Benelux - Building and Garden Elements

Antique fireback / backsplash, coat of arms lions. Nice square cast iron antique fireback displaying a the coat of arms with two lions. Great co...

Sizeable and museum quality, embossed copper with brass handles bucket on feet. This stunning, sturdy and heavy antique and hand-crafted buc...

Antique Green Marble Napoleon III Style Mantel Circa 1880

Round planter designed by Willy Guhl for Eternit in Switzerland. Beautiful patina. The upper part inclines slightly, for better vision of the plants and flowers in it.

Handmade floral antique tiles whit rich glazed colors. Manufactured around 1920 by Gilliot Hemiksem, Belgium. Complete with edge tiles to fit in as a painting. These tiles would be ...

Louis XV Style Carrara Marble Mantel Circa 1980

Many Avant Garde architects and designers of the 1960s / 70s became fascinated with the idea of minimal living, a secluded retreat, escape from the hustle and bustle of everyday life and relaxation in the middle of nature. Thanks to new pliable materials, plastics, with their free and easy formability, lightness and especially their novelty, they developed micro bungalows and houses as either secondary vacation homes or for use in gardens. Italian developer Carlo Zappa undertook the challenge of designing and producing such a micro bungalow which eventually became commonly known as 'BANGA' .The first models rolled off the production line in 1971 and went through three production phases before production eventually ceased in 1985. Carlo Zappa not only developed the initial project, but personally executed the moulds, construction solutions, all the services detailing ie electrical, plumbing and metal hardware. Zappa's micro bungalow featured a total of 8.1 square meters of floor space. It offered space for up to three people thanks to a bunk bed, which could be folded down as a sofa during the day. A small bathroom with wash basin, shower / toilet, a small kitchen unit with sink and water heater...

Largest size, museum quality and great condition pedestal stand. If only the best and the rarest is good enough for you then this monumental and timeless antique marble pedestal cou...

French Ceramic Pedestal with Matching Planter – Mid-20th Century This exceptional ceramic pedestal with planter, also referred to as a cachepot or jardinière, is a refined example o...

Nice French Campagnard style fireplace mantel in lovely limestone. This mantel comes from central France, burgundy area. Its perfect size makes it possible to install this mantel in ...

Beautiful 19th century French Napoleon III fireside companion set. The tool set consists of wrought iron tongs and shovel, and a brass stand. The set is in a good condition and is f...

Exceptional Post-War vintage art-deco fireplace surround in a exquisite Breche Quality marble with terrazzo look. Rich in color and pure minima...

Russell Woodard, 'Sculptura' patio chair, lacquered iron and steel, United States, 1950s The 'Sculptura' patio chair is designed by Russell Woodard. Executed in iron and woven steel...

19th Century French Polished Copper Firewood Basket, Victorian Period. The firewood basket is made of polished copper and has brass handles. The log holder is in a good condition and...

Happy to offer this wonderful French Louis XVI in grey marble. The shallowness and subtle decoration make this mantel suitable for a variety of applications. The rectangular tops...

Delightful French Louis XVI "Demi Lune" style fireplace mantel. This perfect size Parisian Louis XVI fireplace mantel is the perfect mix of simple and strong profiled elements and ...

Very unique and big, old oak wooden gate with wrought-iron hinges from the 19th Century.

19th Century Dutch fireback depicting a religious theme about David's punishment. David ordered a census of Israel and Judah, which displeased God because it reflected David’s prid...

This charming Louis XVI-style fireplace is crafted from warm French limestone, exuding understated elegance and timeless appeal. The paneled design highlights the classic simplicity ...

Amazing checkered Mid-Century Modern floor tiles. Beautiful reclaimed floor from and amazing and famous design villa in the center of Holland. The floor was carefully removed, clean...

Magnificent and rare Black Forest planter or jardiniiere. Striking French design from the 1880s. Original hand-carved fruitwood base on a ornate turned and hand-carved baluster with ...

Timeless French Beige Vintage limestone fireplace Surround. 19th century period Louis Philippe style fireplace in beige hard stone. It was...

19th century Dutch Victorian fireplace basket, fire basket made of wrought and cast iron. The basket is in a good condition and is fully functional. The width at the front is 60.5 c...

Roger Tallon for Galerie Lacloche, 'Helicoid' staircase, aluminum, rubber, France, design 1964, production 1960s This striking staircase with a rubber step surface is called the 'He...

19th century French Napoleon III fireback with an allegory of peace. The Allegory of Peace is holding an olive branch, symbol for peace and a laurel wreath, symbol for victory, in he...

Happy to offer this very attractive and rare 17th century French firescreen or gate. This amazingly crafted gate is in perfect condition and super...

Round planter designed by Willy Guhl for Eternit in Switzerland. Beautiful patina. The upper part inclines slightly, for better vision of the plants and flowers in it.

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...

Beautiful old stained glass window, stained glass with an image of a mill, with bright colors, vintage sun catcher, second half of the 20th century. This object only comes into its ...

Exceptional fountain trough. Extra raw and in hard red French stone. 15th century or earlier. Reclaimed in Provence. The real deal, rare to find with unique artempo details and wear....

