#mid century modern danish coffee table

[sleepydrummer]

A visual treat, Johannes Anderson’s ‘Smile’ coffee table.

[wildbeautifuldamned]

Mid Century Danish Modern Coffee Table Game Chess Solid Teak Shelf Kurt Ostervig ebay midcenturysacramento

[kaashni-co-in]

Danish modern interior design: simple and functional

Danish modern interior design is characterized by its simplicity, functionality, and focus on quality craftsmanship. It emerged in Denmark in the mid-20th century and has since become a popular interior design style around the world.

The hallmark of Danish modern design is its clean lines and minimalist approach. Furniture pieces are often designed with a focus on functionality and practicality, without sacrificing aesthetic appeal. Natural materials such as wood and leather are favored, and pieces are often left unfinished or with a light stain to showcase the natural beauty of the material.

Danish modern interior design is the emphasis on functionality. Every item in the space serves a purpose, and there is no excess clutter or decoration. This minimalist approach creates a calm and uncluttered environment, which is ideal for relaxation and focus.

The key features of Danish modern interior design include clean lines, natural materials, and a neutral color palette. The furniture is often made from materials such as wood, leather, and metal, and features simple, geometric shapes. Danish modern designers also prioritize functionality, so furniture pieces are often designed with multiple purposes in mind.

The color palette of Danish modern design is typically muted and neutral, with shades of white, gray, beige, and black being common. This allows the natural materials and simple forms of the furniture to take center stage.

Another defining feature of Danish modern design is the use of lighting to create a warm and cozy atmosphere. Lighting fixtures are often designed with a minimalist approach, using simple shapes and natural materials like wood and metal. This helps to create a sense of hygge, which is a Danish word that means "coziness" or "contentment."

Another important aspect of Danish modern design is the use of space. Rooms are designed to be open and uncluttered, with an emphasis on creating a sense of calm and serenity. Multi-functional pieces of furniture are also common, with items such as a coffee table that can be transformed into a dining table, or a sofa that can be converted into a guest bed.

Danish modern design has been popular for decades and continues to be a sought-after style in both homes and businesses. Its clean, functional aesthetic is perfect for those who value simplicity and understated elegance. Whether you're looking to redecorate your home or add a touch of Scandinavian charm to your business, Danish modern design is a timeless choice.

Finally, Danish modern design places a strong emphasis on craftsmanship and quality. The furniture and decor in these spaces are often made by hand, using traditional techniques and high-quality materials. This attention to detail and quality ensures that the space is not only beautiful but also durable and long-lasting.

Overall, Danish modern design is a style that values simplicity, functionality, and quality craftsmanship. It is a timeless style that has stood the test of time and continues to be a popular choice for those who appreciate understated elegance and practicality.

[thehistorysblog]

Elevate Your Space: Embrace Timeless Elegance with Vintage Chairs in Sydney

Many people love mid-century furniture and there are leading stores offering vintage chairs in Sydney that when placed in the house give the interior of the house a royal look. The iconic chairs offered by the leading companies can really make the house look beautiful and put a great impression on the minds of guests visiting the house.

Scandinavian and Danish furniture in Sydney is offered by leading stores dealing in such products and they cater to the enthusiasts offering such goods at great prices. When it comes to iconic mid-century sofas to retro modern decor there are many different products to choose from as the leading companies have a very large catalogue of products so that one gets what one requires. Not just sofas and chairs but also many tables and sideboards are available from the leading furniture shops dealing in such products.

A Deeper Dive into The Various Vintage Furniture to Learn About Them

French steel and glass coffee tables are quite stunning to look at as they are great for welcoming guests with a cup of coffee. Vintage Danish sideboard generally gives a royal look and can be the centrepiece of the room in which it is kept. There are many other types of sideboards available from the leading retail stores like mid-century Danish sideboards, small mid-century rosewood sideboards, rosewood sideboards, low, mid-century sideboards, etc. Sideboards are great for storing goods and also to give a room a better design to the interior of the house as these sideboards act as decorative furniture.

The sideboards could be put in not just in living rooms but also in the kitchen, bedroom, and other rooms in the house. Similarly, vintage sofas are not just used for sitting and relaxing only but also for giving the house a beautiful and good look. Some of the most beautiful sofas that are offered by the leading vintage furniture stores include mid-century Danish sofas, Danish 2-seat sofas, vintage Danish sofas, etc.

When it comes to buying quality furniture one must buy from stores that have a large catalogue of quality furniture products. Browse the catalogue of leading furniture stores or contact them to buy the best vintage furniture.

