Furniture

Sold by the YARD There are currently 4 yards available Magnificent Interior weight linen Dating from mid 1900's The Indigo blue linen printed with a beautiful 17th century Medi...

One of our favourite new additions. Wonderful original French vintage Maurin Quina alcohol poster from 1906. Stunning imagery. The devilish pixie was d...

Vintage 1960s Set of 4 chairs produced by Franco Asnaghi, in steam-bent plywood, padded seat and backrest covered in fabric. light signs of aging on the legs.

Classic early 1900s Vienna bronze figurine. This bronze is probably something you need if you’re a Vienna bronze or dachshund item collector. Found at an estate sale in Klagenfurt, A...

Luxury and GENUINE Murano Glass chandelier. HAND MADE IN MURANO. It made by 58 Murano amber glasses in a gold metal frame. The chandelier has also a Murano glass ball in the end of...

UNique handmade French folk art 19th century design wood bench Handmade production from center of France Very beautiful patina and wood colors Original very good condition Seat...

The elegance of this chandelier is the right word. Stunning and of considerable size. Brass structure with six glass balls. The peculiarity is the pearl effect that the glass balls h...

Nice ceruse oak bedside tables with drawers, made in the 1970s. Dimensions are 24" x 24" x 24" A quite versatile wooden pair of large bedside...

A beautiful beige ceramic vase with handles in shape of a classical roman urn, the vase is probably designed by Harald Östergren at Upsala Ekeby in the late 1930s. It is 17.5 cm (7")...

A lovely bowl of model Argenta 1510 designed by Wilhelm Kåge at Gustavsberg, this bowl is 21.5 cm (8.6") in diameter and about 5 cm (2") high. It has a lovely silver-decor of a drago...

A pine and beige fabric rocking lounge chairs produced by Collden, Sweden, c. 1970s. Vintage fabric in fair condition, ideally reupholstered. Overall Dimensions (inches): 36.0"H x ...

An etched glass, brass and beige rope pendant light designed and produced in France, c. 1930s. Overall Dimensions (inches): 23.0"H x 14.5"W x 14.5"D Cord Length (inches): 10.5” Ch...

A beige-lacquered metal and brown parchment paper "Liberty" pendant light attributed Elhå Belysning, Sweden, c. 1940s. Overall Dimensions (inches): 37.625"H x 15.0"W x 15.0"D Stem ...

Vintage art deco style table lamps manufactured by Lamp Gustaf AB in Sweden in the 1980s. Solid circular matte brown treated pine wood base with black lacquered metal swan neck. Orig...

A delightful tribal brutalist sculpture of a horse, showing exceptional character and decorative appeal. The origin of these figures is disputed. There are arguments made for this ...

Twins Day Bed, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. The Twins daybed and its matching curved sofa share the ...

Paul Evans for Paul Evans Studio, welded and enameled pewter, copper, and bronze, reupholstered leather, United States, 1971 Designed by Paul Evans for Paul Evans Studio, this sofa ...