Very beautiful carved Antique Louis XV marble fireplace mantle from the 19th Century. In a very unique quality. Recuperated from a mansion n...

This is an amazing set of antique Art Nouveau handmade tiles with an image of yellow rose in relief on a soft yellow background. These tiles would be charming displayed on easels, fr...

Two 19th century polychrome cast iron dormer windows in very good condition Beautiful patina.

A original vintage Art Deco period antique fireplace surround made of the bespoke burgundy marble stone: Comblanchien. A marble that one find back in plenty historical landmarks. It ...

19th century English Victorian period fireplace toolset. The tools are made of wrought iron, while the stand is made of brass. The toolset consists of tongs, poker, shovel and stand....

17th century French Louis XIV period fireplace trammel. The trammel is hand forged of wrought iron. It is beautifully decorated and carved. The trammel was used for cooking to regul...

18th century French Louis XV period fireback. Made of cast iron. The fireback has a natural brown patina. Upon request it can be made black / pewter colored at no extra cost. The fi...

Very please to offer this beautiful Arabescato marble floor. This used to be the hallway in a late 19th century hallway in the city center of Ams...

Nice Art Deco period fireplace surround from Belgian Hotel particulier in Brussels. Measures: 115 cm EW 45.28”, 102 cm EH 40.16”, 69 cm IW 27.16”, 70 cm IH 27.55”, 22 cm S 8....

French Mid-Century Modern Style 'Horse' Fireback / Backsplash. Made of cast iron, the fireback has a natural brown patina, which can be changed to black/pewter upon request at no e...

Stone spheres as these where made from antiquity to the present day. As a universal form it served as a ornamental object in gardens, architecture and interiors but also had a deeper...

Stunning workmanship bucket with Lion's crest and showing the outdoor activities of Dutch farmers. In the Dutch Biedermeier era this handcrafted coal bucket would have graced the fi...

Gustave Serrurier-Bovy rare pedestal, circa 1900, Belgium. Metal and brass. Dimensions: 71 cm H, 38 cm diameter. Original condition. All purchases are covered by our buyer protection...

19th century Dutch Victorian period fireplace basket, fire grate made of wrought iron and polished brass. The fireplace grate is in a good condition and is fit for use in the firepla...

Original simple vintage fireplace surround from a Belgium home in white Carrara marble. It is a Louis XVI style from the 19th century. Measures: 135 cm Exterior Width 53,15 Inch 108...

19th Century antique sandstone fireplace mantel from France. To be placed around the chimney. This reclaimed piece was sourced personally in France during one of our monthly routes t...

This is an amazing set of Dutch blue handmade ceramic tiles. Manufactured by Gilliot Hemiksen, 1930s. With 6 different stylized designs. We offer 20 tiles from the same design. In total 120 tiles...

Clay sink by Studio Loho Dimensions: D 40 x H 15 cm Materials: clay. Available in 3 models: round sink, oval sink and sink on structure. Due to the producti...

Impressive, beautiful and richly carved Louis XV fireplace from France, 19th century This fireplace is executed in impeccable Belgian black marble. The hand-painted porcelain insert ...

These 13 wrought iron locks are all antique locks forged by a blacksmith. All locks have been carefully checked and a fresh wax coat was applied to make...

Rare Xavier Feal fireplace screen, circa 1970, France. Brushed stainless steel and tempered glass. Original condition. Dimensions: 90 cm W, 57 cm H, 25 cm D. All purchases are covere...

A late roman, Byzantine, frieze fragment. Border fragment with carved ledge and D-section rim with carved running guilloche motifs in high relief. Beautiful example of the elegant mi...

19th century English Victorian Period fireplace fender. The fender is made of brass. The fender is in a good condition and is fully functional.

Recently lifted from its original home, a set of antique tiles from the early 20th century. With a beautiful stylized design of a lily. Manufactured by Gilliot Fabrieken te Hemiksem....

18th century French Louis XV period andirons made of wrought iron with a recently forged grate. The condition is good.   

18th century French Louis XV Period fireback of Venus with her mirror and torch of Hestia. Goddess of love, beauty and fertility. The torch is the symbol of Hestia, goddess of fire ...

Formal French bicolor hard stone ice container. One in its kind. A great element to create a fountain, flower pot, hand washer or even to be used as wine cooler. A great original ant...

Clay sink by Studio Loho Dimensions: D 40 x H 15 cm Materials: clay5 Available in 3 models: round sink, oval sink and sink on structure. Due to the production process every piece is unique in size and form. Studio LoHo is a Belgian design office located in Bruges, Belgium. Founded in the autumn of 2017 by Karel Loontiens and Jo Hoeven, the studio focused from the beginning on high-end bespoke interior projects which forms an ideal matrix for product - and material design that is both innovative and durable. In current times there’s no more room for influx of disposable products, it is our studio’s goal to strive for design that will last and will be cherished for multiple generations. The introduction of the first collection “clay series” fully articulated the DNA of the newborn Studio and led to their international breakthrough. The appreciation of materials reflects their unique view on interior design with a strong and recognizable signature. Soon after, the collection was expanded on request by other architects and designers with new sinks...