Farrago Design Inc

An exceptional early 20th century solid wood piano bench by the renowned Tonk Manufacturing Company of Chicago (est. 1873). This authentic piece is evidence to the company's reputati...

This stunning selenite mirror exudes a sophisticated and ethereal charm. The round mirror is encircled by a radiant frame crafted from selenite, a crystalline mineral known for its t...

Hand-sculpted in a bold Brutalist style, this extraordinary table embodies the raw beauty of organic forms. Crafted using a lost-wax casting technique in solid brass, the process beg...

Hand-sculpted in a bold Brutalist style, this extraordinary table embodies the raw beauty of organic forms. Crafted using a lost-wax casting technique in solid brass, the process beg...

Crafted from solid wood, this door is adorned with meticulously hand-carved bone flowers, each crowned with a brass bead at its center. These blossoms, reminiscent of embroidery on f...

The Splendor Chest showcases the mastery of traditional bone inlay, featuring hand-carved camel bone flowers arranged in a precise diamond grid across its surface. Each flower is met...

There are certain pieces that command attention in a room and this floor lamp, with its hexagonal horn chips onlaid over wood, is one such piece. Skilled artisans painstakingly hand-...

The Splendor Chest showcases the mastery of traditional bone inlay, featuring hand-carved camel bone flowers arranged in a precise diamond grid across its surface. Each flower is met...

The Mackenzie Oval Mirror is made from wood and adorned with hundreds of sustainably sourced hand-carved bone and horn chips- a perfect example where meticulous craftsmanship meets...

Influenced by Ansel Adams and his Classic landscape photographs, this expressive cocktail table is enhanced by a textured top. Using recycled packing material to make the mold, it is...

This exquisite hand-painted oval butler tray is meticulously crafted by master miniature painting artists. Each tray stands as a unique testament to a rich and enduring craft heritag...

Introducing the Orbit, Oval Horn Mirror, a testament to the visionary craftsmanship at Farrago Design. With a perfect oval shape, it grants a versatility to compliment any space, fro...

Hundreds of hexagonal buffalo horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table. Serene elegance. Al...

This stunning selenite mirror exudes a sophisticated and ethereal charm. The round mirror is encircled by a radiant frame crafted from selenite, a crys...

Hundreds of hexagonal buffalo Horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table. Serene elegance. Al...

Step closer and let the beat of the Tabla Table resonate through every crafted curve and angle of this exquisite end table. Drawing inspiration from the timeless rhythm of this famed Indian percussion instrument, the Tabla End Table harmoniously merges cultural reverence with ultramodern aesthetics. Its wood foundation, the unique form sets the stage for what can only be described as a symphony in wood and bone. The angular bone chips, meticulously arranged atop this base, sing a silent visual sonnet with their tonal pattern as a soundscape. The tables sculptural essence is more than mere form; it's a dance. A quiet sway in spaces that transforms static interiors into dynamic stages where light and shadow pirouette across its rhythmic surface. Honored with the illustrious NY Cottages & Garden Innovation in Design Award (IDA), it stands as a testament to design and craftsmanship. But the Tabla's Resonance isn't just about grand accolades or its stunning aesthetics. Its also adaptable. Custom sizes mould it to your space's unique demands. And with an array of exquisite materials—from the deep allure of horn to the shimmering touch of Penn shell...

Discover the Sand Collection's exquisite Pushpa Carved Bone End Table /Pedestal, a true celebration of nature's beauty and artistic craftsmanship. This unique table is crafted from w...

Handcrafted by skilled artisans, this Capsule or " Rounded Oval" Table features a base crafted from bent plywood and edged with matte brass. The top made by layering Bianca Carrara (...

Handcrafted by skilled artisans, this Capsule or " Rounded Oval" Table features a base crafted from bent plywood and edged with matte brass. The top made by layering Bianca Carrara (...

Handcrafted by skilled artisans, this Capsule or " Rounded Oval" Table features a base crafted from bent plywood and edged with matte brass. The top made by layering Bianca Carrara (...

The Splendor Chest showcases the mastery of traditional bone inlay, featuring hand-carved camel bone flowers arranged in a precise diamond grid across its surface. Each flower is met...

The Mannara Mirror is a sculptural reflection of nature’s elegance. Crafted exclusively, this one-of-a-kind mirror is individually cast in aluminum using a technique developed unique...

The Naida Console Table 2 is a stunning example of handcrafted design. Made from bronze using the lost foam casting process, this technique involves creating a model using recycled p...

Enter the 'Half Moon Bone Inlaid Table' — nature's vast canvas reimagined in a half-sphere. A horizon touchpoint, central to your living space, embodying the graceful arc of the crescent moon. Handcrafted to perfection, the half sphere table...

There are certain pieces that command attention in a room and this floor lamp, with its hexagonal camel bone chips inlaid over wood, is one such piece. A blend of artful design and m...

