Mid-20th Century More Furniture and Collectibles

Pour une Renaissance de la Peinture Français by Jacques Baschet. Paris: Édition S.N.E.P. Illustration, 1946. Soft cover with French text. 114 pp. An oversized art book on the rebirth...

"Three" panel rattan screen with woven grass panels for privacy with brass hardware.  

Manufactured by Artis in the 1960s in former Czechoslovakia. Height adjustable construction made of original blue painted steel tubing. The cleaned and preserved thick cowhide has a ...

Brass umbrella holder in the form of a riding boot, with stamped brass detail and solid brass spur. Heavily weighted for stability. Stamped "Made in England."

Spectacular sculptural room divider by Fred Leyman, custom-made for Majorna Library in Gothenburg in 1963. This piece is one of four that are each unique, made from wrought iron and hardened leather. The room dividers were granted substantial public interest and the studies for them were subsequently exhibited at Liljevalchs Konsthall in 1966. They were returned to the artist in the 1990s and acquired by Nordlings from the Leyman family in 2016. Fred Leyman was a Swedish artist, schooled at the renowned Valand Art Academy in Gothenburg during the 1950s. Leyman worked in a distinctly modernist style influenced by the international modernist movement, music, political ideas and the environment in which he lived. He is best known for his around 40 large-scale sculptures erected in public spaces in Gothenburg and other parts of southwestern Sweden. Fred Leyman lived on the island of Orust with his wife and children, in accordance with what he found to be ”a good life” close to nature on a small farm with sheep and horses. He was also deeply interested in music, particularly traditional folk music. Both the open, marine landscape of Orust and the rhytmical qualitites in music were vital forces in his artistry and in the development of his personal style. Leyman used iron and steel and sometimes wood and leather in his sculptures. These are characterized by sharp and billowing graphic lines and the use of negative space, seemingly always reaching somewhere. It is an expression striking the perfect balance between abstract and concrete. Leyman’s materials of choice were particularly suitable for large and sustainable...

A screen and room divider by designer Arthur Umanoff, produced circa 1950s, in welded and enameled metal with three folding panels, composed of cut-out baluster rails and ball form f...

There is something so stylish about this wall mounted hat and coat stand. The board is a laminate with a strong wood grain and the fittings are brass anodized aluminum.

Ronald Searle painting for 'Modern Types' book cover Medium: Watercolor and Ink Size Without Frame: 13" high x 10" wide With Frame: 28" high x 21" wide Ronald Se...

Hermès Sport, Paris: a beautiful pair of vintage cream suede riding gloves and riding stock (scarf) with silk lining by Hermès, in completely unused and ...

Woven bamboo four hook rack.

Original US Title Lobby Card for the 1953 3D Horror movie staring Vincent Price.

Engraved pink tinted glass panel, circa 1940. Little splinter on the bottom (see picture) but not visible when assembled.

T. H. Robsjohn-Gibbings cocktail table for Widdicomb with center magazine holder, walnut (currently being refinished and can be stained to spec.) label, dated 1952.

Olympia 1952 Oslo 1952. The 6th winter Olympics Bilder Sammelband. Collectors picture album.

A luminous and expressive group of of blown glass hanging ornaments.

A beautiful Mid-Century bamboo and brass umbrella stand. Made in Austria in the 1950s. In good condition with nice patina on the brass. In the style of Carl Auböck.

Designs for Shop Windows An hardcovered ribbon tied portfolio with 60 photogravure reproductions showing examples of New Shop fronts and Shop fittings in the Art Deco style by some ...

Italian art glass pendant shade, tomato red, with controlled bubble inclusions. Probably by "Venini". Measure: Total drop including chain 22.5".

Rare and unusual, this copper ashtray celebrating the pottery industry in France is reminiscent of bronze and copper pieces designed by Paul Manship and other major sculptors in the 1920s and 1930s. This example, made of copper painted gold, depicts a nude potter at his wheel, surrounded by symbols of his industry, including kilns, planting pots and...

