Fabric Furniture

Luciano Bertoncini for Cjfra 'Zattera' bed, alcantara, wood, brass, metal, Italy, 1970s Step into a time capsule of Italian design excellence with this remarkable transformable 'Zat...

Guillerme et Chambron for Votre Maison, 'Grand Repos' lounge chair oak, white wool upholstery, oak, France, 1960s. Guillerme and Chambron are known for their high quality solid oak ...

A fine pair of George IV Irish library armchairs, the well shaped backs with scroll shaped profile, acanthus carved arms, resting on turned fluted legs, with lotus leaf carving and b...

Pair of table lamps model 2466 designed by Josef Frank for Svenskt Tenn, Sweden, 1950s. Brass, lacquered brass and original fabric shades. Stamped. Josef Frank was a true European...

profound celebration of Colombian heritage encapsulated in Hechizoo's masterful tapestry, a striking testament to the studio's commitment to weaving art and culture into every thread...

19th Century Irish Mahogany Open Armchair. This desk chair in the Georgian style with a solid carved splat and top rail, outswept arms, oval seat, with scallop scroll seat rail, sitt...

Rug ‘Sun Spots’ designed by Barbro Nilsson for Märta Måås-Fjetterström AB, Sweden, 1966. Wool. Signed. Tapestry technique. Provenance: From a private Swedish collection. The int...

19th Century Irish mahogany square footstool with tapestry top terminating on hairy paw feet. The weight and detail of the wood carving strongly indicates that it is likely a piece p...

Antique Chinese Peking Rug, c. 1900 Additional Information: Dimensions: 9'0" W x 11'9" L Origin: China Period. c. 1900 Rug ID: 17504

Persian Tabriz Pictorial Rug, c. 1960 Additional Information: Dimensions: 8'4" L x 5'5" W Origin: Persia Period: c. 1960 Rug ID: 23103

Ziegler Mahal Rug, c. 1900 Additional Information: Dimensions: 4'7" W x 6'6" L

Antique Persian Baluch Bagface Rug, Late 19th Century Additional information: Dimension: 2'9" W x 3'0" L Origin: Persia Period: Late 19th Century Condition: Good condition with a s...

Antique Persian Afshar Bagface Bag, c. 1900 This highly graphic Afshar bag face draws a large central indigo-blue hexagon against a complimentary contrasting terra cotta field. Both...

Moroccan Rug, Mid-20th Century Additional Information: Dimensions: 3'5" W x 5'2" L Condition: Excellent

