Low coffee table by Arthur Court. Intertwined antlers cast in aluminum support original oval glass top. Similar form in “Arthur Court Designs 35 Years of Innovation” by Court.
A spectacular Royal extension table by Maison Jansen. Dark grey lacquer surface on blackened steel legs mounted with gold plated accents. Versatile table extends from 55 inches to 78.75 inches with single leaf. Table folds flat for storage.
Documented in Jansen Decoration by Van Der Kemp – ppg 120-121; Jansen Furniture by Abbot – ppg 230-231 and Jansen by Abbot – ppg 182-183.
Crown of Thorns low table by Paul Evans. Unusual execution of Evans sculpted steel crown of thorns table rendered as a coffee table. Welded, oxidized steel with gilt decorations support original 3/4 inch glass top.
A unusual single extra-wide three-tier Pagoda table by James Mont in brass leaf over silver leaf in original antique high lacquer finish. Exceptionally rare to find untouched original finish in this condition.
Pair of Gilt Tall Cabinets by James Mont
USA c. 1950
A pair of gilt tall cabinets signed James Mont Designs. Each cabinet finished completely in antiqued gold metal leaf with pure gold accents. Each gilded cabinet consists of two sections that have a cove molded gallery above a tall section with two paneled doors, each with beaded molding in the panels and circular Asian styled pulls; this rests on a shorter section with two doors and one circular Asian styled pull; and the entire cabinet rests on a cove molded base. Both top and bottom cabinets' interiors are ivory and fit for adjustable shelves. Tall elegant proportions, restrained detail and luxurious gold leaf finish make these the best of Mont's work.
Low nuclear table by Harvey Probber. Oak table composed of two pieces – can be used as a low round table, or the components can be used separately as a longer “s” shape, or as low half rounds. Model 201.
An early 1968 signed Paul Evans table or desk with glass top. The two large crescent-shaped bases are of patchwork polychromed welded steel with red, gold and blue-green patina and brazed brass decoration. Welded and brazed motifs are stars, swirls and geometric patterns as well as a large welded signature PE 1968. The decoration is random, asymmetric and artfully applied. Original oval glass top.
An early, signed Paul Evans cantilever low table that features a rare satin-bronze finish in combination with a mirror-chrome finish in an L-shape form. Signed “An Original Paul Evans”.
Double Pedestal Cityscape Dining Table by Paul Evans
USA, 1970s
A Double Pedestal Cityscape Dining Table. Each pedestal is an L-shape form with mirror polished chrome and satin chrome finish in Evans’ iconic patchwork design and a thick rectangular glass top. Signed “An Original Paul Evans”.
The chest consists of a swiveling mirror supported in a Napoleonic Empire style frame with arched pediment and Tuscan style pilasters with bronze banding at the capital and base of each. The chest’s top has a black and white marble inset in the center, and the chest comprises four long drawers, the lower three each have a keyhole opening. Tuscan style columns with bronze banding at the capital and base of each flank the three lower drawers and the entire chest sits on a rectangular base that is supported by two bracket feet in the rear and two bun feet in the front.
A patinated silver-leaf Dining Table by James Mont, c 1950s in excellent original finish.The table is round with two leaves to extend it to an oval shape to seat six.The four legs are an open elongated key form.Finished in Mont’s signature patinated silver leaf technique of silver applied over a black base coat, then hand rubbed to create a serrated finish. An elegant dining table for a small space.
A Polished Steel Coffee Table by Gabriella Crespi, c. 1970s.An oval shaped table with two retractable shelves on both ends, covered in a veneer of steel in a mirror finish.
A rare and magnificent two-tiered cabinet by Eduard Wimmer-Wisgrill, 1932.This unique cabinet was designed by Wimmer-Wisgrill for a bridge room in a 1932 exhibition and was manufactured by the illustrious Wiener Werkstatte. The Austrian Museum in Vienna (MAK) has period photos of the cabinet in situ .This striking cabinet is embellished with gold leaf in a chevron pattern and then incised with geometric patterns on alternating strips.The cabinet rests on a simple black painted support; the interior is painted black.
The Wiener Werkstätte (or Vienna’s Workshop), founded by Josef Hoffmann and Koloman Moser in 1903, is one of the most important influences on 20th Century design, decorative and fine arts. Unlike other international Arts and Crafts movements, the Wiener Werkstätte did not have any populist aspirations and catered to its wealthy patrons during its 29-year existence. The Workshop produced a wide range of products including ceramics, fashion and furniture. Their emergence is associated with the Vienna Secession and the Art Nouveau movement, however aesthetically the Werkstätte is more geometric and less ornamental, like Bauhaus but with a greater emphasis on objects rather than architecture.
Eduard Josef Wimmer-Wisgrill joined the Werkstätte in 1907 and became the first artistic director of the fashion department. He held the position from 1910-1922, producing their first fashion and textiles collection in 1911. His importance and contribution can not be understated. Clothing and textiles were the most lucrative areas for the Werkstätte and likely kept the whole operation in business during financial difficulties. The fabrics, color schemes and silhouettes influenced continental fashion and Wimmer-Wisgrill was described as “the Poiret of Vienna” by a contemporary Berlin newspaper. After leaving the Wiener Werkstätte, Wimmer-Wisgrill would live for several years in the United States being involved with the fashion and Arts and Crafts courses at the Art Institute of Chicago. He moved back to Vienna in the late 1920’s and returned to academia at the Kunstgewerbeschule Vienna (or the School of Applied Arts). In addition to fashion, Wimmer-Wisgrill also designed a wide number of items including jewelry, wallpaper, metalwork, stage sets, interiors and furniture. It is likely that some of his furniture designs have been erroneously attributed to Josef Hoffmann. Wimmer-Wisgrill also designed furniture for Niedermoser, underscoring the idea that he may have created more furniture than previously believed. The uncontested Wimmer-Wisgrill furniture pieces are embellished with patterns that are clearly influenced by textiles. His work can be found in the permanent collections of the Neue Galerie, the MAK in Vienna and the Textile Museum in Washington D.C.
