20TH CENTURY DESIGN Furniture

A set of 6 bakelite Art Deco Napkin rings in the stylised design of Birds. The Rings have a wonderful tonal quality. The internal diameter for on...

A Large Marble Obelisk from Italy in the style of the Grand Tour collectibles. This piece would look perfect in your wunderkammer collection or set on y...

Swedish ceramic artist Carl-Harry Stålhane (1920- 1990) played a major role in popularizing Swedish pottery during the 20th century, working for more than three decades at Rörstrand, one of the oldest ceramics manufacturers in Europe. During his long tenure at Rörstrand, Stålhane was responsible for small-batch studio pieces, mass-produced tableware , and all manner of decorative accessories . Born in 1920 in Mariestad, Sweden, Stålhane began working at Rörstrand in 1939 as a decorative painter, assisting Danish-Finnish ceramic artist, designer, and sculptor Gunnar Nylund (1904-1997). During this time, Stålhane decorated various ceramic pieces, most notably Nylund’s Flambé range (1939s), quickly establishing himself as a talented ceramic artist. Inspired by the desire for new products during the postwar economic boom, Stålhane went from being a talented decorator to an exceptional ceramic artist. In 1943, Stålhane caught the eye of Swedish artist Isaac Grünewald (1889-1946), who was visiting Rörstrand. Grünewald was so impressed with Stålhane’s work that he took him on as a student, and from 1943 to 1946, Stålhane studied art at Grünewald's Art School in Stockholm. Subsequently from 1947 until 1948, he studied sculpture at Académie Colarossi in Paris. During the 1950s, Stålhane’s work appeared in several solo exhibitions in Sweden, the United Kingdom, and the United States. His Blanca Tableware range (c. 1955) won numerous international prizes and was in high-demand. In 1958, Stålhane succeeded Nylund as Artistic Director and Chief Designer at Rörstrand. In 1960, Stålhane unveiled a new collection at Stockholm’s Galerie Blanche. Featuring dark stoneware pieces made from local clays, this collection represented a bold departure from the soft, restrained shapes of the 1950s. It has since been praised for its precient aesthetic that would influence the look of ceramics for more than a decade. From 1963 until 1971, Stålhane taught ceramics at the Art Industrial School in Gothenburg. For a short time, he also was the Design Director at the Swedish factory Upsala Ekeby, which in addition to porcelain, produced tile, brick, and glass. Stålhane eventually left Rörstrand in 1973 in order to establish his own ceramic company, Designhuset, in Lidköping, where he further experimented with local clays and minerals. Stålhane continued to work until his death in 1990. Today, Designhuset is a school for ceramists and model-makers. Over the course of his career, Stålhane created several public works for The Commerce Trust Company in Kansas City, Missouri, and for Volvo in Gothenburg, Sweden. His work is represented at several international museums, including Stockholm’s Nationalmuseum and New York’s MoMA. Rörstrand is the second oldest brand of ceramics in Europe and can be found in homes all across Sweden and Europe. Rörstrand’s long legacy includes some of Europe’s most iconic ceramics collections including Swedish Grace, Mon Amie, Ostindia, Filippa...

A very rare complete collection of signed true First edition / First Print of all five published editions of The Boy, the Mole, the Fox and the Horse All hand signed in person by the author, artist and illustrator Charlie Mackesy...

Early to mid-20th century leather medicine ball in good condition with wonderful patina that only comes with genuine wear and age. 2.5 kg in weight. General note: Shipping quotes...

Rare Italian station wall clock, found in Rapallo in the Italian Riviera. Made from wood carcass with Plastic and Bakelite fascia, with a metal clock face and weighted pendulum.

Sophia was inspired by stylish Italian design from the 1950s and is now created by English craftsman for the 21st century. We developed a lounge chair with the option of producing an...

A late Victorian steam bent Bamboo side table with deep red ceramic tiles. This craftsman produced table with its simple, classic lines would also play ...

People like to use the term ‘apprentice pieces’ when referring to small pieces of miniature furniture,but more often than not this isn’t the case. But...