Table lamp model 2468 designed by Josef Frank for Svenskt Tenn, Sweden, 1950s. Brass with cotton shades. Stamped. Model 2468 is a delightful brass table lamp with three small shades in green, yellow, and red. The lamp has an elegant brass base with three stems that hold the shades at different heights. Because of its tricolour shades, it is known as the “traffic light lamp”. Designed by Josef Frank in the 1950s, this lamp has become a timeless Svenskt Tenn collectable. H: 54 cm W: 42 cm Shade D: 15 cm Josef Frank was a true European, he was also a pioneer of what would become classic 20th century Swedish design and the “Scandinavian Design Style”. Austrian- born Frank started his design career as an architect after having trained at the Technische Hochschule in Vienna between 1903 and 1910. After his training he went on to teach at Kunstgewerbeschule (The Viennese School of Arts and crafts) where he developed and espoused the new school of modernist thinking towards Architecture and Design that was coming to fruition in Vienna at the time. He also went on to lead the Vienna Werkbund throughout the 1920s. This was a truly progressive group of Architects and Designers who set about improving the daily lives of Austrian people through modernist design and architecture in partnership with Arts and Crafts ideals and construction. Frank’s leadership of the Werkbund had already cemented his place at the forefront of European design. Frank’s time in Vienna was typified by his design for the “Die Wohnung” exhibition of the Deutscher Werkbund in Stuttgart, 1927 where he exhibited along side his contemporaries at the forefront of design, such as the likes of Le Corbusier and Walter Gropius. Here he showed a specially designed pair of flat-roofed reinforced concrete houses in what is now seen as a typical modernist style. What separated Frank’s house from the other 32 houses of the exhibition was the interior and furniture inside the building. It was described as “Neo-Classical” and filled with an eclectic mix of period pieces, modern design and pieces designed by Frank himself that seemed to cross the two worlds. This was a complete opposite direction to that which his fellow Architects were travelling in with their pared back and angular aesthetics. Frank said of his own work: “The house is not a work of art, simply a place where one lives,” and by this reasoning Frank rejected the regimental mechanisation of the living space that his contemporaries believed in, instead he set about creating congenial and spontaneous interiors. Frank’s practice saw him placing the bright colours and the soft forms of nature back into the furnishings and interiors that he thought modernism sorely mist. Frank, along with Oskar Walch set up Haus und Garten in Vienna in 1925. This was Frank’s first commercial foray into furniture and home furnishings and the company went on to become the most influential furnishing house in Vienna with a riotous depth of colour and interesting shapes becoming the trademark of their design. However this success was to come to an end with rise of Nazism in Vienna in the early 1930’s. Frank was Jewish, and he and his wife Anna decided they would leave Vienna for her motherland: Sweden, in 1933. Frank continued to design for Haus and Garten, visiting Vienna occasionally and designing the pieces that would continue to be the company’s best sellers long after Frank was forced to hand the company over in 1938 after the Third Reich annexation of Austria. When Josef and Anna had moved to Sweden Frank had struck up a working relationship with Design shop owner Estrid Ericson. Ericson was the proprietor of Svenskt Tenn that at this point was a successful interiors shop in Stockholm with the royal warrant of appointment to the Swedish Royal Household. In 1935 Frank had become the chief designer for Svenskt Tenn and had set about putting all of his creative effort into his designs for the company. At the World Expositions in Paris in 1937 and New York in 1939 the world saw for the first time the wealth of products that Frank had been working on, ranging from candlesticks to cabinets, there was not a domestic object that Frank had not subjected to his colourful, comfortable and organic style of Modernism. Frank’s new school of Modernism championed ideas such as chairs having a freeing, open back and that “If one desires the room to be comfortable…all pieces of furniture should allow for a free view of the separating line between the floor and the wall. A cabinet without legs breaks this line and thus reduces the feeling of space.” A world-wide audience tired of classic Modernism’s furniture with solid planes and aggressive forms leapt upon these ideas and Franks natural and bright designs for Svenskt Tenn became internationally desired. Frank created over 2000 designs for Svenskt Tenn and his products continue to be the core of their brand. Frank’s rejections of tubular metal and heavy lacquers within his furniture have insured his unique light form of Modernism continues to influence and flourish today. His natural toned mahogany and walnut pieces along with his tactile leather covered and brightly shaded lighting still bring the forms of nature back into the home. Original Frank pieces are now increasingly rare, highly desirable and are the epitome of “Scandinavian Design”. Renowned Designer and Academic Isle Crawford...

Bessarabian Kilim Fragment Rug, Mid-20th Century Additional Information: Dimensions: 3'3" W x 9'4" L

Pair 18th century French fauteuils in Louis XV style with cut velvet upholstery in fawn and green. The cartouche-shaped padded back, arms,...

Antique Persian Baluch Rug, Late 19th Century Being sold on behalf of Dr. and Mrs. Timothy McCormack. Additional Information: Dimensions: 4'0" W x 7'8" L Origin: Persia Period: Lat...

Antique Persian Fereghan Sarouk Rug, Late 19th Century Additional Information: Dimensions: 4'6" L x 3'6" W Origin: Persia Period: Late 19th Century

Floor lamp designed by Hans Bergström for Ateljé Lyktan, Sweden, 1950s. Brass with a fabric shade. Stamped. Measurements: H: 102 cm / 3' 4'' D: 26 cm / 10 1/4'' Diameter of shade...

Thick Modernist Checkerboard Chinese Rug, 20th Century Additional Information Dimensions: 6'8" W x 8'0" L Origin: China Period: c. 2000 Rug ID: 20326

Persian Lavar Kirman Mat Rug, Early 20th Century Additional Information: Dimensions: 1'1" W x 1'6" L Condition: Excellent

Antique Karabagh Prayer Rug, 19th Century Additional Information: Dimensions: 5'9" L x 2'7" W Origin: Caucasus Period: 19th Century (4th Quarter) Rug ...

