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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

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Price category: 2,500 - 5,000 usd / eur

This bowl’s origins can be traced back to Rudolf Steiner’s circle and was made in the so-called Anthroposophic style. Aesthetically, the movement took established silhouettes and morphed them into warped geometries often comprised of multifaceted angular surfaces.

Anthroposophy was originally a school of thought that combined spirituality and materiality for a better humanity. According to Steiner, the thought can also be translated into forms and colours. Everything by which we are immediately surrounded in life takes on an artistic form, therefore furniture is capable of vivifying the environment and like this bowl, its approach to design is organic functionalism. The shape, lines and material of this piece show strength and dynamism, while still staying light and stylish. The bowl’s form is stylistically closer to the organic elegance of modernism, therefore it is guaranteed to fit into, and stand out in any style and type of space. The inherent organicity is also apparent in the shape that doesn’t follow strict geometric principles, instead, has a natural flow to it. Swirling grain patterns further provide a striking visual dimension, highlighting a contrast of tone and texture. The form shifts subtly depending on the viewer’s angle, inviting exploration and offering a sense of balance between lightness and strength. Whether used as a functional centerpiece or simply admired as an object of form and shadow, it draws the eye through its quiet complexity and sculptural quality.

Adding pieces like this to a modern 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. Due to the nature and age of the material, item may have some marks, scratches, and discolouration.

Dimensions:

13.78 in W x 10.04 in D x 8.07 in H

35 cm W x 25.5 cm D x 20.5 cm H

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‎Price category: 2,500 - 5,000 usd / eur

This vase was made by Richard Meitner and displays an understated elegance and timeless appeal. With an emphasis on balance and harmony, it blends traditional craftsmanship with modern aesthetics. Richard Meitner is an artist that has worked extensively with glass and has been exhibiting his works worldwide to this day.

The vase features a round brass base and extends up to a neck that connects seamlessly to the glass. The striking translucent sculptural glass is the focal point of the structure. Crafted with quality in mind, this vase is sturdy and built to last. Its base provides stability and a contemporary touch, while the glass adds a sense of mystery and sophistication to the overall design. The design embraces the allure of both the mid-century modern and space age era’s design characteristics with a result that is mature, well-thought-out, and timelessly stylish. On a side table or a sideboard, this vase will quickly find its marks in any interior. To accompany the stylish look, the brass has beautiful patina that adds vintage charm to the otherwise modern aesthetic of the design.

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 can bring happiness into everyday life.

Condition:

In good vintage condition. Wear consistent with age and use. The item has recently been reconditioned. Some visible discolouration on the base. Additional marks, scratches, and imperfections on the glass may be present due to manufacturing inconsistencies and age of the item.

Dimensions:

8.66 in W x 6.10 in D x 13.38 in H

22 cm W x 15.5 cm D x 34 cm H

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Price category: 2,500 - 5,000 usd / eur

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In her works, Kati Tuominen-Niittylä explores the concept of the container, interpreting it with natural colours and timeless, clean lines. This allows her to rediscover the beauty of both simplicity and archaic forms. The surfaces, meticulously treated as a sort of meditative practice, recall the light and landscapes of the Nordic forests.

Her minimalistic and timeless language of forms appears in every inch of this bowl that is in the field between art, design, and handicraft. This model blends multiple techniques with extraordinary skill alternating between wheel-throwing, casting, and hand-building with a prevalence of textured, carved surfaces, all of which are high-fired. The result is a uniquely textured look that is influenced by the various ceramic masses, clay slurries, glazings, and surface structures the artist uses. The bowl is just as interesting from inside as it is from the outside, with darker colours that enhance the texture and patterns. The inherent organicity is also apparent in the shape that doesn’t follow strict geometric principles, instead, has a natural flow to it. As a designer, Tuominen-Niittylä has been one of those postmodernists who softened the worst edges of the style into a more user-friendly form. Or as she put it: “I like the quiet movement.” This bowl is signed with “KTN” at its neck.