Discovered on our travels in Italy and still yet to be seen again, this sleek 1920’s Art Deco chrome Bankers desk light with ink well or pen holder ...

A fine veneered, inlayed table with mother of pearl insets attributed to Liberty & Co of London around the turn of the 19th and early 20th Century. At this time England and London was heavily influenced by the interest in all things exotic and culturally diverse and Liberty became increasingly successful at supplying the late Victorians with their voracious appetite. We are seeing history repeat itself with this fascination and the emergence of a new contemporary boho Chic Style in our modern interiors. Around the same time The Liberty Style (Stile Liberty) also flourished between 1900 and 1914 and took its name from Arthur Lasenby’s Liberty store that he founded in 1875 in London. The style was derived from forms that were original and exotic, often from North Africa and the Middle East. The most influential figures in this movement were Carlo Bugatti who used an extremely wide range of materials to reflect this interest in exotic and far off lands and the craft that was to be found there. The table was probably made in Syria and as with much Islamic furniture...

An incredibly detailed an ornate hand carved Torchere from India late 19th Century. Carved into the base of the piece are 4 Elephants shown in profile surrounded by a mass of botanic...

We love this amazing interpretation of the Willow Bough fabric, originally designed by William Morris in 1887. Coloured by Ben Pentreath, richly saturate...

A comfortable and low level lounge chair by Elias Svedberg in the Scandinavian Modern Design Style. The design was produced by Stockholm’s high end department store Nordiska Kompanie...

Popular lamp which was designed by Busquet and manufactured by Hala Zeist Lampenfababriek in Holland, circa 1960s. This piece features a dark brown dome shade and a flat disc base. I...

A Faux Bamboo Walnut mirror of beautiful warm tones, together with it’s original hanging chain in the Chinoiserie/Aesthetic Movement style. Refreshed and revived by professional rest...

An organic and Brutalist style Floor Lamp with Dragon Fly and Leaf design. No chips or cracks. Easily rewired for all regions. Bernard Rooke (born 1938) is a British artist and studio potter. Rooke has exhibited his "Brutalist" ceramics and painting both in the UK and abroad with work in many collections both public and private including the Victoria and Albert Museum, Cleveland Museum of Art, Nuffield Foundation, Röhsska Museum in Sweden and the Trondheim Kunstmuseum in Norway. Bernard Rooke attended Ipswich School of Art studying painting and lithography before going on to study at Goldsmiths College of Art. It was while studying here that he decided to take up pottery. Although unfamiliar with this craft and tradition, he found that working with clay provided new opportunities for freedom of interpretation and creativity. In 1960 Rooke set up his first pottery in Forest Hill in South London along with Alan Wallwork. It was a very small room with enough space for a small electric kiln. He was initially using mainly hand building, coiling, blocking and slabbing techniques. While researching ideas, he was supporting himself by part-time lecturing at London University, Goldsmiths College and St Mary's College. In addition, Rooke's membership of 'The Craftsman Potters' Association' enabled him to show his work in a shop in Carnaby Street in London. In 1967, both the need for a larger working space and becoming disillusioned with living in London spurred Rooke into moving out of the city and to an old mill building in Swilland in Suffolk. Rooke wanted to widen the range of work so as to become more commercial. With the birth of his son, Aaron, and much needed work to be done on the mill, it was important to be able to make a living. In 1968, the Grand Metropolitan Hotel commissioned Rooke to make 120 standard lamps, 120 table lamps as well as a 24 foot long ceramic mural and another 9 foot high, which incorporated interior lighting. The money from the commission helped to pay for much needed restoration work on the mill. By the 1970s, a gallery space was opened in the windmill and run by Susan Rooke, Bernard's wife, selling work to locals and tourists as well as to American airmen based nearby. The vision for Mill Gallery was beginning to develop and alongside this a reputation was building bringing in a good source of income. Sons Aaron and Felix were becoming more involved with the running of the pottery, giving Bernard more time to develop new ideas and designs and more time to continue with his painting. In 2004, the Rooke family decided not to sell to the public through the gallery anymore and close the pottery to concentrate more on painting and printmaking. In 2017 Bernard's lighting was featured in the Exhibition: “Glass, Light, Paint & Clay” at the Peterborough Museum and Art Gallery. The exhibition featured four artists: Bernard Rooke, John Maltby...

