James Bearden "Labyrinthine" Cabinet, from the Cathedral Series

This double-sided English display cabinet was made in the late 1800s. It has six compartments with six glass doors that open on both sides. It is in good condition and highly functio...

This vintage Art Deco cabinet in solid oak has a trapezoid shape, with two large drawers beneath a glass top trimmed in brass, three smaller drawers beneath, and a large storage spac...

Solid burl, brass and bronze vintage cabinet, by Italian Luciano Frigerio, can serve as a cabinet, buffet, dresser or sideboard. Beautifully designed with curved edges and intricate ...

This substantial antique oak wardrobe has simple, elegant lines and great functionality. The timeless design adds to the appeal of the gorgeous oa...

Unique Italian crystal mirror with etching across the lower edge and beautifully crafted brass frame. Quality mirror is backed with wood. This time...

Pair of interesting brutalist sconces in the manner of Paul Evans, 20th Century. Created from metal and resin, the sconces are perfect in many interiors, including arts & craft...

The "Capsule Cabinet" by James Bearden is a captivating piece from his Cathedral Series. Crafted with blackened textured steel and fused bronze element...

"Segment Cabinet #2,” a sculptural work in torch-cut, dyed steel with fused bronze and glass enamel, by American artist James Bearden. The vertical rectangular cabinet, with its dramatic composition and juxtaposition of shapes and colors drawn from Bearden’s evolving vocabulary, is perched atop four long legs; it has a hinged front door and three shelves inside. Signed and with a Certificate of Authenticity from the artist. The interior shelves measure W 12" x D 13". Bearden's work was featured in a 2017 solo exhibition at the NY Design Centre titled "James Bearden: Life in Steel;" in an article in the January 2017 Interior Design Magazine; in an introspective feature on 1stdibs; and in a feature article in DSM Magazine. In an introduction to the 2020 exhibition, curator Kartrina Weinberg wrote: "In the two years after the artist’s last solo exhibition — where the material reality of steel was evident in both its title and monochromatic appearance — Mr. Bearden sought to break free from pre-conceived judgment of his medium, as well as the persistent misnomers applied to his art. While subtle color play has always existed in his previous works, the development in his coloring technique — from painted polychrome to dyed glass enamel — allowed for dramatic saturation and stunning complexity in his new palette, bringing heightened immediacy to his biomorphic and anthropomorphic imagery. The artist had always challenged the gravitational reality of steel, but he has found new expressions towards verticality and delicacy, transcending material and elevating function. The open compositions, ranging from ornamental tracery to dynamic use of negative space, allow for the interplay of light and air, animating the environment with ever-changing viewing possibilities. This exhibition took inspiration from the naturalist traditions and fantastical imagery of Early Netherlandish paintings...

"Segment Cabinet (horizontal)” a sculptural work in torch-cut and polychromed steel with fused bronze, solvent dyes, and glass enamel, with a birch top. By American artist James Bearden. The rectangular cabinet, with its dramatic composition and juxtaposition of shapes and colors drawn from Bearden’s evolving vocabulary, is perched atop four slender legs; it has double doors that swing outward. Signed and with a Certificate of Authenticity from the artist. Bearden's work was featured in a 2020 solo exhibition at the NY Design Center titled "James Bearden: Technical and Aesthetic Revelations," in an article in the January 2017 Interior Design Magazine; in an introspective feature on 1stdibs; and in a feature article in DSM Magazine. The horizontal cabinet is part of a group of three cabinets being offered individually--see the photo below. Custom sizes and colors are available upon request. In an introduction to the 2020 exhibition, curator Kartrina Weinberg wrote: "In the two years after the artist’s last solo exhibition — where the material reality of steel was evident in both its title and monochromatic appearance — Mr. Bearden sought to break free from pre-conceived judgment of his medium, as well as the persistent misnomers applied to his art. While subtle color play has always existed in his previous works, the development in his coloring technique — from painted polychrome to dyed glass enamel — allowed for dramatic saturation and stunning complexity in his new palette, bringing heightened immediacy to his biomorphic and anthropomorphic imagery. The artist had always challenged the gravitational reality of steel, but he has found new expressions towards verticality and delicacy, transcending material and elevating function. The open compositions, ranging from ornamental tracery to dynamic use of negative space, allow for the interplay of light and air, animating the environment with ever-changing viewing possibilities. This exhibition took inspiration from the naturalist traditions and fantastical imagery of Early Netherlandish paintings...

