Lisbon - Furniture

20th Century Portuguese Mirror painted in blue and white with marbling technique.

Thabit, our extraordinary new collection of handcrafted sculptures meticulously fashioned from gres and rafia, in partnership with an esteemed artistic ceramic studio. Inspired by th...

Oil on canvas painting representing an organic cave view, signed on the lower right corner, Ja Janczuk. France, 1970s.

Tiles Moon Black Ceramic Decorative Wall Lamp by Violaine d'Harcourt Dimensions: D 5,4 x W 14 x H 29 cm. Materials: Ceramic. Wall light made in Portugal in collaboration with Dutch ...

Af Meissen polychrome porcelain statue, base and body is one piece. Men with damage to his arm and back (see photos).

Circular round brutalist mirror in wrought iron supported by a handle, in the style of the Ateliers de Marolles. France, 1960s.

DOOQ Mid-Century Modern Counter Chair Alma with Velvet, Walnut and Brass n a piece that combines classic and modern aesthetics we can find a cer...

Nouvelle Vague Dinner Table Nude Glossy Tiles Powder Matte Lacquered Wood Top in Travertine Exceptional in its craftwork, Nouvelle Vague is a dinner table that rejects traditional c...

This pair of table lamps was designed by Josh Owen for Bozart in 2002, in USA. Made of acrylic material this lamps work with E14 light bulb. In original and good vintage condition. "Josh Owen's Knock-off Lamp which is the actual size of a standard bowling pin, uses the Americana pop icon to suggest its utility to both children and adults. Josh Owen is the principal of Philadelphia-based owenLOGIKdesign and an assistant professor of industrial design at Philadelphia University. Owen's work has been called "reactive" which is certainly true of his "Tone Knob" lamp. Owen's projects have been featured in exhibitions in New York City, Philadelphia, Paris, Verona (...) and the Denver Museum of Art. His innovative furniture and lighting designs have been published in such international design magazines as Abitare, Frame Magazine, ID. Magazine, Intramuros, Interni, Metropolis and Viewpoint." - description in Knock-off Lamp box.

A stunning Belle Époque Art Nouveau French lamp from the early 1900s, featuring a finely crafted spelter sculpture of a graceful woman. She elegantly holds an illuminated yellow tuli...

Tiles Door Blue Ceramic Decorative Wall Lamp by Violaine d'Harcourt Dimensions: D 5,4 x W 14 x H 29 cm. Materials: Ceramic. Wall light made in Portugal in collaboration with Dutch d...

This small Constructivist armchair was designed and produced in Portugal, during 1930's. With clean and geometric shape, it is made of solid pi...

Tiles Line Blue Ceramic Decorative Wall Lamp by Violaine d'Harcourt Dimensions: D 5,4 x W 14 x H 29 cm. Materials: Ceramic. Wall light made in Portugal in collaboration with Dutch d...

Set of 2 Oak armchair by Collector Dimensions: W 75 x D 70 x H 77 cm Materials: Fabric, oak wood Other materials available The Collector brand aims to be part of the daily lif...

This pendant lamp, model Lampiatta, was designed by De Pas, D’Urbino, & Lomazzi in 1971 for Stilnovo. It is made of metal, painted black outside and white inside. With the original l...

Stylish and elegant, grace bar stool is extremely comfortable in its perfect finishing’s. With its smooth edges, grace has definitely a familiar retro ...

Minimal in its components, MIGO table consists of two parts: a table top, and a conical shaped base, whose top ends with a strap for it to be lifted by. The soft and friendly shap...

When pure geometry meets soft curves, something sculptural and sensual comes out. A fine dialogue between oversized legs and clean lines takes place in this piece upholstered in moha...

With voluptuous curves and perfect poise, La Folie exalts passion and fantasy as if you were in a burlesque show at Moulin Rouge. Let yourself be drawn by this flirtatious feeling of...

A bedside table with mirrored top with encrusted stars, gilded bronze and parquetry, a drawer and a lower space in a twist between mid century and Louis XV style.

Tripod brass floor lamp resting on a triangular base. France, 1960s.