The Color Experience: Stained-glass windows “Color is a power which directly influences the soul” (Wassili Kandinsky, Moskou 1866 – Neuilly-sur-Seine, 1944) “Color! What a deep and mysterious language, the language of dreams!” (« La couleur ! Quelle langue profonde et mystérieuse, le langage des rêves », Paul Gauguin, Paris, 1848-Fatu-Hiva, 1903) ‘Color and feeling’, ‘color and meaning’, these are concepts that have gone together since time immemorial. Artists and craftsmen have a special bond with color. After all, it is a means of expression that can have a real reinforcing effect. Especially linking color with light offers unlimited possibilities. Glaziers and glass painters have tried to master both these ‘instruments’ for centuries. The set of beautifully restored neo-Gothic windows in our collection are enough reason for us to let these works of art figure in a broader story. As a bonus, we would like to introduce you to the contemporary stained-glass artist and stained-glass restorer, Daniël Theys. whose workshop is in Sint-Pieters-Rode (Belgium). He talked to us about the materials and techniques he used for the restoration of our set of neo-Gothic stained-glass windows. A fascinating look at the tricks of the trade from a specialist! A bird’s eye view of the history of the European stained-glass window. Although the Romans already used translucent glass plates to cover wall openings, the stained-glass window reached its peak in Europe between 1150 and 1500. A period also known as the era of the cathedrals. At that time, stained-glass windows became more than just a way to let in the light, and to keep the space closed off. From now on, their functionality was also found in their didactic value. The biblical and saints’ stories that adorned the stained-glass windows became a kind of poor man’s bible. They brought, as it were, the knowledge of the holy scriptures in an understandable, pictorial way. At the same time, the colored light provided additional symbolism. The invading light was interpreted as a manifestation of God. It is also no coincidence that the main altar was bathed in light. It was the place where the most important sacrament was celebrated, that of the Eucharist. How were these magical colors obtained? Well, during the 12th and 13th centuries, metal oxides gave color to the glass. Copper, for example, produced different colors in the various stages of oxidation. The metal could color the glass light blue, green and even red. It should be noted that from the 13th century onwards, clear glass, which was cheaper and at the same time allowed more light into the buildings, was used more often. A century later, in the years 1400 to 1500, glass painters frequently painted onto the glass with a ‘stain’ of silver chloride or sulfide. The painted piece of glass was heat-treated in a furnace. The heating process ensured that the silver ions migrated into the glass and became suspended within the glass network. The stain gave colors ranging from a pale yellow to a rather deep red. This new technique allowed glaziers to get more than one color on a single glass fragment. The shades produced by painting in silver chloride were well suited for depicting golden crowns, scepters and other gilded objects and ornaments. But the most important advantage of the technique was the fact that the glass painter could now make transitions from yellow tones to white without having to apply separations with lead strips! This also improved the legibility of the pictured scene. You can imagine that the labor-intensive process of the production of stained-glass windows was a very costly affair and therefore it was often patrons who donated them to a church or a chapel. The benefactors were usually eager to propagate their social status and were moved by concern for their salvation. In the 16th century, stained-glass windows also began to appear in secular buildings such as town halls, the homes of the wealthy and commercial premises such as inns. It is striking that during this period the use of lead strips that border many parts of the image was further reduced in favor of real painting on stained glass. This was due to an increasing love of detail. For example, one wanted realistically painted portrait heads. Working with enamel paints was cumbersome. Each newly applied color had to be burned into the glass before another color or overpainting could be applied. It was not only the coloring of the glass that was complicated, the process of obtaining flat glass plates required many steps as well. The glazier blew a glass bulb with a blowpipe and then cut it open. Finally, each half of the sphere was turned around so fast that it became a disc. In later periods, the glazier blew out his glass bulb into a cylinder. Once the cylinder had cooled, its closed ends were removed, and the long sides were cut open. The pieces of glass