Source

[bfgreys]

Desk clock mini mid century modern

#Desk clock mini mid century modern free#

This includes Northern Ireland, The Channel Islands and Scotland. If you require a quote for international delivery, please contact us PRIOR to making your purchase. For larger items we cannot guarantee their safety when shipping, therefore we will not ship them unless done so at the buyers own risk and organisation.

#Desk clock mini mid century modern free#

We only offer free delivery for all pieces to mainland UK within 75 miles of our address.įor International delivery marked as free, this is due to the delivery cost varying from country to country and differing between pieces. Please note that Modern Antics is based in Essex, UK. Designart Oversized Multicolor Analog Round Mid-Century Modern Wall Clocks, CLM25094-C23. Designart Oversized Multicolor Analog Round Mid-Century Modern Wall Clocks, CLM25097-C23. Lexicon Frolic Wood Writing Desk in Brown by Domain Industries Inc. Designart Palm Golden Leaves III Mid-Century Modern Wood Wall Clock. GDF Studio Rex Mid Century Rubberwood Writing Desk, Medium Brown by GDFStudio (24) 250. For more information please get in touch.įollow us on Instagram and Facebook INFORMATION***** Pico Desk, 47' X 23.5'x 30' by LIEVO (5) 288. WEST ELM Modern Industrial Desk and POTTERY BARN Industrial Spin Stool 360 (sea >. Modern Antics is happy to hold any viewings at our home offices in Essex, U.K. Desk Accessories & Stationery Ava Vintage Washed Cotton Sheet Set. It would also be great as a gift for those in the designer know. It would be a perfect touch to a mid century enthusiasts home if you would like to treat yourself. If classic mid century modern design is what you are after, this clock is a great example of the movement. Pamono: design for a life less ordinary.FOR INTERNATIONAL DELIVERY PLEASE SEE BELOWĪ Danish wenge cube desk clock, 1970s, with brass hands and a dished 'face', raised on an hexagonal plinth on a circular foot, 23cm high We offer worldwide insured shipping, easy returns and a multilingual support team that are as keen on questions as we are on design. Vintage (220) Industrial (317) Mid-Century. Whatever the antique grandfather clock, vintage wall clock or retro mantel clock you’re looking for, we have the perfect clock for you-although we admit mid-century style is our passion and our speciality! So whether you're a minimalist or a maximalist, take a look at mid-century modern clocks, coffee tables Use these free Clock Clip Art for your personal projects or designs. Wood LED Light Mini Modern Cube Desk Alarm Clock Displays Time Date Temperature Kids, Bedroom, Home, Dormitory, Travel (Black) 3. Check out some Arabic numeral mid-century wall clocks by iconic Italian designer Gio Ponti, Roman numeral clocks from Deutsche Werkstätten, and non-numeric indicator clocks in avant-garde, asymmetrical forms that serve as beautiful examples of the 1960s experimental style. Driini Modern Mid Century Desk and Table Analog Clock (Black Rose Gold) - Battery Operated with Silent Sweep Movement Small Square Desktop Clocks for Mantel, Nightstand, Office, or Bedrooms. His desk clocks, designed in the period 1947-1953, featured tripod, pedestal and cone bases, in brass, acrylic, and walnut. The enduring sunburst form appeared in many of his wall clocks, such as the multicolored Ball Clock (1948), the exemplar of mid-century modernism Starburst Clock (1949), and the layered aluminum Butterfly Clock (1955). Small List Quick shop Add to cart Love it 0 145 24 shipping 80 Deliver to 20147 Bulovas key wound mantel clocks need to be wound every 7-8 days Vintage. DESCRIPTION: Up for sale is a battery operated clock It is a rare vintage mid century, danish modern table clock designed by Raymor from Italy. It was the American mid-century modernists however, particularly designer-architects such as George Nelson who brought many practical items such as clocks and lamps Industrial style clocks were produced in Germany in the 1930s for their practicality rather than their beauty, but Heinrich Möller’s desk clocks for Kienzle break the mold with beautiful Art Deco clocks produced in the 1930s in copper. Mid-century clocks come in all shapes and sizes, and we have sourced a wide range of vintage clocks-in antique, industrial and mid-century styles-from the best vintage dealers in Europe, for you to peruse at your leisure. Track your tardiness with a mid-century clock! One of the most essential, yet stylish pieces you can have in your home, a vintage clock produced in the 1940s, 1950s or 1960s is a piece of design history as well as a timekeeper.

