Designer Faves

A pair of wood and off-white fabric "Fiorenza" lounge chairs designed by Franco Albini, likely produced by Poggi Pavia, Italy, c. 1980s. Vintage fabric in distressed condition, reup...

The Hand-Blown Murano Modern Faceted Bowl in Emerald Green is a masterpiece of Italian glass artistry, reflecting centuries of Murano craftsmanship. Its striking, multifaceted surfac...

Large-scale ceiling flush mount light 'Utah-24' designed by Gallery L7, handcrafted and finished in Los Angeles from American brass, suspended perforated raw, aged brass disc (24inch...

19th Century English Oak Corner Table with Carved Frieze & Stretchers

20th century Italian hand-carved twig branch wall mirror featuring an arched top. The large frame is intricately carved with faux bois style details having an intentionally distresse...

oil on canvas

Hand-knotted in wool and silk, this 4x5 modern rug is a bold addition to Rug & Kilim’s Block Print Collection—an innovative line celebrating the artisanal charm of block printing rei...

Engraved at base: "2746 Junom..." Thierry Despont (1948 - 2023) was best-known for his architectural practice—for his his notable private clients like Bill Gates and Calvin Klein, a...

This French two-door armoire, crafted in cerused oak, presents a striking grid-paneled façade and a central removable mirror in the manner of Jacques Adnet. The bold geometric design...

A wood table lamp produced by Diö Slöjd, Sweden, c. 1940s. Dimensions of Lamp (inches): 9.25"H x 7.5"W x 3.5"D Dimensions of Shade (inches): 8" Top Diameter x 10" Bottom Diameter x...

Adrian Pearsall chaise lounge for Craft Associates c.1960s, USA. The lounge features a curved seat back and rounded seat cushion that rests on four tapered walnut legs with casters. ...

20th Century Wrought Iron and Glass Coffee Table with Bronze Mounts A finely crafted 20th-century coffee table featuring a rectangular glass top supported by a wrought iron base wit...

Hunt Slonem (b. 1951) is an internationally celebrated American artist whose vibrant and instantly recognizable works have made him one of the most collectible contemporary painters ...

The most beautifully-veined marble cocktail table, with sexy stiletto legs. Imported from Italy in the 1960s and marked.

A beige string fabric pendant light or flush mount designed and produced in Sweden, c. 1970s. Overall Dimensions (inches): 8.25"H x 19.75"W x 19.75"D Bulb Specifications: E-26 (Sta...

Norman Parkinson captures Apollonia van Ravenstein wearing YSL in Barbados. Vogue, July 1973 Apollonia wearing YSL in Barbados. Vogue 1973 (printed later) C print Estate stamped and...

'Sarasar' Pendants by Roberto Pamio & Renato Toso (IT, 1970s) Beaded shades that are malleable. The shades are hoisted by a spiraled suspension cable system. The lamping consists of...

Lounge chair by Johan Bertil Häggström for Swed-Form c.1970s, Sweden. The chair features a stainless steel chrome frame and a wide leather scoop seat. The seatback is corseted down t...

19th Century Period French, Empire Painted Commode The solid wood body is painted in a textured, aged, distressed patina showing some of the gesso-painted base and original wood b...

Born in Rome, Italy, Emanuel Romano became a painter, illustrator, muralist and teacher in New York City where from 1944 to 1945 he taught at the City College of New York. One of his...

An impressive object entirely shaped and finished by hand, it reveals very different glaze treatments inside and out. While expertly worked to achieve a scalloped edge and channeled ...

Initialed lower right, 'E.B.S.' for E.B.Stetson (American, 20th century) and painted circa 1965; additionally signed, verso, 'E. B. Stetson'. A substantial, mid-century American Sch...

A striking vintage Turkish Kars rug featuring a bold geometric medallion design in warm camel, ivory, and chocolate brown tones. The central field is richly ornamented with tribal an...

Two bikini-clad holidaymakers enjoy a glass of wine outside the Carlton Hotel, Cannes, 1958. Sundowners 1958; Printed Later C print Estate stamped and hand numbered upon sale out of...

A brass and beige fabric wall light designed and produced in Norway, c. 1950s. Overall Dimensions (Inches): 12.5” H x 8.75” W x 5.5“ D Back Plate Dimensions (Inches): 3.3” H x 1.5“...

