Furniture, SeatingElegant daybed made in Germany in the late 1960s or early 1970s. Made of wood, this sofa is extensible on its left side (see pictures). The model is typical for the period and the vivid green colour, in a nice dialogue with the dark wooden parts, is a recuring theme of the german rationalism in design. The sofa is in good vintage condition. All the defects are visible in pictures.750 €
Furniture, SeatingSet of 6 Danish teak chairs made in the 1960. The organic, delicate forms are specific for the Mid-Century Scandinavian design. The minimalistic overal look talks about inovation and modernity. The chairs are made in plain wood, with a sinthetic leather seating, specific for that period. The chairs were recently restained and are in very good vintage condition showing just a nice patina.900 €
Furniture, TablesElegant Danish teak table made in the 1960. The organic lines and the minimalistic aproach of this item are emblematic for the Scandinavian design of the Mid-Century. Recently restained, the piece is in very good vintage condition, having no damages.500 €
Furniture, SeatingVintage daybed made in Germany in the early 1980s. Made of wood, this sofa is extensible on its left side (see pictures). The model is typical for the period and the discret beige colour, in a nice dialogue with the dark wooden parts, is a recuring theme of the german rationalism in design. The sofa is in good vintage condition.
Kitchenware & Tableware, Misc AccessoriesSet of 3 candlesticks (model S 22) made of chrome plated steel and produced by BMF (Bayerische Metall Fabrik). This stackable candelsticks were designed by Fritz Nagel and Ceasar Stoffi in the 1960 and are considered icons of the Space Age / Atomic Age design. The Model 22 was in production from 1965 to 1970. The pieces are in very good condition, with no deterioration and only little traces of use.120 €
Furniture, Seating, Special DiscountsSet of 4 "MR" armchairs by Ludwig Mies van der Rohe. The armchairs are made of tubular steel and black natural leather and are preserved in a very good shape. The architect and designer Ludwig Mies van der Rohe is one of the best-known exponents of International Style modernism. His "less-is-more" philosophy has become a catchphrase for much twentieth-century design, though a preference for luxurious and costly materials often underscores the deceptive simplicity of his elegant and refined designs. Mies van der Rohe was the last director of the Bauhaus design school in Dessau, from 1930 until its closing in 1932. In 1938 he left Germany for America, where he headed the architecture department at the Illinois Institute of Technology. The graceful, elegant, and beautifully proportioned "MR" armchair, developed from a 1924 design for a cantilevered chair by Mart Stam, was introduced by Mies van der Rohe at the 1927 Stuttgart exhibition and has remained in production ever since. The chair’s cantilevered design uses tubular steel, then a technological novelty, to create an intuitively accessible and ergonomic seat. (When asked why he created chairs with generously sized seats, Mies van der Rohe allegedly replied that he designs chairs he’d be most comfortable sitting in.) The MR Armchair is perfectly balanced, featuring the material innovation and lack of ornamentation that epitomize the International Style. It was awarded the Museum of Modern Art Award in 1977 and the Design Center Stuttgart Award in 1978. In 1968 the Knoll group took the license to manufacture these chairs but both before 1968 and afterwards many factories have in fact produced these iconic pieces.
Furniture, Special Discounts, TablesSpectacular coffee table made in Germany, in the 1970s. The top of the table - made of Green Alps marble - has a quite impressive diameter (98 cm) and is in perfect shape. It's exquisite color (green with black swirls and veins) is placed in a remarkable dialogue with the coldness and the sobriety of the structure, made of well-polished stainless steel. The legs of the table, resembling the fins of a space-rocket, are consistent with Atomic/Space Age design shapes and lines This is special, stylish, well preserved piece of furniture that can accommodate any contemporary interior, be it minimalist, modern or industrial. The Space Age is a time period encompassing the activities related to the Space Race, space exploration, space technology, and the cultural developments influenced by these events. The Space Age is generally considered to have begun with Sputnik (1957). During the 1950s, architecture, furniture, interior design, cars, and gadget design took on a curiously spaceflight-inspired aesthetic.
The 1950s were marked by optimism, by rebirth, by the desire for a better, snug life. It is then no wonder that today, in the rush of the 21st century, we openly, admiringly and nostalgically look back to the atmosphere of those days.
We are approaching the end of 2017. So it is important to take a small look at the possible interior design trends of 2018. And that’s why we made a small list for you. Elle Decor According to Elle Decor, will be two fashionable colors next year, both of them…
Hurray! Our Fidelity Reward Program is here and is designed to fit one of the most important tasks we assume: ensuring that our customers enjoy an extraordinary experience when they choose to buy from us. FIDELITY POINTS is an extremely simple mechanism by which you can enjoy discounts on every…
Mid-century modern is an architectural, interior, product and graphic design that describes mid-20th century developments in modern design, architecture and urban development from roughly 1933 to 1965. The term, employed as a style descriptor as early as the mid-1950s, was reaffirmed in 1983 by Cara Greenberg in the title of her book, Mid-Century Modern: Furniture of the 1950s (Random House), celebrating the style that is now recognized by scholars and museums worldwide as a significant design movement. The Mid-Century modern movement in the U.S. was an American reflection of the International and Bauhaus movements, including the works of Gropius, Florence Knoll, Le Corbusier and Ludwig Mies van der Rohe. Though the American component was slightly more organic in form and less formal than the International Style, it is more firmly related to it than any other. Brazilian and Scandinavian architects were very influential at this time, with a style characterized by clean simplicity and integration with nature. Like many of Wright’s designs, Mid-Century architecture was frequently employed in residential structures with the goal of bringing modernism into America’s post-war suburbs. This style emphasized creating structures with ample windows and open floor plans, with the intention of opening up interior spaces and bringing the outdoors in. Many Mid-century houses utilized then-groundbreaking post and beam architectural design that eliminated bulky support walls in favor of walls seemingly made of glass. Function was as important as form in Mid-Century designs, with an emphasis placed specifically on targeting the needs of the average American family. In Europe the influence of Le Corbusier and the CIAM resulted in an architectural orthodoxy manifest across most parts of post-war Europe that was ultimately challenged by the radical agendas of the architectural wings of the avant-garde Situationist International, COBRA, as well as Archigram in London. A critical but sympathetic reappraisal of the internationalist oeuvre, inspired by Scandinavian Moderns such as Alvar Aalto, Sigurd Lewerentz and Arne Jacobsen, and the late work of Le Corbusier himself, was reinterpreted by groups such as Team X, including structuralist architects such as Aldo van Eyck, Ralph Erskine, Denys Lasdun, Jorn Utzon and the movement known in the United Kingdom as New Brutalism. Pioneering builder and real estate developer Joseph Eichler was instrumental in bringing Mid-Century Modern architecture (“Eichler Homes”) to subdivisions in the Los Angeles area and the San Francisco Bay region of California, and select housing developments on the east coast. George Fred Keck, his brother Willam Keck, Henry P. Glass, Ludwig Mies van der Rohe, and Edward Humrich created Mid-Century Modern residences in the Chicago area. Mies van der Rohe’s Farnsworth House is extremely difficult to heat or cool, while Keck and Keck were pioneers in the incorporation of passive solar features in their houses to compensate for their large glass windows. (source: wikipedia.org)