[thehistoryvintageantiques]

mid century coffee table

Percival Lafer

Coffee Table

Brazil-1970s

The History, mid century vintage furniture, offers this superb example of a Percival Lafer coffee table. Lafer, one of Brazil’s modernists created these tables from exotic timbers cut into small blocks with Rosewood rails and legs. This mid century modern table has been rebuilt and now has a strong frame which won’t break or warp like the original flimsy frames. Glass has minor scuffs and scratches appropriate to age and use.

We can freight at very reasonable rates Australia wide.

150 x 76 x 36 cm.

mid century modernist Percival Lafer coffee table, made from exotic hardwoods with a glass top.

[jomiddlemarch]

Point and Click

2. They were back at the sunny, well-scrubbed kitchen table a week later, but this time, the full coffee service was out and a plate of homemade danishes Ivan had sent over. He had a very light hand with pastry despite having biceps roughly the size of torpedos. Aleksander had taken Fedyor and Nina’s advice, which included putting on dark jeans and “the most dad cardigan in the world” with his glasses on instead of his contacts and the suit he wore for casual Fridays when he was in the office. Mila was in the playroom with Nina, doing something Nina called ‘baby yoga’ which seemed to mostly be a bunch of rolling around on the braided rag rug as Nina called out names of animals. And a young woman named Alina Starkovsky was sitting across from Aleksander in what was clearly a suit acquired at an outlet mall’s fire sale, a pair of scuffed black pumps, her dark hair secured in a no-nonsense bun at the nape of her neck.

“There’s no dress code. For the interview or the position,” he said. Fedyor nodded. He’d done the introductions and then had tried to sit back and let Aleksander manage the conversation, but he’d already interrupted three times. The last time, Alina had shot Aleksander a wry glance that had startled him into a smile.

“The 401K made me think you expected a certain level of…formality,” she said, offering a little smile of her own. “And the health insurance. Most nannying gigs pay under the table, nothing for time-off or sick leave.”

“I prefer for my employees to be properly compensated and to not have to worry about an audit from the IRS,” Aleksander replied. Fedyor gave him a look that said are you trying to drive this one off? He had very expressive eyebrows, Fedyor did.

“That’s good,” Alina replied. “Professional. I would take the position of being your daughter’s nanny very seriously, Mr. Kirigan. Though it would be a lot easier not to wear a wool suit forty hours a week with a toddler.”

“You’re sure you want to work forty hours a week as a nanny? Instead of pursuing a career in teaching? Your credentials would suggest you would prefer to work in an elementary school.”

“I do. I majored in early childhood education at State because I needed a degree that would definitely get me a job, but—”

“But what?” Aleksander said, when Alina broke off and the pause was becoming long enough Fedyor’s eyebrows started to waggle most ominously.

“If I didn’t have to worry about job security, I’d have majored in the arts. Photography. But you can’t pay your student loans that way, even if you’re willing to do the starving artist part,” Alina said.

“Your family wouldn’t help you out?” he said.

“I don’t have a lot of family. Just a brother and a great-aunt. My brother’s enlisted and my great-aunt’s on a fixed income. I’m on my own,” she said. “But I don’t want you to think I don’t like being with little kids. I do. I spent my whole childhood babysitting and I’d be happy to get a job as a preschool teacher. I have to be honest, I haven’t had a lot of nibbles on my applications and your position pays a lot better than any of the schools.”

Aleksander was about to ask her to elaborate on the rest of her credentials when the door to the playroom opened and Mila ran over to them, as fast as a nearly three year old in a dinosaur costume and bare feet could run through a maze of mid-century modern furniture, and then attached herself to Aleksander’s shin in true barnacle-style.

“A Milasaurus! I never thought I’d get to see one!” Alina exclaimed, her voice excited and warm, how Aleksander would have expected her to sound if he’d shown her the signed O’Keeffe print of the desert hanging in his study. “I’ve heard about them, but this is amazing!”

“They like blueberry danishes,” Fedyor offered. “If they’ve already finished their healthy snack—”

“It was sunshine sticks, Fedya, and I did,” Mila said. As if from a great distance and not simply the playroom, Nina’s voice drifted over She had five and a string cheese, she’s a bottomless pit.

“I had my healthy snack too,” Alina said. “It was peapods today. Do you think we could share a danish, Milasaurus?”

“Papa?”

“Yes, Mila, you may,” he said, nodding at Alina who was looking over at him for approval as well. “I’ve waited a long time for someone like you, Miss Starkovsky. You’re hired.”

[dwellordream]

“...By the 1920s, only the very poorest Danish families had to depend on the economic contributions of adolescent children for survival, but in most households daughters were still expected to help supplement the household income by handing over their pay. Especially in their first years as wage earners, parental control over children's income was considerable. Mothers in charge of the family budget generally kept most of the wages, permitting adolescent wage earners only a limited weekly allowance for personal expenses. Young women's family responsibilities continued in other ways as well. 