An organic and Brutalist style Butterly table lamp. No chips or cracks. Has been professionally rewired and PAT tested. Easily rewired for all regions. Bernard Rooke (born 1938) is a British artist and studio potter. Rooke has exhibited his "Brutalist" ceramics and painting both in the UK and abroad with work in many collections both public and private including the Victoria and Albert Museum, Cleveland Museum of Art, Nuffield Foundation, Röhsska Museum in Sweden and the Trondheim Kunstmuseum in Norway. Bernard Rooke attended Ipswich School of Art studying painting and lithography before going on to study at Goldsmiths College of Art. It was while studying here that he decided to take up pottery. Although unfamiliar with this craft and tradition, he found that working with clay provided new opportunities for freedom of interpretation and creativity. In 1960 Rooke set up his first pottery in Forest Hill in South London along with Alan Wallwork. It was a very small room with enough space for a small electric kiln. He was initially using mainly hand building, coiling, blocking and slabbing techniques. While researching ideas, he was supporting himself by part-time lecturing at London University, Goldsmiths College and St Mary's College. In addition, Rooke's membership of 'The Craftsman Potters' Association' enabled him to show his work in a shop in Carnaby Street in London. In 1967, both the need for a larger working space and becoming disillusioned with living in London spurred Rooke into moving out of the city and to an old mill building in Swilland in Suffolk. Rooke wanted to widen the range of work so as to become more commercial. With the birth of his son, Aaron, and much needed work to be done on the mill, it was important to be able to make a living. In 1968, the Grand Metropolitan Hotel commissioned Rooke to make 120 standard lamps, 120 table lamps as well as a 24 foot long ceramic mural and another 9 foot high, which incorporated interior lighting. The money from the commission helped to pay for much needed restoration work on the mill. By the 1970s, a gallery space was opened in the windmill and run by Susan Rooke, Bernard's wife, selling work to locals and tourists as well as to American airmen based nearby. The vision for Mill Gallery was beginning to develop and alongside this a reputation was building bringing in a good source of income. Sons Aaron and Felix were becoming more involved with the running of the pottery, giving Bernard more time to develop new ideas and designs and more time to continue with his painting. In 2004, the Rooke family decided not to sell to the public through the gallery anymore and close the pottery to concentrate more on painting and printmaking. In 2017 Bernard's lighting was featured in the Exhibition: “Glass, Light, Paint & Clay” at the Peterborough Museum and Art Gallery. The exhibition featured four artists: Bernard Rooke, John Maltby...

This wonderful Art Deco plate or shallow bowl made in Sweden 1930s at Gustavsberg factory, was designed by the painter and ceramicist Wilhelm Kåge. The name Argenta comes from the La...

A beautiful table lamp in crystal glass with the model name RD by Carl Fagerlund for Orrefors, Sweden. The base is made of crystal glass and reminds one of frozen water, with a very ...

A French Mid Century Modern Swimming Pool changing room sign for a Lady or Ladies. The 3 dimensional letters made from metal box cut and riveted and weld...

A Pair of Arts & Crafts Oak, back pierced hall chairs with re upholstered in Willow Bough Tomato Olive by Morris & Co from the Queen Square fabrics by Ben Pentreath...

A Japanned Bamboo Victorian Aesthetic Movement Newspaper or magazine Rack/Canterbury with hand painted panels depicting stylised flowers and leaves. The Aesthetic Movement was inf...

Beautiful side or corner table by Peter Hvidt & Orla Mølgaard-Nielsen for France & Son. The table consists of two table tops, the upper one is beautifully shaped and made of solid te...

The Otilia Hand finished organic wool wave design pattern blanket/throw has been created by an incredible and unique family owned weaving and textile company in Portugal. This compan...

