Derive More Furniture and Collectibles

Sculptural three-panel midcentury bamboo screen room divider.

A Monograph on this most important Brazilian furniture designer and maker from the mid-20th century. He opened his factory in 1943 and one of his main clients was the architect Oscar Niemeyer, for whose designs a number of original pieces were commissioned. He was well-known for making use of indigenous...

Featuring 125 seminal cookbooks from the last 100 years, Cookbook Book is a celebration of the world's most beautiful, influential and informative cookbooks. From the tried-and-tr...

This Mid-Century-Modern eye-catching rattan or wicker and bamboo four-panel room divider with filigree decoration was crafted in France in the 1960s. This rattan screen combines mid-...

A beautiful folding screen / room divider with three panels. The base is made of pine, upholstered with a seamless pattern fabric depicting a Chinese scene with mother and child. Th...

Brutalist umbrella stand iron, Made in Italy, 1970s.

Amazing Asian 4 paneled screen. Features hand painted depictions of herons wading in the brush. Additional information: Material: Brass, wood Color: Black, gold, green, white S...

From AMBIANIC 1950s ITALY STILNOVO Milano Italian Round Valet Umbrella Stand with organizer tray aluminum and brass 23 .5 H x 10 in diameter Original unrestored wonderful vintage p...

Beautiful vintage Italian chinoiserie or oriental room divider screen with stitched panels of foliage, flowers and birds of different colo...

Bamboo screen, Room divider . Circa 1970. Spain. There is nothing metal, the same bamboo acts as a hinge. It is in very good condition . This type of material was widely used in the ...

Mid-Century Modern wooden coat rack, Italy, 1960s.

The definitive monograph of Oehlen's work to date. Limited to 1,000 numbered copies, each signed by Albert Oehlen. Also available: An Art Edition limited to 100 copies, each signed by the artist and accompanied by an original artwork. Often wryly funny and just as smart, Albert Oehlen’s paintings play the medium for all it’s worth and then some. After realizing that the so-called death of painting freed him to explore "the number of aspects through which one could expand painting," Oehlen started work on a wide variety of figurative and non-objective offerings, in what he has called his "post-non-figurative" art. The artist continuously challenges himself, setting up rules that force him to overcome convention and his own routine in order to arrive at a satisfying image. During his career he has chosen to paint in primary colors only or in gray, to integrate mirrors into his canvases, or to start on computer paintings when the first PCs became available. In his most recent work Oehlen expands painting through the use of advertising posters whose in-your-face aesthetics he transforms with subtle brushwork. Never without a touch of tongue-in-cheek humour, his work seems to be winking at us as it dares us to change the way we perceive an image. This XL monograph covers the entire Scope of Oehlen’s oeuvre: Roberto Ohrt discusses the early years, when Oehlen came into his own alongside Kippenberger, Bu¨ttner, and others, part of a scene that broke rules in art and rock music. Klaus Kertess examines the years from 1988 onwards, when Oehlen saw himself more self-consciously as a painter and started his first abstract works, then continued to probe the limits of the medium. Martin Prinzhorn and John Corbett...