Hunt Slonem "Maxim" Single Black and White Bunny A single rabbit gestured in black on a white background in a vintage frame Unframed: 10 x 8 inches Framed: 13.5 x 11.5 inches *Paint...

This exquisite three-tiered table by Émile Gallé presents a stunning vignette of water flowers, each tier depicting a different flower. The top tier features intricate marquetry depi...

Beautiful iron mirror from France, 1950's. Large vintage rectangular iron frame with lovely loop iron detail. Original iron finish shows nice age and patina. Newly replaced mirror. P...

Handcrafted in Florence by renowned Italian artist Matteo Giampaglia, this exceptional pair of glazed ceramic lamps represents the highest level of design, artistry, and craftsmanshi...

Beautiful painted ceramic vase from France, 1960s. Hand painted bird motif in blue and grey coloring. Made by French ceramic artist Nissy Annecy, signed on the underside.

Newly made wavy ceramic mirror. Hand-sculpted sections of ceramic placed together to create a beautiful wavy rectangular frame. White glaze over terracotta creates beautiful white-gr...

This 1940s French Art Deco sideboard showcases bold craftsmanship with clean geometry and refined detailing. Constructed from richly toned oak, the piece features two large paneled c...

This oak rococo secretary reflects the timeless Scandinavian styling from the late 1700's. The slight serpentine curves of the drawers rest on simple yet becoming carved sides and fe...

A wood and shearling lounge chair designed and produced in the US, c. 1940s. Reupholstered in brand new authentic shearling / lambswool. Dimensions: 29.5” H x 28” W x 36” D Seat H...

Vuccino And Rava 1958 - Slim Aarons Estate Edition Carla Vuccino, wearing a swimming cap, and a sunbathing Marina Rava, both wearing bikinis as they sit on the rear of a boat, on th...

Majuli Bronze Cane Trolley, Viya by Vikram Goyal Sinuous forms in a captivating rhythm of deftly woven cane, evoke the dynamic flow of Assam's rivers. Th...

Italian hand-carved oak wood bar cabinet with four folding doors and central interior shelf. Discover the essence of Italian style with our stunning contemporary oak wood bar cabin...

A subtly curved golden metal disk fitted to a white glass globe housing the light source marks the extraordinary grace of this pendant lamp. Descending from a coordinated round ceili...

Medium Steel 'Epic' Coffee Table in Earthy Red by Gamfratesi for Gubi Designed by Danish-Italian duo GamFratesi, the Steel 'Epic' Table series for GUBI is executed in solid steel. T...

A beautiful early 19th Century Wedgwood 'Moonlight Lustre' Centerpiece in the form of an open Nautilus Shell decorated in iridescent tones of pink, pu...

The Bermuda lounge chair by Claesson Koivisto Rune (2020) offers a playful yet sophisticated design. Its low, triangular form floats on a slim, three-legged base, inviting free posit...

The Zen moss-green rug embodies the tranquility of a Japanese garden through its two-level weaving technique. Perfect for living spaces, bedrooms, and contract areas, it is the brain...