While sons were given much more leeway, daughters were generally expected to contribute their labor to the household after they arrived home from work. "In my family, all the children were sent out to work after their [Christian] confirmation [at the age of thirteen or fourteen], and we all had to give mother some of the money we earned for housekeeping," Gerda Eriksen recalled of her working class youth in the early 1920s. "But," she continued, "the girls also had their chores—running errands, peeling potatoes, setting and cleaning the table, doing the dishes, bringing up coal from the basement. My brothers never had to do any of that. That was women's work."

But if contributing wages and labor to the household continued to be the unquestioned norm, young women's sense of their rights and obligations vis-a-vis the family was nevertheless changing in other ways in the early decades of the twentieth century. When earnings were sufficient, some daughters decided to strike out on their own and live independently in rented rooms, small apartments, or boarding houses, but given their low wages this was a possibility for the very few. More frequently, young working women sought to use their earnings as leverage to negotiate a stronger position within the family. Especially after World War I, when most families were able to place themselves safely beyond the poverty line, the necessity of individual sacrifice for household survival began to fade.

This allowed even working-class daughters to assert their right to new privileges in exchange for their economic contributions, and in the 1920s they did so in increasing numbers. Young women's sense of what they could legitimately demand from their families clearly sprang from their status and experiences as wage earners outside the home. In the labor market, and particularly in jobs other than domestic service, young women learned a rhythm of time and labor that divided daily life into paid work and one's "own" time. This was a rhythm already familiar to most men, whose lives had long been split into realms of work and leisure. Therefore, (male) wage earners were the obvious beneficiaries when Danish government regulations in 1919 limited the work day to eight hours, allowing working men more free time than ever before. 

Married women, on the other hand, did not experience a similar shortening of the workday. Whether they worked outside the home or not, housework, child-rearing, cooking, and cleaning were never ending tasks, and unlike their husbands, they had to snatch their few leisured moments in between domestic responsibilities. As working women, daughters were precariously positioned between these different patterns of daily life. Even though they took on wage labor much like their fathers and brothers, young women were simultaneously expected to share the steady burdens of domestic work with their mothers and to devote their nonworking time to household labor. 

It was this discrepancy between expectations fostered by labor market participation in the context of increasing standards of living, and the realities of family life that became increasingly intolerable for many young women in the 1910s and 1920s. In their minds, earning a living and bringing home money positioned them on a par with male members of the family, entitling them to at least some of the same prerogatives. Consequently, while they did not resist having to hand over a substantial part of their earnings, they more and more openly resented that their financial contribution did not always earn them what they considered its reasonable counterpart, namely the right to free time. As a result, families with adolescent daughters were plunged into conflicts about the degree of personal autonomy that labor market participation and wages ought to bestow. 

Intrafamilial conflicts are often difficult for historians to document, but in this case tensions between parents and children are easily discernible. They surface, for instance, in the immensely popular advice columns of the 1910s and 1920s. Convinced of their right as wage earners to at least some free time and exasperated by their parents' unwillingness to grant them this privilege, some young women turned to advice columnists, hoping for replies that would affirm the legitimacy of their demands. 

Among the correspondents was "Betty" who openly questioned her parents' authority. "I work from 8 A.M. to 6 P.M. every day," she explained. "When I come home, I am tired, but I still have to fix dinner and look after my younger sister. In the evenings my parents say I have to do needle-work, but I would rather read or go for a walk. Can they really demand that I stay at home? I am seventeen and a half years old, and I pay my mother Dkr. 8 every week."

Similarly, "a Copenhagen girl" found the relationship between rights and duties in her life unreasonable. "Before I leave in the morning," she complained, "I have to light the fire, make coffee and pack lunches. When I come home, the dishes are still sitting there, and there are errands to be run. Sometimes I want to meet my girlfriend at night, but my parents will almost never let me go. They say there is no reason to 'gad about,' but I don't understand what is wrong with having a little bit of fun at night when you work all day." Other evidence also suggests that many young women openly struggled to obtain the right to leisure and independent activities they thought they deserved. 

Personal narratives often reveal both the intensity of such conflicts and the ingenuity of young women bent on getting their way. Emilie Johansen, who grew up in a middle-class family in a suburb of Aarhus recalled, for example, how she and her sister enlisted the help of an older aunt in their conflicts with an authoritarian father. "He was so strict. He would never allow us to have any fun, never allow us to go anywhere. It was hopeless. But then my aunt—I guess she was feeling sorry for us— we talked to her, and she hired us to do some cleaning and stuff. And we would get there and she would say, 'Why don't you girls run off to see a movie?' I don't remember if we ever actually did any work."