Contemporary Modern Moca bar chair in fabric by Studio Rig for Collector Studio A chair that mixes both modern and classical design approaches. Designed to hug the body, durable and...

A early 20th Century fox hunting scene in a forest with two riders observing the hunting grounds. A painting of a countryside hunting ground in the Autumn. Signature imperceptible...

This chair, model "Escandinávia", was designed by José Espinho, for Olaio, in Portugal, in 1956. This was one of José Espinho first designs that was stripped both of ornaments and an...

Go sideboard is a high quality product by Mambo Unlimited Ideas, crafted in wood veneer structure, lacquered mdf doors and plywood veneer applications on doors. It features three dim...

A unique pair of red wooden lamps dating back to the 20th century, possibly of European origin. These lamps showcase a charming rustic design, enhanced by their bold red finish and t...

Shepherds and pastoral scenes have been popular subjects in art for centuries, appearing in various styles and mediums, including paintings, drawings, and sculptures. Artists often depicted pastoral landscapes with shepherds tending to their flocks, conveying themes of simplicity, harmony with nature, and rural life. Pastoral art...

This French Impressionist painting by Charles André Igounet de Villers (1881–1944) captures a nautical scene with boats moored at a calm pier. Painted in a soft, atmospheric palette...

Francisco Trêpa was born in Lisbon in 1995, where he lives and works. Trêpa was awarded with, among other prizes and recognitions, MUSEU BORDALO PINHEIRO residency funding.

This oil painting from early 20th century by E. Baró beautifully captures the Arc de Triomphe and the bustling Avenue de la Grande Armée in Paris. Painted on platex, the work prese...

Solid mahogany chest of drawers opening with eight drawers in the front. Mozambique, 1960s

Our newly unveiled collection is meticulously handcrafted in Portugal. Departing from conventional norms, we embrace a palette of unconventional materials, including different marble...

Discover Aimi, our avant-garde chair designed to redefine elegance and comfort. Visually light yet exceptionally comfortable, Aimi boasts a remarkable design that effortlessly blends...

This early 20th century Post-Impressionist painting by R. Bosc depicts a serene winter landscape in Paris’s Bois de Vincennes. Executed in oil on composite panel, the work features ...

This early 20th century Post-Impressionist painting by R. Bosc depicts a winter scene in Paris's Bois de Boulogne. The oil on composite panel captures figures walking through the sn...

This 20th-century Post-Impressionist painting by R. Bosc depicts a Parisian street scene in Montmartre, with the white dome of the Sacré-Cœur Basilica visible in the distance. The c...

