Furniture

16th Century Brussels Tapestry Great condition beautiful color and design

From Defiance Mine, Costello Mine group, Gleeson, Turquoise District, Dragoon Mts, Cochise Co., Arizona, USA Classic aesthetic specimen of lustrous sharp Wulfenite crystals in a s...

Antique early-20th century English hand crafted mahogany haberdashery, this piece has sixty small open drawers protected by sliding glass doors on ball baring bronze...

Green and Tan Rattan Rectangular Coffee Table Introducing Creel and Gow's exclusive wicker and rattan collection, designed by Marco Scarani. We're proud to offer our customers these...

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...

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 ...

Marshan Rattan side chair by Creel and Gow, in green: Dimensions: 18.5" x 23" x 36.5" H -Seat Height: 18" Introducing Creel and Gow's exclusive wicker and rattan collection, designe...

This romantic pair of Empire style painted wooden Curule stools are from Sweden, late 19th century. Noted style elements include out-scrolling and decorative base. It is the lovely ...

Price listed for starting fabric Monobloc, modular sofas and pouf. Carrying frame in talc, hemp, orange, amaranth, grass green, espresso or black painted steel, complete of stiff po...

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...

Kazuhide Takahama Antella Multi-functional Table For Cassina Japanese architect Kazuhide Takahama designed Antella as a truly multi-functional piece...

Designed by the Amsterdam-based Italian duo CContinua+Mamt, the Vestale lamp evokes a world suspended between dream and reality, blending Eastern influences with Mediterranean memori...

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...

Beautiful pink murano vase by Archimede Seguso made in Italy in the 1950s. Archimede Seguso was an Italian glass artist known for his exquisite glass vases, necklaces, and sculptures...

Signed edition of Naomi Campbell’s novel Swan – signed and dedicated by Naomi Campbell to German fashion photographer and film director Peter Lindbergh provenance: Peter Lindbergh’...

Charcoal Black, Bauhaus Inspired Design, Colorful Geometric Pattern, Arts and Crafts, Hand Knotted, 100% Wool, Oriental Rug Primary materials: Wool Latex: No Pile height: 0.25 Inche...

A large artistically created birds for table decor, taxidermy pheasant. This figure is Classic Hollywood Regency! They are each unique from one another, with slightly different positions and physical characteristics. Its is very well-weighted and well-balanced piece, beautifully crafted with rare bread of colourful pheasant. The spirit of this bird is a great problem-solver and can invent a way for any of your troubles. Native American lore states that the pheasant symbolises protection and concealment because the bird spends most of the time squatted down in the grass. The presence of a pheasant at your home is, therefore, symbolic of protection from evil eye and power This superb Ringneck Pheasant specimen comes from a Taxidermy collection...

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...

Artek K65 stools 4 pcs, design by Alvar Aalto. The stools are from 1960s, and there is an old Artek's stamp on the bottom of the stool. In good condition and great patina of age.

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 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...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, ivory bouclé, Italy, 1970, six elements. "Camaleonda" is an icon, rediscovered. It was one of the truly modular sofa designs...

Vintage trolley, made of brass and cloth-covered wood.

Pair of red basket wall lamps by Gino Sarfatti for Arteluce with a blown glass circular globe lamp and a large brass counter weight that sits at the cotton twisted cord.

Mario Bellini "Camaleonda" modular sofa for B&B Italia, blue petrol velvet, Italy, 1970, set of four. “Camaleonda” is an icon, rediscovered. It was one of the truly modular sofa des...

Edward Wormley for Dunbar, 'Oasis' sofa, model '5200', reupholstered in camel wool, mahogany, United States, design 1952 The 'Oasis' sofa is designed by Edward Wormley for Dunbar. ...

"Les Femmes Un" is a gorgeous limited edition fine art print that exemplifies the essence of modernist portraiture. Capturing the allure and sophistication of a seated woman, the art...

A delightful and most charming Continental 19th century etched Crystal and Ormolu box. This wonderful lidded ruby red Crystal box features diagonal checkerboard etching on the unders...

Harry Bertoia for Knoll International bird chair and ottoman. This iconic lounge chair and ottoman were originally designed by Harry Bertoia in 1952 and manufactured by Knoll Interna...

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.

Lips Vago, 'Congresso' shelving units, lacquered steel, Italy, 1960s. Very large library consisting of ten 'Congresso' units. Constructed from steel sheets, the 'Congresso' shelf is...

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...

Mid-Century Modern Brass Mirror, Gio Ponti Style, Italy, 1950 Elegant mid-century brass mirror, made in Italy in the 1950s, in a style attributable to the famous Gio Ponti. Its refi...

Rare 1950s Biedermeier style extendable dining table with top grade quilted mahogany veneers which will be fully repolished prior to shippin . Lovely curved legs on a turned pillar ...

Howard Keith for HK Furniture, 'Cloud' sofa, velvet, United Kingdom, 1970s The Howard Keith 'Cloud' sofa is a remarkable piece of furnit...

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 beautifully restored rattan blending style vintage charm with modern comfort. Set of 10 dining chairs by Paul Frankl for the Brown Saltman group. The chairs are upholstered in h...

Ubald Klug for De Sede, DS-1025 'Terrazza' landscape sofa, leather, Switzerland, 1970s. Waterfall shaped sofa in red brown leather by the Swiss manufacturer De Sede. The design for...