Signed watercolour on paper landscape by American post impressionist painter Maurice Brazil Prendergast. The work depicts children playing on the beach in Saint Malo, France as boats sail in the blue sea and white clouds role through the sky overhead. This work has remained in the Prendergast family for 3 generations and depicts a rare view of Saint-Malo executed during Prendergast's visit to the french coastal town in 1907 Signature: Signed lower left Dimensions: Framed: 21"x22" Unframed: 13'x14" Proveance: The collection of Charles Prendergast (1863-1948) The collection of Eugénie Prendergast-Van Kemmel (1895-1994) -wife and inheritor of the estate of Charles Prendergast The collection of Henri Van Kemmel (Lille, 1903-1963) - cousin of Eugenie Prendergast
- Madame Henri Van Kemmel Maurice Prendergast came with his family to Boston in 1861. Working in a textile store, Maurice Prendergast was at first self-taught in painting, making souvenir cards and shop signs. He went to Britain in 1886, then to Paris in 1891 and registered at the Académie Julian with Jean-Paul Laurens, Benjamin-Constant, and Charles Blanc as teachers, working also with Gustave Courtois at the Académie Colarossi. More importantly he saw the Impressionists’ paintings and the Nabis at the Galerie Durand-Ruel. He returned to the United States in 1895, settling in Winchester (Massachusetts) and went frequently to New York. In 1898 he again went to Europe where he stayed until 1900, visiting Paris, Florence, Siena, Rome, Capri, and Venice, where he spent six months. Between 1907 and the beginning of World War I he went again four times to Europe but never returned there after the war. In New York where he finally settled, with William Glackens, Robert Henri, and John Sloan among others, Prendergast was one of the members ofThe Eight, gathered by Robert Henri to counter the pervading academicism. The group exhibited in 1908 at the Macbeth Galleries and took part in the Armory Show of 1913. After that Prendergast did not exhibit again with the group. In 1914 he left Boston definitively for New York. Prendergast was in his thirties before he began to devote himself to painting. In his late beginnings he painted in the open air as the Impressionists did, mainly in watercolours with clear brushstrokes and an elegant virtuosity recalling his then admiration for James Whistler and Claude Monet. Between 1892 and 1905 he carried out two hundred monotypes, a technique of which he was the undisputed master in America at that time and which expressed the influence of Japanisme. During his stays in France he painted views of Paris, but also Brittany and Normandy. In this period, in 1896, he was chosen to illustrate My Lady Nicotine by Matthew Barrie. During his third stay in Europe, from 1898 to 1900, he painted in Paris, at Saint-Malo, and mainly in Venice, where, influenced by Vittore Carpaccio he introduced brightly coloured banners into his animated compositions. In oils he painted slowly, touching up his paintings by superimposed brushstrokes, sometimes over several years. He chose to use the divided stroke in an early period, a technique which had similarities with Post-Impressionism. After his travels in Europe and his discovery of Paul Cézanne, he evolved in the direction of the neo-Impressionism of Georges Seurat, placing little dots of colours with a knife, then of the Nabis and even later Fauvism, painting large brushed surfaces in bright colours. After 1899, his Ponte della Paglia in Venice freed itself from strict divisionism, adopting the dense composition in vertically superimposed planes of the Nabis. Like the members of the group of eight, he took his subjects from the daily life of ordinary people, in scenes in the parks or on the beaches of New England, picnics or sometimes circuses. Nevertheless the happy vision that he had of the world separated him strongly from the evolution that led his companions to paint the most miserable and populous milieus, which gave them the name of The Ashcan School. His compositions are arranged in surfaces superimposed vertically, without depth; while the Impressionists and Post-Impressionists were influenced by the layout of Japanese prints, Prendergast was inspired more by Persian miniatures. The decorative elements and the build-up of characters in crowds are placed frontally, like garlands on a tapestry, particularly as he seeks a texture effect, covered entirely by the subject without any empty spaces. His attraction to colours caused him to research all the motifs that he introduced into these compositions: umbrellas, parasols, balloons, draperies. In 1911–1912, he experimented with pastel and treated new subjects, nudes and still-lifes. After 1913, in sympathy with the Symbolists, he put nude figures and everyday characters side by side in the same composition. In his last years, and above all in the watercolours, he discarded the divided stroke and applied larger brushstrokes, similar to the technique of Henri Matisse. Fidelity to the leisurely settings and elegant grooming of the period gave his works, apart from their artistic value, a charming sociological aspect. Singular, almost marginal in his time, his paintings stand out by the density of their composition, in form and colouring, characterised by the accumulation of detail, minutiae of scenery, the serried ranks of people that animate them, the chromatic polyphony of elegance, umbrellas, parasols, and flags. He is a complete painter, particularly generous, who would never be happy to provide only samples of his art. Following Whistler and Mary Cassatt, Maurice Prendergast is one of the most interesting and original Post-Impressionist American painters, and perhaps marks exactly the boundary between the 19th and the 20th centuries. He was considered to be an ‘old master’ from 1920 on, and his works appeared in very many exhibitions of modern American painting. He had his first solo exhibition in 1897 at the Chase Gallery of Boston, where his works were noticed by Madame Montgomery Sears, who made a collection, taking the advice of Mary Cassatt. In 1915 six paintings and watercolours exhibited at the Carroll Gallery of New York established his success and drew the great collectors to him, among whom were Albert Barnes and John Quinn. Group Exhibitions 1974, Ten Americans, Andrew Crispo Gallery, New York 1976, Art of Impulse and Color, University of Maryland Art Gallery, College Park (Maryland) 1982, American Impressionists, Smithsonian Institution, Washington, DC (also presented at the Musée du Petit Palais, Paris) 1999, Town and Country: American Artists, 1870–1920 (Ville et campagne: les artistes américains, 1870–1920), Musée d’Art Américain, Giverny 2002, Japonisme in America: Works on Paper, 1880–1930 (Le Japonisme en Amérique: œuvres sur papier, 1880–1930), Musée d’Art Américain/Terra Foundation for the Arts, Giverny 2007, American Impressionists: Painters of Light and the Modern Landscape, Phillips Collection, Washington, DC 2008, Coming of Age: American Art 1850–1950, Paintings from the Addison Gallery of American Art, Massachusetts, Dulwich Picture Gallery, London 2008, Portrait of a Lady: Paintings and Photographs of American Women in France 1870–1915, Musée des Beaux-Arts, Bordeaux Solo Exhibitions 1934, Maurice Prendergast Memorial Exhibition, Whitney Museum of American Art, New York 1938, Retrospective Exhibition of the Work of Maurice and Charles Prendergast, Addison Gallery of American Art, Andover, MA 1960, Maurice Prendergast, 1859–1924, Museum of Fine Arts, Boston 1990, Art Institute of Chicago 2009, Prendergast in Italy, Peggy Guggenheim Collection, Venice Museum and Gallery Holdings Andover, MA (Addison Gal. of American Art): At the Shore, St. Malo No. 1 and 2 (c. 1907, watercolour and graphite on wove paper, 2 works); Along the Cove (1910–1913, oil on canvas); seven sketches of Paris (1893, oil on wood) Chicago (AI): In the Park (1918–1919) Chicago (Terra Foundation for American Art Collection): Festa del redentore (c. 1899, monotype); The Opera Cloak...