obtained were then heated and flattened. During the 16th century, there was a division of labor between the stained-glass designer, the glazier, and the glass painter. It happened as well that the stained-glass artist used prints as models for his stained-glass windows. Whoever drew the design, the glazier always needed a model on the right scale, the so-called cartoon. On the cartoon, the lead strips were clearly marked, and the use of colors was indicated. Contracts at the time show that the price of stained-glass windows was calculated per square foot. The price per square foot included the labor and material costs. The price of the cartoon was not included. In the 17th century, the work of glass painters remained important. At the same time, there was a growing popularity of stained-glass windows with heraldic themes. In the Low Countries there were several high-quality glass painters active. During the 18th century, glass painting went downhill in our regions. The French occupation of the Southern Netherlands resulted in the destruction and sale of religious stained-glass windows. It was only around the middle of the 19th century that the young Belgian state experienced a revival of stained glass. The renewed interest in the Middle Ages, the so-called ‘gothic revival’, caused a wave of restoration of old stained-glass windows of churches and orders for neo-gothic stained-glass windows. The Sint-Lucas art schools in Belgium played an important role in this. Industrial developments in the glass and steel industries naturally had an important hand in the popularity of stained-glass windows. Stained-glass had a wide range of uses; think of stained glasses in winter gardens, domes, windows, and doors of large mansions. Significant glazier’ studios arose in several larger Belgian cities. In Brussels, for example, you had the workshops of Capronnier and Colpaert, in Bruges the studios of Coucke and Dobbelaere, in Ghent the companies of Ganton-Defoin or Ladon. During the 19th century, glaziers followed the style developments in the visual arts. For example, the number of windows in Art Nouveau and Art Deco style is large. The restored stained-glass windows with male and female saints that we offer for sale, come from a building in Laeken, near Brussels. They probably decorated the space of a church, chapel, convent, or Catholic school. In the results of the interview with glass restorer Daniël Theys, you will learn more about the particularities of these splendid windows. Chatting and browsing in the workshop of Daniël Theys The Belgian Glass restorer and glass blower, Daniël Theys (), made a career switch at a later age and has been active in the profession since 1987. He is an important player in the field of stained-glass window art in Belgium. Moreover, he is the only one in the country who still masters the technique of glass etching. Daniël Theys receives many commissions from small parish churches to restore old stained-glass windows to their former glory. He made a name for himself in that niche and that is how Spectandum brought the set of 19th century stained glass windows to his workshop for reconstruction. They were delivered in old numbered wooden crates and Daniel had to start puzzling. Numbered wooden crates with sections of the stained-glass windows Normally a glazier starts working from a drawing with a scale of 1:1 (full size drawing), but in this case each piece had to be cataloged and photographed. The smaller pieces were grouped on the light box and photographed in their entirety. Then Daniël made a drawing of the remaining pieces that he had puzzled together with great care. Smaller pieces identified and grouped on the light box The restauration guidelines of the Agency for Monuments and Landscapes are not always the same as those of a restorer. For this reconstruction, Daniël primarily considered the purpose of the stained-glass windows. It had to be an aesthetic and salable set of stained-glass windows, so the choice of filling the gaps with neutral glass or epoxy was not really an option. Theys left well-executed previous restorations untouched. The windows may have been repaired three or four times in the past. Piece of a cloak with glass shards from different periods (restorations) Another problem Daniel faced during the restoration was the fact that some small parts of the old grisaille had been eaten away by microorganisms. The defect – caused by moisture – can be seen from the discoloration of the grisaille. The black-brown color is turned red. This fragment shows well how the brown grisaille has turned red due to the attack of micro-organisms The stained-glass windows of the 19th century are made of ‘in the mass-colored’ glass. This means that the colors were added to the liquid glass during its production process. This type of glass differs from glass colored with enamel paint, which became popular