Stainless Steel Asian Art and Furniture

Metal is unabashedly confirmed in these large, sinuous sculptures. Complementary forms are emphasized by unique hues and the precious gold leaf appli...

Paradise by Ango is a statement pendant light hand-crafted from thousands of natural silk cocoons, creating a softly luminous, cloud-like presence that elevates any interior. Each co...

The Yellow Crown pendant light by Ango is a sculptural, handwoven rattan chandelier that combines timeless circular geometry with refined artisanal...

White Space by Ango is a refined sculptural floor lamp that pairs the delicacy of handcrafted natural silk cocoons with the quiet strength of a hand-cast concrete base...

Serigraph medium signed and numbered by Victor Vasarely (Pécs, 1906 - Paris, 1997). Numbered 187/250. With a glossy sheen to the surface area, this work presents itself as a hexagon...

Ovaloid by Ango is a sculptural, handwoven rattan pendant light designed for long dining tables, kitchen islands, and architectural interiors. The piece translates the refined geomet...

Douro is a signed bar that combines bold finishes, with an amazing sculptural shape. Its made of resin reinforced with fiberglass, with exterior finished in verdigris color on "Strip...

The Dapple Ceiling 8 by Ango is an installation piece that transforms any space with its unique design and artistic fabrication. Utilizing the traditional Thai handcrafted technique ...

A colorful and fine set of Japanese Canapé Plates in unused condition dating to the Mid 20th Century. The plates in ribbed fan form with three different Flower decorations and having...

With very fine 1 mm. rattan hand-woven to ceiling lights, the structure of handcrafted pendant light Unit Pendant-R evokes a flattened sphere or mini world, then clad with around one...

Double World by Ango is a sculptural, organic modern floor lamp hand-woven from kilometres of superfine natural rattan. Evolving from Ango’s well-known Hanging World pendant, this do...

This sculptural floor lamp is developed from Double Orbit (ceiling light) in the same architectural lighting form. This is a part of the Ango continuity s...

Incredibly stylish illuminated pedestal table stand for Kovacs. This piece, in the style of Paul Evans Cityscape line is streamlined and unique. With an approach that is timeless, t...

Incredible, unique and rare pair of vintage midcentury outdoor armchairs with flat tubular steel frames and multicolored plastic slats. The white milky frame against the gold and ora...

Full Moon by Ango is a sculptural handcrafted pendant light created from carefully hand-selected natural silk cocoons. Designed as part of Ango’s Moon Series, the piece is conceived ...

Daffy diamond is part of the Ango jewellery series of lighting within the concept “Inside-out” where myriad points of light are created within an overall form by hand welding the connecting points of the structure (that once was concealed at the core of a piece). The unique nature of the piece reveals all these nodes of light refraction as being apparently suspended in space, with differing degrees of colour and complexity. Daffy diamond pendant light...

The Bow Tie chair is a perfect example of Zhoujie’s philosophy of Actionless. Like a force of an airplane, polymerizing inward and flowing with natural ...

White Crown 1100 by Ango is a sculptural ring pendant light handcrafted from natural silk cocoons, offering a luminous, organic presence ideal for contemporary interiors. Designed as...

Garden Boy chair, and Garden Boy bench in gold titanium finish are part of a special Ango edition launched at Bangkok Art fair “Mango Art Festival 2021” Gol...

Cherry Moon is silk cocoon handcrafted pendant light in cherry red colour. The diffuser is formed of a random configuration of hand-selected silk cocoons (that have been pre-dyed a subtle cherry red colour). It looks gentle and fragile but is surprisingly robust, with each silk cocoon attached to a hand-soldered wire matrix. Created with our own handmade technique, Cherry Moon is a unique pendant light...

Cascadence table light, is developed from Cascadence (ceiling) in the same organic form, using natural colour of silk cocoon created with Ango’s unique handcrafted technique. The des...

Unit (table-C) table lamp with copper finish base, an atomised structure of silk cocoons is created in an ovaloid form. Assembled, on a core structure of hand soldered wire, the silk...

Gold Boy outdoor chairs in gold titanium finish created by Ango is a development of Garden Boy Chair, winner of Best Product Award at Maison et Objet, Paris in September 2007. Gold Boy garden chair is a kind of technology transfer, using as a starting point the random weave of some Ango lighting designs to create instead a shimmering wave aesthetic from hand woven steel strands. The base metal to the Gold Boy outdoor chair is in stainless steel with the length of the woven stainless steel strands totalling 250 metres, and the gold titanium finish is guaranteed for 15 years of continuous outdoor use having been tested for 1000 hours for salt spray resistance by Material Lab Testing Services LLC, Dubai...

Unit (table-R) is rattan table lamp where the structure evokes a flattened sphere or mini world. The structure is then clad with around one kilometre of superfine 1 mm. rattan wire i...

A minimal, humble stool stripped down to its essential structure. Material characteristics are honored with the fusion of wood and metal. With legs kept visually clean, this object blends in with your living space, creating absolute, long-lasting beauty. - Moonler’s products are mainly made of Chamchuri Wood (known as Acacia or Monkey Pod) which are solid wood and solid wood is a living material. It may move according to different weather conditions and environment humidity. It is normal for wood to increase and decrease its own dimensions according to the climate. Variations of 1-2% on solid wood table...