PORTRAIT OF D. MARIA BÁRBARA DE BRAGANÇA (1711-1758), QUEEN OF SPAIN Circle of Louis-Michel van Loo (1707-1771) Oil on canvas Her Royal Highness, the Infanta Maria Barbara of Braganza (1711-1758) was the first-born child of King John V of Portugal (1689-1750) and his queen consort Maria Anna of Austria (1683-1754). Born in December 1711, she had the Convent Palace of Mafra built in her honour following a vow made by her royal father. Her status as Princess of Brazil, inherent to 18th century Portuguese presumptive heirs, would however be superseded once the queen gave birth to two male princes, D. Pedro (1712-1714) and D. José (1714-1777), preventing her from ascending to the throne. Daughter of one of the most illustrious monarchs of his time, Maria Barbara was carefully educated to become a fond admirer of the arts, and of music in particular, having had the Italian composer Domenico Scarlatti (1685-1757) as her music teacher. On the 10th January 1723 the young princess was betrothed to the Infante Ferdinand of Spain (1713-1759), eldest son of King Philip V (1683-1746). Six years later, on the 19th January, she entered her new country in a carefully choreographed ceremony that became known to history as the “Exchange of the Princesses”. This unique event took place on a specially built Bridge-Palace, a wooden, luxuriously decorated structure that included various modules and rooms, on both banks of the river Caia, the natural border between the town of Elvas in Portugal and of Badajoz in Spain. Simultaneously, on the same day that the Portuguese Infanta crossed the border to marry the Spanish Crown Prince, her new sister in law, the Infanta Mariana Victoria of Bourbon (1718-1781), her husband’s sister, crossed the same bridge in the opposite direction to marry Prince D. José, the Portuguese heir to the throne. Once married, Maria Barbara would spend 17 years as Princess of Asturias, only becoming Queen of Spain at her husband’s accession following the death of Philip V in 1746. She is portrayed in the 1743 painting by Louis-Michel van Loo (1707-1771) now in the Prado Museum, in which Philip V had himself represented with all his close family. The new Queen would take an important role at court eventually becoming the liaison between her husband and the King of Portugal, particularly throughout the negotiations for the Treaty of Madrid (1746-1750). Maintaining her interest in music, she patronized the Italian castrato singer Farinelli (1705-1782) while remaining close to her old master Scarlatti, having herself composed some sonatas for a large orchestra. She would also commission and fund the building of the Royal Salesians Monastery complex in central Madrid, where both her and Ferdinand VI are buried. The portrait we are presenting for sale shows the Queen in half-length, turning left at three quarters. She is wearing a blue low-cut dress embroidered with flowers and foliage, over a lace cuffed white blouse, and an ermine cloak pined on the left-hand side by a diamond broach. The powdered hair style is held sideways by a seven diamond and black plume headdress and topped by a small gold and pearl crown. The right arm rests on a cushion while the left hand, at chest height, holds a miniature male portrait. The Infanta’s features are analogous to the 1725 portrait by the painter Domenico Duprà (1689-1770), also in the Prado Museum collection. Further similarities can be found in another portrait by Louis-Michel van Loo, in which a seven diamond and black plume headdress is also present. In this work, the cushion supporting Maria Barbara’s right arm has also some obvious similarities to our painting. The same diamond headdress reappears in Van Loo’s above-mentioned portrait of Philip V’s family dated from 1743. It is nevertheless in Lisbon’s Ajuda National Palace that it is possible to find an almost identical depiction of the Infanta holding a miniature portrait of her husband. In it, the future Ferdinand VI is portrayed facing right at three quarters and wearing a curly wig, suit of armour, the golden fleece insignia and a blue band, in a composition that closely resembles an 18th century Spanish school painting that appeared in the art market in January 2016. Another detail common to various portraits of the Portuguese Infanta and Queen of Spain is the small gold and pearl crown on her head. In another Van Loo painting, also from the Prado Museum, in which Maria Barbara is portrayed as Queen, this crown is represented together with a headdress similar to the one previously described. Another two paintings by the same artist, at the Royal Academy of Saint Ferdinand, include the same ornament. We must also refer the paintings by the artist Jean Ranc (1674-1735). In one, dating from 1729 (Prado Museum), the Infanta is depicted outdoors holding a flower bouquet and wearing a yellow silk dress with red cloak, and a set of diamond and ruby jewellery that includes a headdress similar to the one present in our portrait. Another work by the same artist, belonging to the Complutence University of Madrid, depicts the Infanta sumptuously dressed in identical colours to our painting and wearing an elaborate headdress and diadem. These portraits, beyond their iconographical importance as contemporary records of the Infanta and Queen Maria Barbara, are also illustrative of 18th century fashion for jewelled head dressing. Often, flowers were combined with joyful adornments, composing almost theatrical displays that would reinforce the ostentatious nature of the image. The ornamental flowers and the chromatic character of the jewels would complement the luxury of the colourful dresses in blue, crimson, green or other silk shades, in compositions whose sole purpose was to highlight a royal sitter’s wealth and power, becoming an essential statement accessory within the strict court protocols and codes of conduct. Circle of Louis-Michel van Loo (1707-1771) Slowly but steadily, the resolute, tranquil and dignified attitude of Renaissance and Baroque portraiture becomes artificial and presumptuous. Mid 18th century society favours elusive expression and psychological deepness, albeit limited to the face, that, with emphasis on detail, on the rich colour palette and on changing costumes and landscapes, associated to the courtliness of gestures, creates a strongly artificial environment while maintaining a highly poetic intrinsic character. Louis-Michel van Loo followed a dynasty of famous Dutch origin artists that had settled in France. Initially taught by his father, Jean-Baptiste von Loo (1684-1745), the younger van Loo studied in Turin and Rome and frequented the Paris Academy. In Rome he worked with his uncle Charles-André van Loo (1705-1765) and become a painter for the Turin Court. In 1737 he arrived in Spain being summoned by Philip V to succeed Jean Ranc as painter of the king’s chamber. In Madrid, his work covers the numerous Court commissions and the Royal Saint Ferdinand Fine Arts Academy, of which he was a founding member and director for the Painting department in 1752. Is production at court consisted essentially of numerous portrait paintings, often Royal gifts...

