Otto Binx

Tom Dixon step beat fat white pendant light fixture, copper, contemporary, UK. Rare, gorgeous piece. Was in production for a very short tim...

Paris 1734 La Cité Natural Cork Wallcovering, Schumacher Wallpaper, Mural. La Cité is a reproduction of the Turgot Map of Paris, originally publish...

Ward Bennett for Brickel Assoc. black Ash Scissor Lounge Chair, Red Wool Bouclé, 1984, New York. Black lacquered ash, red wool upholstery, metal tags to each. Ward Bennett’s story is a remarkable one. His career began at age 13, when he quit school to work in the garment district in New York City. At 15, he designed his first clothing collection; at 16 he left for Europe, where he continued working on fashion design. While in Europe, he attended art schools in Florence and Paris, but he was mostly self-taught, with skills that ranged from illustrating, sculpting, and jewelry-making to furniture, interior, and home design. “I learn from people,” he once said, referencing a long line of influences, including Hattie Carnegie, Hans Hoffman, and Georgia O’Keeffe. Bennett eventually settled back in New York, where his reputation earned him some of the day’s most affluent clients: David Rockefeller and Chase Manhattan Bank, Tiffany & Co., Sasaki, Italian industrialist Gianni Agnelli, Rolling Stone founder Jann Wenner. Another—former President Lyndon Baines Johnson—asked Bennett to design a chair for his presidential library that would be “a cross between a barroom chair and a courtroom chair...

Verner Panton for Vitra Glow Panton chair, Luminescent, white, limited edition, on occasion of 50th anniversary. 1000 luminescent produced. After several years of joint development by Verner Panton and Vitra, the Panton chair was finally ready for production in 1967 – as the first all-plastic cantilever chair to be manufactured in one piece. Created with a revolutionary production technique, the chair’s unique sculptural design was presented to the public for the first time at the imm Furniture Fair in Cologne in 1968. It rapidly came to symbolise an entire era. In 2018, 50 years after its launch, Vitra is issuing two limited editions of this iconic classic: Panton Chrome and Panton Glow. Vitra limited production of the “Glow” to 333 chairs which were sold in June 2018, the 50th anniversary of the first presentation of the chair to the public. Verner Panton showed an ardent interest in innovative technologies, techniques and materials over the course of his lifetime. He worked with lighting, colour and luminous elements in many of his futuristic interiors. For his legendary 1970 installation ‘Visiona 2...

Guido Gambone Monumental Modern Stonewear Centerpiece Bowl, Grazing Goats, circa 1950. Marigold and citron yellow line up of grazing long-haired goats in the countryside. Exceptiona...

Laverne International buttercup Lucite lounge chair, Invisible Group, 1959. Considered a masterpiece upon release, Laverne's Invisible Group Collection remains the epitome of midcent...

Branco & Preto Brazilian Mid-Century Modern side table with glass top set in Caviuna wood frame. 21.5" H x 25.5" W x 25.5" D. Listing is for single table. Caviuna is a Brazilian timber tree yielding a heavy, hard dark-coloured wood streaked with black. Table features glass top effortlessly embedded in the wooden frame. Gorgeous sculptural rectangular recessed legs. The strong lines and masterful proportions, sculptural yet unassuming - effortlessly stylish. Made by Luiz Pássaro...

Ladislav Rado white enameled steel modern side table, 1955, Knoll and Drake. Knoll and Drake produced a signature modern line of furniture for a few sh...

Laverne International buttercup Lucite lounge chair, Invisible Group, 1959. Considered a masterpiece upon release, Laverne's Invisible Group Collection remains the epitome of midcentury chic. Fashion...

A watercolor on board by Angelo Testa. Signed and dated (1962) Measures: 29½ H × 19½ W in. Angelo Testa was one of the foremost American textile designers of the mid-20th century. In 1945, he became the first graduate of the Institute of Design (formerly the New Bauhaus) in Chicago, where he studied under artist László Moholy-Nagy, architect George Fred Keck, and weaver Marli Ehrman...

