Molded Furniture

French Art Deco table lamp by DEGUE (Compiegne) and Marcel VASSEUR, 22 rue Mousset-Robert in Paris, France, l1920s. Thick Frosted molded glass shade by Degue on its superb wrought ir...

This early wall-mounted coin operated jukebox tune selector is completely unmarked, but being attributed to the Seeburg Corporation of the United States in circa 1955 in the period M...

Mid-Century Mazzega attributed Italian MOD teak grid framed wall lights with organic slump molded glass plate shades. Unique design that is a truly illuminating conversation starter....

Set of 2 chrome bubble table or desk lamps, made in Germany in the late 1960s. The lamps has got an E27 Edison screw-on socket. Having recently been re-wired. In excellent conditi...

Shiro Kuramata 1983 Service table made with the traditional technique of terrazzo in concrete conglomerate and coloured glass. Nara perfectly combines the Japanese aesthetic traditi...

Vase "Picardie" made in cased opalescent with sepia patina by René Lalique in 1927. Engraved signature on bottom. Perfect condition. Exceptional model. Extremely rare. height: 24 ...

Multiple Available. Original Molded Fiberglass Shell Chair, designed by Charles and Ray Eames for Herman Miller. Vintage shell chairs are prized for their attractive patina, distinct thread texture and beautiful depth of color seen in the fiberglass material. Shell is stamped with the Herman Miller emblem underneath. Dated to the 1970s. OAM boasts one of the largest collections of vintage Eames fiberglass shell...

Early and original Eames DCW chair manufactured by Herman Miller. Executed in Calico Ash. All original shock mounts. 5-2-4 screw pattern under the chair indicates this is a 1950s Her...

An impressive early 20th Century American iridescent glass vase of slender form with green hearts shining through an attractive golden iridescence, signed L C Tiffany Favrile and numbered to base. ADDITIONAL INFORMATION Height: 23 cm Condition: Very Good Condition Circa: 1905 Materials: Iridescent Coloured Glass SKU: 6667 ABOUT Louis Comfort Tiffany Louis Comfort Tiffany (February 18, 1848 – January 17, 1933) was an American artist and designer who worked in the decorative arts and is best known for his work in stained glass. He is the American artist most associated with the Art Nouveau and Aesthetic movements. Tiffany was affiliated with a prestigious collaborative of designers known as the Associated Artists, which included Lockwood de Forest, Candace Wheeler, and Samuel Colman. Tiffany designed stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewellery, enamels and metalwork. Early Life He was born in New York City, New York, the son of Charles Lewis Tiffany, founder of Tiffany and Company; and Harriet Olivia Avery Young. He attended school at Pennsylvania Military Academy in West Chester, Pennsylvania, and Eagleswood Military Academy in Perth Amboy, New Jersey. His first artistic training was as a painter, studying under George Inness in Eagleswood, New Jersey and Samuel Colman in Irvington, New York. He also studied at the National Academy of Design in New York City in 1866-67 and with salon painter Leon-Adolphe-Auguste Belly in 1868-69. Belly’s landscape paintings had a great influence on Tiffany. Career Louis started out as a painter, but became interested in glassmaking from about 1875 and worked at several glasshouses in Brooklyn between then and 1878. In 1879, he joined with Candace Wheeler, Samuel Colman and Lockwood de Forest to form Louis Comfort Tiffany and Associated American Artists. The business was short-lived, lasting only four years. The group made designs for wallpaper, furniture, and textiles. He later opened his own glass factory in Corona, New York, determined to provide designs that improved the quality of contemporary glass. Tiffany’s leadership and talent, as well as his father’s money and connections, led this business to thrive. In 1881 Tiffany did the interior design of the Mark Twain House in Hartford, Connecticut, which still remains, but the