Morentz

Morentz Collectible design gallery and restoration workshop specialized in 20th century design (est. 2006).

Armand Jonckers’ 1984 coffee table is the sort of singular object that blurs the line between furniture and collectible ...
31/05/2026

Armand Jonckers’ 1984 coffee table is the sort of singular object that blurs the line between furniture and collectible art.

A visual pleasure for the eyes, this unique coffee table by the multi-disciplinary Belgian artist Armand Jonckers, is created in 1984 and aligns with the decorative experimentation that emerged during the postmodern period of the 1970s and 1980s. His pieces were typically produced in limited numbers or commissioned individually, which partly explains their strong material individuality. The table is signed and dated on top with: "Armand Jonckers à Rene et Eliane 1984”.

Recalling both Art Deco ornament and non-Western decorative traditions, the tabletop’s silhouette can be seen as a stylized quatrefoil in green resin, framing the intricate engraved copper panel that shows a complex arrangement of geometric patterns. The base has a hybrid appearance with cylindrical pierced-wood legs, paired with lacquered steel beams, and raised on brass plinths.

Sculptor, engraver, antiquarian, mineralogist, and decorator, Armand Jonckers (b. 1939) is a remarkably versatile creative force. After graduating in Fine Arts from Lausanne in 1957, he quickly established his own workshop and embarked on a wide range of artistic and entrepreneurial pursuits. Alongside dealing in antiques and studying mineralogy, Jonckers developed a passion for collecting gemstones and designing interiors for private residences and boutiques. His commissions included the clothing store Lollipop, two palaces in Saudi Arabia, and the famed Parisian club Le Fashion, a favorite destination of the city’s elite.

It was through these projects that Jonckers began designing furniture, often incorporating reclaimed vintage objects and unconventional materials into his work. His distinctive aesthetic has been described as baroque, infused with wit and a playful sense of humor.

Rising to just over eight feet, this monumental Italian wall unit features rich walnut surfaces and gleaming brass detai...
30/05/2026

Rising to just over eight feet, this monumental Italian wall unit features rich walnut surfaces and gleaming brass details. Monumental yet highly functional, it delivers both visual impact and sophisticated storage in equal measure.

A striking example of 1970s Italian postmodern design, this monumental wall unit combines architectural presence with refined craftsmanship. Standing an impressive 246 cm high (just over 8 feet), the piece commands the space with its elegant proportions and strong geometric rhythm.

Executed in richly grained walnut with sculptural brass hardware, the design balances clean lines with warm natural materials. Open shelving creates a bold graphic composition, while the lower cabinets offer generous concealed storage.

Distinctive recessed pulls with spherical brass handles give the piece its unmistakable postmodern character. Both sculptural and highly functional, this exceptional wall unit embodies the understated luxury of Italian design from the 1970s.

This rare wall light by Vittoriano Viganò for Arteluce combines engineering ingenuity with an effortless sense of propor...
28/05/2026

This rare wall light by Vittoriano Viganò for Arteluce combines engineering ingenuity with an effortless sense of proportion, allowing light to be shaped with architectural intent. Sophisticated yet playful, the fixture demonstrates Viganò’s remarkable ability to turn technical precision into visual poetry.

A study in refined simplicity, this wall light, a variation on model 190, is a sublime example of Vittoriano Viganò’s talent for creating elegant, architectonic forms.

The post-war Italian designer and architect initially served as an artistic and technical advisor for Arteluce in 1946. Four years later, in 1950, he took on the role of artistic director while Gino Sarfatti was away in the United States. During this time, Viganò implemented his own design aesthetic, which involved the use of metal cones and shapes to direct and project light from large fixtures. After Sarfatti returned, Viganò continued to collaborate with Arteluce, producing light designs until the 1960.

Not only is the present lamp aesthetically pleasing, it is clearly designed to provide a light source to adjust to one's own requirement. The rounded aluminium shades can be rotated via ball joints to adjust the direction of the light. The brass frame is composed as a light, linear structure that emphasizes both balance and asymmetry. It radiates from a central circular wall mount, from which several slender brass rods extend outward in different directions.

Vittoriano Viganò (1919–1996) was a Milanese architect and designer whose post-war work bridged architecture, industrial design, and urban planning. After studying at the Polytechnic University of Milan, he collaborated with B.B.P.R., Gio Ponti, and Gino Sarfatti’s Arteluce, where he developed his refined modernist lighting designs. Viganò viewed design as a tool for rebuilding post-war Italy, combining technical rigor with social vision.

