Pine Vanities

Antique Swedish Gustavian single mirror carved dressing table in later white paint with 2 pedestal cabinets with carved motifs. It has the origi...

An exquisite late 19th-century French Parisian washstand or vanity, sourced from Provence, France. This piece features a rustic pine storage cabinet topped with stunning Calacatta Vi...

This is a very rare and beautiful walnut vanity attributed to R.J. Horner of NY. The reason we believe this is because of the secondary woods used on the drawers which are not Europe...

Little pine vanity with beautiful grain, two drawers and adjustable mirror. In original condition with visible wear, consistent with its age and use. Shown with pine vanity stool, si...

Antique French Washstand Napoleon III Style A pretty faux bamboo and pine washstand featuring a variegated grey and white veined Carrara mar...

This early 20th century pitch pine vanity features a white marble top with white marble shaped sides and an upper shelf. The apron houses a single drawer with a turned knob. A smart ...

constructed entirely of well patinated pinewood, having a raised rear gallery enclosed on sides and raised on square tapering legs, height of larger surface is 32.5 inches

Mid-Century, Dutch, solid pine vanity bench with flip up mirror top and lower storage shelf. A versatile and space effective piece that effortlessly combines style and function into ...

Lovely little adjustable pine vanity set with top mirror, three drawer cabinet and upholstered stool. The top of the vanity can be placed anywhere on the cabinet. The stool measures ...

Old rustic French dressing table with weathered paint, weathered mirror and drawer.

Antique French faux bamboo washstand This delightful Faux Bamboo Washstand retains its original white marble top, below which there is a full-widt...

Lovely dressing table by Erik Höglund, in a whimsical design with smooth lines. The table top stands on a piedestal base, cute knobs on the drawers and on the sides of the mirror. Erik Höglund was one of Sweden’s foremost glass artists, whose innovative designs and glass making techniques revolutionized the scene of both art glass and serve ware in the 1950s. His bold and personal designs gave him and the glassworks Boda worldwide acclaim. Erik Höglund is considered the most influential Swedish glass artist of the 1950s and 1960s, alongside Ingeborg Lundin. Höglund was admitted to the prestigious school Konstfack at the age of 16, first studying to become an art teacher, but later changing to the sculptor’s line. He rebelled against many of what he considered to be conventional ideas at the school, and was almost expelled. His nonconformism would follow him through his career, aiding him in following his own path and repeatedly breaking new ground. Erik Höglund started working at Boda glassworks in 1953. At the time, Boda focused on producing high-quality serve ware in ethereal, cut-glass designs under the direction of Fritz Kallenberg. Höglund brought new perspectives and ideas, experimenting with the glass mass to give it a bubbly look and introducing colored glass and irregular finishes. These ideas were in direct opposition to the traditional ideas of what quality glass is, and Höglund was initially met with skepticism. He created rustic designs that allowed for everyday, multiple uses of glass, allowing it to be both functional and aesthetic. This down-to-earth idea appealed to both critics and collectors, although it took some years into the 1950s to win over the general public. In 1955, Erik Höglund’s glass was presented at the H55 Exhibition and one of his vases, whilst considered scandalous due to its suggestive decor, was purchased by the Swedish king. In 1957 he was awarded the Lunning Prize, its until then youngest awardee. Following that, his glass was exhibited in the Georg Jensen store on 5th Avenue in New York, making Erik Höglund and Boda world renowned. Erik Höglund was a master of all artistic trades. His glass murals were an important part of his artistic deed, leading to many assignments of public decorations, around Sweden in churches, schools, banks and other public places, as well as in the United States and Australia. In the early 1960s he also started working with wrought iron, making chandeliers and candelabras, combined with glass or unadorned, that became hugely popular. Boda opened its own smithy, Boda Smide, to satisfy the demand. Höglund also worked with wood, creating rustic and playful children’s furniture, candle holders and beds. Höglund left Boda in 1973 and worked with public assignments, often in collaboration with architects and his wife Ingrid Höglund. He continued to work with glass throughout the years for Pukeberg, Lindshammar and Strömbergshyttan glass works. He was was an incredibly productive artist, creating 150 public works from 1956 into the 1990s. Life cycles, sports and acrobatics, everyday life and family relationships were recurring sources of inspiration. Among his most notable work is the decoration of Johannelund Church in Linköping, which consisted of murals, glass sections, furnishing and the church silver...