Equally resourceful, Copenhagen native Anna Eriksen depended on the backing of an older brother, who, in exchange for small favors, would promise to act as her chaperon outside the home only to vanish as soon as the siblings were out of their parents' sight. In addition to such evidence, numerous magazine articles and newspaper columns from the 1910s and 1920s chronicle the anger and bewilderment of parents who found themselves in constant conflict with their daughters. For mothers, this seemed particularly difficult. Not only did their daughters' desire for a "modern" life seem a rejection of their own norms and values, which in itself was hard to bear, but on top of that, some girls directly flaunted their disrespect of maternal authority, especially if fathers were absent, indulgent, or merely lackadaisical.

"When my daughter is not at the office, she thinks life has to be lived in a cafe, or in other places where people are judged according to their dress and style," "Ninka's mother" wrote to a women's magazine in 1921. "If I tell her to stay home even a few nights a week, she acts as if I've just imposed a life sentence on her." "She doesn't listen to me," another mother complained of her seventeen-year-old daughter. "When I tell her to stay home, she just laughs and says that you are only young once, that this is the twentieth century and not the Middle Ages, and that she is already wasting too much of her youth in a dirty factory. Besides that, she has her own money."

Even more desperate, the mother of one of the much maligned Langelinie girls told a newspaper journalist that she had "begged and pleaded with [her daughter] not to go there, but it doesn't help. I have to go to work, and my neighbor tells me that as soon as I am out the door, she takes off." Using whatever means it took, many young working women who came of age in the late 1910s and 1920s thus pushed for new personal freedoms and especially the right to free time. While some parents never gave in to their pressure, most young women seemed gradually to succeed in carving out of daily life at least some uninterrupted time devoted to relaxation and their own enjoyment. 

From the mid-1920s, the frequency of daughters' publicly voiced complaints declined dramatically, and coming-of-age stories no longer featured such conflicts. Apparently, Ernestine P. Poulsen, born in 1902, described a phenomenon that extended beyond her family when she explained that "I fought a lot of battles with my parents [over the right to leisure]. Perhaps I cleared the way because when my [younger] sisters came along, they did not have to do the same. My parents had kind of accepted that girls also needed time of their own."

This did not mean, however, that conflicts between parents and daughters faded. Rather, the grounds of conflict merely shifted. Much resistance to giving young women free time derived from the material conditions of daily life—the practical assistance of grown daughters was still important for the well-being of many working-class households—and from a more general reluctance to give up control over children. But parents' reluctance also stemmed from their misgivings about young women's actual use of their leisure time. 

Had daughters simply demanded more time to pursue leisure activities within the home, had they insisted on participating in cooking classes and sewing circles, or had they wanted to attend lectures on hygiene and housewifery, they would probably have been met with more understanding. But these were not the kinds of activities young women longed to engage in, and therefore the question of female leisure remained a contentious issue throughout the postwar decade.

Working-class and middle-class daughters had of course not been entirely without time of their own prior to the 1920s. Nor had they been completely confined to the home. Girls from the countryside had always been allowed to participate in regional fairs, celebrations, and local get-togethers of young people. Urban working-class daughters had long socialized outside the home on staircase landings and front steps, in backyards, and on city streets or in neighborhood parks, and many middle-class daughters belonged to women's clubs and organizations. 

What constituted the major departure from convention in the 1910s and 1920s was young women's insistence on their right to "go out," an activity significantly different from the kind of casual socializing that took place outside their parents' windows or in clubs and organizations under adult supervision. "Going out," Regitze Nielsen recalled, "that was when we got dressed up and went somewhere." More specifically, "going out" meant pursuing pleasures that took young women away from home and family, into the public, and, in particular, toward new forms of commercial recreation, including movie theaters, cafes, dance places, and amusement parks. As a social practice, this form of "going out" challenged older norms for female behavior in several ways. 

First, it obviously entailed their deliberate desertion from the domestic world, if only momentarily. Second, "going out" meant young women venturing outside familiar neighborhoods and beyond the realm of adult control and surveillance, claiming for themselves the right to an independent, unsupervised social life distinct from familial traditions. Third, as opposed to more traditional forms of leisure for women, "going out" was a strictly peer-oriented activity in which kinship ties had much less significance than freely chosen and carefully cultivated friendships among girls and young women who usually met in school, at work, in clubs and organizations, or in the neighborhood where they lived. 

