Vintage Mandarin Chair by Ettore Sottsass for Knoll, Italy, 1980s

These are the chairs Erik Buch is best known for, the ones where the seat and backrest appear to float free of the frame, held by slim brass fittings that let them flex slightly with your weight. It's a small mechanical trick that makes the whole chair feel lighter than it looks, and it's part of why the design has become so collectible. This set was made by O.D. Møbler, one of the primary manufacturers of Buch's model 4, the maker most associated with the design, alongside Ørum Møbler. The set includes two armchairs and two side chairs, so you get a natural head-of-table pair built right in, rather than having to hunt one down later. The teak frames have been fully restored, joints checked and reglued where needed, all repairs made, but we deliberately left the original patina intact rather than sanding it down to bare wood. That warm, honey-toned color is part of what makes vintage teak vintage teak, and it would be a shame to sand it away just to start over. The seats and backs have been reupholstered in black vinyl: durable, easy to live with, and a clean modern contrast against the warm wood tone.

Sold as a set of 4 (2 armchairs, 2 side chairs).

The first thing you notice is the stem, elegantly turned, with just enough presence to feel substantial in hand without losing the coupe's signature lightness. The bowls are wide and shallow, the way a proper coupe should be, catching light across the whole surface rather than pooling it at the bottom like a flute does. Each one comes paired with its own small scalloped plate, which tells you exactly what era this is from: a moment when barware wasn't just functional, it made a case for itself. Made in Italy in the 1970s from solid 18/10 stainless steel, the set carries a light, even patina from decades of use, not damage, just the soft warmth that steel gets when it's actually been enjoyed rather than left in a cabinet. Stack them for display, build a coupe tower for the next celebration, or just pour into them on a random Tuesday. They hold up either way.

Sold as a set of 6 coupes with 6 matching plates.

This is a vintage or antique Middle Eastern copper and brass ewer, often referred to as an aftaba. It features intricate hand-hammered decorative elements and a long, slender spout that curves gracefully away from the body, a shape built for pouring water, not just holding it. The belly is worked in a dense repoussé pattern of dots and radiating circles, framed by a scalloped medallion, with a narrower banded neck rising to a small brass-fitted lid and a hinged carrying handle that arcs high above the body. We left the original patina exactly as we found it, the darkened copper, the traces of verdigris, the soft wear along the high point, because that aged surface is the whole appeal of a piece like this. Polishing it back to bright metal would erase decades (if not longer) of handling and use, and honestly, it wouldn't look half as good.

The grain on this table is the first thing you notice, richly figured teak with that warm amber depth that only comes with age and the right wood. Valentinsen built this for Funiturefactory Ringe in the 1960s, and the craftsmanship shows in the details: a sculptural trestle base with organic, tapered legs that feel considered from every angle, a smooth rounded apron, and a banded edge around the top that gives the whole piece a quiet sense of finish. It sits at 63.5" wide as-is, a confident size that works for four comfortably, six if you know each other well. The two leaves are missing but can be reproduced for an additional fee, which would bring it to 82" with one or 101" with both. Stamped E. Valentinsen on the underside.

John Hutton designed the Anziano to do something deceptively hard: look light, stack neatly, and still feel substantial enough to anchor a real dining table. Molded beechwood seat and back, black coated steel wire legs, and a silhouette that splits the difference between sculptural and sensible. This set of six has had its manufacturer's sticker removed by a previous owner, no label, but the design itself is unmistakable, and Donghia didn't exactly leave a lot of competitors making chairs that look quite like this.