Extensively carved and detailed 19th Century Anglo-Indian Rosewood table. Four dragons form the stem and the feet of the table. We believe the to...

A Space Age Red ladder Desk light from the estate of the late Lady Wanda Boothby, the wife of Conservative peer, Lord Robert Boothby (1900-86). Robert Jo...

A simple paired back Danish designed Teak Mid-Century Modern nest of 3 Tables. Professionally polished and in good condition. With fine and interesting grain pattern and simple detai...

The work of Ecuadorian furniture maker Angel Pazmiño has been internationally recognized since the 1960s, when he was part of an initiative by the US Agency for International Develop...

A vintage midcentury round wicker ottoman, stool or side table. A completely versatile piece that adds warmth and handmade craftsmanship. This is one of 14 stools that we have collec...

The high back lounge chair ‘Marcello’ was inspired by stylish Italian design from the 1950s and is now created by English craftsman for the 21st century. We developed a lounge chair ...

A Mid-Century Modern Peill & Putzler glass sea shell desk light or table light made in West Germany, in or around the 1960’s. This highly tactile and very smooth to the touch seashell light...

A very dramatic and beautifully creative dining table created by Poul Cadovious and decorated and signed by the artist Mygge otherwise known as Susanne Fjedldøe.

A Brazilian coffee or cocktail table with a wonderful sculptural quality. A relief of various tropical hardwoods in different heights and lengths to create a Brutalist effect, edged ...

A pair of Danish Mid-Century Modern heart shaped vases in light blue hand blown art glass. Both vases are intact and in beautiful colour and bright condition. By designer and artisti...

A mid 19th century pair of zoomorphic Griffin Fire Dogs or Andirons. Made from cast Iron and with copper stomach inserts, these unusual and rare pieces are indicative of the Victoria...

A Mid-Century Modern style Italian table lamp or desk lamp made of brass and black lacquered metal, with two directional designed lampshades, with one bulb holder in the smaller shad...

A pair of Victorian late 19th century, early 20th century brass fire irons or Andirons, possibly produced around the time of the Aesthetic Movement with influences from Persia. A...

A Mid-Century Modern Italian pendant light or chandelier by the long established and respected glass maker Mazzega from the Island of Murano. The light has 10 white sugar spun sec...

A Danish Mid-Century Modern Scandinavian design serving platter or cheese board in the style of Kay Bojesen. A sleekly designed handle with a hole for a strap to hang, glides over th...

A timeless piece of Scandinavian Modern Design, by one of the best proponents of their craft. This table designed by Poul Cadovius with it’s clean crisp lines and natural material wi...

Danish designer Svend Aage Holm Sørensen (1913-2004) is known for his self-produced lighting designs dating from the 1950s, ‘60s and ‘70s. Despite the desirability of his designs on the vintage market, there is a lack of biographical information on the designer and his eponymous manufacturing company. The Danish designer Svend Aage Holm-Sørensen (1913-2004) possessed an artist eye and a very good understanding of the potential of materials, and he understood how to innovate with these. To this day, Holm-Sørensen's style as a designer addresses not only the Nordic market, but also the international interest in the designer's distinctive and experimental expression. Sven Aage was known for being able to draw sketches on almost everything: envelopes, theater programs, even tram tickets he used to sketch his vision. It is speculated that Holm Sørensen designed lights for well-known Danish lighting manufacturers Fog & Mørup and Lyfa in the 1950s, before establishing his own lighting company, Holm Sørensen A/S to produce and distribute his own designs. Holm Sørensen’s style varies greatly, with designs from the 1950s truly reflecting the mid-century modern lighting style, with clear influences from the De Stijl and Bauhaus movements. His attenuated floor and table lamps contain the classic tri-pod base that was popular at the time, referencing such designs as H. Th. J. A. Busquet’s Pinocchio Lamp (1954). From the 1960s onwards, Holm Sørensen’s style changed utterly. His designs diverged from colorful, geometric table lamps and floor lamps, to pendants with raw finished brass and copper surfaces. These pendant lamps showcase Holm Sørensen’s interpretation of the Brutalist style, which was popular from the 1950s to the mid-70s. Originally coined by the Swedish architect Hans Asplund...

