Belgium

"Famille Rose Porcelain Plate, Qing Dynasty – Court Scene, Canton Decor, 19th Century " A finely painted 19th-century Chinese export porcelain plate, richly decorated in the famille ...

Senufo ottoman, unique signed stool, Arno Declercq Iroko wood and sheepskin by Carine Boxy Measures: L 45 cm x W 45 cm x H 40 cm L 17.7” x W 17.7” x H 15.7” Material: Iroko wood ...

This big, stunning & colorfull Mah Jong sofa by Hans Hopfer is a timeless masterpiece in the Roche Bobois collection, embodying both modularity and artistic expression. Originally de...

Vintage black pleated skirt by Céline featuring a front leather waistband detail with gold-tone buckles on each side. Fully lined with a Céline carriage...

Michel Ducaroy for Ligne Roset, Togo Lounge Chair, France 1978 Rare vintage edition in mint lime green leather An extraordinary and highly collectible example of Michel Ducaroy’s ic...

The Sophie Sofa by am designs blends relaxed elegance with versatile functionality. Handmade in Belgium with a solid wooden frame, it features a durable construction and plush seat a...

This elegant cast iron serving trolley features richly detailed scrollwork, floral motifs, and a warm, aged patina that highlights its craftsmanship. The multi-tiered design offers g...

Remarkable flamenco dancer ceramic made by Formento Treviso in Italy between the 1950’s & 60’s. - Remarquable céramique de danseuse de flamenco réalisée par Formento Treviso en Itali...

Seventies low three-seater lounge sofa designed by Michel Ducaroy. Manufactured by Ligne Roset. Model "Marsala" sofa shows Ducaroys characteristic style and innovative approach to de...

Superb and rare Regency mahogany Davenport desk, circa 1810. This small English piece can serve as a writing desk or a superb display cabinet of exceptional quality. Such fine pieces...

Rare, Afra, Scarpa, italian, 1980s, leather, patina, collector's item Designed in 1985 for the Benetton office by the iconic Italian architects Afra & Tobia Scarpa, this chair is a ...

Vintage Midcentury Modern Design XL "SPUTNIK" 18 Arm Ceiling Mounted Lamp by Kaiser Leuchten. Made in Germany, 1950's period. This XL flush mounted ceiling lamp is made in brass with...

Cylinda-line ashtray in Brass. Iconic creation by Danish designer Arne Jacobsen for Stelton Brassware. This is the smaller version or cigarette ashtray. Diameter 3 inches (7,5 cm)....

Meerschaum pipe representing an Indian head. Amber stem. In its original box. Dimensions: box length 20 cm measured in a straight line, pipe 18 cm, head height 7 cm. France, datable ...

Yves Saint Laurent "Rive Gauche" 1971 Vintage Documented Dress A rare, iconic piece from YSL's 1971 "Rive Gauche" collection, instantly recognizable to collectors. The bold print is ...

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...

Elegant New Metal Coffee/Tea Set. Porcelain Teapot, Creamer, Sugar Bowl & Tray By BMF Bavaria, Germany, 1970. Coffee Pot With removable thermal hood to keep warm insulated wit...

Belgium / 1980 / Mirror / DeKnudt / Resin, wood / Mid-century / Baroque Beautiful and very large rectangle gilded Deknudt mirror. This mirror features a baroque style frame with mar...

"GIULIA MANGANI Firenze - PORCELLANE D'ARTE" Hollywood Regency - 1980s - Italian Porcelain Lamp sold without lampshade Measures : 35:20cm H:66cm Material : Metal - Porcelain - lamin...

Vintage 1980s Postmodern two-seat sofa. Sculpted beech frame with aluminum accents. Original warm yellow cream leather cushions. Very good condition, comfortable seat. Dimensions: 1...

Small minimalist sideboard by Hendrickx, Belform 1962, Belgium. Small cabinet with one adjustable shelve and three dovetail drawers. Its finished with square metal doorknobs and a ni...

Console 102024 made in Oak wood, burned and oiled and burned steel.

Designed by Swiss architect Mario Botta for Alias in the 1980s, the Quinta chair is a striking example of postmodern Italian furniture design. Its bold frame is constructed from blac...

Bernard Blommers 1845 – The Hague – 1914 Dutch Painter 'First Steps' Signature: signed lower right 'B/Blommers' Medium: oil on canvas, ca. 1865 Dimensions: image size 56,5 x 76,5 c...

Beautiful pair of vintage 1960s Spanish armchairs that capture the warmth and ease of mid-century design from northern Spain. Carved from solid pine, their sculptural form is defined...

Vintage industrial 5-drawer filing cabinet Industrial - Vintage furniture File cabinet Measures : 31.5x43.5 H:100cm Materials : Wood - Metal

Beautiful and rare vintage blue vase, design attributed to Aldo Londi for Bitossi, colour Rimini Blue, 1960s, not marked. Collector's item, these vases may not be that big but they ...

Lele or Kuba Anthropomorphic Palm Wine Vessel Democratic Republic of Congo, Mid-20th Century Wood, carved and incised H: 14.5 cm This striking anthropomorphic vessel originates from...

The Bermuda sofa was designed by the German architect and furniture designer Heiner Gölz for the Belgium based quality brand Durlet. This sectional sofa in dark brown leather consist...

Louis XVI style half-moon fireplace in turquin blue marble Hearth dimensions: 94 x 96 cm

Cesare Lacca serving trolley from the 1960s, an elegant example of Italian modern design. The organic wooden frame, the glass top and the removable tray clearly express the refined f...