Kati Tuominen-Niittylä’s works do not fit directly under any ready definition. They have the kind of archaic timelessness that is recognizable throughout the long period of human history as we know art objects. This bowl is stylistically closer to the elegance of modernism than the playfulness of postmodernism, guaranteed to stand out in any style and type of space.

Condition:

In good condition.

Dimensions:

16.3 in W x 10.23 in D x 10.43 in H

41.5 cm W x 26 cm D x 26.5 cm H

About the designer:

Kati Tuominen-Niittylä (Finish, b. 1947) is an internationally acclaimed ceramic artist living and working in Helsinki, Finland. Her elegant minimalist works blend multiple techniques with extraordinary skill alternating between wheel-throwing, casting, and hand-building with a prevalence of textured, carved surfaces, and all of which are high-fired.

Evoking archetypal silhouettes reminiscent of functional vessels such as buckets and basketry, as well as shapes found in nature, Tuominen-Niittylä creates objects that are refined and sophisticated yet with a rough plainness that is further emphasized by the earthy neutral hues. The objects appear almost ancient or geological. The interchanging of techniques also affords a uniqueness to each piece, and it often leads to new details and finishes. Although the works are suggestive of ancient functional forms, Tuominen-Niittylä creates each piece purely with artistic purpose.

Tuominen-Niittylä studied at the Aalto University School of Arts, Architecture and Design. She is a member of the Arabia Art Department Society and has designed for Arabia Studios. Her work is in the permanent collections of numerous public institutions including the Victoria & Albert Museum in London, the Finnish State Collections, and the Shigaraki Cultural Park Museum in Japan.

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

This carved birch ladle originates from Sweden in the early 19th century, a period when everyday domestic objects were shaped by strong folk traditions and regional craftsmanship. In rural Scandinavian culture, utilitarian items were often carved by hand and given expressive forms that reflected both practicality and artistry. Birch, widely available and valued for its durability and fine grain, was a preferred material for household items, allowing makers to combine function with subtle decorative character.

This ladle is carved from a single piece of birch wood, its bowl smoothly hollowed and gently rounded to create a balanced, organic form. The handle extends fluidly from the body, curving upward into a sculptural hook-like shape that allows it to be hung if needed. Tool marks and natural variations in the wood grain remain visible, giving the surface warmth and authenticity while highlighting the hand-carved process. The proportions are carefully considered, with the broad bowl contrasting with the slender handle in a harmonious way. The soft patina suggests long use, adding depth and character without obscuring the clarity of the original carving. Subtle asymmetries further reinforce its handmade nature, making each angle slightly different and visually engaging.

Today, this early 19th century Swedish ladle stands as both a functional and a sculptural object. Whether displayed as part of a folk art collection, styled in a contemporary interior, or appreciated for its material honesty, it offers a connection to traditional Scandinavian craftsmanship. Its restrained elegance, tactile surface, and expressive silhouette make it a compelling example of how simple tools were elevated through skill and intention.

Condition:

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

Dimensions:

7.87 in W x 10.62 in D x 5.90 in H

20 cm W x 27 cm D x 15 cm H

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Price category: 2,500 - 5,000 usd / eur

This ceramic sculpture presents an abstract human head formation, made by Roy Terbeek in 1994 in the Netherlands. The piece features a modeling of facial features. There is a sense of harmony in the proportions: the neck strong yet graceful, and the overall shape flows naturally from crown to neckline. With vibrant detail, the shape itself speaks of an artist well aware of the interplay between light and form.

Created in the early 1990s, it reflects a period in which many artists were exploring personal identity and quiet presence rather than overt statement. This unique sculpture is intriguing and exudes an air of antiquity and natural physicality. Its form commands attention with its abstract and textured surface. At first glance, the shape of the sculpture draw the viewer in, with its irregularities. The glazing is a central expressive element, with its earthy-bronze tone. It offers a glass-like surface that catches light across its curvature, increasing the visual depth. Instead of creating tension, the shape and material bring the piece into perfect balance thanks to the unique design. 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 glazed ceramic as a medium for artistic expression.

