AVANTIQUES Decorative Objects

Tiffany Studios Favrile decorated glass loving cup with three coiled handles. Circa 1910 Engraved "L.C. Tiffany - Favrile, 3633D Measures: Height:...

A Loetz Cobalt Papillon Art Glass and Pewter Art Nouveau Vase. Circa 1900 The shapely design with flared base having four evenly spaced indentations...

Ayutthaya Lacquered and Gilt Copper Bronze Buddha Head Circa 15th Century A beautifully lacquered and gilt bronze Buddha head from the Kingdom of Ayutthaya, Thailand, circa 15th ...

Loetz Iridescent and oil spot Flared Neck Art glass Floriform Goose neck vase. Candia Papillon vase Austria Iridescent glass Unsigned Circa 1898 A...

Tang Dynasty Terracotta sculpture of a fat lady This stunning lady wears her hair in an elaborately styled coiffure. A remarkable amount of the original pigm...

A Large Han Dynasty Terracotta sculpture of a Mythical Beast. TL Tested I cant emphasize how rare this item is and predict it will not last long. The condition is extraordinary with...

Pre-Columbian, North Coast Peru, Moche, ca. 100 to 500 CE. A choker necklace comprised of seven strands strung with hundreds of black and white hand-carved shell beads. The strands...

Circa 1000 - 1500 CE Pre Colombian. Columbia, Tairona. Beads. A lovely bracelet of a wearable comprised or 17 seed form, tubular and ovoid beads carve...

A pair of Chinese Ming Dynasty glazed earthenware figure of Attendant The condition of these 5 century old glazed pottery tomb figures is outstand...

Emile Galle (French 1846-1904) A lovely two color cameo vase with a yellow background featuring a lake scene with boats, trees and birds. The detail and fineness of the acid etchi...

Tang Dynasty (618 - 907) Sancai glazed pottery horse TL Tested The cream-glazed horse is naturalistically modelled standing on a rectangular base, with the mane, tail and hooves highlighted in amber glaze. The head is gracefully curved to the left, with a green and amber glazed saddle and blanket and foliate-shaped plaques detailed with moulded toads suspending from the trappings. Measures: Height: 14.24 Inches (36.2 cm) Width: 15.5 Inches (39.35 cm) Depth: 6 Inches (15.2 cm) Provenance: An English private collection, acquired in Hong Kong in the 1980s A Certificate of Authenticity will accompany this item along with a lucite base. Condition; Excellent with one repair to right side saddle blanket. Some remaining frustrations throughout with areas of oxidation and a fine craquelure throughout. A formidable piece that presents beautifully. Notes: The present sancai horse...