Finally, and perhaps most importantly, "going out" meant women's entrance into public spaces traditionally defined as male territory and often imagined as sites of immoral activity where men and women freely mingled, potentially transgressing social and sexual boundaries. Because each of these four aspects seemed to pose a fundamental threat to the social and sexual status quo, intense controversies between parents and children over young women's new leisure activities reverberated throughout the postwar decade. Years after families had conceded to daughters' demands for more time of their own, parents struggled to control or at least influence their use of that time. 

By dictating curfews, prohibiting particular activities and specific locations, insisting on being introduced to friends and companions, and demanding the chaperonage of brothers, parents sought not only to protect their daughters against potential dangers but also to maintain at least some authority. Consequently, when young women ventured out into the public sphere, they generally did so under the intense scrutiny of parents who continued to hold some power to revoke their newly won privileges. Thus, even as "going out" gradually became a regular part of young women's lives, treading carefully remained an often perplexing prerequisite.”

- Birgitte Soland, “Good Girls and Bad Girls.” in Becoming Modern: Young Women and the Reconstruction of Womanhood in the 1920s

[jeremystrele]

A Designer’s 1970s Bells Beach Dream Home!

A Designer’s 1970s Bells Beach Dream Home!

Homes

by Lucy Feagins, Editor

Artwork in the background is ‘Checked Square’ by Jacob Leary. ‘Tufty-Too’ modular sofa from B&B Italia, designed in 2011 by Patrizia Urquiola. 1970s Italian chrome and glass coffee table. 1957 Saarinen ‘Tulip’ side table. Rug from RC&D. Vintage Italian chair in Mongolian wool dyed blue. Recycled French oak coffee table designed and build by Leo.  Alfredo Barbini Murano Italian art glass dish. ‘Vesuvius’ lava glaze bowl by Jonhathan Adler. Hand-woven cotton light pendant from Paris au mois d’aout. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

The lush entry foyer. ‘Planula’ dining chairs by Giovanni Carini, 1970. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Interior designer Léo Terrando; and model, actor and a producer Jessica Watts. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Artwork in the background is ‘Checked Square’ by Jacob Leary. ·’Tufty-Too’ modular sofa from B&B Italia, designed in 2011 by Patrizia Urquiola. 1970s Italian chrome and glass coffee table. 1957 Saarinen ‘Tulip’ side table. Rug from RC&D. Vintage Italian chair in Mongolian wool dyed blue. Recycled French oak coffee table designed and build by Leo.  Alfredo Barbini Murano Italian art glass dish. ‘Vesuvius’ lava glaze bowl by Jonhathan Adler. Hand-woven cotton light pendant from Paris au mois d’aout. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Artwork is ‘Act 1 Scene 2’ by Deidre Bruhn. 1959 Verner Panton wire cone chair. Mimi Kelly untitled print. Green Gaudi chairs by Vico Magistretti for Artemide, 1970s. ‘Four’ dining table Desk from Kartell designed by Feruccio Laviani. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

1970s Cristalart mirrored console table. Charles and Ray Eames executive table for Hermann Miller with Arabescatto marble top. Limited edition 1974 ‘Monk’ chairs by Afra and Tobia Scarpa for Molteni. 1962 ‘Arco’ floor lamp by Achille and Pier Giacomo Castiglioni for Flos. Zac Koukoravas artwork. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Dulux ‘Milton Moon‘ paint. Charles and Ray Eames executive table for Hermann Miller with Arabescatto marble top. Limited edition 1974 ‘Monk’ chairs by Afra and Tobia Scarpa for Molteni. 1962 ‘Arco’ floor lamp by Achille and Pier Giacomo Castiglioni for Flos. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Volkswagen Kombi 1977. Framed photograph Leo took inside the escalator of the Centre George Pompidou in Paris beside his surfboards. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Kartell ‘Ghost stools. Mayday lamps by Kanstantin Grcic for Flos. Dulux Klute, Dulux Luck and Dulux Vivid White paints. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Danish high sideboard. 1970s Italian table lamp. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Early 1900s church pew·. Moroccan rug. ‘TOIO’ floor lamp designed in 1962 by Achille & Pier Giacomo Castiglioni for Flos. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Mid-century Australian credenza that Leo found at the tip. Ceramic from west Germany. Laurana Rame D’arte Italian copper enamel bowl 1960. Mid-century modern Italian ‘Selenova’ table lamp in murano glass. Collection of 1960s clear glass Czech vases. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Java Couple sculptures. 1950s French mirror. Jielde Floor Lamp Loft D 1240 from Flos. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Rug from RC&D. Red lacquered metal frame ‘Vanessa’ bed designed by Tobia Scarpa for Cassina. Chrome and glass Italian coffee table. ‘Brumbury’ table lamp by Luigi Massoni for Guzzini. Original ‘Mushroom’ armchair by Pierre Paulin for Artifort. Artwork ‘Difficult Pleasure’ by Brett Ferry. Cedar cladding on walls. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Jess with the couple’s dog, Button. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Jess, Léo and Button! Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