With voluptuous curves and perfect poise, La Folie exalts passion and fantasy as if you were in a burlesque show at Moulin Rouge. Let yourself be drawn by this flirtatious feeling of...

When pure geometry meets soft curves, something sculptural and sensual comes out. A fine dialogue between oversized legs and clean lines takes place in this piece upholstered in moha...

Exceptional in its craftwork, Nouvelle Vague is a side table that rejects traditional conventions in favor of experimentation. Round ceramic handmade pieces, painted in a unique craq...

This exquisite orangeade pitcher by René Lalique, model Blidah (no. 3177), showcases the master’s signature opalescent glasswork. The Blidah pitcher by René Lalique, introduced in 1...

An Art Deco fish opaline glass figure miniature with mouth up by Marius Ernest Sabino. Circa 1933 “Sabino” signed.

DOOQ Mid-Century Modern Bar Chair Alma with Green Velvet, Walnut and Brass In a piece that combines classic and modern aesthetics we can find a certain harmonic gracefulness paired ...

DOOQ Mid-Century Modern Counter Chair Alma with Blue Velvet, Walnut and Brass In a piece that combines classic and modern aesthetics we can find a certain harmonic gracefulness pair...

Thabit, our extraordinary new collection of handcrafted sculptures meticulously fashioned from gres and rafia, in partnership with an esteemed artistic ceramic studio. Inspired by th...

Thabit, our extraordinary new collection of handcrafted sculptures meticulously fashioned from gres and rafia, in partnership with an esteemed artistic ceramic studio. Inspired by th...

This table lamp was designed by Gabriel Teixido and Carlos M. Serra for Carpyen, in Spain during the 1970's. It is a very rare design made of metal wit...

Tiles Door Grey Ceramic Decorative Wall Lamp by Violaine d'Harcourt Dimensions: D 5,4 x W 14 x H 29 cm. Materials: Ceramic. Wall light made in Portugal in collaboration with Dutch d...

Tua is a rhombus shaped tile that plays with volumetry, allowing the same tile to unfold in an array of shapes, which go from stellar constellations to elegant waves. The Tua collect...

Thabit, our extraordinary new collection of handcrafted sculptures meticulously fashioned from gres and rafia, in partnership with an esteemed artistic ceramic studio. Inspired by th...

We present you these two icons Virgin Mary and Saint John, pair of linden wood sculptures. Bologna 15th century. The Caloust Gulbenkian Foundation in Lisbon, Portugal museum has an i...

This pendant lamp, Model " Dynamic ", was designed by Wilhelm Vest for Vest Leuchten, in Austria in 1969. The lampshade is made of solid metal, consisting...

Napoléon III Gilt-Bronze and Sèvres Style Ormolu mounted Bonheur du Jour by Louis Grade. This beautiful Bonheur du Jour is a superb example of the taste, artistic sensibilities and c...

A Louis XV style chest of drawers with 3 drawers in marquetry and side panels of parquetry, breccia marble from Aleppo and gilded bronze rocaille in the style of Jacques Bircklé

Rectangular table in iron, with hollow base. France, 1960s.

When pure geometry meets soft curves, something sculptural and sensual comes out. A fine dialogue between oversized legs and clean lines takes place in this piece upholstered in moha...

Highly organic, the Majorelle collection evokes flowers of an imaginary garden. Informed by textures found in nature, the collection features a dappled surface made from resin soake...

Comfortable and elegant, Ava settee is a versatile piece where creativity meets no boundaries, fabrics, solid woods, lacquers and brass fittings are chosen and combined in many ways ...