Verner Panton Verpan UFO chandelier, white, red,Chrome, Denmark, 1975, 2015. Originally designed in 1975, Panton’s iconic UFO chandelier was produced in a f...

Charles Eames (1907-1978) & Ray Eames (1912-1988) for Zenith Plastics / HermanMiller DAR Eiffel rope-edge chair Venice, California / Zeeland, Michigan, 1950 fiberglass, enameled steel early sticker label Measures: 24 7/8" W x 23 5/8" D x 31 3/8" H All original parts, including rare first gen. feet, which date the piece to the first batch of production (1950). Labelled. Gorgeous museum worthy piece. Quite possibly one of the most famous and iconic chairs ever, the Eames DAR would most commonly become known as the ‘eiffel chair’ due to its sculptured wire base resembling that of Europe’s most notorious landmark. The very first generation of the Eames DAR Eiffel Chair was recognizable not only for the ‘rope edge’ shell but also due to the protruding ‘1st gen’ feet as opposed to boot glides or later plastic feet. The abbreviated Eames DAR Chair stands for the Eames Dining (D) height, Arm (A) Chair, on Rod (R) Base released in the first year of arm chair production of the fiberglass series developed to the marketplace in 1950. The early success of the Eames arm chairs, released in 1950, was a co-ordinated effort between the Eames . Office (Designers), Zenith Plastics (Manufacturers) and Herman Miller (Distributors). The chair series was always designed to have interchangeable bases and the DAR was one of the ‘original 5’ alongside the DAX X-base, LAR cats cradle...

Warren Platner 1705Y Easy Ottoman, Gray Leather and Nickel, Knoll, 1966 Custom gray leather (original); original nickel finish. Ottoman retains original clear acrylic feet. The maste...

Karl Springer Gilt Leather Tulip Armchair, Signed, 1991, USA. Gilt leather over wood tulip armchair. Signed with leather label, Karl Springer 1991.

Marcello Fantoni Monumental Tuscan Ewer, Ceramic Vase or Pitcher, Italy In orange, green flambé glaze. Extremely rare form and scale with stunning large-scale handle. Signed underne...

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Pairpoint vienna hand-painted neo-classical wedgewood blue chandelier, 1920s. Ceiling chandelier with brass chains and fixture featuring Wedgwood decoration with white enamel outline on the exterior. Vienna shade...

Gilbert Rohde for Mutual Sunset lamp Company, unlacquered brass umbrella floor lamp with silk shade, all original, 1930s. Timeless rarity. P...

Gio Ponti for Richard Ginori Italian Vase (circa 1930) decorated with a maritime scene of a ship at sea, signed to base and further marked overall: 6 x 5 3/4 inches Provenance: Property from the Collection of Seymour Stein...

Brunschwig & Fils hand-printed Cherubin et Lapins, wallpaper, angels and rabbits, 2000. Lovely yellow background with blue figuration. Vintage, rare, out of print design featuring al...

Artisti Barovier Murrine Cobalt Blue Floreali Vase with Handles, Italy, c. 1914. internally decorated glass with murrines and polychrome threads Heigh...

Hermès Couvertures et Tunues de Jour velvet Trompe L'Oeil throw blanket, France. Beautiful and rare Hermes throw blanket in cotton velvet. Signed ...

Milo Baughman for Thayer Coggin 1984 Prisma collection armchair rocker lounge. This item is on Clearance. Clearance listings are priced for quick an...

Harvey Probber & Jack Lenor Larsen Happiness corner sectional sofa, lacquer red, 1968-1972. Gorgeous low slung modern sectional seating set of three. This is a truly extraordinary, museum-worthy set. Certain Larsen designs have captured the public’s imagination and are recognized as “signature” pieces. According to company records, the Happiness design was inspired by a Chinese robe and Ming Dynasty embroideries in the collection of the Henry Art Gallery of the University of Washington, where Larsen did his undergraduate work. It was introduced with four colorways – amethyst quartz, Ming gold...

