A Highly Carved Decorative Center or Console Table in the Louis XIV / Baroque Style

The table is carved on all four sides with identical designs – the two sets of legs on the outer most side are carved in the round (on all four sides).  This attention to detail and finishing indicate that the furniture maker was highly talented and showcasing their craftsmanship. The whole design and decorative motifs appear to be inspired by grand 17th century French furniture. 

Both fronts and sides are intricately carved with aprons with scrolls and acanthus within floral designs. All carvings are hand painted in gold. The eight carved and gilded shaped legs sit on fluted bun feet and are all all conjoined with a center stretcher centered with a fluted bun. The wooden top is veneered in a four section matchbook design which displays an arrow design converging to the center of the top. 

The table would be ideally located in the middle of a room or hall, showcasing its four-sided decoration and design. It could also be used as a console table. 

Unidentified wood (likely pine) as the carcass with veneered carvings and a walnut veneer matched book top

American, possibly east coast made, circa 1930s

Dimensions: H:30” W:66”  D:21”

Condition: 

The table has been sympathetically restored improving its color and hand painted details. The feet and aprons have had some attention to ensure they will not split or fall off over time. The overall construction is sturdy and solid. 

Frank Lloyd Wright for Schumacher, Imperial Peacock, 

Tokyo, Textile Tapestry

Frank Lloyd Wright for Schumacher Tokyo Imperial Hotel Geometric Textile Frank Lloyd Wright for Schumacher Imperial Peacock Textile. 

18" w x 46" h x 1" d. Fabric wrapped on board. Circa 1986

Cotton / Linen blend with various shades of blue, pink, tan, periwinkle, coral, red, and lavender.

Price: SOLD

Wright originally designed this pattern in the 1920’s for his Imperial Hotel, Tokyo where the pattern was featured throughout the now demolished building. Large rugs, curtains, stained glass panels, and cast stone architectural details featured this pattern. He translated the design for his collaboration with Schumacher in 1955.  

Wright's masterpiece was demolished in 1968 and replaced by a gleaming, ultra-modern four-star edifice. All that remains of the “Wright” Imperial nowadays is the hotel’s front facade, preserved today at Meiji Mura, the outdoor architectural museum near Nagoya that hosts a large collection of Meiji era architectural art.

   

“The greatest success of the Imperial Hotel was the boldly monumental spaces Wright contrived to create despite restraints posed by the earthbound profile of the building with its purposely lowered center of gravity … It was valued for the opportunity it presented to distinguish building types by displaying a building’s character through a distinctive combination of ornament and plan.

  “The design of the Imperial Hotel is proof of this state of affairs, in terms of which Wright hoped, as he always did, to rehabilitate and redefine architectural Truth. “… In the Imperial Hotel, the hierarchy of ornament was thus matched with a hierarchy of spatial arrangement … The effect was charming and unusual, as many still alive will not hesitate to attest.”

  – The Making of Modern Japanese Architecture (1868 to the Present), by David B. Stewart, 1987

  “Undoubtedly the Imperial Hotel is one of the world’s finest structures in point of character, which is all its own. It is not difficult to recognize the genius which conceived such a poem in stone and brick, and due praise must be spontaneously offered to the brilliant engineering talent which adhered to strictly straight lines and flat arches throughout the entire building.

 “The only fair comment that can be advanced is that the building is probably a hundred years ahead of the age in its architectural features and fifty years behind in many things which make for the comfort of its patrons. [Frank Lloyd Wright] sacrificed everything to his art, raising a monument to his genius and bequeathing to the Japanese the difficult task of making it a financial success.”

  – “Architecture and the Buildings of New Tokyo”, The Far Eastern Review, June-July 1925. 

Large 19th Century Chinese Brass Jardinière or Planter

With dragon handles and dragon and flame of life brass adornments to the body of the urn.

 

China, circa 19^th century

 

Dimensions:  H:  16.5” (to top of dragons) W: 24” (from dragon to dragon) D: 15.5”

 

Price: $SOLD

Mid-Century Rosewood Magazine or Record Holder

Bruksbo, Bagn Mobelindustri mid-century modern rolling magazine or record caddy. Features dark, highly figured rosewood with 6 compartments and a long handle. Label on base. Good overall condition with age related wear. 