This octopus glass can be combined with the octopus pitcher to make a striking statement on any dining table, whether in a contemporary or classic decor....

Henning Kjaernulf - Razorblade Chairs, 1960. Unique lounge chairs manufactured by Nyrup Møbelfabrik, Denmark 1960. The chairs feature razor blade shaped carved backs and thick, wide...

A Dutch Art Deco modestly sized elegant occasional table or side table in oak and black laquered balls for feet. A very nice accent piece in interesting, eclectic interiors. It is a ...

Hans-Agne Jakobsson Darkly Patinated 'Tratten' Outdoor Pendant. An exclusive made for U.S. and UL listed authorized re-edition of the classic Swedish design from Jakobsson, executed...

Handcrafted in Bulgaria, our Marbre collection brings a rustic elegance to any table setting, with its dreamy marbled pattern. Available in Blue, Green and Brown, the Marbre collecti...

This English bamboo bookcase from the Aesthetic Movement of the late 1800s was given a creative update with recent decoupage and painted ebony finish. Schools of fish animate the ext...

Located in Arches National Park in Utah, USA, Double Arch is a grand natural formation which results from an underground sandstone pocket where water and wind erosion gradually sculp...

This mid-20th century Chinese Art Deco rug, measuring 8' 10" x 11' 3", showcases a beautifully refined design with a rich terracotta field. Scattered across the open expanse are trad...

Gucci 1970s Quail salt and pepper shakers. Signed Gucci Italy

Beautiful six-light handmade Italian Gold Leafed France with Lead Crystal Pendant. All new American wires and sockets matching chain and ceiling canopy. Ready to install with all mou...

Side Table Newton Dark Green with all structure in stoneware in glazed finish.

Hubert Thornley British, (exh. 1858 -1898) Moonlight Whitby Harbour, Low Tide Oil on canvas, signed, indistinctly inscribed in pencil to the stretcher verso Image size: 9.25 inches x 15.25 inches Size including frame: 16.25 inches x 22.25 inches An atmospheric moonlit painting...

Designed by the legendary Paavo Tynell, the 1972 pendant features a conical shade in bamboo, crafted by master artisans. The the bamboo slats are hand sewn into a pleated mat and fas...

"Pretty small French tapestry from the late-20th century, featuring a beautiful design and nice colours, woven in jacquard loom by wool acrylic a...

Swedish designer Jan Ekselius studied at the art academy in Stockholm and later at the Royal College of Art in London. He made his international breakthrough in the early 1970s with ...

Article: Wall mirror Producer: Vereinigte Werkstätten München / Münchener Zierspiegel Design: in style of JOSEF FRANK Origin: Germany Material: Wood, glass, metal and br...

A dark-stained birch cabinet designed and produced in Sweden, c. 1930s. Dimensions: 58.8” H x 38.5” W x 18.375” D