Metal is unabashedly confirmed in these large, sinuous sculptures. Complementary forms are emphasized by unique hues and the precious gold leaf appli...

The wave bench designed by Zhoujie Zhang continues to implement his design philosophy of spontaneity. By applying the laws of its own gravity, the bench naturally faces downward and ...

Houdini - Outdoor screen The Houdini Screen is a modular partition that blends privacy with striking design. Composed of customizable panels in stainle...

The All Aid Wellness Cabinet from SoShiro’s Ainu collection, a collaboration between award-winning artist Toru Kaizawa and Shiro Muchiri, was initially imagined as a large-scale medi...

Piece unique. The four-piece set is one example that demonstrates the process when Zhoujie Zhang created his digital chairs. While the chair in the set is only one in thousands of va...

The bow tie chair is a perfect example of Zhoujie’s philosophy of actionless. Like a force of an airplane, polymerizing inward and flowing with natural ...

Piece unique. The four-piece set is one example that demonstrates the process when Zhoujie Zhang created his digital chairs. While the chair in the set is only one in thousands of va...

Claude Viseux est un peintre, sculpteur et graveur aquafortiste et lithographe français né le 3 juillet 1927 à Champagne-sur-Oise et mort le 9 novembre 2008 à Anglet. 'est dans les années 1959-1960 que la sculpture de Claude Viseux, qualifiée de « protéiforme, onirique, fantastique » — ami de Max Ernst, Man Ray, Francis Ponge et Henri Michaux, il ne désavoue pas une parenté avec le Surréalisme9 — se substitue à la peinture, ses premières réalisations étant les objets trouvés en bord de mer qu'il pétrifie dans la cire10 d'une part, les empreintes de pierres et d'algues coulées en bronze d'autre part. En 1960, il signe le Manifeste des 121 titré « Déclaration sur le droit à l’insoumission dans la guerre d’Algérie ». En 1961, ses expérimentations s'orientent vers les corps organiques, notamment avec sa série Ostéales constituée d'assemblages d'os fossilisés qu'il patine ou au contraire décape, qu'il visse, scie, assemble et plastifie. Les Concrétudes ou Coulées directes qui suivent en 1961-1962 sont obtenues à partir de coulées de métal en fusion dans le sable, générant des reliefs qu'il soude sur des plaques d'acier. Il va cependant adopter rapidement l'acier inoxydable — qu'il est avec Pol Bury parmi les premiers à employer en sculpture — comme matériau de prédilection. « Il assemble divers rebus industriels — tuyaux, écrous, boulons, cuves… — pour créer des sculptures à mi-chemin du mécanique et du biologique » restitue ainsi Sophie Serra11. Claude Viseux, qui fréquente alors Jean Tinguely, Piotr Kowalski, Michel Guino, Takis et César, confirme : « Ma récupération de l'élément industriel s'élargit vers les aciers spéciaux, avec un essai de vocabulaire formel : des barres, des profilés, des sphères, des rotules, des fonds de cuves, des chambres à combustion de Boeing, des tubulures, des soupapes de navire »9. « L'artiste entre au cœur de la réalité industrielle, prospecte dans les chaînes de montage de Renault et rôde dans les terrains vaques autour des usines », restitue donc l'encyclopédie Les Muses : « il récupère ferrailles, pièces détachées, débris de voitures, vieux châssis, toute une série d'éléments devenus inutiles. Ils les assemblent, tels quels, sans les modifier. Des créatures agressives ou pathétiques vont surgir de ce combat physique et dialectique que l'artiste livre avec la matière et entrer dans le domaine d'une poétique étrange, surnaturelle5 ». Dans les années 1967-1970, Les « structures actives » en acier inoxydable procèdent ainsi de la production industrielle de série. Elles se répartissent en familles de formes combinatoires composées par addition, soustraction, multiplication, division. Il confirme : « le monde industriel est ma nature, mon bouillon de culture, où je cherche des corps, des familles de corps, des genres, des espèces, dans un aller-retour de l'artificiel au naturel pour confondre les règnes, pour en inventer d'autres selon une géométrie organique qui féconde les différents types de structures, qui aménage la forme concernée par la forme à venir »9. En 1968, Claude Viseux s'installe à la villa Baudran à Arcueil, atelier qu'il conservera jusqu'en 1992. Si des corps imaginaires naissent ainsi des pièces mécaniques que Claude Viseux emprunte à l'automobile, à l'avion et au bateau, en 1972, « la symétrie de ces formes pures en inox », constate Lydia Harambourg, « l'amène à s'interroger sur la notion d'équilibre instable »12. Ses Instables sont de la sorte exposés à la Biennale de Venise en 1972 où, rappelle encore Lydia Harambourg, une salle entière est consacrée « aux dessins qui reprennent son vocabulaire mécanique identitaire de sphères, toupies, hélices, anneaux, astrolabes et balanciers »12. Les Instables sont de même, en 1973, présentés à la galerie Le Point cardinal à Paris où Claude Viseux avait déjà exposé en 1968 avec Henri Michaux et Joaquin Ferrer...