Alfredo Biagini Decorative Objects

Trittico di fermacarte in cristallo pensato e prodotto da Roberto Giulio Rida. Gli elementi fermacarte decorativi, sono stati ricavati da rocce di vetro di fusione che sono stati mo...

Art Deco silver plated bronze sculpture of a rabbit hare. Lovely paperweight. Edouard Marcel Sandoz (1881-1973). Signature/ Marks: Ed.M. Sandoz - Susse Fre'...

Art Deco note pad, Vienna, circa 1920 Brass polished and stove enamelled.

A desk clock designed by Tiffany & Co. A beautiful and elegant easel back desk clock, created in New York city by the Tiffany & Co. studios, during the art deco period back in the early 1920. This rare piece has been designed in a squared curvilinear shape and carefully crafted up in solid sterling silver .935/.999 . The watch is gilded and is fully embellished with applications of purple-violet and white enamels over a geometric guilloche patterns. It is fitted at the reverse, with an easel back retractable hinged stand. Movement: Is Swiss mechanical wingding, 8 days. The dial is creme-white with arabic golden numerals and with black hands and inscribed, Tiffany & Co. Swiss. Weight: 180.95 Grams, (1115.99 Dwt). Measurements: 80 mm by 80 mm by 16.5 mm (3.15 x 3.15 x 0.65 Inches). Clocks Hallmarks: Stamped with the maker's mark and signed, "TIFFANY & CO. 8 DAYS SWISS". Case Hallmarks: Stamped with the maker's mark monogram, the Swiss mark of the standing Bear for the silver assay, and signed, "CONCORD WATCH CO. STERLING SILVER ARGENT 0.935 CONCORD W. CO SWISS 1608". Concord Watch Co, was founded in Biel, Switzerland in 1908. From the start, the company had its sights set on the American market. Concord produced luxury watches for several jewelry companies, including Tiffany & Co. and Cartier. During peace talks in the Second World War, President Harry Truman gave Concord watches as a gifts to Joseph Stalin and Winston Churchill. The North American Watch Company...

Beautiful and authentically preserved stamp for sealing wax.

French 1920s Art Deco letter box desk accessory.

Cute Art Deco signed Moser cobalt blue card holder decorated on two sides with a rare Oroplatic pattern of a seated female warrior with spear and shi...

Art Deco inkwell with original inkwell glass vienna around 1920s. Original inkwell glass. Polished and stove enamelled.  

Shovel and broom The shovel is: H: 1cm W: 20cm D: 21cm The Broom is: H: 4cm W: 5cm D: 28 Original condition.

Wonderful and rare Art Deco Amsterdamse School letter opener. Striking Dutch design from the 1920s. Solid macassar ebony and the handle is a stylish shaped otter. In very good ori...

1920s Art Deco Clear Beveled Solid Glass Inkwell with Brass Hinged Black Onyx Glass Top 2.88 x 2.88 x 2.38 H. Unrestored Preowned vintage condition. See images provided.

Art Deco, Cubist figure of a lying lady. Called by the Artist The Lying Nymph. Made between 1921-1926. Terracotta over a black wooden base. Bio: Pablo Curatella Manes (December 14, 1891–November 14, 1962) was a prolific Argentine sculptor. Born in La Plata in 1891 to Clara Manes, a Greek Argentine immigrant, and Antonio Curatella, from Italy, Curatella Manes first acquired an interest in sculpture during his frequent childhood visits to the newly inaugurated La Plata Fine Arts Museum. He entered the labor force in 1905, as a typographer in a printing house, though an accident some months later ended his career in that industry. Drawing on his childhood interest, he was taught the basics of sculpture by Arturo Dresco, who owned a local atelier. The Curatellas relocated to Buenos Aires, where the young sculptor enrolled in the National Fine Arts School in 1907. A rebellious streak promptly led to his expulsion, though Curatella earned an apprenticeship in 1908, under Lucio Correa Morales, with whom he worked on a number of works commissioned by Public Parks Director Charles Thays. Following the 1910 elections, he created a commemorative gold medal for Vice President-elect Victorino de la Plaza, who secured a scholarship for Curatella that took him to Florence and Rome. Curatella traveled extensively in Italy, as well as much of Western Europe, touring the region's museums and cathedrals. On his return to Argentina in 1912, National Fine Arts School director Ernesto de la Cárcova nearly ordered the funds' repayment, objecting to travel and activities not covered by the scholarship, desisting from the punishment after being shown a folio of Curatella's prolific work. His first Buenos Aires exhibit, in 1912, was followed by a return to Europe. He settled in the Montparnasse section of Paris and studied under Aristide Maillol and Emile-Antoine Bourdelle, but was forced to return home after the outbreak of World War I. In his native La Plata he opened an art gallery, the Salón de Otoño (Autumn Salon), in 1916. A brief return in 1917 to Paris, where Curatella worked under Maillol, Maurice Denis and Paul Sérusier, was eventually followed by a second scholarship, with which he settled in Paris in 1920. Studying under Henri Laurens, Juan Gris, Constantin Brâncu?i and Le Corbusier, Curatella explored Cubism, and his sculptures became more avant-garde; he also established his first atelier, where he acquired the habit of creating and destroying sculptures in a single day. He married French painter Germaine Derbecqre in 1922 and in 1926, was given a post in the Argentine Embassy. Returning to Argentina in 1929, he exhibited Las Tres Gracias...