This monumental 1930s Art Deco desk combines richly figured walnut burl with voluptuous geometry. Monumental yet refined...
27/05/2026

This monumental 1930s Art Deco desk combines richly figured walnut burl with voluptuous geometry. Monumental yet refined, the piece feels both architectural and deeply tactile.

European Art Deco at its finest. This freestanding executive desk shows a truthful expression of material integrity, paired with a beautiful synthesis of geometric forms. Avoiding unnecessary ornamentation, the designer makes the walnut burl an explicit and integral element of the design.

The warm, figured bookmatched wood creates a kaleidoscopic effect across the surface. The mirrored grain patterns appear almost organic in form: symmetrical, fluid, and deeply sensual. At the time, this richly figured wood was considered a luxury material, often found in the interiors of affluent homes.

The planar surfaces, uninterrupted by ornament, allow the natural patterning of the wood to function as a decorative element in itself. The overall form of the top is defined by a strict rectilinearity, contrasted by the two round contoured pedestals. The desk’s horizontality is accentuated by the elongated front façade, punctuated by a continuous row of three drawers.

Otto Schulz’s cabinet for Boet offers a compelling reminder that Scandinavian modernism was never solely about restraint...
26/05/2026

Otto Schulz’s cabinet for Boet offers a compelling reminder that Scandinavian modernism was never solely about restraint. Produced between the 1920s-1940s, the design combines stained oak, deep green faux leather and the signature brass-studded Bo-Point technique to create a piece of considerable tactile and visual richness, elevated further by its sculptural lion’s paw feet.

Otto Schulz (1882–1970), founder of the Gothenburg-based interior design company Boet, occupies a special position in the history of Swedish decorative arts. His designs from the interwar and postwar periods merged artisanal tradition with modern sensibility.

The small cabinet, made in the 1920s-40s, demonstrates Schulz’s mature style and his characteristic use of the Bo-Point technique, a decorative system that became synonymous with Boet’s production in the late 1920s till the 1940s. The cabinet stands on an oak framework, notable for its sculptural “lion’s paw” feet that evoke both classical and baroque precedents. The structure supports a rectangular case enveloped in deep green faux leather, its surface articulated with brass furniture nails arranged in precise geometric configurations: central circles framed within rectilinear borders. The furniture nails, also referred to as Bo-Point, featured convex heads closely set in linear or curvilinear formations, and used to delineate motifs, define borders, or generate decorative patterning. The technique was frequently employed on cabinets, bar furniture, mirrors, stools, and other luxury furnishings that served as the centerpiece of domestic interiors. The interior is fitted with drawers. The backside is stamped with "Boet".

Rather than embracing the strict austerity of emerging Swedish functionalism, Otto Schulz and his firm Boet championed a softer modernism rooted in craftsmanship, comfort, and decorative individuality. Anticipating the ideals of Swedish Modern, Schulz balanced clean forms with rich materials and artisanal detail.

Like an icicle fashioned for a Venetian palazzo, this 1940s pendant light by Barovier & Toso glimmers with exuberant ele...
24/05/2026

Like an icicle fashioned for a Venetian palazzo, this 1940s pendant light by Barovier & Toso glimmers with exuberant elegance. Sophisticated yet understated, it reflects the Venetian house’s ability to turn artisanal technique into timeless modern design.

This pendant light by Barovier & Toso, produced in Italy during the 1940s, demonstrates the workshop’s mastery of Murano glassmaking in its purest form. Entirely executed in clear ribbed Murano glass, the design is articulated around a vertically fluted stem that supports an elongated, tapering shade with a finely scalloped rim. The precise ribbing of the glass animates the surface and softly diffuses the light, creating a refined interplay of transparency and luminosity.

Founded in 1295 on the island of Murano (Venice, Italy), where it remains based today, the studio is dedicated to preserving and innovating the art of blown glass. Barovier&Toso’s creations are unique works, crafted from Venetian mouth-blown crystal and meticulously shaped by master artisans in Murano. These artisans uphold a centuries-old tradition, passed down through generations. In 1455, Angelo Barovier was granted an exclusive decree by the Republic of Venice to produce “Cristallo Veneziano” (Venetian Crystal), cementing the studio’s legacy in glassmaking history.