Squiggly Welded Metal Table Brutalist Style Heavy Hard Line Fun Metal Twists

1960s Gorgeous wall clock in Murano glass by "Cà dei Vetrai" it's signed on the back. Made in Italy. It's in excellent condition and it works perfectly with an AA battery (quartz mec...

Poul Henningsen was born in Copenhagen by the famous Danish actress Agnes Henningsen. He never graduated as an architect, but studied at The Technical School at Frederiksberg, Denmar...

Timeless Hand-Carved Alabaster Pendant Chandelier Natural Veined Stone, *Art Deco Style Alabaster Pendant – Shallow Design with Natural Stone Beauty, rewired for US Use. This stun...

Fantastic Double Pull pendant light by Florian Schulz, Germany, Europe. Design period: 1970-1979, production period: 2022. Two brass polished unlacquered pendants ( D 40 cm) suspend...

Carlo Bartoli for Rossi di Albizzate, sectional sofa model 'Down', fabric, lacquered wood, Italy, 1973 This design truly resembles the ethos of the seventies – a bright and bold era...

Afra & Tobia Scarpa "New Harmony" dining chairs for Maxalto, walnut and ebony, Italy 1987, set of eight. The “New Harmony” dining chairs by Afra & Tobia Scarpa, designed for Maxalto...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, cognac leather, Italy, 1970, set of two. “Camaleonda” is an icon, rediscovered. It was one of the truly modular sofa designs,...

Vintage Writing Desk with drawers. Wooden frame and chromed metal supports. Italian production, 1960s. Very good condition.

Large Bookcase in Teak and Chromed Steel by Nils Strinning, 1960's Additional Information: Material: Teak and chromed steel Style: Mid century, Scandinavian Large bookcase model String Continental...

Elegant pair of 19th century Georgian demi-lune console tables crafted from mahogany. The distinctive tables once ends of a grand banquet table feature serpentine or undulating apron...

Massimo and Lella Vignelli for Poltronova 'Saratoga' living room set, four-seat sofa, three-seat sofa, two two-seat sofas, cabinets, polyester lacquer and red leather, Italy, 1964. ...

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")...

Modern Abstract Pink Veined Alabaster Stone Sculpture, two stones mounted on wood plinth, apparently unsigned. 16" H x 6" W x 6" D. Provenance: From a 5th Avenue Estate.

Wonderful set of 16 botanical prints Lithographs after the original botanical drawings by Hooker. Original color Published, circa 1850 Unframed. The measurement given is for one...

Rare 19th Century Set of 5 Porcelain Leaves & Birds Plates. Rare colors and pattern.

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 )

Pair of five-branch wrought iron candlesticks by Jean Touret from the Marolles workshop, handmade in France in the 1950s. The candlesticks rest on four square feet that flare outwar...

French wall lamp "Clichy" pink coloured glass Brass wall piece and arm E14 bulb holder diameter brass wall mount: 10 cm / 3.93" 3 holes to secure Weight: 0.60 kg / 1.3 lb E14 bul...

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...

This set of furniture containing 2 chairs and one sofa are gifted with wonderful curved lines and newly upholstery. The mustard yellow velvet gives a modern and sophisticated look. ...

Cini Boeri for Knoll, armchair, model 'Brigadiere', leather, lacquered wood, Italy, 1976. Architectural 'Brigadiere' chair designed by Italian designer Cini Boeri for Knoll. This p...

Outstanding spanish foliage floral sunburst flush mount ceiling light in gilt iron, Ferro Art, 1950s To be used as ceiling light fixture or as chandelier / pendant light adding a cha...

Italian Venetian style (20th Cent) octagonal shaped painted and decorated metal and wood bird cage with 8 upholstered seat and back cushions around base. (Franco Zefferelli Collection)

Bombola, is the diva of an ensemble collection designed by William Georgis and Ilya Mirgorodsky of Georgis & Mirgorodsky, soon to be released at Maison...

Paul Evans for Paul Evans Studio, ‘Loop’ wall-mounted cabinet, welded copper with applied verdigris patina, steel, brass, painted wood, United States, circa 1968 Made around 1968, t...

Elegant Royal Copenhagen crackle glazed vase with gilded banding on the base. Designed by THORKILD OLSEN (1890-1973) for ROYAL COPENHAGEN. Made in Denmark, 1950s. Great condition. M...

Elsie Crawford for Sintoform, 'Carousel' sofa, fiberglass, United States, 1969 The Carousel sofa bench, designed by American artist Elsie Crawford for Sintoform, is a distinctive ei...

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 ...

Mario Bellini "Camaleonda" modular sofa for B&B Italia, Italy, 1970, set of four. "Camaleonda" is an icon, rediscovered. A special project made possible this limited edition of "Ca...

Andre Arbus Sloping mahogany secreter with two drawers and a drop-leaf door. Sycamore maple interior with six small drawers and a central niche lined with parchment; gilt bronze knob...

Suspension light by Pia Guidetti Crippa for Lumi. Designed and manufactured in Italy, circa 1970s. Brushed nickel, opaline glass. Custom n...

'Sportstugemöbler' corner cabinet, designed by Göran Malmvall. Produced by Karl Andersson & Söner in Sweden, 1950s. Made from dark stained pine. Interior with two shelves, single doo...

A very unique pair of 18th century French wrought iron chenets–or andirons–forged with zoomorphic heads of bulls atop the otherwise square & straight proportions. The stylized animal...

The Nuvola Modular Curved Sofa stands as a captivating centerpiece for contemporary living spaces, marked by its softly contoured volumes that invite relaxation and conversation. Cra...