Confidential 2-seat sofa, Cordovan Leather, Alberto Rosselli for Saporiti Italy, 1972. Original leather appears to have the shine, feel and variation in deep oxblood color that is t...

Napoleone Martinuzzi for Venini Murano Art Glass Green Apple Sculpture, Italy, c. 1926. acid-etched signature; Murano green cased glass with app...

Francesco Scavullo black & white photograph Jay & Jed Johnson, photo mounted on board. From Scavullo Studio. 1968-1969. 18.25 x 12.25 inches. Minnesota twins, Jay and Jed J...

Matchless Wonder Star #910 Double Row Purple & Amber Crystal C-9 Holiday Bulb, 1936. Extremely rare early crystal 900 series production in the rarely seen purple points with ambe...

Matchless Wonder Star #910 Double Row Tricolor Light Blue, Pink & Green. Crystal C-9 Holiday Bulb, 1936. Extremely rare 900 series crystal production in rare three color combinat...

Matchless Wonder Star #910 Double Row Clear & Red Crystal C-9 Holiday Bulb, 1936. Extremely rare early crystal production in clear points with red center. On May 2, 1935 Paul C...

Triteti Ceiling or Wall Flush Fixture, Artemide, Vico Magistretti, Italy, 1967. Iconic white Triteti flush fixture, ceiling or wall, Vico Magistretti for Artemide, 1967. Triteti was...

Tinta Pendant by Renato Toso and Noti Massari for Leucos, 1971, Italy. Iconic suspension lamp of Toni Massari and Renato Toso for Leucos, Murano, 1971. The lamp was made of murano g...

Brunschwig & Fils x Musée des Arts Décoratifs, Paris, Marot Wallpaper, Mural 1999. Gorgeous Trompe L’oeuil drapery effect in light blue with pink ribbons and bows at edge, comes toge...

The Waterford Lismore pattern is a stunning combination of brilliance and clarity. An impressive addition to any shelf or counter, the Lismore Round Biscuit Barrel keeps cookies, bis...

Brunschwig & Fils Jakarta Hand-print Textile, Yellow and Blue, 1970s. Lovely bold Cotton print, yellow/gold background with blue lines, squares and dots, each square measuring ...

Jean-Michel Wilmotte Flag Console Table, France, 1980s. Patinated stainless steel. Provenance: The Kenneth L. Freed Collection Jean-Michel Wilmotte is a French architect and desig...

Cappellini Cross Medicine Cabinet in Gloss White, Thomas Eriksson, Italy, 1990s. Equal parts storage solution and wall art, Thomas Eriksson's Cross...

Vladimir Kagan VK Armchair, Made in Italy. Gray Blue leather. Polished aluminum base. Originally designed as the Contour Collection (Trisymmetric Chaise Longue and Armchair Lounge) in the late 1950’s as a metal version of his tri-symmetric wood forms of the 1940’s for Kagan-Dreyfus. Produced under Vladimir Kagan New York...

Delicate framed jacquard pattern, 100% wool through, gorgeous gray, dual side; Fringed edges, Dimensions: 55"L x 71" Made in Italy. MSRP 890 USD.

Minimal Italian Modern Brix Modular 4-drawer 50 cm Dresser by Bensen, Italy. Brix is a modular stacking drawer system that can be arranged in almost endle...

Charles Edwards Mews Ceiling Lantern, Mahogany and Nickel, UK. This handmade Charles Edwards piece has a 4-light candelabra inside a unique wooden frame with polished nickel accents....