The awe-inspiring view out to Bells Beach. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

It really feels like we are living in the middle of the forest,’ says Léo. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Interior designer Léo Terrando purchased this incredible Bells Beach house (on Victoria’s Surf Coast) 10 years ago, which he shares with partner Jessica Watts. 

Believed to have been designed by acclaimed architect Kevin Borland in 1975, the house is characterised by vaulted timber ceilings that bring warmth and a distinctly eclectic character to its otherwise beachy feel.

‘The structural timber is entirely exposed and it follows the origami shape of the house, which means that the lighting – either natural or artificial – creates so many different contrasts and shadows,’ Léo says.

Léo was taken with the property’s unique design, as well as its awe-inspiring location set back from famous Bells Beach. ‘I love the fact that the house is away from everything,’ he says. ‘Being able to see the ocean from the house as well as hearing all the birds living in the area is truly magical.’

Not interested in stripping the home of its original character, Léo has undertaken only modest renovations over the past decade. ‘Internally I removed some walls in the upstairs bedroom and got rid of the carpet,’ he says.’

Other updates have been cosmetic only, such as updating the lighting fixtures throughout the home. ‘The lighting is so important for me, I have brought in so many different styles and types of lights, lamps, shades, from all different designers and eras,’ Léo says.

The home has also been painted inside and out, in colours including Dulux Milton Moon (in the living and dining room) with Dulux Klute, Dulux Luck and Dulux Vivid White in the kitchen and skirtings throughout.

The house has been a challenge to furnish due to its many windows – over 50 in total! To overcome this, and to balance out the extensive timber panelling, Léo has styled the space with an eclectic mix of free-standing furniture, and large indoor plants. Most of the furniture and accessories are 1960s and ‘70s Italian pieces, and alongside these are personal items that show off the couple’s personality, such as surfboards and bold, abstract artwork. 

Overall this home feels effortlessly cool, relaxed and unpretentious – just like its Bells Beach location. Léo says, ‘Waking up to kangaroos, wallabies, wombats, and echidnas… It really feels like we are living in the middle of the forest.’ Living the dream!

[wildbeautifuldamned]

Danish Mid Century Modern Haslev Of Denmark By Tue Poulsen Tile Coffee Table ebay Rhonda's Treasures n more

[kaashni-co-in]

Mid-century Bohemian interior design: vintage and eclectic

Mid-century Bohemian interior design is a blend of two styles: the sleek and modern lines of mid-century design, and the eclectic, free-spirited aesthetic of Bohemian decor. This style features vintage and retro furnishings, mixed with global and handcrafted accessories, resulting in a unique and eclectic look.

Mid-century Bohemian interior design is a style that combines the vintage appeal of mid-century modern design with the eclectic and artistic vibe of bohemian decor. The result is a unique and comfortable space that is both stylish and personal.

This style often incorporates natural materials like wood, leather, and jute, as well as warm, earthy colors such as mustard yellow, burnt orange, and olive green. Furniture is often low-slung and streamlined, with clean lines and geometric shapes, and can be mixed with vintage pieces and colorful textiles.

Plants and natural elements are also an important part of the Mid-century Bohemian look, with large leafy plants and natural wood finishes bringing the outdoors inside. Layered textiles like rugs, throws, and pillows in a variety of textures and patterns add to the cozy and eclectic feel of the space.

This style also often incorporates unique and handcrafted items, such as macrame wall hangings, vintage pottery, and woven baskets. It is a great way to showcase your personal style and love for vintage pieces in a modern and comfortable way.

To achieve a mid-century Bohemian interior, start by selecting furniture with clean lines and geometric shapes, such as a sleek leather sofa or a Danish-inspired armchair. Mix in vintage pieces, like a mid-century teak coffee table or a retro-inspired bar cart, to add character and charm.

In terms of color palette, mid-century Bohemian design often incorporates warm earth tones, like rust, mustard, and olive green, as well as rich jewel tones like deep blue and emerald green. Textured materials like natural wood, woven textiles, and vintage leather can add warmth and depth to the space.