This beautiful rare piece of classic, iconic Danish design and craftsmanship has been sympathetically restored to a fine condition. Made from Oregon pine, the choice of contrasting p...

Eduardo Arroyo Rodríguez (26 February 1937 – 14 October 2018) was a Spanish painter and graphic artist. He was also active as an author and set designer. Arroyo, who was born in M...

Chinese guardian lions, or imperial guardian lions, are a traditional Chinese architectural ornament. Typically made of stone, they are also known as stone lions or shishi (石獅; shíshī). They are known in colloquial English as lion dogs or foo dogs / fu dogs. The concept, which originated and became popular in Chinese Buddhism, features a pair of highly stylized lions—often one male with a ball and one female with a cub—which were thought to protect the building from harmful spiritual influences and harmful people that might be a threat. Used in imperial Chinese palaces and tombs, the lions subsequently spread to other parts of Asia including Japan (see komainu), Korea, Philippines, Tibet, Thailand, Myanmar, Vietnam, Sri Lanka, Nepal, Cambodia, Laos, and Malaysia. There has been extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Elements of pre-Han dynasty mythology such as those in Classic of Mountains and Seas were adapted into these belief systems as they developed (in the case of Taoism), or were assimilated into Chinese culture (in the case of Buddhism). Elements from the teachings and beliefs of these systems became incorporated into Chinese mythology. For example, the Taoist belief of a spiritual Paradise became incorporated into mythology as the place where immortals and deities used to dwell. Sometimes mythological and religious ideas have become widespread across China's many regions and diverse ethnic societies. In other cases, beliefs are more limited to certain social groups, for example, the veneration of white stones by the Qiang. One mythological theme that has a long history and many variations involves a shamanic world view, for example in the cases of Mongolian shamanism among the Mongols, Hmong shamanism among the Miao people, and the shamanic beliefs of the Qing dynasty from 1643 to 1912, derived from the Manchus. Politically, mythology was often used to legitimize the dynasties of China, with the founding house of a dynasty claiming a divine descent. Mythology and philosophy. Further information: Chinese philosophy True mythology is distinguished from philosophical treatises and theories. Elaborations on the Wu Xing are not really part of mythology, although belief in five elements could appear. The Hundred Schools of Thought is a phrase suggesting the diversity of philosophical thought that developed during the Warring States of China. Then, and subsequently, philosophical movements had a complicated relationship with mythology. However, as far as they influence or are influenced by mythology, divides the philosophical camps into two rough halves, a Liberal group and a Conservative group. The liberal group being associated with the idea of individuality and change, for example as seen in the mythology of divination in China, such as the mythology of the dragon horse that delivered the eight bagua diagrams to Fu Xi, and methods of individual empowerment as seen in the Yi Jing (Book of Changes). The Liberal tendency is towards individual freedom, Daoism, and Nature. The relationship of the Conservative philosophies to mythology is seen in the legendary Nine Tripod Cauldrons, mythology about the emperors and central bureaucratic governance, Confucianism, written histories, ceremonial observances, subordination of the individual to the social groups of family and state, and a fixation on stability and enduring institutions. The distinction between the Liberal and Conservative is very general, but important in Chinese thought. Contradictions can be found in the details, however these are often traditional, such as the embrace by Confucius of the philosophical aspects of the Yi Jing, and the back-and-forth about the Mandate of Heaven wherein one dynasty ends and another begins based according to accounts (some of heavily mythological) where the Way of Heaven results in change, but then a new ethical stable dynasty becomes established. Examples of this include the stories of Yi Yin, Tang of Shang and Jie of Xia or the similar fantastic stories around Duke of Zhou and King Zhou of Shang. Mythology exists in relationship with other aspects of society and culture, such as ritual. Various rituals are explained by mythology. For example, the ritual burning of mortuary banknotes (Hell Money), lighting fireworks, and so on. A good example of the relationship of Chinese mythology and ritual is the Yubu, also known as the Steps or Paces of Yu. During the course of his activities in controlling the Great Flood, Yu was supposed to have so fatigued himself that he lost all the hair from his legs and developed a serious limp. Daoist practitioners sometimes incorporate a curiously choreographed pedal locomotion into various rituals. Mythology and practice, one explains the other: in these rituals, the sacred time of Yu merges with the sacral practice of the present. Various ideas about the nature of the earth, the universe, and their relationship to each other have historically existed as either a background or a focus of mythologies. One typical view is of a square earth separated from a round sky by sky pillars (mountains, trees, or undefined). Above the sky is the realm of Heaven, often viewed of as a vast area, with many inhabitants. Often the heavenly inhabitants are thought to be of an "as above so below" nature, their lives and social arrangements being parallel to those on earth, with a hierarchical government run by a supreme emperor, many palaces and lesser dwellings, a vast bureaucracy of many functions, clerks, guards, and servants. Below was a vast under ground land, also known as Diyu, Yellow Springs, Hell, and other terms. As time progressed, the idea of an underground land in which the souls of the departed were punished for their misdeeds during life became explicit, related to developments in Daoism and Buddhism. The underground world also came to be conceived of as inhabited by a vast bureaucracy, with kings, judges, torturers, conductors of souls, minor bureaucrats, recording secretaries, similar to the structure of society in the Middle Kingdom (earthly China). Chinese temple Dogs...