&Toso

Created by a French cabinetmaker in the 1950s-1960s, this brutalist elm cabinet transforms artisanal woodworking into ar...
18/05/2026

Created by a French cabinetmaker in the 1950s-1960s, this brutalist elm cabinet transforms artisanal woodworking into architectural sculpture. Worked entirely in solid elm, its free-form silhouette and gouged surface celebrate the raw poetry of the material while the design is both functional and whimsical.

Made by the skilled hands of a French cabinetmaker, this organically formed sideboard embraces both the inherent qualities of the wood and a distinctly artisanal sensibility. Its silhouette remains resolutely organic: the edges are free-form, retaining a live, slightly irregular contour that evokes the original outline of the timber. The surface is particularly striking. Rather than being planed to uniform smoothness, it has been worked with a gouge, producing a dense field of shallow, rhythmic depressions that animate the surface and catch the light unevenly. The overall language recalls the work of the French designer-sculptor Alexandre Noll.

Few pieces capture the glamour of 1970s lounging quite like Fler’s wonderfully named ‘The Idler’. Wrapped in sumptuous a...
16/05/2026

Few pieces capture the glamour of 1970s lounging quite like Fler’s wonderfully named ‘The Idler’. Wrapped in sumptuous aubergine teddy mohair by Pierre Frey, the sculptural forms invite sprawling, sinking, and lingering long into the evening.

This superb ensemble, named The Idler, traces its origins to 1969 and is designed by the renowned Australian company Fler. Founded in 1946 by Fred Lowen and Ernest Rodeck, the company's name is a combination of their initials. Their partnership developed into one of Australia's foremost modern furniture manufacturers. The design aligns with the principles of postmodernism. Design in the late sixties and seventies was all about going beyond the strict conventions of modernism, with the exploration of the different qualities of materials, use of pop colors, with peculiar and symbolic appearances as the outcome. In the design world of the 1970s, it was commonplace to see sectional sofas featuring a soft, organic layout and rendered in the most vibrant colors. Noted designers such as Pierre Paulin, Olivier Mourgue, Mario Bellini, Rossi di Albizzate, Tito Agnoli, Verner Panton, Cini Boeri, Gaetano Pesce, and Joe Colombo, to name a few, contributed to this tradition.

In addition to its aesthetic appeal, the seamless seating system excels in functionality. Comprising a pair of lounge chairs and one ottoman, it offers the flexibility to create various configurations. The single chairs can function as standalone pieces or can be arranged side by side to form a sofa arrangement.

A truly magnificent and postmodern piece with a soft teddy mohair in aubergine color by Pierre Frey that will grab everyone's attention. A quote from an advertisement of the model perfectly sums up the purpose of the design: "A shape for sitting, sprawling or flopping into. (...) We called it "The Idler". When you sit in it, you'll find out why.".

Vico Magistretti’s ‘Eptaclinio’ chandelier for Artemide features seven softly glowing opaline shades which appear to flo...
15/05/2026

Vico Magistretti’s ‘Eptaclinio’ chandelier for Artemide features seven softly glowing opaline shades which appear to float from a nickel-plated brass frame like luminous planets suspended in orbit. Elegant yet playful, this striking chandelier will cast a warm and inviting light across any room.

This charming chandelier features seven opaline glass shades, which explains the prefix “epta,” Greek for seven. The design belongs to Vico Magistretti’s Clinio series, which also includes models such as Pentaclinio and Triclinio. The shades are suspended from a nickel-plated brass structure that complements the soft white opaline, giving the piece a clean, refined appearance. The opaline diffuses the light gently, creating a warm, atmospheric glow.

Architectural in presence yet remarkably refined, this custom-made Italian wall unit will be an eyecatcher in any interi...
14/05/2026

Architectural in presence yet remarkably refined, this custom-made Italian wall unit will be an eyecatcher in any interior. Crafted in richly grained mahogany with elegant glass accents, its floating volumes and geometric composition lend the piece a sculptural clarity that feels both timeless and deeply modern.

This exceptional Italian wall unit from the 1950s features an architectural composition of floating cabinets, open geometric forms, and long horizontal lines perfectly which perfectly reflect the sophistication of Italian Mid Century design. A refined and sculptural piece combining timeless craftsmanship with modernist elegance.

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Hoogeinde 37
Waalwijk
5142GB

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Dinsdag 09:00 - 17:00
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