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Price category: 5,000 - 7,500 usd / eur

“Breathing'“ by Dutch sculptor Ineke van Zuuren is an exploration of organic abstraction. Van Zuuren transforms a dense block of wood into a form that feels remarkably fluid and alive. Rather than depicting the human figure directly, van Zuuren suggests its presence through graceful curves, balanced proportions, and an elegant sense of movement.

The rich, dark tones of the sculpture are complemented by the wood’s striking natural grain, which becomes an integral part of the composition. Smoothly sculpted convex and concave surfaces catch the light beautifully, emphasising the subtle transitions in the form while highlighting the warmth and tactile quality of the material. The result is a work that feels both monumental and intimate, celebrating the expressive possibilities of solid wood. This sculpture is undoubtedly as captivating from afar as it is up close. This work invites viewers to engage with the interplay of tradition and innovation, celebrating the enduring appeal of solid wood as a medium for artistic expression.

This piece is also a rare representation of Dutch Post-Modernist design, an interesting phase of cultural, social impacts with artists and designers trying to figure out their way towards leaving their marks.

Condition:

In good vintage condition. Wear consistent with age and use. Due to the nature and age of the material, the sculpture may have marks, scratches, and discolouration.

Dimensions:

23.62 in W x 13.38 in D x 33.46 in H

60 cm W x 34 cm D x 85 cm H

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Price category: 1,000 - 2,500 usd / eur

Josef Frank designed Vänskapsknuten (the Knot of Friendship) as a symbol of friendship and peace at a time when Europe was filled with turmoil. The very first sketch of the candelabra dates back to 1938, just a year before the outbreak of the Second World War, but it is as relevant now as it was then.

The Austrian designer and architect may be best known for his vivid textiles for Swedish firm Svenskt Tenn, but his artistic touch reached far beyond textiles and created iconic objects such as this candle holder. The elaborate brass structure intertwines at multiple points, but the brass rods only meet in the middle where a small sphere connects them. Each of the three brass cup have so-called chambersticks, small pans to catch dripping wax. The looping calligraphic design gives this piece a weightless grace that is stunning even without the symbolism behind it. The body’s busy look is completed and balanced by the long candles. The design changes from angle to angle and shows Frank’s sensitive touch. The Knot of Friendship has become an iconic object not only in Svenskt Tenn’s range, but also of Sweden. The production traditionally required a process of thorough methodology and great craftsmanship. Josef Frank was the most prestigious designer in the Stockholm design company Svenskt Tenn (Swedish Pewter), recruited by the founder of the company, Estrid Ericson herself.

Since 2018, after a careful assessment of Josef Frank’s original drawing, the candelabra regained its original form from 1938 under the hands of Svenskt Tenn. However, the production of this well-known and widely-loved candle holder now takes place at Humstorp Metal in Västergötland. This piece however, is from the original production from the post-war era.

Condition:

In good vintage condition. Wear consistent with age and use. The brass has a beautiful patina with some marks. Due to the nature and age of the material, the item may have some scratches and discolouration.

Dimensions:

8.85 in W x 7.48 in D x 6.29 in H

22.5 cm W x 19 cm D x 16 cm H

About the designer:

Josef Frank (July 15, 1885 – January 8, 1967) was an Austrian-born architect, artist, and designer who adopted Swedish citizenship in the latter half of his life. Together with Oskar Strnad, he created the Vienna School of Architecture, and its concept of Modern houses, housing, and interiors.

Josef Frank was one of early Vienna modernism’s foremost figures, but already in the beginning of the 1920s he started to question modernism’s growing pragmatism. He had little appreciation for the French architect Le Corbusier’s belief that a house should be “a machine for living in”. He was against puritanical principles and on the contrary, feared that standardized interiors would make people all too uniform. Josef Frank represented a freer, more artistic style ideal, and he developed his own type of modernism where values like comfort, hominess, and a wealth of colour were at its core. He resisted limitations and models for his furniture and textiles came from across all boundaries both in time and space.

Josef Frank began working at Svenskt Tenn in 1934 and just a few years later, the Frank-Ericson duo made their international breakthrough. Svenskt Tenn’s exhibition room at the World Expositions in Paris in 1937 and New York in 1939 was completely contrary to the ideal of the time with its bold contrasts in materials, colours, and prints. The duo received a great deal of attention and became, somewhat paradoxically, the model for the expression “Swedish Modern”. Although he was already 50 years old when he left Vienna for Sweden, Frank is considered one of Sweden’s most important designers.

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Price category: 1,000 - 2,500 usd / eur

Magazine racks have been around since the middle ages, but as literacy rates increased around the world, and printed media became more accessible, they rose in popularity. By the mid-20th century, they represented an iconic piece of design that adapted to the style of the time. Pieces like this wooden rack reflect the Brutalist movement of the time, while still serving a functional purpose in an era before the widespread adoption of computers.

This wooden rack shows how designers paid great attention to small domestic items that served everyday life, while still contributing to a visually appealing interior. The piece has a highly architectural construction and hand-worked surface. The rack is built entirely from solid wood and composed through an arrangement of intersecting vertical and diagonal supports. The central handle rises upward in a tapering rectangular form, anchoring the composition visually while also functioning as a practical grip for moving the piece. Thin supports extend outward to hold the printed material. Along the lower section, the horizontal base introduces a strong Brutalist character through its organic look and visibly worked surface. The wood retains a rich natural grain throughout, while the slight natural variation of the structural elements prevent the composition from feeling rigid despite its geometric construction.