new firm’s most notable work came in 1882 when President Chester Alan Arthur refused to move into the White House until it had been redecorated. He commissioned Tiffany, who had begun to make a name for himself in New York society for the firm’s interior design work, to redo the state rooms, which Arthur found charmless. He worked on the East Room, the Blue Room, the Red Room, the State Dining Room and the Entrance Hall, refurnishing, repainting in decorative patterns, installing newly designed mantelpieces, changing to wallpaper with dense patterns and, of course, adding Tiffany glass to gaslight fixtures, windows and adding an opalescent floor-to-ceiling glass screen in the Entrance Hall. The Tiffany screen and other Victorian additions were all removed in the Roosevelt renovations of 1902, which restored the White House interiors to Federal style in keeping with its architecture. A desire to concentrate on art in glass led to the breakup of the firm in 1885 when Tiffany chose to establish his own glassmaking firm that same year. The first Tiffany Glass Company was incorporated December 1, 1885 and in 1902 became known as the Tiffany Studios. In the beginning of his career, he used cheap jelly jars and bottles because they had the mineral impurities that finer glass lacked. When he was unable to convince fine glassmakers to leave the impurities in, he began making his own glass. Tiffany used opalescent glass in a variety of colors and textures to create a unique style of stained glass. He developed the “copper foil” technique, which, by edging each piece of cut glass in copper foil and soldering the whole together to create his windows and lamps, made possible a level of detail previously unknown. This can be contrasted with the method of painting in enamels or glass paint on colorless glass, and then setting the glass pieces in lead channels, that had been the dominant method of creating stained glass for hundreds of years in Europe. (The First Presbyterian Church building of 1905 in Pittsburgh, Pennsylvania is unique in that it uses Tiffany windows that partially make use of painted glass.) Use of the colored glass itself to create stained glass pictures was motivated by the ideals of the Arts and Crafts movement and its leader William Morris in England. Fellow artists and glassmakers Oliver Kimberly and Frank Duffner, founders of the Duffner and Kimberly Company and John La Farge were Tiffany’s chief competitors in this new American style of stained glass. Tiffany, Duffner and Kimberly, along with La Farge, had learned their craft at the same glasshouses in Brooklyn in the late 1870s. In 1889 at the Paris Exposition, he is said to have been “Overwhelmed” by the glass work of Émile Gallé, French Art Nouveau artisan. He also met artist Alphonse Mucha. In 1893, Tiffany built a new factory called the Stourbridge Glass Company, later called Tiffany Glass Furnaces, which was located in Corona, Queens, New York, hiring the Englishman Arthur J. Nash to oversee it. In 1893, his company also introduced the term Favrilein conjunction with his first production of blown glass at his new glass factory. Some early examples of his lamps were exhibited in the 1893 World’s Fair in Chicago. At the Exposition Universelle (1900) in Paris, he won a gold medal with his stained glass windows The Four Seasons He trademarked Favrile (from the old French word for handmade) on November 13, 1894. He later used this word to apply to all of his glass, enamel and pottery. His first commercially produced lamps date from around 1895. Much of his company’s production was in making stained glass windows and Tiffany lamps, but his company designed a complete range of interior decorations. At its peak, his factory employed more than 300 artisans. Recent scholarship led by Rutgers professor Martin Eidelberg suggests that a team of talented single women designers – sometimes referred to as the “Tiffany Girls” – led by Clara Driscoll played a big role in designing many of the floral patterns on the famous Tiffany...

