance, with a weathered patina of moss and lichen that gives the piece an established,...

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...

16th Century Brussels Tapestry Great condition beautiful color and design

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.

This magnificent Tiffany Studios New York "Nasturtium" table lamp is resplendent in artistry and botanical romance. The vividly colored leaded glass shade blossoms with rich reds, fi...

Rare Two-Part Jefferson Moonstone Plafonnier Pendant Light Elevate your interior with this rare two-part Jefferson moonstone plafonnier pendant light. A stunning 14-inch diameter m...

An elegant and compact Italian chest of drawers in Louis XVI style, veneered with coloured woods on the top, sides, and front. Lombardy origin, late 18th century Among the many styl...

A whimsical French marble and iron work table from circa 1860, that would have been a display fixture in a butcher shop or bakery to present the current offerings. The thick, white m...

The Marchand nightstand features elegantly scalloped edge detailing and textural door fronts, creating a standout design for any bedroom. Designed ...

Perfectly blending style and functionality, this piece is sure to become a favorite in any decor.  The light Fennel green hand-painted and lightly distressed finish and scalloped ba...

A late 17th-century English Oak chest of drawers, circa 1680, from the Charles II period. This exceptionally well-constructed sturdy chest showcases durability of oak, complemented...

Pine Coffee Table Netherlands, 1960 Low coffee table composed of pine, with stacked interlocking base. 47.25”L x 35.5”d x 14”h Ref. TABLE1389

This elegant 18th-century English game table features a rich mahogany frame with shaped corners designed to support candlesticks or game counters, and a traditional green baize playi...

Alfred Christensen - Tissø Love Seat Sofa The official re-edition of this classic love-seat sofa by Danish designer and cabinetmaker: Alfred Christensen which was originally produce...

Perfectly blending style and functionality, this piece is sure to become a favorite in any decor.  The deep vintage willow green hand-painted and lightly distressed finish and scall...

A pine and beige fabric rocking lounge chairs produced by Collden, Sweden, c. 1970s. Vintage fabric in fair condition, ideally reupholstered. Overall Dimensions (inches): 36.0"H x ...

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...

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...

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...

- Newly upholstered - The wooden parts have been refurbished - The seat height is 43cm - Heigh of seat cm

An off-white resin and red-lacquered metal flush mount produced by Goldkant, Germany, c. 1960s. Overall Dimensions (inches): 6.2"H x 19.5"W x 19.5"D All items ship from High Point,...

Stunning mid-century modern two-piece sectional curved sofa designed by Milo Baughman for Thayer Coggin. An exceptional sofa both for its form and quality, it is a distinctive and h...

This is a great example of the Portuguese Majolica Faience from the Manufacture of Caldas da Rainha., Raphael Bordallo Pinheiro, 1846-1905 This iPair of Portuguese Majolica Palissy Frog...

Striking bed design featuring a powder-lacquered metal frame in bold China red. The structure includes a matching headboard and footrest, with the support frame and base constructed ...

A sculptural statement of pure materiality, this vintage pillar table in Rosso Levanto marble is a rare find for the Lemieux Et Cie Collection. With its deep oxblood hues and intrica...

Maison Regain Elm Lamp France, 1960 Carved elm geometric lamp with linen shade, by Maison Regain. 14"w x 8.75”d x 23”h Ref. L5114

A pair of oak Arts & Crafts dining chairs produced by William Birch with the design attributed to George Walton. Circa 1910, England. Tapering backs with pierced panels above the o...

Hand‑made in Spain in the early 1940s, this solid oak sideboard showcases the bold geometry and honest materials that define brutalist design. Four sculpted doors display an irregula...