& son

Both playful and graceful, each shape is milled, cut, and turned by hand. Each cup features a charred and polished interior. This charring harkens towards both Japanese 'shou sugi ban' techniques as well as the time-honored tradition of distilleries who charred the insides of their barrels before aging their precious cargo. Designed to be mixed and matched, available in cube, sphere, and geode forms.

• 2 ¼"w x 2 ¼"d x 2"h

• Food safe oil and wax finish

• Holds approx. 1.75 oz.

• Disclaimer: Not intended for use with liquids. Wood and water do not mix. 

The Hiro Barstool is a contemporary, minimalist design made with traditional methods and solid wood joinery. The seat and back are fabricated from specially milled hardwood with a custom pressed curve that hugs the user. Its light and strong frame was designed with highly specific angles similar to its chair counterpart for exceptional comfort even with long term sits. Warmth and poise flows through this design all the way down to its rounded back handle. This truly unique conception will be the focal point of any space with its simple yet refined details.

Pictured in oak with a hand-rubbed oil and wax finish

Designer: Dejong & Co.

The Hiro Chair is a contemporary, minimal design made with traditional methods and solid wood joinery. The seat and back are fabricated from custom milled hardwood with a specially pressed curve hugging the occupant for a comfortable long term sit. Its light and strong frame is designed with highly specific angles and contours for exceptional comfort with varying body types. Warmth and poise flow through this chair all the way up to its rounded back handle. Suitable as dining, occasional, or even a substitute for lounge seating; the Hiro Chair is highly versatile. This truly unique conception will be the focal point of any space with its simple yet refined details.

Pictured in oak with a hand-rubbed oil and wax finish

Designer: Dejong & Co.

Pudgies bring their contents to life with tiny glass paws and a burst of color. They can be used as bowls, planters or centerpieces. They have solid feet, expressive posture and a lot of attitude!

Dimensions (L x W x H)
Large- 7in x 7in x 7in Medium- 5.5in x 5.5in x 5.5in

Artist: Lukas Labs

In traditional Japanese aesthetics, wabi-sabi is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of appreciating beauty that is "imperfect, impermanent, and incomplete" in nature.

2.5 inches tall

Artist: Shino Takeda

Japanese ceramics technique that has been used for centuries.  In essence, Raku is when pots are taken from the kiln while they are still glowing red hot, they are then placed in a material that would be able to catch fire, such as sawdust or newspaper easily.  

Vase is 18 inches wide 6 inches wide

This vase is not water tight, so it is recommended that you line the inside with plastic or use dried plants.  

Artist: Shino Takeda 

Hand crafted tournament size chess set with hand turned pieces.

Materials: Silver Maple & Sapele

Board Measures 18 in x 18 in

Tallest piece is 4 in

The Spring Bowl is hand-thrown in various stoneware clays and dipped in a wide range of natural, rustic and earthy glazes.

The large bowl holds a heaping serving of your favorite soup, pasta, ramen or salad. A wide and heavy foot keeps the bowl standing straight and your food in the bowl.

Please note: Photos are only indicative. Each item is 100% handmade and will differ slightly. 

Approx. 17.5 cm x 9 cm, holds +/- 980ml / 33 fl oz.
Dishwasher safe, but hand washing suggested.

by Studio Arhoj

A visual feast of flowers, abstractions, cityscapes and landscapes from American modernism’s most iconic painter

Offering a complete survey of Georgia O’Keeffe’s illustrious career, this magnificent new book ranges from the works produced between 1910 and 1920 that made her a pioneer of abstraction to her celebrated flower paintings and views of New York, which led to her recognition as one of the key figures in modern American art, and culminating with her paintings of New Mexico.

The selection of color plates is accompanied by quotes from O’Keeffe on her art and additional photographic material pertaining to the paintings. The sense of reverence for the world and its forms emerges vividly through O’Keeffe’s words. “The unexplainable thing in nature that makes me feel the world is big far beyond my understanding—to understand maybe by trying to put it into form,” she writes. “To find the feeling of infinity on the horizon line or just over the next hill.”

Also featured are a biography and texts by contributing curators from the venues to which the show travels, by scholars at the Georgia O’Keeffe Museum in Santa Fe and by acclaimed French art writer Catherine Millet.

Georgia O’Keeffe (1887–1986) began her art training at the School of the Art Institute of Chicago and the Art Students League of New York. She moved to New York in 1918, and in 1924 married Alfred Stieglitz. From 1929, O'Keeffe began spending part of the year in the Southwest, which served as inspiration for her paintings of New Mexico landscapes. After Stieglitz's death, she lived permanently in New Mexico, in Abiquiú, later moving to Santa Fe.

• Publish Date: June 22, 2021
• Format: Hardcover
• Category: Art - Individual Artists - Monographs
• Publisher: Rizzoli Electa
• Trim Size: 9-1/2 x 10-1/2
• Pages: 176

This definitive study of the 1980s Jamaican Dancehall scene features hundreds of exclusive photographs and an accompanying text that capture a vibrant, globally influential and yet rarely documented culture that has mixed music, fashion and lifestyle since its inception.

With unprecedented access to the incredibly exciting music scene during this period, Beth Lesser’s photographs and text are a unique way into a previously hidden culture.

Dancehall is at the center of Jamaican musical and cultural life. From its roots in Kingston in the 1950s to its heyday in the 1980s, Dancehall has conquered the globe, spreading to the USA, UK, Canada, Japan, Europe and beyond.

This jam-packed visual history tells the story from its roots to its heights from the vantage of the true, respected insider. In the early 1980s, as Jamaica was in the throes of political and gang violence, Beth Lesser ventured where few others dared, and this book is a never-before-seen record of the exciting, dangerous world of Dancehall.