"Segment Cabinet (square)” a sculptural work in torch-cut and polychromed steel with fused bronze, solvent dyes, and glass enamel, with a birch top. By American artist James Bearden. The square cabinet, with its dramatic composition and juxtaposition of shapes and colors drawn from Bearden’s evolving vocabulary, is perched atop four long legs; it has an asymmetrically set hinged front door. Signed and with a Certificate of Authenticity from the artist. Bearden's work was featured in a 2020 solo exhibition at the NY Design Center titled "James Bearden: Technical and Aesthetic Revelations," in an article in the January 2017 Interior Design Magazine; in an introspective feature on 1stdibs; and in a feature article in DSM Magazine. In an introduction to the 2020 exhibition, curator Kartrina Weinberg wrote: "In the two years after the artist’s last solo exhibition — where the material reality of steel was evident in both its title and monochromatic appearance — Mr. Bearden sought to break free from pre-conceived judgment of his medium, as well as the persistent misnomers applied to his art. While subtle color play has always existed in his previous works, the development in his coloring technique — from painted polychrome to dyed glass enamel — allowed for dramatic saturation and stunning complexity in his new palette, bringing heightened immediacy to his biomorphic and anthropomorphic imagery. The artist had always challenged the gravitational reality of steel, but he has found new expressions towards verticality and delicacy, transcending material and elevating function. The open compositions, ranging from ornamental tracery to dynamic use of negative space, allow for the interplay of light and air, animating the environment with ever-changing viewing possibilities. This exhibition took inspiration from the naturalist traditions and fantastical imagery of Early Netherlandish paintings...

James Bearden credenza, 2014 from Cathedral series, signed, blackheat enameled steel, bronze and slate.

"Segment Étagère” a sculptural work in torch-cut and polychromed steel with fused bronze, solvent dyes, and glass enamel, with four glass shelves. By American artist James Bearden. The rectangular étagère, with its dramatic yet delicate composition and juxtaposition of shapes and colors drawn from Bearden’s evolving vocabulary, is perched atop four slender legs. Bearden's work was featured in a 2020 solo exhibition at the NY Design Center titled "James Bearden: Technical and Aesthetic Revelations," in an article in the January 2017 Interior Design Magazine; in an introspective feature on 1stdibs; and in a feature article in DSM Magazine. The étagère is part of a group of case pieces being offered individually--see the photo of three cabinets below. Custom sizes and colors are available upon request. In an introduction to the 2020 exhibition, curator Kartrina Weinberg wrote: "In the two years after the artist’s last solo exhibition — where the material reality of steel was evident in both its title and monochromatic appearance — Mr. Bearden sought to break free from pre-conceived judgment of his medium, as well as the persistent misnomers applied to his art. While subtle color play has always existed in his previous works, the development in his coloring technique — from painted polychrome to dyed glass enamel — allowed for dramatic saturation and stunning complexity in his new palette, bringing heightened immediacy to his biomorphic and anthropomorphic imagery. The artist had always challenged the gravitational reality of steel, but he has found new expressions towards verticality and delicacy, transcending material and elevating function. The open compositions, ranging from ornamental tracery to dynamic use of negative space, allow for the interplay of light and air, animating the environment with ever-changing viewing possibilities. This exhibition took inspiration from the naturalist traditions and fantastical imagery of Early Netherlandish paintings...