Thomas Gallery Ltd Furniture

Pair of VARA Italian white Carrara marble table lamps by Massimo Mangiardi. Sleek modern pieces with unique construction with inter-stac...

Elegant French midcentury gilt iron faux bamboo standing lamp by Maison Baguès in the modern neoclassical spirit. The iron has been delicately hammered to produce the feeling of b...

Elegant French bronze and cut crystal eight-candle arm chandelier / pendant in the modern neoclassical style of Louis XVI by Maison Bague`s for Maison Jansen with nine different form...

A Classic, sober, Italian midcentury solid brass chandelier with 12 arms on two levels centered around a large brass ball. The height ...

Large dramatic, yet sober Italian midcentury ten-arm brass chandelier that will flush mount to the ceiling or suspend.

Elegant French Mid-Century gilt iron faux bamboo standing lamp by Maison Baguès. Shade is for demonstration only.

Pair of partially gilt, iron faux bamboo, modern neoclassical style standing lamps by Maison Baguès with a rare curved stem structure. Shades are for demonstration only.

Rare Italian Mid-Century Modern chandelier / pendant / fixture by Max Ingrand for Fontana Arte in double saucer form with opaque, satin green glass in a textured pattern. A 3 part ta...

Elegant, Chic French early modernist / Art Deco wall mirror in hand-hammered wrought iron attributed to Edgar Brandt. The wall or console mirror is shaped in the form of a geomet...

Elegant Italian Mid-Century Modern double level drinks table, side, end, cocktail table or gueridon. The piece is composed of a sensitive combination of materials including a bla...

Important French midcentury cocktail table by Maison Baguès in the modern neoclassical taste. The table is composed of three parts that can separate and be used according to size and...

Elegant French Mid-Century Modern neoclassical sofa table, console or vanity in gilt faux bamboo by Maison Baguès. The table is designed in a mo...

Pair of French Mid-Century Modern 1940s chandeliers or fixtures in the style of Gilbert Poillerat in wrought iron each with six wood candle form lights composed in a harmonious recta...

Unique Italian Provincial handmade flush mount fixture or pendant light in the form of a sunburst / star composed handwrought iron with a rust pat...

Sober, elegant pair of French Curile form / X-frame benches / stools in ebonized wood in the modern neoclassical spirit, typical of André Arbus.

Elegant French Mid-Century Modernist / Art Deco ceramic amphora / pitcher / vase. Signed on bottom.

Elegant Italian midcentury style Venetian glass pendant or chandelier in opaline ivory color glass with a transparent ivory disc reflector with blue trim. Three-light at 100 watts...

French Mid-Century Modern umbrella stand or trash / wastebasket composed of black enameled perforated iron / steel adorned with an elegant gilt iron ring pull in the style of Jacques...

Pair of French Mid-Century Modern, marine industrial wall lights or ceiling flush mount fixtures with thick milk glass globes set into circular stainless steel frames. The pieces c...

Important French midcentury reverse painted glass coffee table with silver leaf top and legs decorated in a leaf pattern and in an elegant square form. Maison Jansen made a piece with similar styling for the Duke and Duchess Windsor...

A set of two French Mid-Century Modern coffee tables that form one long table: Each with reverse painted glass top that has been hand gilt in the form of squares. Designed by Guy Lef...

2 pairs of French late Art Deco / modern neoclassical plaster wall lights with chic rope decoration. Priced and sold by the pair.

2 pairs of French midcentury plaster wall lights in the form of a shell attributed to Serge Roche. Priced and sold as Pairs. References: Mid-Century Modern, Neo-Baroque, Surrea...

Two Rare and dramatic pairs of French plaster wall lights in the form of sea shells by Serge Roche circa 1930. Serge Roche was a French artist whose originality and stunning creation...

An antique Moroccan Berber rug / runner with a warm patina; in complimentary color shades and a Classic chevron pattern. Composed of hand knotted wool and natural vegetable dyes. ...

Four Italian chairs or stools combining a traditional 17th century sgabello form with the speed and movement implicit in the spirit of Italian futurism and the influence of Giacomo B...

Iconic pair of Italian 1950s armchairs by ISA in hardwood and upholstery resting on splayed, tapered legs and featuring elegant angled arm-rests / side supports. Sober and sensuous m...

Rare, unique pair of Italian early modernist armchairs attributed to Giacomo Balla. The chairs integrate futurist aesthetics with Arts & Crafts style. The pieces utilize typical A...

Two suspended plaster disc chandeliers / pendants / flush mount fixtures by Arlus embracing French Art Deco and an emerging modern movement. Each piece is suspended via nylon ropes c...

Elegant and timeless pair of French Mid-Century Modern floor lamps by Jules Leleu in solid brass with bronze patina and crystal detailing. The pieces are highlighted with crystal rin...

Three elegant Italian Mid-Century Modern pendants or flush mount fixtures by Stilnovo with engraved circular patterns. The frames are enameled black metal with chrome banding and det...

French midcentury candelabra in handwrought iron in the form of twisting volutes. Five arms. Can be used with candles or electrified, ...

Elegant pair of French 1940 gilt and handwrought iron standing lamps in the modern neoclassical spirit. Shades are for demonstration only. References: Gilbert Poillerat, Maiso...

Elegant early German modern (Proto Bauhaus) handcrafted vase or wine & champagne cooler in hammered silver with an under-layer of copper / bronze by Hutscheneruther Stamped on rea...

