New Zealand Furniture

A stunning piece of functional decor, this armchair is part of the Czech collection, designed by Hermann Czech in 1994. Able to exude both old-fashioned charm and current style, this...

An impressively large jade sculpture for table or desktop. In Māori style from New Zealand, the heavy jade Nephrite slab (also known as “pounamu”)...

The naturalness and softness of a sheepskin rug can quickly elevate a room's beauty. On the floor, thrown over chairs and couches, this versatile design piece is a favorite of the Fo...

The naturalness and softness of a sheepskin rug can quickly elevate a room's beauty. On the floor, thrown over chairs and couches, this versatile design piece is a favorite of the Fo...

The Nested Petals consist of three exquisite vessels that can be showcased individually or grouped together, radiating an aura of timeless elegance wherever they are placed. Crafted ...

The Frame Coat Rack is a beautifully crafted piece, designed and crafted with precision in New Zealand. The design of the Frame Coat rack is characteriz...

The twist pendants are designed to be an elegant lighting solution for any space. These pendants are designed to be hung alone, in pairs, trios, or clu...

The twist pendants are designed to be an elegant lighting solution for any space. These pendants are designed to be hung alone, in pairs, trios, or clu...

The Twist Pendants are designed to be an elegant lighting solution for any space. These pendants are designed to be hung alone, in pairs, trios, or clu...

The Twist Pendants are designed to be an elegant lighting solution for any space. These pendants are designed to be hung alone, in pairs, trios, or clu...

Abstract Dadaist Contemporary rug inspired by Sophie Taeuber Arp Artist: Sophie Taeuber Arp Dimensions: W 170 x D 240 cm New Zealand wool and silk Ja...

Abstract Dadaist contemporary rug inspired by Sophie Taeuber Arp Artist: Sophie Taeuber Arp Dimensions: W 170, D 240 cm New-Zealand wool and silk Japanese Abstractions is a collection of nine pieces, all designed around the concept of the imaginary trip to Japan of the Dadaist and feminist artist Sophie Taeuber Arp. Each rug is a combination of geometric shapes and traditional Japanese patterns, a result of the unexpected yet poetic encounter between pure abstraction and cultural influences, between West and East. SOPHIE TAEUBER-ARP Biography (1889–1929) Sophie Henriette Gertrud Taeuber was born on January 19, 1889 in Davos-Platz, Switzerland. From 1904 to 1907 she attended the Stauffacher-Schule and the drawing school at the Industrie- und Gewerbemuseum, or the museum for industry and design, in St. Gallen. In 1910 she began her studies at the Lehr- und Versuchsateliers für angewandte und freie Kunst in Munich, a reformed art school that sought to synthesize the visual and applied arts. After an additional semester at the school of applied arts in Hamburg in 1914, her student days came to an end. She joined the Schweizerischer Werkbund in 1915, the same year that she met Hans Arp. Enthused about her work, he encouraged her to devote herself to it even more fully. The artists’ close collaboration resulted in collages, sculptures and textile designs. Sophie Taeuber took lessons in movement arts from Rudolf von Laban, a founder of modern dance. She appeared as a dancer at the Dada-Soirées at the Cabaret Voltaire and the Galerie-Dada. Later on, she choreographed her own pieces. On May 5, 1916, she took over the textile class at the applied arts school in Zurich. In 1918, she also became a member of the artist’s association Das Neue Leben (New Life). At the same time, she undertook the design of stage backdrops and marionettes for Carlo Gozzi’s rendition of the opera König Hirsch. On October 20, 1922, she married Hans Arp. In 1925, Taeuber-Arp was appointed a member of the Swiss jury at the Exposition Internationale des Arts Décoratifs et Industriels in Paris. Her works won prizes and were shown in the International Exhibition of Modern Tapestries in Toledo, Ohio, USA. Sophie Taeuber-Arp and Hans Arp became French citizens in 1926. Through her connections with the Horn brothers, she secured contracts to design the interiors for various buildings, including the Aubette in Strasbourg. In turn, she asked Hans Arp and Theo van Doesburg to collaborate with her on this large-scale project. Around the same time, she had a studio-home built according to her own plans in Clamart, near Paris. Having left her teaching post in Switzerland in 1929, Sophie Taeuber-Arp settled permanently in France. In collaboration with Marcel-Eugéne Cahen, she also realized the renovation and redesign of theParisian Galerie Goemans. SOPHIE TAEUBER-ARP Biography (1930–1943) In Paris, Sophie Taeuber-Arp joined the artists’ group Cercle et Carré and participated in their exhibitions. In 1931 she became a member of the association Abstraction-Création. Her artist friends Theodor and Woty Werner hired her to design the interior of their Paris apartment. A year later, in 1932, she left the Schweizerischer Werkbund. Her visit to the Sztuki Museum in Lodz, which was facilitated by Jan Brzekowski, led to a fruitful artistic exchange between the Polish avant-garde association a.r. and the Parisian artist’s group Abstraction-Création. Sophie Taeuber-Arp participated in various group exhibitions, and often showed her work with Artistes Suisses at the Galerie Vavin and at the Kunsthalle Bern with Hans Arp, Kurt Seligmann, Hans Schiess, and many others. She designed the layout for Anatole Jakovskis’ book Hans Erni, Hans Schiess, Kurt Seligmann, S. H. Taeuber-Arp, Gerard Vulliamy in 1935. Theodor and Woty Werner helped her secure the commission to design the interior of the Bauhaus professor Ludwig Hilberseimer’s Berlin apartment. Her work was shown in the exhibition These, Antithese, Synthese at the Kunstmuseum Luzern and in 1936 in Zeitprobleme in der Schweizer Malerei und Plastik, an exhibition of contemporary Swiss painting and sculpture, at the Kunsthaus Zürich. Additionally, she participated in the Konstruktivisten-Ausstellung, an exhibition of constructivist art, at the Kunsthalle Basel. Sophie Taeuber-Arp founded the international artists’ journal plastique with César Domela, A. E. Gallatin and L. K. Morris in 1937. The same year she joined the Swiss artists’ group Allianz. In 1938, she exhibited at the Exposition internationale du Surréalisme in Paris and at the Exposition of Contemporary Sculpture in London...

