Bradley And Hubbard Plant Stand

In 1880, polymath designer William Morris declared: “If you want a golden rule that will fit everybody, this is it: Have nothing in your houses that you do not know to be useful or believe to be beautiful.” His words encapsulated the Aesthetic Movement, which prized beauty above all and blurred the lines between fine art and the decorative arts, particularly through lavishly crafted furniture pieces.

The Aesthetic Movement, whose major proponents included author Oscar Wilde, flourished from the 1860s to the 1880s and was mostly popular in England and the United States. Design expositions like the 1876 Centennial International Exhibition in Philadelphia, as well as the publishing of how-to books for interior design, helped disseminate Aesthetic Movement bedroom furniture, serveware, coffee tables and other items, especially to the middle class.

The establishment of new art museums, art clubs and a rising passion for collecting at the time contributed to a growing appreciation for art. Morris’s founding of Morris & Co. in 1862 and the commercializing of this “cult of beauty” by the Liberty store in London, starting in the late 19th century, further disseminated the idea of a domestic space that was thoughtfully and floridly designed.

Leading Aesthetic Movement furniture designers included E.W. Godwin, who drew on Japanese influences and whose work reflected a wider enthusiasm for imported East Asian art. British designer Christopher Dresser created textiles, ceramics and more that were also inspired by Japanese decorative art but were representative of additional diverse design sources that ranged from Egypt to Mexico.

The Aesthetic Movement’s eclecticism resulted in dazzling interiors. Japanese fans were positioned on Renaissance-inspired cabinets with brass hardware, while mantels made of rich walnut or finely carved ebonized wood and adorned with painted Minton tiles mingled with cast-iron chairs against a backdrop of floral wallpaper. In 1881, in New York City, stenciled checkerboard motifs and painted floral murals could be found under an opalescent glass chandelier in a luxurious dressing room designed by German émigré cabinetmaker-decorator George Alfred Schastey. Amid the rise of the industrial age, the style’s promotion of art in everyday life would inform the Arts and Crafts Movement and Art Nouveau.

Find a collection of antique Aesthetic Movement seating, tables, decorative objects and other furniture and antiques on 1stDibs.

Whether burnished or lacquered, antique, new and vintage brass furniture can elevate a room.

From traditional spaces that use brass as an accent — by way of brass dining chairs or brass pendant lights — to contemporary rooms that embrace bold brass decor, there are many ways to incorporate the golden-hued metal.

“I find mixed metals to be a very updated approach, as opposed to the old days, when it was all shiny brass of dulled-out silver tones,” says interior designer Drew McGukin. “I especially love working with brass and blackened steel for added warmth and tonality. To me, aged brass is complementary across many design styles and can trend contemporary or traditional when pushed either way.”

He proves his point in a San Francisco entryway, where a Lindsey Adelman light fixture hangs above a limited-edition table and stools by Kelly Wearstler — also an enthusiast of juxtapositions — all providing bronze accents. The walls were hand-painted by artist Caroline Lizarraga and the ombré stair runner is by DMc.

West Coast designer Catherine Kwong chose a sleek brass and lacquered-parchment credenza by Scala Luxury to fit this San Francisco apartment. “The design of this sideboard is reminiscent of work by French modernist Jean Prouvé. The brass font imbues the space with warmth and the round ‘portholes’ provide an arresting geometric element.”

Find antique, new and vintage brass tables, case pieces and other furnishings now on 1stDibs.

The unique graceful design and classic style of antique and vintage delft and faience make these pieces an exceptional addition to any dining room.

The popularity of the blue-and-white porcelain developed in 14th-century China inspired delft and faience pottery in Europe. The global expansion of trade through the Dutch East India Company led to the import of numerous examples of Chinese porcelain, resulting in the creation of Dutch delftware, which is the term generally used to describe the tin-glazed earthenware that Dutch potters used. There were other imitations of Chinese porcelain produced by ceramicists throughout Europe, but delftware was the most successful. This iconic tradition — the subject of a 2020 exhibition at the Kunstmuseum den Haag​ ​— resembled Chinese porcelain but was more affordable.

True blue delftware originates only from a single location: Delft in the Netherlands. These precious pieces pair well with French faience. Unlike delftware, French faience utilizes a lead-and-tin glaze. This earthenware has roots in late-16th-century France. French Provincial delft and faience tend to feature snow-white lacquered surfaces with colorful painted images or floral designs.

In terms of elegance and versatility, Baroque delft and faience always impress. The most extravagant and boldly hued pieces are Rococo delft and faience. Plates, tureens and other objects made in this style are frequently ornate and intricately decorated, making them ideal for display.

Modern Dutch design masters often incorporate vintage decor into their contemporary designs and delftware items are a popular choice. Browse antique and vintage delft and faience now on 1stDibs.