Pair of French stitched and studded brown leather dice bookends.

Midcentury Boho chick sweetheart wicker twin size headbords, a pair. Measures 39>25" wide and 48" in height.

EXTRAORDINARILY RARE, YELLOW & WHITE, SUFFRAGE PARASOL / UMBRELLA, WITH “VOTES FOR WOMEN” TEXT, DISTRIBUTED BY THE NATIONAL AMERICAN WOMEN’S SUFFRAGE ASSOCIATION UNDER ANNA HOWARD SHAW’S LEADERSHIP [HEADQUARTERED IN NEW YORK], CIRCA 1913-1915: In the world of Suffrage memorabilia, parasols and umbrellas are known to have been produced, but hardly any exist. Made in both Britain and America, most of the organizations known to have commissioned them did so with white or purple, green, and white, utilizing the traditional British colors. In America, some of these can be identified to the Women’s Political Union of New York, New Jersey, and Connecticut. As for those in the traditional American colors of golden yellow and white, typically with black text, examples are known to have been produced and sold by the National American Women’s Suffrage Association (NAWSA), beginning in the summer of 1913. According to author and expert Ken Florey, the organization peddled them for “one dollar each or ten dollars a dozen…[promoting] them as good for advertising the cause at street meetings, summer resorts, and county fairs. The design consisted of yellow and white in alternate sections, with “Votes for Women” in the white sections.” Florey goes on to explain how some umbrellas in this style are known with names of states hand-painted in the yellow panels. I am aware of Oregon and Idaho. Florey also indicates that one is known for Alaska. His discussion of the subject, and an illustration of the Idaho example, appear in his book, "Women's Suffrage Memorabilia" (2013, McFarland & Co., North Carolina), on pp. 192 and A8, respectively. The Oregon example, which have seen and held first-hand, is illustrated in "The Keynoter: Journal of the American Political Items Conservators," Summer/Fall/Winter 2008 (Women's Suffrage Special Triple Issue), Vol. 2008, No. 2-4, p. 110. In “Woman Suffrage Memorabilia,” Florey describes a heavy demand for parade accoutrements in the 19-teens. Despite the supposed numbers in which these yellow and white umbrellas were likely to have been produced, this is the only example that I am aware has actually surfaced with the “Votes for Women” text only and no state names. This makes it far more universally desirable. A period image survives in the Albert R. Stone Negative Collection, Rochester Museum & Science Center (Rochester, New York,) of a women carrying parasols in this style on Main Street West in that city on August 15, 1914. The marchers, masked, were described as wearing yellow dominoes (nun-style dresses) and carrying yellow parasols. According to museum catalogers, “The outside parasols are plain; those on the inside have the inscription, "Votes for women". The first group, in yellow and blue dominoes, advertised the speech and visit of Dr. Anna Howard Shaw [this would be members of the Empire Campaign Committee]. The second group carried placards with the names of equal suffrage states and the dates when they adopted votes for women. The Club Theatre, whose sign advertising "Burlesque" is clearly visible behind the marchers, occupies the premises at 75 Main Street West formerly occupied by the Shubert Theatre.” The National American Women’s Suffrage Association was formed in 1890. It represented a merging of the two largest Suffrage groups in America before that time. These were the National Woman Suffrage Association (NWSA), formed in 1869 by Susan B. Anthony and Elizabeth Cady Stanton, and the American Woman Suffrage Association (AWSA), also formed in 1869 by Lucy Stone and her Husband, Henry Brown Blackwell, Henry Ward Beecher, and others. Stone’s daughter, Alice Stone...

It does not come with an insert but a bag made to the size to accommodate insert materials. Linen in the back zipper closure dry cleaning is recommended.

A masterful example of French decorative arts at its best, this lacquer panel features the interlocking figures of Egypt and Nubia, each stylized in cl...