Collection – Galerie Marel

Ib Kofod-Larsen, Rosewood Credenza. Denmark, C.1960

admin1187 — Sun, 03 May 2026 16:06:15 +0000

Important rosewood credenza by Danish designer Ib Kofod-Larsen. Crafted in solid rosewood and rosewood veneer, it features four drawers, two of which reveal sliding compartments for cutlery, and four cabinet doors opening to adjustable shelving, interior drawers, and a dedicated bottle compartment in oak veneer.

Recently repolished, it presents a discreet patina and remains in excellent overall condition.

Denmark, circa 1960.

E. Knudsen, Model 48 armchair for Jensen & Lykkegaard. Denmark, C.1950

admin1187 — Tue, 03 Mar 2026 14:36:53 +0000

The Model 48 armchair, designed by E. Knudsen and produced by cabinetmakers Jensen & Lykkegaard in Odense, is a fine example of Danish mid-century organic design and craftsmanship.

Well proportioned, it features compact, sculptural floating armrests in teak, contrasted by a wide cognac leather seat. The woven cane backrest adds texture and balances the warmth of the wood and upholstery.

Crafted in solid teak with cane and new leather upholstery, the chair has been carefully restored and remains in very good condition, showing only discreet patina consistent with age and use.

An elegant standalone piece, also suitable for use around a dining table or at a desk.

Gérard Rigot, Peacock Dressing Table. France, 1992

admin1187 — Tue, 03 Mar 2026 09:00:17 +0000

There is Art Deco, Art Nouveau; there is design, modernism or Memphis… And then there are pieces that resist classification. Gérard Rigot’s creations, as if drawn from a fable, most probably belong to that latter category.

Carved in wood and entirely hand-painted, this remarkable dressing table, flanked by two peacocks, emerges from Rigot’s enchanted bestiary, where furniture becomes sculpture.

Rigot’s characteristic use of colour — at times naturalistic, always expressive — animates the surface. The pivoting mirror, framed by a checkerboard border that still bears traces of the original pencil guidelines, appears to float between the birds’ necks. Below, carved and pierced details in vivid tones evoke a garden in bloom, while the slender front legs, painted with motifs recalling flowers or feathers, lend the piece a certain lightness and echo the accompanying stool.

The dressing table features two drawers in the front apron as well as two concealed compartments hidden beneath the peacocks’ tails.

Born in 1929, Rigot began sculpting furniture for himself and his family after leaving Paris for the countryside of south-west France, where he acquired a carpentry workshop. His zoomorphic creations playfully blur the boundary between art and furniture.

By the late 1980s, his work had travelled from Paris to New York, London and Zurich, attracting collectors drawn to its singular character. Each piece, though unique, retains what defines Gérard Rigot’s universe: a poetic sensibility, the visible hand, and a playful use of forms and colour.

Pair of French corkscrew armchairs, France, 1940s

admin1187 — Sun, 01 Mar 2026 15:06:47 +0000

These armchairs were crafted in solid wood with woven rush seats and backrests, in France during the 1940s. They perfectly illustrate the mid-century rustic style, combining traditional woodworking techniques with simple, robust forms.

The design is characterised by corkscrew-turned legs and front stretcher, slightly curved armrests and a clean-lined structure that give the chairs balanced proportions and an understated design, while the woven rush introduces a natural texture and tone that contrasts with the darker colour of the wood.

Good overall condition with minor wear consistent with age and use. Recently polished.

Poul Kjærholm, set of 4 Beton Elementer chairs. Fritz Halvorsens Betonvarefabrik. Denmark C.1954

admin1187 — Fri, 20 Feb 2026 08:33:45 +0000

An exceptional suite of four reinforced concrete chairs designed by Poul Kjærholm and produced by Fritz Halvorsens Betonvarefabrik.

Developed in 1954, the model formed part of Kjærholm’s early exploration of single-material construction. Drawing on Gerrit Rietveld’s Zig Zag Chair, he extended this structural logic into cast concrete, creating a modular system of “Beton Elementer” composed of chairs and tables.

The project was commissioned by Niels Lauritz Dam, county surveyor in northwestern Denmark. Kjærholm was tasked with designing furnishings that would be durable and adaptable for outdoor use. In response, he developed a modular system allowing the elements to function independently or be combined in varying lengths. Anchored into the ground, the elements were conceived for permanence and direct integration into the landscape.

The chairs presented here remain in original condition and are structurally sound, showing signs of age including paint loss, surface wear, and a fine crack on one chair, consistent with long-term outdoor exposure. Due to its reinforced concrete construction, the chair remains perfectly stable. This patina, inseparable from their history, reflects Kjærholm’s original intention for the Beton Elementer — conceived to endure over time.

Surviving today as a complete suite of four, these chairs represent one of the rarest and most unconventional chapters in Kjærholm’s work.

Bibliography: Michael Sheridan, in collaboration with the Louisiana Museum of Modern Art, Poul Kjærholm: Furniture Architect, 2006, pp. 51, 53.

The chairs were originally designed to be anchored directly into the ground. The custom display plinths are included and indicate the intended ground level, providing a ready-made template for the correct installation angle and depth.

A complete restoration can be arranged upon request. Contact us for further details.

Sigfred Omann, pair of stools in oak and cane for Ølholm Møbelfabrik. Denmark, 1950s

admin1187 — Thu, 19 Feb 2026 18:32:14 +0000

This pair of stools was designed by Sigfred Omann for Ølholm Møbelfabrik, Denmark, in the 1950s.