A refined pair of authentic Art Deco club chairs, circa 1930. The chairs feature solid wooden armrests with elegant curves, short rounded feet and decorative studs along the edges. U...

Heavy and very nice quality statue of an imperial temple lion, or Singha or foo dog, partly gilded bronze, partly green patinated, Thailand or Cambodia, circa mid 20th century or lat...

Set of 2 Dark Brown leather and wood chairs designed by Afra & Tobia Scarpa. Modèle: 925. Stamped Cassina. Seat height 37 cm. Wear due to time and age. FOR SHIPPING, REQUEST US FOR ...

Contemporary Belgian design, handcrafted in natural plaster with a textured, earthy character. The surface is stain-resistant, easy to maintain, and pleasantly soft to the touch, unl...

Rare 1960's Bronze Dining / center table by Michel Mangematin. The 140cm diameter Bronzed spider form table base has a beautiful patina and is shown with a 150cm diameter glass top w...

A very fine and rare burr walnut and walnut double domed cupboard; Holland, circa 1700. Resting on bracket feet, the base has two large drawers a pair of half - width drawers, protruding on the bottom and inlaid with cross banded geometric ornament. The doors have elegant protruding curly serpentine - shaped walnut ornament and are topped with finely carved low - relief walnut lambrequins in the Régence style under the double domed cornice. Each dome has an elegant molding transforming in its centre into a richly carved bracket. Together with the flat - topped corners and centre, these were meant to support a Chinese porcelain or Delft glazed earthenware set of 5 blue - and -white vases, called a ' kaststel ' in Dutch. The interior is typically executed in oak, with three interior drawers and shelves behind the cupboard doors. As was often the case, the bronze handles and keyholes were replaced later in the 18th century by more contemporary Louis XVI models. The interior drawers however, where it was not felt important as they were invisible when the doors were closed, still keep their original handles. The double dome is a rare feature in Dutch walnut cabinets...

A beautiful old Chesterfield-style armchair, better known as a wing chair, made from an oak base and upholstered in brown leather. The backrest is tufted, dating from the first half ...

Side table in gold-plated metal and 3 smoked glass tops. The table has a height of 50 cm, the wide x depth are 39.5 x 43.5 cm. The table has minor signs of wear, typical of the age...

Vintage collectible vase with a peacock-like fantasy bird from the one of most famous porcelain manufactory in Germany Kaiser, 1980s. “Karib...

Lovely 19th century English mahogany library ladder. Very beautiful ladder made up of 5 mahogany steps. It is rare to find them in mahogany. Our first. The ladder folds up (the dimen...

Mid-Century Cocoon Suspension by Castiglioni, 1963

A Italian chandelier in brass with ten arms of which each hold a Murano glass sphere. The bulbs are divided over three levels, creating an extravagant look. The light created by th...

Contemporary Large Modular Sofa, Italy

Striking 'Soshun' flower stools by Masanori Umeda for Edra, Italy, 1990s. Designed as sculptural blossoms, each stool features a velvet seat in deep crimson, evoking the softness and...

Large Jaap Gidding Attributed 'Underwater' Painting from Tuschinski Theatre Amsterdam, The Netherlands, 1920s. Mesmerizingly beautiful unique and very large museum quality painting ...

Beautiful old rustic Brutalist-style stool, handmade from solid wood. The three legs are attached with mortise and tenon joints, a characterful piece from the first half of the 20th ...

Guido Faleschini for Mariani, ‘Pace Collection’ Queen Tucroma Bed with Nightstands and Stools, Italy, ca. 1975 Natural Cognac Leather-Bodied Bed with Integrated Matching Round Stool...

Villeroy & Boch Red Burgenland. Villeroy and Boch Dinner Plates. In excellent condition, no chips, cracks or crazing. Burgenland is one of Villeroy & Boch’s most iconic pa...

Color lithograph after the 1961 oil on canvas by René Magritte, printed signature of Magritte and numbered from the edition of 300. The lithograph features the dry stamps of the Mag...

Enjoy this item as part of our Holiday Sale, for one week! Alexander McQueen Spring Summer 2002 "The Dance of the Twisted Bull" red & white polkadot cotton shirt. A rare and iconic ...

This vintage French round table from the 1970s embodies the quiet beauty of wabi sabi design, where every mark tells a story. Handcrafted in France from richly grained solid oak, it ...

Wooden sideboard with 2 black sliding doors, each containing height-adjustable shelves and lockable doors designed by George Nelson. Wear due to time and age. For shipping, request u...

Michael Elkan Box in Live Edge Maple Burl American Craft Movement 1980s This is a truly wonderful trinket or jewelry box in maple burl made by renowned American Craft Movement wood ...

Ancient Greek mould-made terracotta antefix decorated with the female head of the Goddess Artemis Bendis. Western Greek, Italy, Taranto, early 4th century BC. Two small feathered win...

Architectural brutalist wall mounted sculpture made from cast metal. Imposing wall sculpture 1970s - Belgium Height: 85cm Width: 185cm Ref.: 2508120401 *All images are always pa...

This is the Sloucher chair made in the 1960's. Leather has been restored. Made of Cocobolo Rosewood. Don S. Shoemaker (1919 - 1990) was born in Nebraska and studied at the Art Inst...

This set of 4 vintage dining chairs was designed in Czech Republic in the 1950s by Oswald Haerdtl, famous Austrian designer. Together with Mr. Josef Hoffmann he designed the cafe ter...

Erasmo Sideboard by Ferdinando Meccani for Meccani Arredamenti, 1972

Set of 5 Pierre Chapo Style Chairs in Solid Elm France 1970s This is a stunning set of five mid century dining chairs in solid elm in a very distinct style that resembles works by P...