from the interwar period. The latter process involves applying enamel paint (this is a glass powder with a metal oxide to which a medium has been added) to the colorless glass. When firing the glass with the enamel paint, the powder fuses with the glass. The colors of email painted glass are less intense and less brilliant than those of ‘in the mass-colored glass’. Jars with colored powder for the enamel paints For the restoration Daniël only worked with mouth-blown glass, both with ‘in the mass-colored glass’ and with ‘verre plaqué’. This is blown glass composed of several layers of different shades. Over the years, Theys built up a large stock of old blown glass. Colored blown glass always has sliding shades. For example, a red piece of glass can have a color transition from bright red to light orange. These differences in shades are the result of the different thicknesses of the piece of glass. It allows the glazier to use a wide variety of shades. The purple-red foliage with light blue accents was obtained by etching away parts of a piece ‘verre plaqué’. A small part of the lower glass layer is exposed. The windows were completely re-leaded by the restorer because there was virtually no ‘lead net’ preserved. In general, lead strips only have a limited lifespan because of oxidation processes. Daniël removed the old lead remnants and placed new lead profiles. Then he applied putty between the glass fragments and the lead strips to seal the lead. A window must be made watertight. The current condition of the windows is excellent. Decorative glass part with original lead remnants New lead strip The set of stained-glass windows we present today, originally consisted of windows of 5 to 6 m high. After all, they originally adorned a neo-gothic church. Since the original dimensions are not suitable for private buildings, it was decided to only restore the figurative representation. The original spire of one of the windows Thanks to a suspension eye, the window can be hung. There is also the possibility to place the window in an upright position. Thanks to the craftsmanship of the Theys-Studio, we can once again enjoy the brilliance of color! Looking for the missing link The set of 19th-century stained-glass windows came into the possession of Spectandum without a clear provenance. The renowned Leuven antiques dealer, Cornelius Engelen, recalls that the windows came from a church in Laeken. There is no solid starting point for a search for the provenance. Based on the style of the stained-glass windows – most probably the late 19th century -, their religious iconography, and their original shape (pointed arch windows) and dimensions (5 to 6 cm high), we can assume that they were once displayed in a (neo-)gothic cult building. On the one hand, the stained-glass windows may have been removed after storm damage or other calamities, on the other they may have been taken away during a renovation or a demolition of a church. The Church of Our Lady in Laeken is the most famous church building in that municipality that could qualify. In the early 1920s, the central windows of the transept were badly damaged by a hurricane. Today, glass fragments of these windows (dating from 1893-1894) with the names of the sixteen missing saints and an arch infill of the western window are officially known. It would be interesting to find out if our set of eight saints once were part of the transept of Our Lady in Laeken. Research in the records of the church administrators could provide clarification. Knowing that most neo-gothic stained-glass windows from the Church of Our Lady come from the Jules Dobbelaere’s glass studio in Bruges, it is useful to consult that company’s archive as well. It is kept in the KADOC (Documentation and research center for religion, culture and; in Leuven. Of course, the sizes and shape of the stone window openings of the transept can also provide an indication. If we stylistically compare the grisailles of the set of stained-glass windows with the work of Jules Dobbelaere, we do see some relationship. Especially with a stained-glass window in the chapel of Our Lady of the Saint Anthony Church in Aalst. Another line of research that we could follow, is that of the iconography of the series. One of the saints depicted is Saint Roch. There once was a Saint-Roch church in Laeken with 19th-century stained-glass windows from the Brussels studio of Jean-Baptiste Capronnier. The company archive of the glaziers François and Jean-Baptiste Capronnier is owned by the Flemish government and can be consulted in the above-mentioned KADOC. We already searched the sales catalog of 1892, in which Capronnier’s drawings and cartoons are described one by one. The saints that are represented in our set of windows, does not correspond with the names of the saints mentioned for the church of St. Roch in Laeken. Building on this argument, it can be concluded that the eight saints were not destined for this house of worship. In the absence of lavishly illustrated monographs on the various glazier-companies in Belgium, the execution of a comparative study of the stained-glass windows is time-consuming and complex. Although a limited number of old photos of stained-glass windows can still be found in the database ‘Balat’ of the KIK-IRPA (), this remains far too limited to get a good picture of the output of the various companies. 