Pair of French Art Deco wall sconces by DEGUE (Compiegne), France, 1920s. White frosted glass shade hung at their period silver plate solid bronze fixtures. Each - Height: 11.6"(29.5...

This Mid-Century Modern working tube radio was made by Crosley in Toronto Canada in approximately 1965 in the period stream-lined style. The radio is done with a molded coral pink pl...

Rene Lalique Suzanne opalescent glass statuette. Suzanne is one of Rene Lalique's most iconic pieces and has probably featured on the cover of mor...

Dorothee - Maurer - Becker, Uten. Silo II Wall-All Wall Organizer, color is black. Signed Dorothee - Maurer - Becker product of M. Munich West-Germany, circa 1970s. ABS plastic, over...

Original Italian vintage wall lamp model "Lampira", with ABC lid and white opaline glass shade designed by Gianemilio, Piero and Anna Monti ...

Art Deco Chandelier "Noisetier" made in frosted glass by René Lalique in 1924. Composed of a central part and six arms. Original ceiling cap.  Molded signature. Perfect condition. R...

A large and most impressive antique Indian early bronze copper alloy Hindu temple vahana statue / sculpture. India, likely Deccan region, 16th-19th century, exceptionally executed figural work depicting Nandi Bull (devine steer / mythical horned cow), a significant figure in Hinduism, vehicle (mount) of diety Lord Shiva, symbol of devotion, and an important part of Hindu culture and philosophy. This rare high quality example, heavy, nearly solid, in stylized Brahman bull animal form, the naturalistic rendering with meticulous attention to authentic detail throughout, including proper facial features and comprehensive muscular structure, beaded jewelry decoration, natural looking horns, utter and teats, curved tail, and integral hoof feet. Attractive antique metalwork with warm alloy tonal variations, ehanced by beautifully aged worn weathered heavily patinated bronze & copper alloy accented by scattered visually striking verdigris bluish green patina. Dimensions: (approx) 24" Tall, 29" Wide, 11" Deep Probably 70lbs Ideal for both indoor and outdoor use History: NANDI: THE DIVINE STEED AND SYMBOL OF DEVOTION Introduction In the rich tapestry of Hindu mythology, few figures carry the depth of symbolism and spiritual significance as Nandi, the divine bull. As the sacred mount of Lord Shiva, Nandi occupies a revered place in Hindu culture and philosophy. In this blog post, we will delve into the multifaceted significance of Nandi, exploring the spiritual, cultural, and symbolic dimensions that make this celestial creature an indispensable part of the Hindu pantheon. The Vahana of Lord Shiva: Nandi's most prominent role is that of the vahana, or vehicle, of Lord Shiva, one of the principal deities in Hinduism. In this capacity, Nandi is not just a physical mount but a symbol of unwavering devotion and loyalty. The inseparable bond between Lord Shiva and Nandi signifies the importance of humility, obedience, and dedication on the spiritual path. Symbol of Strength and Virility: Depicted as a powerful and muscular bull, Nandi embodies strength and virility. The bull is a symbol of fertility and abundance in Hindu culture, representing the life-sustaining forces of nature. Nandi's robust form serves as a reminder of the inherent power within all living beings and the vital energy that sustains the universe. Guardian of Shiva's Abode: In many Shiva temples, one often encounters a prominent statue of Nandi positioned at the entrance. This is not merely decorative; it is symbolic of Nandi's role as the gatekeeper to Lord Shiva's abode. Devotees believe that Nandi safeguards the sanctity of the sacred space and acts as a spiritual protector, warding off negative energies. A Beacon of Spiritual Discipline: Nandi's demeanor and presence are reflective of spiritual discipline and meditation. Often depicted in a state of deep contemplation, Nandi serves as an inspiration for seekers on the spiritual path. The bull's stillness and focused gaze symbolize the importance of inner reflection and concentration as essential components of the journey toward self-realization. Cultural and Artistic Significance: Beyond its spiritual and religious connotations, Nandi holds immense cultural and artistic significance. Sculptors and artists across centuries have crafted intricate depictions of Nandi, showcasing the depth of Hindu artistic heritage. The various poses and expressions of Nandi in art not only tell stories from mythology but also contribute to the aesthetic richness of temples and cultural artifacts. Nandi's demeanor and presence are reflective of spiritual discipline and meditation. Often depicted in a state of deep contemplation, Nandi serves as an inspiration for seekers on the spiritual path. The bull's stillness and focused gaze symbolize the importance of inner reflection and concentration as essential components of the journey toward self-realization. Cultural and Artistic Significance: Beyond its spiritual connotations, Nandi holds immense cultural and artistic significance. Sculptors and artists across centuries have crafted intricate depictions of Nandi, showcasing the depth of Hindu artistic heritage. The various poses and expressions of Nandi in art not only tell stories from mythology but also contribute to the aesthetic richness of temples and cultural artifacts. Festivals and Celebrations: Nandi is also celebrated in festivals like Maha Shivaratri, where devotees pay homage to Lord Shiva and his divine mount. During these festivities, the spiritual significance of Nandi is magnified, with rituals, prayers, and processions that honor the inseparable bond between the bull and the lord. Conclusion: In conclusion, Nandi is far more than a mythical creature or a decorative element in Hindu iconography. As the loyal steed of Lord Shiva, Nandi symbolizes profound spiritual truths, embodying qualities of devotion, strength, and discipline. Whether gracing the entrance of a temple or adorning the altar in a devotee's home, the significance of Nandi extends beyond religious boundaries, touching the hearts and minds of those who seek inspiration on their spiritual journey. The divine presence of Nandi serves as a timeless reminder of the enduring values that enrich the human experience. Various Possibilities: Ideal for both use as an interior / indoor sculpture or exterior / outside / outdoors / patio...

Box "Lucie" (Lucy) made in frosted glass with blue patina by Rene Lalique in 1924. Molded signature on lid and engraved control signature on bottom. Perfect condition. Superb patin...

Mid century Swedish harlequin wall mirror by Kristall asarum circa 1950. Good quality mirror by Swedish makers kristall, complete with original adhesive label. Know as a harlequin ...

Opalescent molded glass box decorated with cicadas. This model was created in 1921. The glassware is in perfect condition. The satin background is original and requires restoration...

Art Déco czech Blue art glass vase decorated with nude figures from the 'Ingrid' collection by Curt Schlevogt By: Curt Schlevogt Material: art glass, glass Technique: molded Dimensi...