Antique Room-Size Persian Heriz Rug, Mid-20th Century Additional information: Dimensions: 9'10" W x 12'10" L Origin: Persia Period: Mid-20th Century Rug ID: 15364

Central Asian Suzani Rug, Mid-19th Century Additional Information: Dimensions: 5'2" W x 7'3" L

Pablo Picasso redefined artwork throughout his extraordinary career, becoming indisputably one of the most influential artists of the twentieth century. In this evocative volume, the artist’s granddaughter, Diana Widmaier Picasso, curates the 100 quintessential, unique works that define the evolution of this illustrious artist, creating a stunning compendium of pieces that simply could never all be acquired by a single collector. Casual art lovers know his Cubist work and the Guernica, but Picasso: The Impossible Collection...

Antique Persian Tabriz Rug, c. 1900 Very good condition. Additional Information: Dimensions: 6'2" L x 4'7" W Origin: Persia Period: c. 1900 Rug ID: 20782

Antique Persian Tabriz Rug, 19th Century Excellent condition. Additional information: Dimensions: 4'5" W x 6'1" L Origin: Persia Period: 19th Century (4th Quarter) Rug ID: 10099

Qashqai Kilim Rug, c. 1900 Additional Information: Dimensions: 9'0" L x 4'6" W

Antique Northwest Persian Runner Rug, 19th Century Additional information: Dimensions: 3'9" W x 10'5" L Origin: Northwest Persia Period: 19th Century (2nd Quarter) Rug ID: 19668

Antique Karachopf Kazak Rug, Late 19th Century The madder field with a central rectangular medallion within an indigo serrated leaf and rosette bo...

Antique Anatolian Turkish Bergama Jajim Rug, 19th Century Additional Information: Dimensions: 4'7" W x 13'10" L Origin: Anatolia (Turkey) Period: 19th Century (3rd Quarter) Rug ID: ...

Aubusson Rug, Mid-19th Century Additional Information: Dimensions: 11'6" W x 13'8" L

Boasting a unique silhouette and superb use of colors, this rug designed by Campana Brothers in 2017 is a magnificent addition to a modern or eclectic interior. Part of a limited edi...

Persian Heriz rug, early 20th century, measures: 4' 0" x 4' 10".

Afghan Large Ersari Rug, c. 1900 Additional Information: Dimensions: 9'3" W x 18'4" L Origin: Afghanistan Period: c. 1900 Rug ID: 17944

Antique Anatolian Yuruk Rug, Late 19th Century Additional Information: Dimensions: 3'2" W x 6'4" L Origin: Anatolia (Turkey) Period: Late 19th Century

Set of three easy chairs designed by Frits Schlegel, Denmark, 1949. Textile upholstery and rosewood. Unique. Provenance: Designed for the Nyegaard Villa Strandvejen, Denmark. Elo...

When Charles Lewis Tiffany opened his first store in 1837 in New York City, selling “fancy goods” imported from Paris, he could not have imagined the visions of glamour that his name would conjure around the world. Tiffany & Co. has transformed from a modest purveyor of gift items to a globally renowned byword for luxury and romance, sublime and rare gemstones, joyful objects of love and an inimitable mix of tradition and modernity. Tiffany is a name that resonates across generations and cultures, part of the fabric of social and cultural history, an American institution gifted to the world, an emporium of escapism, a repository of dreams. During its 185 years, Tiffany & Co. has continued to evolve creatively, embracing artistic and cultural influences, finding exciting ways to renew its rich legacy. Since the 1950s,Tiffany has brought on designers who have become iconic names, from Jean Schlumberger to Elsa Peretti and Paloma Picasso, ensuring that Tiffany remains dynamic and relevant to each generation. The company’s design-driven dynamism honors and perpetuates the founder’s pioneering spirit. Today Tiffany continues to bring fantasy to its annual high jewelry collections, while also speaking to new generations through original collections that offer personal self-ex-pression, so much part of Charles Lewis Tiffany’s original concept. The beat goes on, the pulse of New York and of creativity, the quest for modernity and originality intertwined with reverence for Tiffany’s great heritage. Conceived as the catalog to accompany the exhibition Vision and Virtuosity at the Saatchi Gallery in London, this volume encapsulates all the romance and heritage of this world-famous American icon, highlighting Tiffany’s creative inspirations, witty advertisements and window displays, Blue Book jewel collections and diamond expertise, plus the stories behind the blue box, the classic film Breakfast at Tiffany’s and the fabulous yellow Tiffany Diamond. Jewelry historian Vivienne Becker is an award-winning journalist and author of many books on the history of jewelry design. Based in London, Becker is a contributing editor to Financial Times How to Spend It magazine, writes for newspapers and magazines around the world, and lectures and broadcasts on her subject. She organized and wrote the catalog for the first major exhibition of the jewelry of René Lalique, and curated Jewels of Fantasy...