19th C, Saint, Neo-Gothic Stained-Glass Window with Saint Martin, Belgium, 163 x 73 cm Most people know Saint Martin (Szombathely, ca. 316 – Candes, 397) as the Roman Tribune who cut his cloak in two with his sword and gave one half to a beggar. The artist of the stained-glass window has opted for a different, less common iconographic representation here. Saint Martin is presented as a bishop with a miter and staff. According to a legend, Martin was lured to the city of Tours with a trick to consecrate him as a bishop. He refused the ecclesiastical office and hid in a barn with some geese. The birds betrayed him with their twittering. In the end Martin received his episcopal consecration. The goose at the feet of the saint clearly refers to this event. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Angela, Belgium, 163 x 73 cm Angela de Merici was an Italian woman who taught young women religion, health care, and household skills. She founded the monastic community of the Ursulines. They played an important social role as founders of schools and orphanages. Saint Angela died in Brescia in 1540. It should therefore come as no surprise that the saint on the stained-glass-window is depicted with a girl by her side. 19th C, Saint, Neo-Gothic Stained-Glass Window with Charles Borromeo, Belgium, 163 x 73 cm Charles Borromeo (Milan, 1538-1584) grew up in a noble family. He was already made Cardinal and Archbishop of Milan at the age of 24. With his writings he contributed to the implementation of the Church reforms determined at the Council of Trent. Among other things, he released a new catechism. With his book on the design of church buildings, “Instructiones Fabriacae et Supellectilis Ecclesiasticae”, he left a mark on Baroque church construction. At the outbreak of the plague in his diocese in 1576, he devoted himself to the care of those affected. Hence, people sometimes pray to him when they have been hit by a serious illness. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Roch, Belgium, 163 x 73 cm Saint Roch (Montpellier, 1295? /1350? -1327? /1380?) was born with a port-wine stain in the shape of a cross on his left hip. It was interpreted as a sign from God. After the dead of his parents, he gave his money to the poor and went on to live the life of pilgrim. He cared for plague sufferers and healed some of them by making a sign of the cross. He is especially invoked as protector against the plague. 19th C, Neo-Gothic Stained-Glass Window with St. Bernard of Clairvaux, Belgium, 163 x 73 cm Bernard of Clairvaux (Fontaines, 1090-Clairvaux, 1153) decided to become a monk at the age of 21. In 1112 he entered in the monastery of Cîtaux. He was soon commissioned by the abbot to find a new monastery in Clairvaux. Because of his intellectual capacities and eloquence, he was consulted by various ecclesiastical and secular leaders. He ensured the expansion of the Cistercian order throughout Europe. As a Doctor of the Church, he wrote many tracts and sermons and established a new rule for the Templars. Above all, he was concerned with the discipline of the clergy. Therefore, he wrote a spiritual manual for the priests and bishops. Saint Bernard can be seen as a true mystic. He envisioned the union of the human soul with God as the most important goal in life. According to a legend, Bernard once had a vision in which the Blessed Virgin appeared to him and strengthened him with her mother’s milk. In the arts, the saint is mainly depicted with an abbot’s staff and a book with the Cistercian rule. His vision was also often portrayed. 19th C, Neo-Gothic Stained-Glass Window with St. John Berchmans, Belgium, 163 x 73 cm The Belgian Jan Berchmans (Diest, 1599-Rome, 1621) was the eldest of five children. When his mother became seriously ill, he initially took care of her, but at the age of nine he was housed with the town’s priest. After a few years he moved to Mechelen to become the servant of a canon. It also gave him the opportunity to begin his studies in the seminary for priests. He eventually joined the Jesuits of Mechelen. He got their permission to study philosophy in Rome. In the Eternal City, he visited working-class neighbourhoods to teach the children about God. He died of an illness at the age of 22. Saint Jan Berchmans is the patron saint of school children and students. 19th C, Neo-Gothic Stained-Glass Window with Saint Clare...