A member of the Omann cabinetmaking family based in Ølholm, Sigfred Omann worked within the family workshop founded in 1892 by his father, Niels Omann, which he later took over.

The solid golden oak structure, with its round tapered legs and hand-woven cane seat, creates a light, well-proportioned silhouette typical of Danish Mid-Century design.

The pair is offered in excellent condition: the oak has been carefully cleaned, preserving its original finish, and the seats newly re-caned. Structurally sound and ready for use.

Maurice Calka, rare “Eiffel Tower” K1 chair. France, c. 1966

admin1187 — Thu, 15 Jan 2026 11:58:45 +0000

Maurice Calka, rare “Tour Eiffel” K1 chair. France, c. 1966

The K1 chair was part of Alpha International’s first furniture collection for private interiors, launched in 1966. Maurice Calka was selected to design the initial pieces, preceding later collaborations with designers such as Pierre Paulin and Joseph-André Motte.

This example is a rare variant of the K1 chair, more commonly found with the circular “DS wheel” base. It features a resin and fiberglass shell, upholstered in polyvinyl stretched over latex foam, resting on a chromed steel base known as the “Tour Eiffel.” Calka drew inspiration for this structure from the work of Charles and Ray Eames, whom he greatly admired.

As of this listing, the only other known example of this variant is part of the Centre Pompidou collection, donated to the national museum by the artist’s family.

Surface wear consistent with age and use. Good vintage and structural condition.

Bibliography: Xavier De Jarcy, Maurice Calka, le sculpteur du design, Éd. Albin Michel, 2022, pp. 214–217.

Aldo Tura, Calice Dry Bar in Lacquered Goatskin. Italy, C.1950

admin1187 — Thu, 15 Jan 2026 11:58:44 +0000

Aldo Tura, Calice Dry Bar in Lacquered Goatskin. Italy, C.1950

Illustration of Italian creative freedom in the mid-20th century, the Calice bar was designed by Aldo Tura, renowned for his innovative use of lacquered goatskin and his distinguished craftsmanship. This piece embodies the emblematic characteristics of Tura’s work: original forms, luxurious materials, and a distinctive playful aesthetic.

The bar features a curved silhouette, evoking the shape of a chalice, clad in light-colored lacquered goatskin and decorated on all sides with three illustrations of 19th-century equestrian figures. It is topped with a removable round glass tray, framed in brass — ideal for serving— and opens to reveal a mirrored, backlit compartment with a fixed glass shelf.

The piece presented here shows surface wear consistent with age: scratches, scuffs, and areas of varnish loss, along with a notable loss to the brass rim of the tray.

Aldo Tura (1909–1963) was a leading figure in postwar Italian design, active primarily in Lombardy near Milan, where he founded his workshop in 1939. He developed a highly recognizable style that combined traditional artisanal techniques with bold materials. His work is particularly known for the use of tinted, hand-lacquered goatskin applied to sculptural furniture forms. In addition to goatskin, he experimented with lacquered wood, metal, glass, and occasionally more unusual materials such as eggshell. His creations, produced in small series or as unique pieces, are now sought after for their rarity, refinement, and unmistakably decorative character.

Erik Gunnar Asplund, “GA9” Wall Lights for ASEA, Sweden 1940s

admin1187 — Thu, 15 Jan 2026 11:58:44 +0000

With its organically shaped blown glass shade, especially rare in this opaline frosted glass version, the GA9 resembles a floating droplet. Designed by Swedish architect Erik Gunnar Asplund, widely regarded as the godfather of Swedish modernism, this lamp embodies his signature geometric clarity and structural ingenuity. Like his Stockholm City Library, it balances simplicity with innovation.

A bent arm holds the glass, while another secures the light source at the luminaire’s center. The black lacquered metal curves organically, contrasting with polygonal backplates—an interplay of geometry and fluidity that defines Asplund’s vision. The large, mushroom-like shades diffuse light in a soft, mesmerizing glow, enhancing the atmosphere beyond mere functionality.

Asplund’s influence extended to Scandinavian design icons such as Alvar Aalto, Erik Bryggman, and Arne Jacobsen.

Manufactured by ASEA ( an acronym for Allmänna Svenska Elektriska Aktiebolaget — “General Swedish Electrical Limited Company”) during the 1940s. In good vintage condition. Wear consistent with age and use. The metal structure has some marks and scratches.

Price for a set two, two sets available.

Studio Tecnico A.P.A, pair of armchairs model M530 for Lenzi. Italy, C.1950

admin1187 — Thu, 15 Jan 2026 11:58:44 +0000

Studio Tecnico A.P.A, pair of armchairs model M530 for Lenzi. Italy C.1950

A pair of stunning armchairs, model M530, designed by Studio Tecnico A.P.A for Lenzi and manufactured in Italy during the 1950s. These armchairs feature excellent proportions and a very distinctive design, inspired by the Cubist movement, with their sharp angles and clean lines, contrasting playfully with their exceptional comfort. They have undergone complete restoration and have been reupholstered in white fabric. Price is for the set. Seat height : 44cm.

All items offered for sale are in perfect functional condition, yet, as they have already gone through one or more lives, they may show normal signs of use, slight discoloration and patina of time. We always carefully clean our products and restore them, if necessary, as faithfully as possible to their original design. If you are interested in one of our items but would like it completely refurbished or reupholstered, please contact us and we will be happy to help you get the item you want, the way you want it, in collaboration with our partner craftsmen.

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