Abstract Dadaist Contemporary rug inspired by Sophie Taeuber Arp Artist: Sophie Taeuber Arp Dimensions: W 170 x D 240 cm New-Zealand wool and silk Ja...

Abstract Dadaist contemporary rug inspired by Sophie Taeuber Arp. Artist: Sophie Taeuber Arp Dimensions: W 170, D 240 cm New-Zealand wool and silk. Japanese Abstractions is a collection of nine pieces, all designed around the concept of the imaginary trip to Japan of the Dadaist and feminist artist Sophie Taeuber Arp. Each rug is a combination of geometric shapes and traditional Japanese patterns, a result of the unexpected yet poetic encounter between pure abstraction and cultural influences, between West and East. Sophie Taeuber-Arp Biography (1889–1929) Sophie Henriette Gertrud Taeuber was born on January 19, 1889 in Davos-Platz, Switzerland. From 1904 to 1907 she attended the Stauffacher-Schule and the drawing school at the Industrie- und Gewerbemuseum, or the museum for industry and design, in St. Gallen. In 1910 she began her studies at the Lehr- und Versuchsateliers für angewandte und freie Kunst in Munich, a reformed art school that sought to synthesize the visual and applied arts. After an additional semester at the school of applied arts in Hamburg in 1914, her student days came to an end. She joined the Schweizerischer Werkbund in 1915, the same year that she met Hans Arp. Enthused about her work, he encouraged her to devote herself to it even more fully. The artists’ close collaboration resulted in collages, sculptures and textile designs. Sophie Taeuber took lessons in movement arts from Rudolf von Laban, a founder of modern dance. She appeared as a dancer at the Dada-Soirées at the Cabaret Voltaire and the Galerie-Dada. Later on, she choreographed her own pieces. On May 5, 1916, she took over the textile class at the applied arts school in Zurich. In 1918, she also became a member of the artist’s association Das Neue Leben (New Life). At the same time, she undertook the design of stage backdrops and marionettes for Carlo Gozzi’s rendition of the opera König Hirsch. On October 20, 1922, she married Hans Arp. In 1925, Taeuber-Arp was appointed a member of the Swiss jury at the Exposition Internationale des Arts Décoratifs et Industriels in Paris. Her works won prizes and were shown in the International Exhibition of Modern Tapestries in Toledo, Ohio, USA. Sophie Taeuber-Arp and Hans Arp became French citizens in 1926. Through her connections with the Horn brothers, she secured contracts to design the interiors for various buildings, including the Aubette in Strasbourg. In turn, she asked Hans Arp and Theo van Doesburg to collaborate with her on this large scale project. Around the same time, she had a studio-home built according to her own plans in Clamart, near Paris. Having left her teaching post in Switzerland in 1929, Sophie Taeuber-Arp settled permanently in France. In collaboration with Marcel-Eugéne Cahen, she also realized the renovation and redesign of the Parisian Galerie Goemans. Sophie Taeuber-Arp Biography (1930–1943) In Paris, Sophie Taeuber-Arp joined the artists’ group Cercle et Carré and participated in their exhibitions. In 1931 she became a member of the association Abstraction-Création. Her artist friends Theodor and Woty Werner hired her to design the interior of their Paris apartment. A year later, in 1932, she left the Schweizerischer Werkbund. Her visit to the Sztuki Museum in Lodz, which was facilitated by Jan Brzekowski, led to a fruitful artistic exchange between the Polish avant-garde association a.r. and the Parisian artist’s group Abstraction-Création. Sophie Taeuber-Arp participated in various group exhibitions, and often showed her work with Artistes Suisses at the Galerie Vavin and at the Kunsthalle Bern with Hans Arp, Kurt Seligmann, Hans Schiess, and many others. She designed the layout for Anatole Jakovskis’ book Hans Erni, Hans Schiess, Kurt Seligmann, S. H. Taeuber-Arp, Gerard Vulliamy in 1935. Theodor and Woty Werner helped her secure the commission to design the interior of the Bauhaus professor Ludwig Hilberseimer’s Berlin apartment. Her work was shown in the exhibition These, Antithese, Synthese at the Kunstmuseum Luzern and in 1936 in Zeitprobleme in der Schweizer Malerei und Plastik, an exhibition of contemporary Swiss painting and sculpture, at the Kunsthaus Zürich. Additionally, she participated in the Konstruktivisten-Ausstellung, an exhibition of constructivist art, at the Kunsthalle Basel. Sophie Taeuber-Arp founded the international artists’ journal plastique with César Domela, A. E. Gallatin and L. K. Morris in 1937. The same year she joined the Swiss artists’ group Allianz. In 1938, she exhibited at the Exposition internationale du Surréalisme in Paris and at the Exposition of Contemporary Sculpture in London...

