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Set of Six chairs solid beechwood by Rainer Daumiller for Hirtshals, 1970s

Beautiful set of six very sculptural dining room chairs in beeche wood by Swedish architect and designer Rainer Daumiller, manufactured by Hirtshalls Sawmills.
The beech variant is more rare to find than the Pine.
They are very comfortable to sit on even without a cushion.

The set are 6 chairs.
2 with armrest: measurements 60 x 52 x 83 x Seat height 46
Armrest is on 69 cm.
4 without armrest: measurements 48 x 52 x 83 cm Seat height 46

Keywords: Sustainability, Simplicity, Robust, Natural, Nature, Brutalist, Raw, Sustainable, Pure, Solid, calm, sculptural, architecture, modernism

Designers in the same era are Charlotte Perriand, Pierre Jeanneret

Price: € 3250,-

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Amazing Porcelain Dragon Vase / Urn Schumann Arzberg Bavaria

Very nice white porcelain vase with Chinese dragons in relief.

Dated from mid 20th century with the Schumann, Arzberg Germany stamp.
In very good condition.

The factory was founded in 1881 by Christian Heinrich Schumann and a businessman Franz Ferdinand Riess. Porzellanfabrik Schumann & Riess was located in Arzberg, Bavaria, Germany.

Christian Heinrich Schumann died in 1884. His youngest son Carl was to inherit the factory. As Carl was too young, the business was manages by his mother Christiana.

In 1892 when Carl turned 21, the factory was renamed to Porzellanfabrik Carl Schumann G.m.b.H. & Co. K.G. Carl’s mother stepped down in 1896 leaving Carl management of the firm.

In 1923 the factory became a stock company becoming Carl Schumann Porzellanfabrik AG.

After Carl Schumann I passed away in 1926, the company was taken over by Carl Schumann II. In 1957 the factory employeed almost 1100 workers. Carl II resigned in 1961 and was succeeded by Carl III.

In 1990 the business was overtaken by Wolfgang Schupli, co-owner of WMF and Hutschenreuther AG. In 1994 production was stopped.

Height: 11.03 in. (28 cm)
Diameter: 9.06 in. (23 cm)

Price: € 165,-

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Heavy Copper Ekonda Anklet Currency MONGO 19th century

Heavy Copper Ekonda Anklet Currency MONGO Tshuapa District – D.R Congo
4494 gr
Beautiful patina.

These anklets were worn by women of the Mongo tribe of northwest Congo. They were status symbols and were also used as currency. They were made by pouring hot copper and tin into a mold set in the ground. Once formed they were removed and bent around trees until they had the appropriate size. Because they were heavy, women would wrap fabric and leaves – called Litelele – around their feet to keep from harming them. Typically, they were worn for celebrations and relatively short periods, but on occasion brides might actually wear them for months at a time!

Height: 7.09 in. (18 cm)
Diameter: 5.91 in. (15 cm)

Price: On request

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(Circle of) Jan van Ravesteyn 1572 – 1657 Head of a bearded man oil in panel

(Circle of) Jan van Ravesteyn (The Hague 1572 – The Hague 1657), Head of a bearded Man, oil on panel, 31 by 23,5 cm (measurements are of the panel without the frame)

Full name Jan Anthoniszoon van Ravesteyn
Born The Hague (?), ± 1572
Died The Hague, buried there on June 21, 1657
Country of birth Netherlands
Occupation(s) Painter

It is not known who Van Ravesteyn’s teacher was, but he was a follower of the Delft portraitist Michiel Jansz. van Mierevelt. Van Ravesteyn is also mentioned a number of times in that city in 1597. From 1598 until his death he lived in The Hague. It is difficult to determine which works can be attributed to his oeuvre because his brother Anthonie and other namesakes were also active as painters during the same period. Many famous people have posed for him, while he also created some shooter and magistrate pieces. Numerous portraits of members of the various branches of the House of Nassau were produced in his studio.