Sergio Rodrigues for Oca, Jacarandá Dining Chair Set of 4, Brasil, 1950s. Exceedingly rare set of 4. Appear to be all original. Original textile is faded and has some wear. Each chair with original label. Brazilian Rosewood (Jacaranda). Museum quality pieces by the father of Brazilian Modernism, Sergio Rodrigues. Stunning woodgrain. Original upholstery. Each chair Labelled with original Oca leather tag and paper label. See photos. Sergio Rodrigues is credited as the father of modern design in Brazil for having introduced a uniquely Brazilian formal vocabulary with his unique mix of thick and sturdy, “earthy” modernist style. Internationally recognized as one of Brazil's most influential modern designers, Rodrigues' most famous project is undoubtedly the Mole chair...

Finn Juhl NV-53, Original Rosewood Lounge Chair, Niels Vodder, Denmark, 1946 Finn Juhl originally designed the 53-series for master joiner Niels Vodder. It was introduced at the Cope...

Brunschwig & Fils x Musée des Arts Décoratifs, Paris, Cristaux Wallpaper, 1983. Listing is for one roll of “Crystals,” a gorgeous vintage print from Brunschwig & Fils and t...

Fantini Italia Linea Collection Chromed Steel 24" Towel Bar Art. 92027707, Italy. Designed in 2005. New in Box.

French provincial custom green grange triangular table, corner console, France. French corner table painted green with gold leaf striping, tapered...

Pedrali Pasha 660 armchair is characterized by elegant and stylish shape, an armchair that seduces with its classic forms combined with new mater… Pedrali Pasha 660 Fauteuil Indoor Outdoor Transparent Armchair Lounge, Italy. Pasha 660, designed by Marco Pocci...

Vintage Renato Toso Murano Domed smoke art glass hanging pendant light, 1970s smoke grey color out side, opaline white inside with a clear edge. Polished chr...

Alessandro Mendini for Artemide Sidecar table lamp Postmodern Murano glass, 1980s. Exceedingly rare Memphis era design, signed. Gorgeous blush pink, t...

The Complete Kagan: Vladimir Kagan — A Lifetime of Avant-Garde Design. First edition. Signed by Kagan. Excellent condition. Hardback. 1st complete c...