Pair of Italian Mid-Century Modern neoclassical brass chandeliers / pendants / lanterns/ flush mount fixtures in a rare design embracing the modern, the neoclassical and the neo-baro...

Elegant and timeless pair of French Mid-Century Modern neoclassical handwrought iron and gilt benches or stools attributed to Maison Baguès. The pieces are in a Classic Curile / X-Fr...

Elegant, Sober Italian Mid-Century Modern neoclassical frosted glass ball pendant / chandelier/ lantern by Italian Master, Luigi Caccia Dominioni. It is composed of a large mold blown Murano / Venetian glass shade...

2 exquisite French plaster chandeliers after a model by Alberto and Diego Giacometti for Jean-Michel Frank conceived in a sculptural organic form, circa 1937. Three Edison sockets light the fixture/pendant. Priced and sold individually. Height is variable according to the length of the supporting chains. Height of plaster fixture alone is 12". Edition of 8 pieces. #5 of 8 is currently available.The original Giacometti chandelier shown is owned by Thomas Gallery and is not for sale. Literature: Jean-Michel Frank, Leopold Diego Sanchez, Editions du Regard, Paris, 1997, p. 249 Jaques Granges...

Complementary pair of authentic French midcentury sea coral table lamps attributed to Jean-Charles Moreux and set against a sea grass background and various white and rose corals in ...

Elegant Pair of French Mid-Century Modern Style Wrought Iron and Limestone Side or End Tables in Style of Alberto and Diego Giacometti for Jean Michel Frank. Each table sits on a ...

An expandable French country dining table from the Directoire period (1795-1803) that combines warmth with sobriety with it's chic tapered legs and stretchers. Two pullout leaves and...

An elegant French midcentury crystal chandelier/fixture embracing neoclassicism and modernity. The piece has a silvered nickel metal center plate that is im-bedded with cut crysta...

A collection of five elegant 'Ice Glass' vases by Finnish Artist, Timo Sarpaneva for Iittala. Dimensions: 1) H 9 x 6 x 6; 2) H 6 x 4 x 4; 3) H 6 x 4.5 x 4.5; 4) Cylinder H...

Elegant, stunning pair of Italian Mid-Century Modern cantilevered armchairs / lounge chairs attributed to Augusto Bozzi. The pieces embody both Modernism and Craft. They are handmad...

Large French painted Tromp L'Oeil 4 Panel Theatrical / Decorative Screen from the Paris Opera Ballet, circa 1940. The screen is an elegant presentation of a classical scene featuring 2 twisted columns and rustication from a Renaissance building flanking an open cartouche with the image of towers in the distance. The piece stands at an impressive height of 92" and each panel is 14" wide. Provenance: Paris Opera Ballet, Paris, France. References: Choreographers or Principal Dancers of the Paris Opera Ballet have included Rudolph Nuryvev, Maurice Bejart, Pina Bausch.

Two French Mid-Century Modern / Art Deco plaster flush mount fixtures / chandeliers containing an open frame central reflector with three l...

A spirited late 19th century French cast stone sculpture of an adolescent male in a gay mood. The figure evokes the mood of Fragonard's painting 'L' indifferent. References: Beaux...

A dynamic expressionist work by Hans Kessler, a student of Kandinsky at the Bauhaus. Signed H.Kessler, 1925 at bottom. Gouache comes with Photocopy of ...

Cubist Painting by Hungarian Painter, Koroly Glonczy. Oil on cardboard. References: Modern and contemporary art. European 20th century, Mid-Century Modern.

Elegant and sober French Post-Art Deco style consoles in bronzed wrought iron supporting a top of stone. Consoles have a narrow profile with 10.5" depth. Each console is priced an...

Elegant Italian Mid-Century Modern chandelier / pendant / fixture with 16 arms elegantly set in a circular pattern in the spirit of a neoclassical sunburst. Composition: Elegant s...

Elegant Italian Mid-Century Modern chandelier / pendant / fixture with 16 arms elegantly set in a circular pattern in the spirit of a neoclassical sunburst. Composition: Elegant s...

Elegant, timeless Italian Mid-Century Modern cocktail table made of interlaced ash hard wood in a grid motif with inset glass top attributed to Marco Zanuso for Pogi.

Elegant Italian Mid-Century Modern pendant / chandelier attributed to Stilnovo, circa 1958 The fixture is suspended from a black enameled rectangular metal canopy with 2 round bras...

1 French Mid-Century Modern white enameled metal pendant / lantern fixture / chandelier with a luminescent bowl of holophane glass. Subtle, yet functional lighting when lit. Height i...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Oil on canvas, mythological painting of Satyr (pan depicted with goat horns) and woman portraying the Classic eternal theme of Eros and the struggle against it. European (Italian ...

Mold blown Murano glass flush mount / pendant in satin glass. The glass is blown in a concentric circle with a geometric pattern. A hand blown rose form finial completes the piece. ...

Rare and important pair of Italian Mid-Century Modern mold blown white Murano milk glass table lamps. The lamps are space age in concept and design and function practically and as light sculptures with both lower and upper levels illuminating separately. Each piece of glass is mold blown of Murano glass. The lamps symbolize the Italian Radical...

Elegant and practical French midcentury nickeled faux bamboo étagère, shelves, storage, bookcase or vitrine in the modern neoclassical tradition by Maison Baguès. The unit has the or...