Beyond its technical and aesthetic qualities, the sculpture evokes a contemplative mood. It is a work that rewards close viewing. 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 of the material, item may have some marks, scratches, and discolouration.

Dimensions:

9.25 in W x 11.61 in D x 12.20 in H

23.5 cm W x 29.5 cm D x 31 cm H

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Price category: 2,500 - 5,000 usd / eur

The second half of the 20th century saw a renewed fascination with organic form and material integrity. Across Europe, the postwar years brought a quiet resistance to industrial uniformity, artists and designers returned to the tactile immediacy of natural materials. Studio craftsmen began to treat wood, clay, and metal as expressive mediums rather than mere functional matter. The result was an era that celebrated the imperfect, the handmade, and the quietly sculptural, where design and art began to intertwine with new intimacy.

Carved from a single piece of richly grained wood, the elongated bowl reveals a deep respect for both material and skill. Its shape, stretching gracefully from end to end, feels fluid and intentional, while the gently arched handle gives the object a structural balance. The surface bears traces of the maker’s hand, with soft ridges and natural irregularities that add a tactile rhythm to its form. Swirling grain patterns further provide a striking visual dimension, highlighting a contrast of tone and texture. The form shifts subtly depending on the viewer’s angle, inviting exploration and offering a sense of balance between lightness and strength. Whether used as a functional centerpiece or simply admired as an object of form and shadow, it draws the eye through its quiet complexity and sculptural quality.

As with much of European studio craftsmanship from this era, this piece speaks to a time that valued authenticity and material truth above decoration or excess. The maker’s hand is evident yet never dominant, allowing the natural form of the wood to guide the design.

Condition:

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

Dimensions:

41.92 in W x 15.74 in D x 8.26 in H

106.5 cm W x 40 cm D x 21 cm H

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

Nature has been a source of inspiration for artists, craftsmen, and to people of all trades since the dawn of time. This traditional Dogon door from Mali is ideal to bring a piece of history into any space to marvel at the art of nature.

Dogon doors are carved wooden panels that have been used in Mali, West Africa by the Dogon people. The purpose of these doors was two-fold; to provide physical security for stored goods and to offer spiritual protection by warding off evil spirits. Many of these doors featured beautiful relief carvings, like the carvings present on this piece. This type of door was often crafted by a high-ranking blacksmith, since the Dogon door was considered more than just functional objects, but rather sacred. The motifs found on this piece symbolise fertility and life, as well as spirituality, wisdom and protection. Moreover, in the absence of modern polished surfaces, this door has textural, rough edges and surfaces, the wood takes pride in its qualities. The construction strips back the unnecessary, showcasing only its essential elements. The wood is left in its natural form as much as possible, while also prioritising functionality and longevity. In contemporary spaces, this door or room divider is the perfect furniture type to introduce organicity to an interior. This piece is sure to stand out for all the right reasons and spark interesting conversations.

As nature does not mass produce identically, this piece is truly one of a kind, with intense visual qualities, therefore it cannot be reproduced. This Dogon door can be a unique decoration for modern interiors, and here, the quality of timelessness isn’t even a question.

Condition:

In good vintage condition. Wear consistent with age and use. Item may have some marks, scratches, and discolouration.

Dimensions:

29.92 in W x 9.84 in D x 61.02 in H

76 cm W x 25 cm D x 155 cm H

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

Swedish sculptor, Olle Hermansson is primarily known for his cast iron sculptures and fire screens in his signature Brutalist style. The characters and shapes appearing in his works are often inspired by Nordic mythology.

In this piece, Hermansson uses the robust and weighty medium of cast iron to create a dynamic form that stands as both a piece of art and a reflection of Sweden’s industrial heritage. The sculpture is characterised by bold geometric shapes and textured surface, which provide both visual interest and tactile appeal. Hermansson’s mastery of form is evident in the way the sculpture plays with negative space, light, and shadow, creating an ever-changing visual experience which changes depending on the viewer's perspective. The design reflects the Brutalist ethos of the 1960s, emphasising ruggedness, and the exploration of materials. At the same time, it speaks to the organic qualities of nature, with curves and contours that soften the otherwise rigid structure of the cast iron. As a unique intersection of art and functionality, this sculpture stands as a testament to the collaborative spirit between artists and industry. The integration of modern design with industrial materials like cast iron not only celebrates the aesthetic possibilities of the material but also speaks to the cultural and economic climate of Sweden in the 1960s. Whether displayed indoors or outdoors, this work encapsulates the innovative energy of the era.

