Furniture

Wall unit or wardrobe, walnut, Italy, 1970s This striking wall unit from the 1970s reflects a bold modernist approach with an architectural appearance. Crafted from rich walnut, the...

Cascada suspension lamp with a brass structure, featuring four tiers of handcrafted pink Murano glass. Designed for both aesthetic refinement and functional illumination, it is equip...

The teal green ceramic tiled and verdigris copper Boogie Nights coffee table is designed by Egg Designs and manufactured in South Africa. Th...

18th Century Swedish Buffett with a galleried top. With two drawers, below two doors, opening to shelf storage. Decorative reeded design to the draw and door fronts and scraped to a...

Piero Fornasetti Ceramic Coasters with Hearts and Sayings about Love, With Original Red Box, 1950s-early 60s. Each of the eight coasters has a central white heart on a gold ground. ...

A high quality of curved laminated wooden stacking chairs with woven wool upholstery in olive green. Set of 24 stacking chairs available, price ...

Hans-Agne Jakobsson '1003 Hans Pendant' in pine for Vaarnii. First created by legendary designer Hans-Agne Jakobsson, the '1003 Hans Pendant' is a uniquely architectural lamp with a...

New Noom furniture collection is dedicated to the 100th anniversary of the founding of the Bauhaus School in Germany. Ideas of functionalism and concise...

Set of 8 Books - Nordens Flora Carl Axel Magnus Lindman (* April 6, 1856 in Halmstad, Sweden; † June 21, 1928 in Adolf Fredriks församling, Stockholms län) was a Swedish botanist. ...

Pine Coffee Table France, 1950 Low pine coffee table with metal legs, in the style of C.Perriand. 59”L x 17.5”d x 10”h Ref. MOD1128

Elevate your space with the charm of the 19th century with our Louis XVI carved and gilded tree form mirror. This exquisite piece, reminiscent of the opulent French aesthetic, featur...

Early 20th century inlaid birch octagonal occasional table circa 1910. Fine quality side table, that would also function well in the hall or as a lamp table. Inlaid and strung bord...

A surprising, abstract geometric design in shades of coffee and deep brown. Available in two sizes: 15” x 8" x 11” slope 18” x 9" x 13” slope Additional Information - Hand blocked ...

“Still Stand” sculptures by Joel Escalona Joel Escalona's wooden standing sculptures are objects of raw beauty and serene grace. Each one is a testament to the power of the material...

Lounge Chair, Charles and Ray Eames, Vitra Production 1990s, United States, 1956 (original design). Bent plywood frame with rosewood finish, leather upholstery, and die-cast aluminum...

a mid-20th-century Moroccan rug with 6 "trippy" lions on an ivory ground Details rug no. j4441 size 5' 2" x 6' (157 x 183 cm)  

Introducing a provocative mid-century Roman sculpture from the 1940s - a daring representation of a stone penis encased in a cube of protective glass. This intriguing artwork challen...

Fold-out cabinet or highboard with table and benches, chestnut, Italy, late 1940s This exquisite Italian convertible unit, crafted in the late 1940s and executed in rich chestnut, s...

Art Deco style lamp with cat CHAT JONGLEUR signed Janle for Max Le Verrier. With Max Le Verrier foundry seal. Design 1930. Posthumous contemporary cast. Patinated Art Metal on a b...

Suspension lamp mod. LS 132 with iridescent Murano glass discs, designed by Carlo Nason for A.V. Mazzega in the early 1970s. This is lamp from a stock and therefore in like-new condi...

Elevate your interiors with the timeless elegance of this Vintage Italian Olive Burl Wood Bombe Chest. Crafted with exquisite attention to detail, this sophisticated piece features a...

1970s Gorgeous space age brown pair of astonishing armchairs in velvet designed by Arch. Guido Faleschini for Mariani they are part of the "Pace Collection". The velvet is perfect an...

Unusual Pink Color Vintage Turkish rug we found. Colors are all original in good overall condition for its age. Circa 1930 Details rug no. 31207 size 4' 9" x 9' 11" (145 x 302 cm)

A sculptural French industrial bench featuring a gently curved concrete seat and backrest supported by a tubular iron frame. Ideal for both indoor and outdoor use. Original patina th...

Revolution rocks and martini, set of two Strikingly simple in form, the Revolution collection is handcrafted in the Czech Republic by master glassblowers, and formed from a pure e...

A set of five brass coat hangers designed and produced in Austria, c. 1950s. Dimensions: 10.25” H x 2.75” W x 3” D

Classic, elegant, with a perfectly imperfect touch. On their own they make a statement with their gentle flared bottoms and deep fluting. Hang in multiples for extra oomph. These cas...