Bohemian accents can be incorporated through textiles and accessories, such as a vintage rug, colorful throw pillows, or a macrame wall hanging. Global and handcrafted pieces, like a Moroccan pouf or a carved wooden bowl, can also add a sense of worldly charm to the space.

Lighting in a mid-century Bohemian interior should be warm and inviting, with the use of warm bulbs and natural light. Select lamps with interesting shapes, such as a sculptural ceramic table lamp or a woven pendant light, to add visual interest.

In terms of artwork and decor, Mid-century Bohemian interior design often features abstract paintings and prints, as well as unique and vintage pieces such as ceramic figurines or wall sculptures. Wall art can also include macrame or woven tapestries, adding to the bohemian vibe of the space.

In summary, mid-century Bohemian interior design is a playful and eclectic style that combines vintage and global elements with sleek mid-century design. This style allows for a lot of personal expression and creativity, resulting in a unique and personalized space.

[tortoisesshells]

Fic questions: Civil Charms and Priestly Speels! 1, 7, 11, 13, and 18, open end, can we be so bold as hope for a possible update in the distant future?

civil charms and priestly speels! my poor, semi-abandoned darling. 

1.  What is your favorite thing about this fic?

I wrote the first three chapters of this with my Gettysburg maps and guidebooks spread out around me, and re-watched Gettysburg 5

7.  Favorite bit of dialogue?

“But Clawbert E. Lee really was your best one.”

“Not Mewlysses S. Grant? Your Dixie sympathies strike again, Miss Green.”

“Or ‘Clawbert’ could just be a funnier name. I’d name a cat Clawbert.”

“And someone might think you like James Joyce, with a cat named Mewlysses,” said Mary, in the spirit of things.

“Truly a fate worse than death.” Jed deadpanned …

11. Any unofficial soundtrack and/or songs you associate with this story?

I listened to The Ballad of the 20th Maine by The Ghost of Paul Revere uhhhhhhhhhhh … A Lot, especially with Chapter Two, because it was (a)topical and (b)”take your Northern hearts with you to the grave” hit me in the solar plexus the first time I heard it. Major props also to Union Dixie by Tennessee Ernie Ford, which I’m positive Jed would sing in this AU to rile up the Greens, and Yankee Bayonet (I Will Be Home Then) by the Decemberists, because it wouldn’t be me writing a Mercy Street modern AU without at least one Decemberists song on the (non-existent) playlist!

13.  Any post-cannon headcannons for this universe?

The souvenir from Chapter Three does not go on to become the cake topper at Emma and Henry’s eventual wedding, but it does somehow without any outside interference from a certain meddling Maryland doctor end up on the dessert table.

&, total wish fulfillment, Emma starts an Instagram account specifically for her mid-19th century dress-making hobby. 

18.  Can we be so bold as hope for a possible update in the distant future?

Actually, yes! The next chapter … actually continues the trend of me not writing the re-enactment in its current incarnation but the main quartet does argue about the re-enactment over coffee and grapefruit and cheese danishes, & that’s something that’s mostly finished and has been for months i just get rather easily distracted? 

Ask me a fic-specific question!

Thanks for the ask!!!

[stupendousqueenperson]

Mid Century Danish Modern Coffee Table Rosewood Extension Johannes Andersen Mcm $998.98 via eBay https://ift.tt/3erAr6o

[thehistoryfurniture-blog]

Where Can I Buy Modern Furniture?

Get Modern Furniture in Melbourne online in great quality and reasonably prices at thehistory.com.au . Here, you will find a whole variety of falcon Chair furniture, MCM Furniture, Retro Vintage Furniture, Mid Century Danish Chairs, Original Swan Chair, Falcon Coffee Table, and Vintage Danish Leather Sofa etc. You will find fanciful get-together of in several designs, styles and sizes. The History also gives excessive discount suggestions and cash backs on all Modern Furniture Online.

Read More:- Modern Danish Furniture Sydney

[thehistoryvintageantiques]

#17 Mid-Century Modern Marble Coffee Table

Vintage marble coffee table

Denmark 1980’s

Mid-century Danish coffee table. Polished brass trim and base with dark oak sides and a polished marble top. Comes with two sliding draws. In very good vintage condition.

45Hx130Lx65D cm

[mcmobler]

View this post on Instagram

A post shared by Mid Century Møbler (@midcenturymobler)

Danish modern coffee table with hidden storage 💥💥 51” long (closed) 63” long (open) x 20.5” deep x 21” tall Available in store. DM or email to purchase (at Mid Century Møbler) https://www.instagram.com/p/Bv40O1nh3BT/?utm_source=ig_tumblr_share&igshid=o8sb2l8b4v5u