White Bunny Drawing by Oleg Cassini for Playboy October 1979, Signed. Illustration of a woman wearing a white body suit, choker, and hat. Signed by Oleg Cassini. Notice the body suit is in the shape of the head of a bunny with clever use of the 'whiskers'. Approximate Measurements: Length: 11" Width: 14" Property from the Collection of Steven Rosengard, Chicago, Illinois This original drawing was commissioned by Playboy and included in the October 1979 issue of Playboy Magazine (pages 225-227) in a feature that included works from designers such as Bill Blass, Oleg Cassini, Edith Head, Fernando Sanchez, and Monika Tilley, among others, who create their versions of the Playboy bunny costume. Candace Collins can be seen modeling some of the designs in the feature. Oleg Cassini is an icon of twentieth-century fashion. Though born to Russian aristocracy and raised in Italy, he built a fashion empire that was unmistakably American. Cassini is perhaps best known for the hundreds of designs he created for First Lady Jacqueline Kennedy (see images 4-8), but his achievements as a collector, connoisseur, and quintessential twentieth-century man go far beyond Camelot. In 1913, Oleg Cassini was born in Paris to the Russian diplomat Count Alexander Loiewski and Countess Marguerite Cassini, a Russian aristocrat of Italian ancestry who also had an interesting link to America. The daughter of Count Arthur Cassini, Russian Ambassador to the United States during the McKinley and Roosevelt administrations, Marguerite dazzled turn-of-the-century Washington as her father’s official hostess and left her mark on the capital city. Stationed in Denmark when the Russian Revolution toppled the czar, Ambassador Cassini and family were exiled to Switzerland before settling in Florence, Italy, where young Oleg was raised. A true Renaissance man, he spoke Russian, French, and Danish before adding Italian and English; he studied medieval and modern European military history and costume and learned to draw; he learned horseback riding, fencing, and the art of chivalry; and, most importantly, he came to understand the struggles of the Russian titled class and other European aristocrats in the wake of the Russian Revolution and World War I. Countess Cassini started a successful fashion business in Florence, and soon the talented young Oleg was sent to Paris to sketch the latest collections for recreation in Italy. In Rome in his early 20s, Cassini created fashions for high society women and designed for a few films, which planted the seed for his move to Hollywood. The drive to reinvent himself brought Cassini to America in the 1930s; in his autobiography he describes arriving nearly penniless in mid-Depression New York City where his title as an exiled Russian Count meant even less than in war-devastated Europe. Down and out, Cassini struggled for employment, having sketching skills but no knowledge of the wholesale trade required for survival in Manhattan’s Seventh Avenue fashion district. However, he excelled at making connections, and Cassini slowly entered New York society. He was soon joined by younger brother Igor (who had studied in America and travelled with the young Emilio Pucci) and his parents, the once-dazzling Countess and his father, the displaced diplomat still loyal to Russia. The family settled in Washington, D.C., and Igor worked his way up the Hearst newspaper chain to become the famous society columnist Cholly Knickerbocker. In New York, Oleg Cassini married the troubled socialite Merry Fahrney (who would go on to marry eight times), but the marriage ended in scandal for Oleg, and he decided to follow his original intention and head for Hollywood. Despite initial difficulties, Cassini gained access to Hollywood’s elite (partially through his skills on the tennis court), and was soon hired as a designer at Paramount Pictures alongside the redoubtable Edith Head. In her 1941 film debut I Wanted Wings, Veronica Lake wore a memorable Cassini design. That same year, Cassini met and married the newest young Hollywood star on the scene, the beautiful 20th Century Fox–talent Gene Tierney. With the outbreak of World War II, Cassini enlisted in the Coast Guard but was transferred to the U.S. Army Cavalry which allowed officers of foreign birth. He attended basic training at Fort Riley, Kansas, and the horsemanship he learned as a boy served him greatly. He attended Officer Candidate School and reached the rank of First Lieutenant (he also became an American citizen at this time, losing his title of Count). Cassini spent several years posted at Fort Riley, where Tierney joined him before he landed a convenient military post in Hollywood. As Tierney’s career thrived (she played the title role in Otto Preminger’s Laura in 1944), she was able to assert her influence over 20th Century Fox’s head Daryl Zanuck, who hired Cassini as designer for Tierney on her 1946 film The Razor’s Edge, which proved to be a brilliant showcase for his talents. The pair separated the same year and, again seeking reinvention, Cassini re-established himself in New York City as a fashion designer. By 1950, the Oleg Cassini label was born. Combining his knowledge of Old World and modern Europe, Hollywood, the tennis courts of Palm Beach and Newport, and of course, New York City, Oleg Cassini invented a new brand of fashion that was distinctly American and of its moment. For his first collection, Cassini took to the stage, narrating the looks and imbuing the scene with his personality, unusual in an industry where the designers typically remained backstage and the models were called by number over a PA. The first collection was a smash — the president of Lord & Taylor devoted all of their storefront windows to his designs — and by 1955 sales had reached $5,000,000. Oleg Cassini’s career had turned a very positive corner. Cassini spent the early 1950s traversing the country, personally selling his collections to department stores in the interior, something his predecessors had never done, and moving between the Hollywood and New York scenes. Cassini’s brother Igor coined the term “the Jet Set” for this generation that constantly flew from New York to Los Angeles (then a ten-hour flight), Las Vegas, Paris, Rome, and the Riviera. In 1954, Cassini set out to woo Grace Kelly and sent her roses every day. The two were briefly engaged before her marriage to Prince Rainier of Monaco. In December 1960, Cassini’s career-defining opportunity came when he was chosen by Jacqueline Kennedy to design her fashions for the White House. Cassini had long known Joe Kennedy and his war-hero son John, and had first met Jacqueline Bouvier before her marriage in the early 1950s. Invited by President-Elect Kennedy to meet Jacqueline at Georgetown Hospital (she had just given birth to son John Jr.) to present to her drawings of potential dresses and First Lady looks, Cassini worked furiously to prepare a new line for the First Lady. Mrs. Kennedy had always had her clothes made by the top French couturiers of the day, but for the White House she wanted an American designer. Cassini wrote in his autobiography that he told the First Lady: “‘You have an opportunity here,’ I said, ‘for an American Versailles.’ She understood completely what I was trying to communicate; she began to talk excitedly about the need to create an entirely new atmosphere at the White House. She wanted it to become the social and intellectual capital of the nation” (Oleg Cassini, In My Own Fashion, 1987, p. 327). Mrs. Kennedy loved Cassini’s design for a gown to wear to the Inaugural Gala (she had already ordered a dress from Bergdorf’s for the Inaugural Ball), and Cassini was selected as the First Lady’s designer and was soon dubbed the “Secretary of Style.” From 1960 to 1963, Oleg Cassini would design over 300 items for Mrs. Kennedy, creating the “Jackie Look” that contributed not only to a fashion revolution but also the dawn of a new age. Cassini wrote that “Jackie played a very active role in the selection of her clothes. She loved brilliant colors — pistachio, hot pink, yellow, and white among others. Her sense of style was very precise; she would make editorial comments on the sketches I sent her. She always knew exactly what she wanted; her taste was excellent” (Oleg Cassini, In My Own Fashion, 1987, p. 334). After the Camelot years, Cassini’s business flourished and grew into a major industry; his name appeared on everything from couture to tennis-, sport-, and swimwear, car interiors, housewares, and perfume. He collected beautiful and rare artwork, arms and armor, and antique furniture, and lived the lifestyle projected by his image. From this period onward, Cassini also came to live in important homes. Of his Gothic Gramercy Park townhouse on Manhattan’s 19th Street he would write imaginatively, “I walked into the foyer and immediately fell in love. It was a place unlike any other in New York, a sixteenth-century Dutch house transported brick by brick from Europe by the Wells Fargo family in the early twentieth century. There was a vaulted, twenty-foot ceiling in the living room, leaded windows, elegantly carved wood paneling...