A beige floral-embroidered fabric and wood settee or sofa designed and produced in Sweden, c. 1950s. Design attributed to Arnold Madsen. Overall Dimensions (inches): 34.5"H x 49.7...

A caviúna wood and beige fabric lounge chair designed and produced for the Hotel Nacional de Brasília, Brazil, c. 1961. Overall Dimensions (inches): 31.5"H x 27.375"W x 30.0"D Seat...

Afra And Tobia Scarpa Two Seater Sofa Soriana For Cassina A design armchair with soft, generous contours, designed to bring home casual, sophisticated comfort that opens the door t...

Vintage camel saddle stool with etched pyrography designs and newly upholstered seat cushion.

This elegant mid-century modern coffee table was manufactured by Drevotvar in former Czechoslovakia during the 1960s–70s. It features an oval walnut veneer top with a warm, expressiv...

A beautiful large dish / platter / tray with amazing lustre glaze and hand painted gold details. Scandinavian Grace / Art Deco. Made by Josef Ekberg at Gustavsberg, Sweden, 1920s. G...

A pink glass and beige rope pendant light designed and produced in France, c. 1930s. Overall Dimensions (inches): 18.0"H x 13.75"W x 13.75"D Cord Length (inches): 13” Chain/rod ca...

This exquisite rocking armchair is a quintessential example of mid-century Danish craftsmanship, expertly created by a skilled cabinetmaker in the 1950s. Sculptural in form and organ...

Swedish mid 19th century alder root occasional table circa 1850. Elegant piece of mid 19th century furniture from sweden.  Over sailing top with alder root outer edge and alder cros...

A pair of Swedish Mid-Century Modern lounge chairs from the 1960s, featuring curved elm armrests that lend a sleek and organic touch to the design. The chairs have been expertly reup...

Vintage Italian wooden cigar humidor box with cammei design on faux marble / made in Milan Italy by Fornasetti, in the 1980s Original metal label inside Measures: width 10 inches, de...

16th Century Brussels Tapestry Great condition beautiful color and design

A beautiful Crewelwork Panel English and dating from 18th century The Oatmeal linen ground exquisitely embroidered with a delicate Tree of Life design Worked in fine wools. W...

A Danish Modern three-seat sofa. Crafted in the 1960s, its teak frame has been fully restored, complemented by new cushions upholstered in a stylish green/teal linen. This exquisite ...

Vista Rattan Table Lamp with Brass Shade Top A harmonious fusion of organic charm and refined elegance, the Vista table lamp captivates with its petite silhouette and artisanal cr...

Composed of a central stem dividing into two branches of ribbed foliage positioned on either side of the sconce and at two different heights in gilded bronze. The rising central stem...

Stunning set of four Post-Modern “Ginger” chairs, designed by Roberto Lazzeroni for Poltrona Frau. These elegant dining or side chairs feature a striking combination of saddle brown ...

Please feel free to reach out for efficient shipping quote to your location. Pair open arm lounge chairs designed by Milo Baughman for Thayer Coggin. Known as the "Archie" chair. So...

Four Italian Murano sconces in Vistosi style. Wall lights have 6 glass for each, blue alabaster glasses. Nickel metal frame. Period: late XX century Dimensions: 11,80 inches (30 cm) ...

Gilt metal sunburst mirror framed by leaves. Spain, 1950s-1960s. This stylish mirror combines Midcentury and Hollywood Regency accents.A highly decorative oval sunburst mirror with ...

Arthur Espenet Carpenter Wrought Iron Coffee Table in Narra Wood 1960 Great length for those long sofas, or used behind sofa as display platform Dimensions: 13¼″ H × 86″ W × 23″ D Si...

Wonderful Italian Rationalist Writing Desk from the 1940s This beautiful writing desk from the 1940s is a superb example of Italian Rationalist design. Showcasing the movement’s sig...

"The passion of glass is a form of love' This prestigious huge colorful high-end chandelier brings the passion of a family of  glasmakers of Venice into your home . The Venice chande...

Don’t get it twisted—or actually, do. With carved, barley twist posts crowned by sculptural finials and a sinuous headboard detail, the Twisted Sister Bed brings a sense of movement ...

Clean lines to complement all decors. Amazing large scale square glass flush mount by J.T. Kalmar, Vienna, Austria, manufactured in circa 1970, (late 1960s and early 1970s). Multipl...

Charlotte Perriand 9 Tabouret de Sale de Bains For Cassina Included in the Collection Le Corbusier, Pierre Jeanneret, Charlotte Perriand, the 9 Tabouret hi...

Hand‑made in Spain in the early 1940s, this solid oak sideboard showcases the bold geometry and honest materials that define brutalist design. Four sculpted doors display an irregula...

Fantastic pendant light Onos-55 Double Pull  by Florian Schulz, Germany, Europe. Design period: 1970-1979, production period: 2022. Two brass polished unlacquered pendants suspended...

This unique teak carved panel depicts Dayak Tribal mythology. The Dayak people are some hundreds of various native groups found in the interior rainf...

Guido Faleschini for Mariani, ‘Pace Collection’ set of queen bed, two nightstands and two stools, leather, chrome-plated brass, enameled steel, Italy, circa 1975 This eccentric set...

This exquisite Indo-Saracenic residential balcony, crafted in the 1900s in Gujarat, India, features an overhanging upper story, four columns, two lower windows, and a door. The balco...