‘Partu’ (2020) is the Walmajarri word for ‘skin’ and is Johnny Nargoodah and Trent Jansen's latest collaborative project experimenting with this combination of disparate sensibilities. Found materials and leather are used to create awareness about Material Culture and recycling. This collection was developed in Thirroul on the New South Wales Coal Coast. Johnny and Trent came together four times over a period of 18 months, developing new methods for collaboration that could shape their incongruent knowledge, methods, and skills in designing and making into co-authored outcomes. These methods include: ‘Sketching exchange’, a process of back-and-forth sketch iteration, allowing an idea to evolve with equal input from both creators; and ‘designing by making’, a method of working with materials at full scale, to design an object as it is being made. In this approach the prototype is the sketch and both collaborators work together to carve, construct and/or manipulate material, giving the object three-dimensional form as they design and make simultaneously. Trent Jansen & Johnny Nargoodah Partu (Skin) Collection Ngumu Janka...

‘Partu’ is the Walmajarri word for ‘skin’ and is Johnny Nargoodah and Trent Jansen's latest collaborative project experimenting with this combination of disparate sensibilities. Found materials and leather are used to create awareness about Material Culture and recycling. This collection was developed in Thirroul on the New South Wales Coal Coast. Johnny and Trent came together four times over a period of 18 months, developing new methods for collaboration that could shape their incongruent knowledge, methods, and skills in designing and making into co-authored outcomes. These methods include: ‘Sketching exchange’, a process of back-and-forth sketch iteration, allowing an idea to evolve with equal input from both creators; and ‘designing by making’, a method of working with materials at full scale, to design an object as it is being made. In this approach the prototype is the sketch and both collaborators work together to carve, construct and/or manipulate material, giving the object three-dimensional form as they design and make simultaneously. Trent Jansen & Johnny Nargoodah Partu (Skin) Collection Ngumu Janka...

Beautiful delicate glass vase from Avid Gallery, New Zealand. A unique center piece!

Original vintage British Empire trade advertising poster for New Zealand Apples featuring a colourful design depicting a young lady wrapped in a New ...

Beautiful and rare blown glass piece entitled "Night-Time" by New Zealand artist Murray Hill. Signed and cataloged, the gorgeous sculpture has an acid etched finish with pu...