A Bigfoot Table by Paul Frankl, ca 1951.The Bigfoot table was produced by Johnson Furniture Manufacture in various amorphic forms with mahogany legs and bleached cork tops. The top on this table was painted an ashen cream.A version of this table can be seen in “Paul T. Frankl and Modern American Design” by Christopher Long, pages 161 and 163.
A Black Resin and Hematite Inlaid Low Table by Ado Chale, 1975.A thick slab of black resin inlaid with organically shaped strips of hematite rests on two tripod bases.A bronze inlay signature “Chale” is on the apron.
A Coffee Table by Gabriella Crespi, c. 1970. Table is in two parts: the top is finished in brass and it slides to offer more table space, which is the bottom that is finished in black lacquered wood.
Pair of Triangular Walnut Side Tables by Phillip Lloyd Powell
USA, c. 1955
A Pair of triangular walnut side tables by Phillip Lloyd Powell, c. 1955. Each have an inset heavily lacquered slate top, the sides have vertically positioned boards that meet seamlessly at the corners but leave a slender gap at their juncture on the sides.The sides have a slight swell that is well proportioned to their diminutive size.
Magnificent Black Resin and Malachite Coffee Table by Ado Chale
French, c. 1970
A Magnificent black resin and malachite coffee table by Ado Chale, c. 1970.A low table in black resin with malachite inlays in three organic forms spanning the width of the table and has a bronze inlay signature “Chale” on the apron. The top rests on three black, metal tripod bases.
Smoked mirror coffee table by James Mont. Deeply smoked mirror shows wonderful ageing, black lacquered frame, classic Asian modern styling. Contains two hidden compartments underneath, an often requested feature from some of Mont's more notorious clientele.
Sculpted Bronze Disc Bar by Paul Evans
The disc bar is one of the most highly sought-after works from Paul Evans’ oeuvre as less than 200 were ever produced. It is a convergence of artistry and functionality and an early paradigm of art furniture. The facade is composed of two semi-circular wooden panels, covered in epoxy and then using a spray-on technique adapted from shipbuilding the molten bronze was applied. Evans would experiment with the technique, sandblasting or applying rocks to the epoxy base to produce a more sculpted relief affect. While it was still cooling Evans would sculpt the concentric design motif. Observers have linked the design to ancient Aztec sun dials, as this piece exemplifies. The interior was designed for bar storage and includes several compartments such as a utensil drawer and a locked cabinet similarly covered in sculpted bronze. Wall mounted and with a diameter of 6 feet (or 1.8 m) this piece has a powerful sculptural presence. Signed PE 72.
A silver leaf and glass coffee table by James Mont, c. 1950. The table is silver leaf over underlays of lavender and black and features a platform base and two plinth supports. Each support is cut to accommodate a thick glass slab that slides through the two plinths to create a dramatic top to the table. Each side panel is decorated on both sides with 19th century carved Chinese elements in naturalistic forms: the interior sides with a flower bouquet, and the exterior sides with birds on branches. Mont gilded and antiqued the appliqués then set them in a carved frame. James Mont hired the finest craftsmen for his 5-story workshop on 57th Street in New York City where each floor was dedicated to a specific construction or finishing process. Mont perfected his labor-intensive gilding process while jailed at the infamous Sing Sing prison and thus dedicated an entire floor to this lengthy process. Base coats in various colors were layered under the meticulously applied silver or gold leaf to add a hint of color. Lastly, several layers of lacquer were applied (sometimes upwards of twenty layers); he used clear lacquer but also favored his smoked lacquer technique. This coffee table exemplifies the craftsmanship and detailing Mont adamantly required in his furniture.
Mint Restored Condition 22 H 65 L 16.5 D (56 H 165 L 42 D cm)
“Itten’s photograph from 1920 portrays a man who appears to be disciplined, serious and determined. His unusual appearance might be puzzling: the shaved head of a priest, the self designed robes. But it all fits into the picture of this early master at the Bauhaus.Itten joined it in October 1919 teaching the preliminary course. His focus lay in the study of objects and materials, analysis of Old Masters and life drawing. He was aware of the newly established educational reform theory and was familiar with the artists of avant-garde. In more practical terms this meant that he wanted his students to find their inner being and develop a well tuned personality. He started his class with breathing exercises and gymnastics and let his students decide whose work was the best. People either admired him or hated him profoundly.Nontheless he was quite rightly described as the backbone of the Bauhaus. His ‘Vorkus’, the preliminary course, was continued in a very similar style even after he left the institution. It is said that it was his passion for the development of the individual which eventually led to a fall out with Walter Gropius, the director of the Bauhaus. The latter was of the opinion that commercial work was essential to keep the school individualism. Itten eventually founded his own school in Berlin in 1926, known later as the Itten School.”
A Rare coffee table designed by Johannes Itten, c. 1930. Shortly after leaving the Bauhaus in 1922 as a professor of the preliminary course, Itten formed his own school in Berlin and it was during this period he designed these for his own home.A simple design that shows off the beauty of the wood in its surface.
A satinwood bedside table by James Mont, c 1950.A simple rectangular form comprised of one top drawer above one door that has two faux drawers, each drawer accentuated with round brass pulls. With burned in mark James Mont Design.