Rather than treating storage as purely functional, many designers of the mid-century managed to create pieces like magazine stands, newspaper holders, and side tables that additions to a room while maintaining their use. Even when empty, this magazine rack catches the eye, not through excess but through its masterful use of wood and unique form.

Condition:

In good vintage condition. Wear consistent with age and use. The magazine rack has recently been reconditioned. Due to the nature and age of the materials, the item may have some marks, scratches, and discolouration.

Dimensions:

16.54 in W x 12.01 in D x 20.87 in H

42 cm W x 30.5 cm D x 53 cm H

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Price category: 1,000 - 2,500 usd / eur

Wabi-sabi is an ancient Japanese philosophy that can be applied within interior design, and to anyone’s lifestyle as a whole. It is the practice of appreciating and accepting the beauty in simplicity, imperfections, and age. The expression defines the core principles behind this bowl’s aesthetic: minimalism, humbleness, and being in tune with nature, whilst appreciating the beauty of patina and wear. It takes inspiration from nature, which is rarely perfect or symmetrical and eventually decays.

In the absence of modern polished surfaces, this bowl has textural, rough edges and surfaces, while the wooden material takes pride in its qualities. The construction strips back the unnecessary, showcasing only the essential elements of it. The wood is left in its natural form as much as possible, while also prioritising functionality and longevity. Long before the mid-century, Asian designers and craftsmen believed that furniture should be shorn of aesthetic detail and represent the marriage of form and function. This bowl, lacking decoration but not aesthetic details, is a beautiful example of this mindset and the timeless charm of traditional craftsmanship.

The appreciation of rustic simplicity and craftsmanship has never completely gone out of style, but rather, in recent years, it saw an increase. Adding pieces, like this to a contemporary interior not only creates a diverse and interesting aesthetic, it also reminds that perfection cannot be reached and perhaps should not even be the goal. Instead, recognising the beauty of the imperfect created by nature and reformed by a craftsman can bring happiness into everyday life.

Condition:

In good vintage condition. Wear consistent with age and use. The bowl has recently been reconditioned. The item has some cracks. Due to the nature and age of the material, this item may have some marks, scratches, and discolouration.

Dimensions:

19.30 in ⌀ x 9.65 in H

49 cm ⌀ x 24.5 cm H

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Price category: 1,000 - 2,500 usd / eur

As a descendant of the modernist movement of the late 19th and the first half of the 20th century, Brutalism favoured celebrating the imperfect appeal of handmade items. With a robust, organic form, this bowl is the embodiment of Brutalism.

The piece has a refined rawness, and with its warm-toned and asymmetrical form. The wood’s stunning grain pattern is visible throughout, letting its natural expressiveness guide the design. The carvings and texture of the wood further add depth and character to the bowl - the pattern is so arresting that it can serve as a decorative element on its own. The design shows the understated beauty of the natural material, together with its endless possibilities under the hands of an expert craftsman. Organic and brutalist pieces like this bowl can be incorporated successfully into contemporary and traditional interiors alike, thanks to the timelessness of wood and the sheer quality of the piece.

The versatility and timeless elegance of darker woods make this bowl a captivating choice for those seeking to infuse their interiors with a touch of refined luxury and raw elegance.

Condition:

In good vintage condition. Wear consistent with age and use. The bowl has recently been reconditioned. Due to the nature of the material, this item may have some marks, scratches, and discolouration.

Dimensions:

23.62 in W x 16.92 in D x 5.11 in H

60 cm W x 43 cm D x 13 cm H

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Price category: 1,000 - 2,500 usd / eur

Carved wooden vessels occupy a unique position between utility and sculpture. Across many African woodworking traditions, everyday objects such as bowls, trays, and serving vessels were shaped directly from solid trunks, allowing the natural characteristics of the timber to determine both the appearance and final form. The resulting pieces often possess a quiet power, where simple gestures and careful craftsmanship create a lasting visual impact.

The silhouette of this tray is bold and compact. Hollowed from a single section of wood, the bowl rests on four short feet that lift it subtly from the surface below. Cylindrical handles project from either side, introducing a horizontal dimension that balances the rounded volume of the vessel. The uninterrupted grain flows across the piece, revealing shifts in colour due to the single-trunk construction. Subtle tool marks and natural variations in the wood lend depth to the surface, while the smooth interior highlights the skill required to create such a form from a solid block of timber. Despite its modest scale, the tray possesses a distinctly architectural quality, built from a combination of shapes and carefully proportioned volumes.

Objects of this kind demonstrate how functional forms can achieve a sculptural presence through material alone. Whether used as a catchall or decorative centrepiece, the tray draws attention to the richness of the wood and the clarity of its construction. Its enduring appeal lies not in elaborate decoration but in the confidence of its form, where every element serves a purpose and contributes to a sense of permanence.

Condition:

In good vintage condition. Wear consistent with age and use. The accent tray has recently been reconditioned. Due to the nature and age of the material, the item may have minor marks, scratches, and discolouration. The piece features an exceptional wood grain.

Dimensions:

14.56 in W x 10.23 in D x 4.33 in H

37 cm W x 26 cm D x 11 cm H