"OKO 75 contemporary mirror by Zieta (New model from 2020 collection) Stainless steel Measures: 75 x 6 cm. Zieta is best known for his collection of stools “P...

This is an antique chair from the Showa era. The deep-colored genuine leather has a unique texture and soft feel that comes from years of use. You can enjoy the changes in the leath...

Playful true-to-life silver armadillo that serves as a lighter other than being a decorative artwork in its own right. Expertly made by the Florentine...

Rare console table / sideboard by unknown designer. Produced in Denmark.

Pair of grand-scale arched glass paneled double doors. Contains (mostly) original glass plates (one missing, the second broken) Constructed, circa 1910 in...

May champagne coupe glasses, set of two A pair of Czech contemporary glass handcrafted is the perfect modern champagne glass. The May Collec...

Blue glass pendant from the Island of Murano blown in the Pulegoso technique. (Puleghe means bubbles). This pendant has been newly wired to fit US standards and is in very nice antiq...

Louis Majorelle 1859–1926 Aux Algues Mahogany Bench Bench with hand carved foliate details c. 1900 mahogany, upholstered cushion Dimensions: 49¼ h × 62½ w × 22 d in (125 × 159 × 56 c...

Pair of Charlotte Perriand 'Applique à Volet Pivotant' wall lights in black. Originally designed in the 1950s as the iconic CP1, these newly produced authorized re-editions are sti...

Charlotte Perriand 'Applique à Volet Pivotant' wall light in red for Nemo. Originally designed in the 1950s as the iconic CP1, these newly ...

"Tafla O5" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Polished stainless steel Measures: 60 x 40 x 6 cm. More shapes and sizes are available ...

Rare pair of Eli armchairs with maple wood seat, back and arms attached to a black powder coated steel base. Designed by Bruce Sienkowski for Charlott...

Hans-Agne Jakobsson 'Mini-Tratten' dark brown patinated outdoor sconce. An exclusive made for U.S. and UL listed authorized re-edition of the ...

Rare Luigi Caccia Dominioni sofa, L4 "Chesa Laria" model, Azucena Edition circa 1960, Italy.` Model created in 1959, small production. Sculptural walnut wo...

Cornelia Table Lamp is a lamp that is made from capiz shells which gives the material an irregular structure. This makes each lamp unique, something that adds to its character and pe...

Make a bold statement with our hand-painted iron tray, featuring a striking cheetah design on a sleek black background. Perfect for adding a touch of wild elegance to coffee tables, ...

A vintage 20th Century Italian metal stick stand, designed by Piero Fornasetti, features a unique design with umbrellas and sticks encircling the outer cover. The interior is painted...

Ceramic vase signed by renowned Spanish ceramist Angelina Alós (Valencia, 1917 – Esplugues de Llobregat, 1997), a pivotal figure in contemporary Catalan ceramics. This piece is a tru...

21140 Oversized Abstract Moroccan Rug, 13'04 x 17'04. Emulating Wabi-Sabi and Abstract Expressionist style, this hand knotted wool oversized Berber Moroccan rug is a captivating vision of woven beauty. The perfectly imperfect tribal design and intense earthy color palette woven into this piece work together creating a bold, expressive look. An allover pattern composed of unusual geometric shapes, short horizontal bands of color, and ambiguous tribal motifs are sporadically dispersed across the beige backdrop. Reflecting elements of Abstract Expressionism and a bold art form, this authentic Berber carpet draws inspiration from Ad Reinhardt, Fernand Leger, Clyfford Still and Helen Frankenthaler. It is truly 'Art You Can Walk On'! Perfect for adding organic textile sensations to living room, family room, bedroom, home office, large library or study, studio, game room, billiards room, playroom, children's area, home theater, large entertaining space, hotel lobby, or a lounge area. Well-suited for a variety of interior styles: Cubism, Orphism, Abstract Expressionism, Fauvism, Surrealism, Futurism, Cubist, Retro, Modernism, Contemporary, Expressionist, Postmodern, Art Moderne, Hygge, Mys, Mysigt, Tribal, Boho Chic, Bohemian, Nomadic, Midcentury Modern, Industrial, Loft, Urban, and Eclectic. Iconic in its styling, this modern Moroccan rug would also complement esoteric ambiences from avant-garde estate homes, contemporary chateaus, and ultramodern coastal villas to luxury ski chalets, exclusive hunting lodges and affluent mountainside manor found in Colorado, Lake Tahoe, Wyoming, or the Adirondacks. Rendered in variegated shades of beige, navy blue, brick red, charcoal, ink blue, gold, rose, mauve, lavender, gray, and light green with other accent colors. Abrash. Hand-knotted wool. Made in Morocco. Berber Tribes of Morocco. Measures: 13'04 x 17'04. Hotel Lobby Size Carpet 13 x 17 Rug...