A wonderful Casserole bowl or dish with integral lid, produced in Belgium, circa 1930. A ‘Tellurite’ model number -1125- lidded tureen with basket weave sides in rich, deep earth ton...

A vintage Mid-Century Modern round wicker ottoman, stool or side table. A completely versatile piece that adds warmth and a handmade craftsmanship. This is one of 14 pieces we curren...

A large pair of English Staffordshire porcelain figures of orange and white seated spaniel dogs with gold chain leashes. Their two front legs are separated, a more delicate, therefor...

The 1992 Summer Olympics, officially known as the Games of the XXV Olympiad and commonly known as Barcelona '92, were an international multi-sport even...

The 1992 Summer Olympics, officially known as the Games of the XXV Olympiad and commonly known as Barcelona '92, were an international multi-sport event held from 25 July to 9 August...

The 1992 Summer Olympics, officially known as the games of the XXV Olympiad and commonly known as Barcelona '92, were an international multi-sport event held from 25 July to 9 August...

The 1992 Summer Olympics, officially known as the Games of the XXV Olympiad and commonly known as Barcelona '92, were an international multi-sport event held from 25 July to 9 August...

A fine Victorian 19th Century Oak and ebonised hardwood Specimen top pedestal or tripod table. Beautifully proportioned, with fine and delicate turning on the pedestal and leg detail...

A Mid-Century Modern (Scandinavian Modern) Danish teak tray designed by Jens Quistgaard for Dansk of the USA. A Teak tray designed by the highly regarded and very collected Jens H...

A fine marquetry, micro mosaic inlayed games table made in Syria around the turn of the 19th and early 20th Century. Complete with felt card table, c...

A rarely seen set of 2 French 1950’s cane and raffia Garden flower chairs, restored and reconditioned to a high standard by professional British craftsman. Great care and attention h...

A vintage midcentury round wicker ottoman, stool or side table. A completely versatile piece that adds warmth and a handmade craftsmanship. This is one of 14 pieces we have currently...

Once described as 'the worlds most comfortable chair' this one off reupholstered piece in Italian vintage gold leather will surely bring out your inner Bond Villain. Appearing in original black the model 62 was used in The Bond movie You only live twice and served as Blofeld chair...

A vintage midcentury round wicker ottoman, stool or side table in good condition. A completely versatile piece that adds warmth and a handmade craftsmanship. This is one of 14 pieces...

A beautiful hand blown Italian glass lamp with vibrant colors. The clear glass on the outer edges appear to reflect colors from its surroundings. Rewired with gold fabric vintage cor...