This vide poche or ashtray in in Glass. It has been done circa 1940, in France. Transparent Color. Original and iconic molded glass bowl; its shape is simple and decisive, skillfully...

A large and powerful Chinese famille rose enameled porcelain "Five Dragon" meiping vase, modern, China. The oversized vase of traditional meiping form, with a splayed foot supporting a baluster shaped body with high shoulders, short, narrow neck, and rolled mouth rim. The large vase decorated with five dragons molded in relief. Their bodies painted in vibrant overglaze famille rose enamels of reds, greens, yellows and turquoise. The dragons portrayed dancing in the sky among flames and clouds. Their bodies twisting and writhing, claws extended, tails coiled, some with mouths open in triumphant roars. The main dragon in red, and portrayed to more directly face the viewer. The dragons dance against a white ground sky. The blank sky broken up by overglaze red painted stylized clouds and flames. The foot decorated with a band of crashing waves. A stylized lotus blossom surrounds the base of the neck. The neck with a band of scrolling flowers and vines against a yellow ground. The underside of the large vase with an apocryphal "Da Qing Qianlong Nian Zhi...

Bowl "Anges" (Angels) made in navy blue glass by René Lalique in 1930. Stamped signature. Perfect condition. Height: 9.5 cm Diameter: 37 cm Félix Marcilhac, René Lalique - Catalog...

Pair of Poul Kjaerholm PK27 easy chairs with leather upholstery, 1950s.

This is a Lalique Crystal Mesange flower vase. It depicts a vase with an hexagonal base followed by a stem shaped as a wreath. The wreath is made of periwinkles flowers decorated in the center by two chickadees birds...

Émile Gallé (1846-1904) French Art Nouveau Cameo Mold Blown Glass Vase « Fleurs de Pommier » circa 1910 Beautiful and very rare Art Nouveau molded-blowned g...

Mid-20th century Torino ceramic semi-nude woman sculpture 'Portatrice Africana' by C.I.A. Manna By: C.I.A. Manna Material: ceramic, paint Technique: gilt, glazed, hand-crafted, molded, painted, pressed, unglazed Dimensions: 6 in x 22 in Date: mid-20th century Style: Mid-Century Modern, Space Age Place of origin: Italy This mid-20th century Italian ceramic sculpture titled 'Portatrice Africana' was handcrafted by C.I.A. Manna in Torino, Italy. Molded from ceramic clay and meticulously hand-painted, it depicts a semi-nude african woman carrying a large clay vessel...

A very fine and palatial French 19th-20th century Christofle & Cie Louis XV style silvered figural centrepiece with a cut-glass scalloped centre-dish, attributed to Baccarat, and fla...

Pair of decorative wall lights with a nice art glass design by Glashütte Limburg, Germany. Manufactured midcentury, 1960s. White opal line squares inlaid in thick clear glass. High q...

Art Deco Modernist Set of 8 (eight) wine glasses "Tonnerre" made in clear glass by René Lalique in 1937. Signed "Lalique France" - made in 1950s. All pieces are in perfect conditi...

Distinctive for its qualities of strength, adaptability, and lightness, carbon fibre serves as the foundation for this avant-garde bench. Inspired by the aesthetic and functional ele...

Émile Gallé (1846-1904), Art Nouveau Cameo Glass Vase « Gladioli Flowers » Large piriform vase on heel with long collar in dark blue and blue multi-layered glass Cased glass, opales...

Pair of mid-19th century Neoclassical footed cast iron planters/garden urns by Val d'Osne Foundry, France By: Val d'Osne Foundry Material: ir...

Perfume Bottle"Elegance" made in clear and frosted glass with sepia patina by René Lalique in 1923 for D'Orsay. Molded signature "R.LALIQUE" signature on bottom and molded "D'ORSAY"...

Art Nouveau brass pair of Wall Mount candlesticks 1930s Originel Patina Excellent condition. looks simply stunning.  

An elegant, elongated wall light, offered in two lengths – 400 millimetres and 900 millimetres. Its shield-like form is characterised by a central sharp line or ‘pinch’ that allows l...

“Scalare,” Freshwater Angelfish was the winner of the Grand Prize Paris exhibition 1937. Could a more perfect pair of Angelfish be found? Quite animated both swimming and feeding and so very delicately constructed with their floating "Barbel", whisker like appendages around the mouth used for finding food and communication. It is a finely detailed Rosenthal figure...

The Vetta coffee table evokes mystical and metaphysical inspirations associated with reaching the peak. Its formal simplicity, composed of a simple solid (cone) intersected by a plan...