The Mannara Mirror is a sculptural reflection of nature’s elegance. Crafted exclusively, this one-of-a-kind mirror is individually cast in aluminum using a technique developed unique...

Enter the 'Half Moon Bone Inlaid Table' — nature's vast canvas reimagined in a half-sphere. A horizon touchpoint, central to your living space, embodying the graceful arc of the crescent moon. Handcrafted to perfection, the half sphere table...

"Functional Art" would be the ideal way to describe this end table, The base is made of solid wood and hand sculpted in an organic form where the every facet is tactile, The top is m...

In a world where beauty often gets relegated to the superficial, the Aspire Mirror stands as a testament to profound artistry and craftsmanship. A luxurious hand carved bone mirror...

The grandeur of Baroque collides with the vibrancy of the modern era in the bone Inlaid Fleur Table/ Stool. Introducing an artistic masterpiece that seamle...

Feast your eyes on our Bone Inlaid Pattern Wall Art in Blue Resin. This isn't just art; it's a mesmerizing blend of tradition and contemporary design. Imagine multiple Celtic dragons...

Hundreds of hexagonal buffalo Horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table. Serene elegance. Al...

Made of solid wood and topped with camel bone chips, this mirror frame adds a calming magnificence to any space. Each chip is hand carved in small hexagons to align with the convex w...

The Nima round floor lamp makes a stunning statement with its soaring solid wood conical base and intricate bone marquetry pattern. The light illuminate...

Hundreds of hexagonal buffalo horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table. Serene Elegance. Al...

In a world where beauty often gets relegated to the superficial, the Aspire Mirror stands as a testament to profound artistry and craftsmanship. A luxurious hand carved bone mirror...

Discover a sculpted Silver mirror that champions one piece at a time.The narrative behind this tall mirror stems from innovative craftsmanship, utilizing a unique technique to mold a...

This mirror frame is made of horn, wood and brass. Brass inlays of random widths and lengths are inlayed on the black horn bringing in a sense drama and movement. These brass inlays ...

Alexandra Nechita "Your Guitar my music" 1997 Print - Lithograph on handpulled on Archival Paper in Paris 41.5'' x 34.5'' in Paris. Edition: Signed in pencil and marked 131/250 From ...

The white Dune cube table is made of hundreds of triangular camel bone chips tessellated over wood. The playful patterns made with grey and red resin are unique on each surface are p...

The Nima round floor lamp makes a stunning statement with its soaring solid wood conical base and intricate bone marquetry pattern. The light illuminate...

Embark on a captivating journey to a time teeming with rich tales, legendary creatures, and exceptional craftsmanship. Introducing our Bone Inlaid Celtic Dragon Wall Art...

Step closer and let the beat of the Tabla Table resonate through every crafted curve and angle of this exquisite end table. Drawing inspiration from the timeless rhythm of this famed...

Master craftspeople meticulously tesselate thousands of sustainably sourced camel bone chips to create a subtly nuanced tone-on-tone pattern. The top is decorated with contrasting horn pattern, which can be replaced a custom monogram...

Inspired by a 3D puzzle, the white Dune cube table is made of hundreds of triangular camel bone chips onlayed over wood. The playful patterns made with resin are unique on each surfa...

Hundreds of hexagonal buffalo Horn chips are individually mounted to create a striking beehive marquetry pattern on the solid wood drum form to make this table. Serene elegance. Al...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

A calmness in the chaos! The Solace table prides itself with hand textured cast aluminum, the patterns of which are created with one mold for each piece making each piece one of a ki...

Inspired by a 3D puzzle, the dune table is handcrafted of solid wood covered in hundreds of triangular, handcut camel bone/horn chips. The playful poured re...

Made of wood and topped with a tessellation of bone chips, this console is inspired by the work of the ceramist Tomasso Barbi. Resembling faux ivory the console support...

Named for the soaring glass and steel pyramids that form the Japanese Nima Sand Museum, the handcrafted Nima square floor lamp makes a bold and timeless st...

The Splendor Chest showcases the mastery of traditional bone inlay, featuring hand-carved camel bone flowers arranged in a precise diamond grid across its surface. Each flower is met...

Delve deep into the realm where unparalleled artistry dances with modern design - introducing the Bone Shanti Bowls. A true embodiment of painstaking craftsmanship and contemporary e...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

The grandeur of Baroque collides with the vibrancy of the modern era in the bone Inlaid Fleur Table/ Stool. Introducing a masterpiece that seamlessly blends time-honored craftsmanshi...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Feast your eyes on our Bone Inlaid Pattern Wall Art in Blue Resin. This isn't just art; it's a mesmerizing blend of tradition and contemporary design. Imagine multiple Celtic dragons...

This end/ center table is made with handcrafted triangular bone chips inlayed over wood. The Cube shape can be aligned in sets to make different arrangement...

Made with wood, this table is then on laid with bone marquetry to form beautiful patterns. The table boasts a shelf also topped with hand carved bone chips. The table is finished to ...