12 in x 12 in

216 pages

“I have come to the conclusion that much can be learned about music by devoting oneself to the mushroom.” - JOHN CAGE, 1954

John Cage: A Mycological Foray draws readers across the idiosyncratic, mushroom-suffused, innermost landscape of celebrated American composer John Cage. Upon the remarkable journey with Cage, one encounters assorted photographs, compositions, and contemplations; all in the very same unexpected fashion one encounters various flora and fungi species while mushroom foraging. Volume I encompasses Cage’s mycological-oriented Indeterminacy stories, Diary excerpts, and essays; and the complete transcript of Cage’s 1983 performance, MUSHROOMS et Variationes. Volume II offers the inaugural reproduction of Cage’s 1972 portfolio, Mushroom Book; authored in collaboration with illustrator Lois Long and botanist Alexander H. Smith.

John Cage (1912–92) was an American composer and music theorist. Recognized as a pioneer of indeterminacy in music, electroacoustic music and a leading figure of the postwar avant-garde, his influence extended to the realms of dance, poetry, performance and visual art.

In 1969, Andy Warhol launched Interview, an underground film journal that quickly transformed into an iconic symbol of New York City culture and style. The monthly’s expansive conversations and irreverent approach opened doors to the intimate circles of society and became a launchpad for creative talents such as André Leon Talley and Fran Lebowitz. With a vibrant mix of rising celebrities including Madonna and Leonardo DiCaprio, alongside the legendary presence of Elizabeth Taylor and Steven Spielberg, the magazine became known as “The Crystal Ball of Pop.” Now, fifty years since its inception, dive into the extraordinary archives of Interview and rediscover the columns, photography and voices that collectively tell the history of American culture decade by decade.

With an introduction from former editor Bob Colacello, essays from editor-in-chief Nick Haramis and editor-at-large Christopher Bollen, and additional contributions from Interview alumni and friends André Leon Talley, Camille Paglia, Christopher Makos, Diane von Furstenberg, Donna Jordan, Eric Boman, Fran Lebowitz, Greil Marcus, Kate Moss, Lauren Tabach-Bank, Marc Balet, Marisa Berenson, Mats Gustafson, Mel Ottenberg, Michael Kors, Paige Powell, Pat Cleveland, Pat Hackett, Patrick McMullan, Richard Turley, Sam Shahid, Sandra Brant, Shelley Wanger, Stephen Mooallem, Tama Janowitz and Victoria Bartlett.

In partnership with the upcoming release of Interview: 50 Years, Assouline and Interview magazine are pleased to announce a revolutionary collaboration with VRAccelerator. Bringing a digitally enhanced experience to an Assouline cover for the first time, readers will be able to explore every archival issue from their digital device. A never-before-seen catalog of the magazine’s extensive history, this interactive augmented reality feature also highlights exclusive audio commentaries by Interview staff.

At 1,028 pages, featuring 1,740 objects and spanning 237 years, this authoritative volume is without doubt the ultimate book on furniture design

The Atlas of Furniture Design is the most comprehensive overview of the history of furniture design ever published. The book documents 1,740 objects by 546 designers and 565 manufacturers, and features more than 2,500 images, from detailed object photographs to historical documentation such as interiors, patents, brochures and reference works in art and architecture.

The basis for the Atlas of Furniture Design is the furniture collection held by the Vitra Design Museum, one of the largest of its kind in the world, with more than 7,000 works. The collection is made up of pieces from key periods in design history and by the most significant designers and manufacturers of the past 200 years, including early industrial furniture in bentwood or metal, Art Nouveau and Secessionist objects, works by such protagonists of classical modernism as Le Corbusier, Gerrit Rietveld, Charlotte Perriand and Marcel Breuer, postwar figures such as Finn Juhl, Eero Saarinen and Achille Castiglioni, and postmodern and contemporary designers like Philippe Starck, Marcel Wanders and Konstantin Grcic, as well as the estates of design legends such as Charles and Ray Eames, Verner Panton, Alexander Girard, George Nelson and others.

Several years in the making, the Atlas of Furniture Design has employed a team of 71 authors and features in-depth essays providing sociocultural and design-historical context to the history of furniture design, as well as 551 detailed texts accompanying key objects. The book is enriched by a detailed annex containing designer biographies, bibliographies, a glossary of manufacturers and an index, along with information graphics offering a complementary visual approach to the history of furniture design. The Atlas of Furniture Design is both an encyclopedic reference tool and an indispensable resource for collectors, scholars and experts, as well as a beautifully designed object that speaks to design enthusiasts around the globe.

This book is a facsimile of an album of Eggleston's Polaroids assembled by the photographer himself, and containing the only photos he made in this medium. Consisting of 56 images taken with the Polaroid SX-70 (the now cult camera produced between 1972 and 1981) and hand-mounted in a black leather album also produced by the company, Polaroid SX-70 is the first publication of Eggleston's Polaroids.

The gloriously mundane subjects of these photos―a Mississippi street sign, a telephone book, stacked crates of empty soda bottles―is familiar Eggleston territory, but, fascinatingly, all of these Polaroids were taken outdoors. They are rare records of Eggleston's strolls or drives in and around Mississippi, complementing the majority of his work made with color negative film or color slides, and showing his flair for photo-sequencing in book form.

9.25 in x 10.63 in

24 pages

William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York; it changed the world's perception of color photography forever, and its accompanying catalog is now considered one of the most important American photobooks ever published

William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's hometown of Memphis--an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions.

9 x 9 inches

112 pages