Luigi Massoni for Poltrona Frau, restored ‘Dilly Dally’ vanity set, fabric, plastic, brass, mirrored glass, metal, lacquered wood, Italy, 1968 Outstandin...

DD V daybed is an exclusive daybed made by hand in Bosnia and Herzegovina by skilled craftsmen with long experience in wood and upholstery. Both frame and the...

This rare set of vintage de Sede swivel club chairs boasts a stunning patina on the luxurious and very rare green leather upholstery. These high-quality, Swiss-made chairs in this co...

Ceiling mounted Meander light featuring three flexible arms which allow you to adjust and pose the light fixture; shown here with metal arms in standard ...

A modern lounge chair / armchair upholstered in a yellow gold, premium, soft, pure mohair fabric. Beech frames and sprung seats. Handmade in England. Also available in COM. The d...

Early Mid-century sculpted teak occasional chair by designer T.H. Robsjohn-Gibbings for the Widdicomb furniture company. The chair features a dark stain and a U-shaped back that form...

First launched as a limited edition in 1951, Ib Kofod-Larsen’s Knitting Lounge Chair is reimagined with a natural oak, dark stained oak or walnut frame. The distinctive piece is meti...

A French Polychrome Painted Terracotta Figure of a Mastif, 19th Century Provenance: Private Australian Collection. Dimensions: Width: 15cm. Height: 11.5cm. Depth: 5cm.

Designed by Afra and Tobia Scarpa in 1962, Bastiano is a sculptural sofa that truly expresses the couple's design philosophy. Their signature elements - geometric wood frame, soft ne...

French Art Deco photo-frame by Marti Font, France, 1920. Spelter, marble, brass and glass. Overall dimensions - Height 7.5"(19cm), width 8.9"(22.5cm), depth 3.9"(10cm). Largest photo...

This iconic room divider was created by the well-known french artist jean touret for atelier moralles, who founded the workshop in france during the 1950s. The heavy hand-crafted pi...

Madoura turned pitcher of white earthenware clay with decoration by Pablo Picasso black and white drawings. This work is stamped with the 'MADOURA PLEIN FEU' and 'EDITION PICASSO' po...

These elegant pillows are crafted from iconic Fortuny textile, showcasing a classic damask motif in a warm terracotta tone against a soft beige background. The design features styliz...

A fine example of Dutch Art Deco design from the early 20th century, this table by P.E.L. Izeren was produced for Genneper Molen. Model 259 combines architectural structure with a st...

Small Swedish country gray painted cabinet standing on tapered legs; may serve also as a nightstand or side table. Decorative curved backsplash; a single fluted cabinet door opens wi...

Dining chairs, pine, reupholstered in sheepskin, Czech Republic, 1950s Pine dining chairs featuring a sheepskin in beige color. This particular model is manufactured without armrest...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

Luigi Massoni for Poltrona Frau, ‘Dilly Dally’ vanity set, leatherette, mirrored glass, plastic, brass, lacquered wood, metal, Italy, 1968 Outstanding It...

A fine set of figural gold club cocktail stirrers. By Hermès. In silver plate. Each in the form of a golf club. Marked to the reverse with R.T.E.S.6.D.6 / Hermès Paris. Simply a...

Italian Pendant Lamp (1960s–1970s) Vintage Italian pendant lamp from the 1960s–70s featuring a hand-blown glass shade in a warm cream color with a distinctive brown rim. The shade m...

The Wing chair solid wood collection, flexibility, modern aesthetics, comfort and softness are the keywords for this collection. The concept is inspired...

Vintage Pair Of Leather Ligne Roset Kashima Lounge Chairs From France 1970s. Very comfortable model, later upholstered in soft black leather. Excellent condition.

The Wing chair solid wood collection, flexibility, modern aesthetics, comfort and softness are the keywords for this collection. The concept is inspired...

This exquisite octagonal box is a celebration of bold geometry and artisanal finesse, rendered in hand-blown glass in a rich Tobacco hue. The clear-cut architectural silhouette frame...

Outdoor conviviality is the key of one of the collections by Federica Biasi. Brise, literally breeze, aims at taking us back to that pleasant sensation when a breeze makes the summer...

Monofiore Balloton extra large vase in Amber Murano glass by Venini. It looks soft, but it’s not; it’s glass. The optical illusion of Monofiori by Venini from 1970 lies in its name: ...

Chap is a primary object that finds expression through shape and colour. Organic and primitive in taste, this essential element sports the striking decorative texture of Palladio Mor...