Rare pair of Cenedese vintage midcentury modern clear green colored / coloured Murano glass round Apothecary jars or storage containers with lids made circa 1970s. Wonderful Italian ...

Trompe L’oeil plaster ottoman stool with a quilted top and draped skirt, in the manner of Serge Roche.

Chinese Pheasant beautifully render with rich oranges, reds, and yellows is a creation of the Hutschenreuther-Selb porcelain manufacturer. The authent...

Decanter "Pouilly" with fishes made in glass with blue patina by René Lalique in 1931. Stamped signature. Perfect condition. Very beautiful model. Height: 29 cm Félix Marcilhac, R...

A beautiful whimsical sculptural table lamp titled 'Horse and Boy' is hand crafted, molded and cast. The intricate design features a boy and his hors...

Ceiling fixture light chandelier "Coquilles" made in clear and frosted glass created by René Lalique in 1921. Molded signature. New ropes. Wiring just remade.  Original ceiling cap....

The Cyclamen perfume bottle is a strong Art Nouveau example of R.Lalique ‘s style in the begin of the 20th Century. The butterfly Ladies are represented on the different surfaces of...

A large Palatnik lucite Heron in black, signed in the piece, ‘Pal’. In excellent condition from the 1970’s. It retains its paper label ‘ Made in Brazil.

Maria Vessel in Brick Designed by Project 213A in 2020 Handmade Stoneware This vase is inspired by the Greco-Roman period, having a timeless appearance and finished with a contempor...

Real cowboy basic well made and used leather saddle. Stamped Simco. In excellent vintage condition with normal wear and tear, no damage and the le...

Fantastic set of 6 post Modern "Hat Trick Chairs" by Frank Gehry for Knoll. Created from Birch laminates chairs are steam bent in a ribbon like form which lends to a very organic typ...

Alexander Girard for Mayer China / Minners. Made in the 1960s. Bollard-form salt shakers. Identical each with single hole. No chips, no cracks. Some crazing to the white bands around...

This a Daum crystal Pate de Verre single flower (it can be a Groundsel) and large leaves bowl depicting different shades of blue and turquoi...

Ethiopian Procession Cross: A Sacred Heritage and Craftsmanship. Structure and Composition: This finely crafted Ethiopian procession cross is rich in iconographic detail. Constructed from metal, likely bronze or brass, it features a complex structure with several decorative elements. - Central Part: • Madonna and Child: At the heart of the cross is a depiction of the Virgin Mary holding the Child Jesus. This central image is framed within a circle adorned with openwork motifs and small inlays that appear to be precious stones or colored glass pieces. Arms of the Cross: • Angelic Musicians: Each lateral arm of the cross features an angelic musician, playing instruments and depicted in a flying position. The angels are finely detailed, with spread wings and carefully sculpted garments. • Cherub: At the apex of the cross, a cherub is depicted, a celestial being with multiple wings and surrounded by cloud-like motifs. • Bird Motifs: The lower extremities of the cross are adorned with bird motifs, likely doves, symbolizing peace and the Holy Spirit, placed within openwork circles. Base and Handle: • Engraved Base: The base of the cross, which serves as a handle, is also richly engraved with floral and geometric motifs, providing a sturdy and decorative grip for processions. History of Ethiopian Procession Crosses Origins and Evolution: Ethiopian procession crosses have a long history, dating back to the introduction of Christianity to Ethiopia in the 4th century under King Ezana. Influenced by Coptic and Byzantine traditions, these crosses evolved to adopt a distinctive style unique to Ethiopia. - Characteristics: • Style and Iconography: Ethiopian crosses...

Pair of mid-20th century wrought iron guéridon tables designed by Jean Michel-Frank for the company Comte S.A. By: Jean-Michel Frank, Comte S.A. Material: metal, iron, wrought iron,...

This Danish Rosewood Tray is a stunning piece of mid-century modernism that is sure to impress any antique collector. The tray is stamped on the base "made in Denmark" and was creat...

Renzo in a family of multipurpose trays with a very smooth surface and soft curved edges, now available in a different color composition. Each piece is a unique, no two are the same....

Westite Glass Company #302 bow tie flower pot. Green and cream slag. Tapering traditional form flower pot with rim. Embossed on base: "WESTITE" (in bow tie shape) "302 WESTON, W. VA....

Antique German porcelain tureen with cover by Meissen German, Late 19th Century Height 20cm, width 25cm, depth 18cm This remarkable porcelain tureen, produced by Meissen in the la...

Console table part of a collection of modular system in ultra high performing cement mortar. UHPC shelves and abutment colored in the mixture and sandblasted. Available in three diff...