Panel swatch dating to frank Lloyd wright’s original 1955 collection for Schumacher. "Design 102" Extremely rare original large scale fabric swatch. This swatch is also in the collec...

Finn Juhl FD 112 Armchair Lounge, Rosewood, Cado, France & Søn, 1960s, Denmark. Arms are removable. You can use as armless lounge as well. (See final pho...

Rose and Erni Cabat glazed porcelain Feelie vase citron chartreuse yellow green, USA, 1970-1985 Incised signature to underside 'Cabat' and numbered. This li...

Paul McCobb for Directional, two piece sectional sofa, c 1958. Cream on cream minimal Jacobean floral textile and solid brass. Two parts can be used together as one long sofa or as separate pieces. Gorgeous lines and minimal modern design. Single cushions for seat and back delineate each part but come together to form a sleek, neatly symmetrical (yet one-armed) sofa, comprised of a armless. Vintage Scalamandre pillows in main photo are for display only and NOT included with sofa. Settee and one arm loveseat...

Multi-color, pink, gold, green, grey/blue. Flush fixture is made of many blossoms in precious Murano glass with gold inclusions. Gorgeous work that can be totally midcentury and vint...

Vintage Sherle Wagner Handprinted Water Lillies Wallpaper, 1960s. Gorgeous, rare hand-print from Sherle Wagner in their iconic Water Lillies pattern. No longer in production. Amazing...

Schumacher x Wedgewood Wild Strawberry Wallpaper, Wedgewood Collection, 1972. Iconic Wedgewood design from 1964 printed by house of Schumacher as...

Custom Tom Dixon Linear pendant chandelier Set of 5, Copper and Blue. All pendants new in box. Ceiling pendant also new in box. 1 Blue Copper...

Baker Furniture Verre églomisé gilt ebonized antique coffee table, labelled. Baker marking dates to 1940 according to my research. Extremely rare piece.