Armchair ‘Bridge’ designed by Axel Einar Hjorth for NK, Sweden, 1930s. The model was first exhibited at NK's spring exhibition in 1931 and at Ängby-villan in 1932. Our version, pictured above, was crafted using lacquered...

Antique Caucasian Kuba Rug, c. 1900 Dated 1320 which is equal to the current calendar date of 1900. Additional information Dimensions: 3'10" W x 4'10" L Origin: Caucasus Period: 1...

Bidjar Carpet, 4th Quarter 19th Century Additional Information: Dimensions: 9'0" W x 13'0" L

Eagle Karabagh Rug, 19th century Additional Information: Dimensions: 5'3" W x 7'9" L

Flat weave. Measures: L: 328 cm / 10’ 9” W: 201 cm / 6’ 7”.

Suite of six chairs in walnut. Front legs with patinated brass shoes. White fabric.

Mixed media on canvas. Framed: 15'' x 12" Unframed: 11" x 14".  

Zanotta Small Sacco in Green Vip Fabric by Gatti, Paolini, Teodoro Anatomical easy-chair. Envelope containing highly resistant expanded polystyrene pellets. Outdoor cover in Vip (al...

Antique Persian Karadagh Runner Rug, 19th Century Additional Information: Dimensions: 3'4" W x 11'9" L Origin: Persia Period: 19th Century (4th Quarter) Rug ID: 14467

It was by looking to tradition, and at the iconic references that have made the company’s history, that Paola Pastorini was inspired for the Curved Cushions collection. Made with h...

Tekke Mafrash Rug, Mid-19th Century Additional Information: Dimensions: 1'0" W x 2'0" L

Antique Northwest Persian Shahsevan Runner Rug, 19th Century Additional Information: Dimensions: 4'0" W x 11'0" L Origin: Northwest Persia Period: 19th Century (4th Quarter) Rug ID:...

Antique Persian Mashad Rug, Mid-20th Century Additional Information: Dimensions: 9'3" W x 12'6" L Origin: Persia Period: Mid-20th Century Rug ID: 10054

Antique Persian Serab Runner Rug, 19th Century Additional Information: Dimensions: 3'4" W x 15'6" L Condition: Excellent Origin: Persia Period: 19th Century

Rug, designed by Antonin Kybal, Czech republic. 1950's. Kelim technique. Hand-woven wool. Measurements: H: 393 cm/ 12' 10 23/32" W: 280 cm/ 110 7/32"    

Pair of dining chairs, beech, fabric, Italy, 1960s Everything about this pair of chairs is elegantly round. The back-/armrest echoes the base in the same semicircular, open form. Th...

Antique Large Persian Serebend Rug, 19th Century Additional Information: Dimensions: 7'7" W x 19'7" L Origin: Persia Period: 19th Century

Easy chair designed by Otto Shulz for Boet, Sweden. 1940s. Wool upholstery and lacquered wood. Measurements: H: 70 cm / 2' 3 1/2" W: 79 cm / 2' 7 1/2" D:...

Due to the surge of innovation in 3D printing technologies, SLS printing has become popular because of its design freedom, high productivity and relatively low cost. However, the nature of the printing process means that large quantities of SLS nylon powder is left as by product, leading to unforeseen wastage whose disposal has not been considered. The Hot Wire Extensions...