 

Norway, circa 1960s or later

 

Dimensions: H: 17.5”  W: 13.5” L: 16”

 

Price: $SOLD

IMPORTANT: We are very happy to obtain a proper delivery quote based on your location. Please contact us and provide your zip code and if this going to a house /apartment and if there are stairs.

For inquiries and questions, please email us at HoneywoodStudio@gmail.com 

18th Century Chinese Blue & White Ginger Jar

A baluster form lidded jar decorated with large peony flowers and foliates. Four shizi (lion dog / foo dog) heads are applied in relief form on all sides. The lid is adorned with a shizi (lion dog / foo dog) shaped blue knob.

 

In Chinese culture the shizi dog symbolizes power and strength of character. The Peony (牡丹) is the national flower of China; this flower signifies richness, opulence, beauty, honor and high social status. A symbol of spring, it is also used as a metaphor for female beauty and reproduction. Pictured in full bloom, the peony symbolizes peace.

 

China, circa 1840

 

Dimensions: H: 15” Dia: 7.5”

Price: $1,300.00

IMPORTANT: We are very happy to obtain a proper delivery quote based on your location. Please contact us and provide your zip code and if this going to a house /apartment and if there are stairs.

For inquiries and questions, please email us at HoneywoodStudio@gmail.com 

A Pair of 1950s Gerald Thurston Table Lamps

A very hard to find early design pair of lamps by Gerald Thurston for Lightolier. A striking bent-neck, hooded desk lamp with base. Black enameled base, brass neck, and black aluminum hood. Controlled by a rotating switch at top of head, this beauty throws a lot of light on your workspace area and a fun design off the back. The clean lines and classy minimalist design are guaranteed to make this lamp a showstopper on any surface.

 

American, 1950s

 

Gerald Thurston (Designer),

Lightolier (Manufacturer)

 

Price: $SOLD

 

Dimensions: 7” diameter (base)

H: 20” approximately

 

Gerald Thurston (born in 1914, U.S.A) was one of the most innovative American lighting designers of the postwar era. He earned acclaim for his lamps and lighting fixtures, which exemplified the streamlined forms and sleek materials of the mid 20th century. His long-term work with lighting company Lightolier over the course of the 1950s and 1960s resulted in some of his most iconic lamps, which are still coveted by collectors today.

 

Condition:

 

Some slight wear to the brass, base, hood and knob –  nothing noticeable, but otherwise in fantastic vintage condition. These have been rewired with new gold fabric cords and a new bulb and switch socket.

For inquiries and questions, please email us at HoneywoodStudio@gmail.com 

Painted Victorian Chest of Drawers

Constructed of tiger oak wood. Two small drawers over two long graduating drawers. Drawers have the original brass pulls. Standing on slightly curved cabriole legs with new polished brass castors.

 

American, circa 1910

 

Made in Rochester, New York by George J. Michelsen Furniture Company

Retailed and sold in Washington DC’s furniture company, House & Herrman

 

Dimensions:

H: 35” 

W: 48” 

D: 23 ¼” 

 

Original label on the back reads:

“House & Herrman, Washington DC, George J. Michelsen Furniture Company, Manufacturers of furniture 736 North Water T Rochester, N.Y.”

Painted number on the back reads: “242”

For inquiries and questions, please email us at HoneywoodStudio@gmail.com 

Price: $SOLD

(art work is available too)

Read more about DC’s historic Victorian era furniture row: 

http://www.streetsofwashington.com/2010/06/grogans-furniture-store-on-7th-street.html

 

http://www.archivingwheeling.org/blog/house-herrmann-fire

 

 

To bring this chest up-to-date it has been sanded, stained, painted and covered in wax to enhance the tiger oak grain. Sections of the paint are smooth or impasto (thick textured surface).

The chest is in excellent vintage condition; the drawers open smoothly and the chest stands solid.

Please remember that this is a vintage piece, therefore it will show signs of character and slight wear unless otherwise specified. That being said we do refurbish all of our pieces to a good standard.