This Brutalist sculpture, with its distinctive design and robust materials, becomes a statement, a conversation starter, and a timeless addition that will elevate the aesthetics of any space it occupies.

Condition:

In good vintage condition. Wear consistent with age and use.

Dimensions:

13.38 in W x 6.49 in D x 14.37 in H

34 cm W x 16.5 cm D x 36.5 cm H

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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: 2,500 - 5,000 usd / eur

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Characteristic for Swedish artist, Björn Selder, are powerful, expressive sculptures, such as this piece, in heavy materials like bronze, iron, and stone. This unique piece shows that Selder was active as a sculptor and also as a graphic artist. He is represented with numerous monumental sculptures in public environments in Sweden.

Swedish sculptor Björn Selder is renowned for his distinctive style that seamlessly merges modern sensibilities with classical influences. His works are characterized by a harmonious blend of fluidity and precision, breathing life into static forms. Selder's sculptures - like this one - often depict the human figure, capturing the essence of movement, emotion, and introspection. One of the defining aspects of Selder's artistic expression is his preference for bronze as a sculpting material. Bronze offers him a unique combination of durability and malleability. Its enduring nature ensures that his creations stand the test of time, while its pliability allows him to mould intricate details and convey subtle nuances of form and expression. This versatile material accommodates the organic flow of Selder's style, enhancing the tactile and visual experience of his sculptures, enhanced by the green patina that naturally develops with time. Bronze holds a timeless allure due to its inherent strength, ability to retain intricate details, and the captivating patina that develops over time. This anthropomorphic piece takes advantage of its material fully, with the different hues and the surface of the bronze highlighting the versatile organic curves that define the surface.

Selder's present sculpture not only pays homage to the bronze sculpture tradition but also elevates it with a contemporary twist infusing it with his unique blend of abstraction and an unmistakeable contemporary flair. This work invites viewers to engage with the interplay of tradition and innovation, celebrating the enduring appeal of bronze as a medium for artistic expression.

Condition:

In good vintage condition. Wear consistent with age and use. The bronze has a green patina with some marks and scratches.

Dimensions:

7.48 in W x 6.69 in D x 17.32 in H

19 cm W x 17 cm D x 44 cm H

About the designer:

Björn Selder (March 7, 1940, Stockholm - 1999) was a Swedish graphic designer and sculptor. Selder was married to the textile artist Margaretha Selder. He made several study trips to Paris where, among other things, he studied with the American graphic artist W Wellington as well as graphic colour and printing with Theo Mortensen.

He also conducted self-study during trips to the Netherlands, Belgium, Austria, Spain, and North Africa. Furthermore, he worked as director of Grödingesgruppen's graphics workshop in Stockholm 1963–1964. Separately, he debuted with an exhibition at Galerie Catharina in Stockholm in 1961 and together with Ove Dahlstrand he exhibited at Lorensberg's art salon in Gothenburg and together with Bertil Sagnér at Galleri Brinken in Stockholm. He participated in the Grödinge group's exhibitions and various group exhibitions at Liljevalch's art gallery. In addition to graphics, his art consists of polychrome wood reliefs. He made numerous fountains in public settings since 1989. He was a professor at the Central Academy of Fine Arts in Beijing, China, and made relief decorations on the Great Wall of China on behalf of the Chinese state.

Selder is represented at the Modern Museum, Kalmar Art Museum and Gothenburg's school administration. He is chairman emeritus of the Sculptors' Association and professor at the Central Academy of Fine Arts, Beijing. Björn Selder was also the initiator of the Sculptors' House in Vinterviken, Stockholm.