Van Ravesteyn was a teacher of Dirck Abrahamsz., Leendert Barthouts, Johannes Harmensz. Borsman, Aelbert Dircksz. Coeppier, Pieter Craen, Jacob Dirksz. van den Enden, Fransise de Goltz, Adriaen Hanneman, Barent Jansz., Thomas Ouwater, Clement Ram, Jan Rassenbourch, Frederick Sonnius, Dirck Verlaer, Jan Pous Voet and Pauwels Willemsz.

Van Ravesteyn belonged to a large family from which several painters came. His father Anthonis was a glass painter. In 1598 van Ravesteyn became a member of the Hague Guild of Saint Luke and it is also known that he was a member of the Haagse Schutterij. In 1604 he married Anna Arents van Berendrecht. In the same year he is mentioned by Karel van Mander in his book Schilder-boeck: I also did not have to conceal in The Hage a very good Painter and Conterfyter, called Ravestein, who has a beautiful and good deed. In 1608 he bought a house on the corner of Papestraat and Oude Molstraat in The Hague from Maerten Rosa, clerk of the Supreme Court of Holland, and moved in 1628 to another house in the last street.

Van Ravesteyn was a Roman Catholic and his name is mentioned several times as a witness at ceremonies in the Catholic secret church in the Oude Molstraat, including in 1641 at the wedding of his daughter Agnes to Willem van Culenborgh. In 1654 van Ravesteyn moves into a house in Nobelstraat next to his daughter’s. In 1656, Van Ravesteyn resigned from the Guild of Saint Luke with several art brothers, after which he became co-founder of Confrerie Pictura in 1656, a year before his death. When Antoon van Dyck was in the Netherlands, he painted a portrait of Jan van Ravesteyn, from which it can be concluded that he was already a celebrity in his own time. The painted (self) portrait of Van Ravesteyn also appears in the civic guards-cum magistrate piece The magistrate of The Hague receives the officers of the civic guard on the Sint Sebastiaansdoelen from 1618. He is depicted on the left side of the painting, on the back row, fifth from the left.[2] This painting is part of the collection of the Hague Historical Museum.

Van Ravesteyn had several children and was the father-in-law of the painter Adriaen Hanneman, who married his daughter Maria in 1640. In the same year his wife dies and she is buried in the Kloosterkerk in The Hague. At least one of his sons, Arnold van Ravesteyn, followed in his footsteps and became a painter and would follow him as a member and dean of Confrerie Pictura. After his death in 1657, Jan van Ravesteyn was buried in the family grave in the Kloosterkerk. His son-in-law Adriaen Hanneman would later be interred in this grave as well.

Bron: Wikipedia

Price: On request

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Story Book Brutalist Wabi Sabi Oak Fire place Lounge Chairs

Two robust and heavy dark oak chairs.
Fit perfectly with the style of designers such as Axel Einar Hjorth, Charlotte Perriand, Jean Touret and Charles Dudouyt.
The chair sits comfortable and the use of only natural materials gives it a warm appearance.
Very nice to put by the fireplace.
The chair fits in a Brutalism, Rural or Modern interior.

Keywords: Sustainable, pure, solid, calm, nature, art, sculptural, architecture, natural, wood, oak, Wabi Sabi, perfect imperfection, modernism, raw.

Height: 38.98 in. (99 cm)
Width: 26.38 in. (67 cm)
Depth: 23.63 in. (60 cm)
Seat Height: 17.72 in. (45 cm)

Price: On request

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Vintage Design Teakhouten Bureau 12 lades

Zeer ruim Vintage Design bureau gemaakt van teakhout fineer in de jaren 70.
Mooi strak ontwerp met in totaal 4 blokken met ieder 3 lades.
Met de blokken kun je ook een hoge ladekast maken als je dat leuker lijkt 😉
Het bureau is in een erg mooie staat.

Afmetingen: bladmaat 150 x 78 cm, met de handgrepen is de diepte 81 cm en de hoogte is 75 cm.
De ruimte tussen de ladenblokken is 51 cm.