This is an old Japanese cabinet. It originally came with a drawer, but it is an original product that was customized and converted into a cabinet with legs. It was used in the Toho...

Beautifully crafted Swedish pine cabinet from the early 1800's with unique upper enclosed section holding 18 drawers and 1 small interior cabinet. The newer professionally applied bl...

Afra And Tobia Scarpa Soriana Armchair For Cassina A design armchair with soft, generous contours, designed to bring home casual, sophisticated comfort that opens the door to new, f...

Exceptional Mazzega pendant, bicolore of glass Murano with structure. The Design and the quality of the glass make this piece the best of the Italian Design. This unique Mazzega glob...

Designed by Andrew Kornat in 2015 this Long Bamboo Swing Arm wall sconce was inspired by the glamourous sets in Hollywood movies of the 1930s that exude style and elegance The elega...

A brass and etched glass pendant light designed and produced in Italy, c. 1940s. Overall Dimensions (inches): 19.25"H x 11.5"W x 11.0"D Stem Length (inches): 7.75” Chain/rod can b...

Pair of Swedish rustic chairs in folk art made during the first years of the 1800s, around 1800 to 1810 in northern Sweden. The chairs are primitive and unique, made by hand in solid...

Pair of Tito Agnoli Cane Stools, Italy, 1960 Cane Measures: H: 17.5 Diam. 15.75 inches

Beautiful brass Flush Mount by Cosack lights, Germany, 1960/1970. Original 1960s space age brass ceiling light with nine lighting elements. This light was designed and produced by C...

Pietro Chiesa Fontana Arte Glass Box, Italy, 1936 Beautiful Glass with Blue Trim Cushion Edge

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

A captivating Late 19th Century Victorian English Bamboo Butterfly Side Table, a true testament to the elegance and craftsmanship of the era. This versatile and exquisite side table...

Very rare early Fortuny Wall Hanging Nicolo Design. Featuring large stylized Pomegranates Hand Printed in Venice by Mariano Fortuny Dating from 1920'...

Mogens Koch for Rud Rasmussen, modular book case or library, mahogany, Denmark, design 1928 Intriguing and substantial modular library by Danish designer Mogens Koch. This piece is ...

Gorgeous second generation Flag Halyard lounge chair by Hans Wegner for PP Møbler. With the Flag Halyard Chair, Hans Wegner paid tribute to the great Modernists such as Le Corbusier,...

The round marble top adorned with typical, but highly detailed, Scagliola type painted embellishments, supported by a painted iron tripartite base with scrolling feet.

This magnificent Tiffany Studios New York "Nasturtium" table lamp is resplendent in artistry and botanical romance. The vividly colored leaded glass shade blossoms with rich reds, fi...

Dining Table with “Presse à Vin” Legs, Bleached Oak, France, 1940s French Provincial Style With its monumental spiraled legs and deeply carved stretcher, this French oak table pays ...

Vintage Italian wooden cigar humidor box with cammei design on faux marble / made in Milan Italy by Fornasetti, in the 1980s Original labels inside and on the base Measures: width 12...

A compact, eco-friendly lamp crafted from natural rattan, offering a warm, textured aesthetic perfect for cozy spaces. Its small size fits effortlessly on desks, shelves, or bedside ...

Danish Cabinetmaker - Sheepskin Sofa, c1940s A cabinetmaker produced sofa dating from c1940s in Denmark with wonderfully curved arms and solid oak ball feet. The sofa has been total...

Large Balinese Scalloped Lip Unglazed Terracotta Planter, White-Washed Finish Offered for sale is a large decorative Balinese scalloped lip unglazed white-washed terracotta planter....

France, 1970 Iron floor lamps with tripod legs and hand crafted vellum shades. 20”dia x 73”h Ref. L5107 $ 4,800 ea ( 2 avail )

This striking pair of painted iron tables, with their thick glass tops and arrow-form feet, channels the refined neoclassicism and impeccable craftsmanship attributed to Maison Janse...