Emile Galle scenic wheel carved and acid etched cameo vase. A beautiful and tall cameo vase by Galle. The 18 - 1/2” tall vase has a background of muted yellow glass near the base, which progresses to blue/gray at mid-vase, and then peach towards the top. Brown, cameo cut trees are generously displayed across the body of the vase, with the addition of a boat in the lake. Signed "Galle". Dimensions: 18 - 1/2” x 10” x 8”. Condition: Very good Émile Gallé (8 May 1846 in Nancy – 23 September 1904 in Nancy) was a French artist and designer who worked in glass, and is considered to be one of the major innovators in the French Art Nouveau movement. He was noted for his designs of Art Nouveau glass art and Art Nouveau furniture, and was a founder of the École de Nancy or Nancy School, a movement of design in the city of Nancy, France. Gallé born on 4 March 1846 in the city of Nancy, France. His father, Charles Gallé, was a merchant of glassware and ceramics who had settled in Nancy in 1844, and his father-in-law owned a factory in Nancy which manufactured mirrors. His father took over the direction of his mother's family business, and began to manufacture glassware with a floral design. He also took over a struggling faience factory and began manufacturing new products. The young Gallé studied philosophy and natural science at the Lycée Imperial in Nancy. At the age of sixteen he went to work for the family business as an assistant to his father, making floral designs and emblems for both faience and glass. In his spare time he became an accomplished botanist, studying with D.A. Godron, the director of the Botanical Gardens of Nancy and author of the leading textbooks on French flora. He collected plants from the region and from as far away as Italy and Switzerland. He also took courses in painting and drawing, and made numerous drawings of plants, flowers, animals and insects, which became subjects of decoration. At the age of sixteen he finished the Lycée in Nancy and went to Weimar in Germany from 1862–1866 to continue his studies in philosophy, botany, sculpture and drawing. In 1866, to prepare himself to inherit the family business, he went to work as an apprentice at the glass factory of Burgun and Schwerer in Meisenthal, and made a serious study of the chemistry of glass production. Some of his early glass and faience works for the family factory at Saint-Clémont were displayed at the 1867 Paris Universal Exposition. In early 1870 he designed a complete set of dishware with a rustic animal designs for the family enterprise. During this time he became acquainted with the painter, sculptor and engraver Victor Prouvé, an artist of the romantic "troubadour" style, who became his future collaborator in the Nancy School. He enlisted for military service in the Franco-Prussian War in 1870, then was demobilised after the disastrous French defeat in 1871 and the French loss to Germany of much of the province of Lorraine, including Meisenthal where he had done his apprenticeship. Thereafter the Cross of Lorraine, the patriotic symbol of the region, became part of his signature on many of his works of art. After his demobilization Gallé went to London, where he represented his father at an exhibition of the arts of France, then to Paris, where he remained for several months, visiting the Louvre and Cluny Museum, studying examples of ancient Egyptian art, Roman glassware and ceramics, and especially early Islamic enamelled...

This tall and rare Tiffany Studios jack in the pulpit vase has an inverted saucer foot with opalescent wafer transition stem to ...

C. 386-534 AD. Chinese Northern Wei Dynasty. A interim Han-Tang Dynasty terracotta brick in a cream-coloured fabric featuring a beautiful depict...

C. AD 618-907. Tang Dynasty. Two beautiful terracotta pottery jars covered with a ox blood to chestnut-coloured glaze. The bulbous bodies taper into a slender neck with flared rim....

Ca. 1368-1644 AD. Ming Dynasty. A fabulous set of two mould-made, glazed ceramic zodiac figures. Each wearing long draping gowns of rich green, yellow and orange hues. Each figure ...

C. 386-534 AD. Chinese Northern Wei Dynasty. A pre Tang Dynasty terracotta brick in a cream-coloured fabric featuring a beautiful depiction of a...

A warm scenic tall vase by Daum Freres from Nancy France circa 1900. The scene is a landscape with lake and green trees and bushes in the fore and back ground. The interesting featur...

Chinese bronze vase, Gu, the trumpet-shaped upper section cast with four blades filled with archaic designs. Center and lower sections depicting Toadies with very intricate backgroun...

Monumental Pottery Watch Tower in Green Glaze; Han Dynasty (2016 BC -AD 220) Earthenware three-storied pavilion from the Eastern Han Dynasty. Each of the...

Carousel Horse (American, 19th C) Wood carved with traces of paint with stand. An amazing decorative statement; this charming wood carved carousel horse shows character with traces of its original paint and jointed construction. The glass eye balls and facial features is a focal point from tail to hoof. Probably coming originally from a Long Island New York fair carousel ride, this bold yet soft piece draws eyes and complimentary statements as soon as guests see it. Comes with decorative wood stand! Attributed to Parker carousel horses...

A near pair of 19th century Sancai green glazed pottery teapots. Both with yoked handles, spouts and lids. Both also have the Republic era official government wax red seal signifying...

Han earthenware celedon glazed hill jar The hill jar represents the five sacred mountains which is the path between the earth and Paradise. The mountains are...

Huge Han Dynasty Terracotta figure Of A Court Lady. TL Test conducted by Ralf Kotalla Laboratory in Germany. Report included. Height: 29...

A wonderful L.C.T. gold Favrile champagne or sorbet glass cup with engraved grape clusters and wine leaves. Engraved signature: “L.C.T. Favrile” Measures: Height 3.4 Inches, diamet...

A wonderful pair of Ex Sotheby’s painted Polychrome Equestrian Horse and Riders made from gray pottery, Presents beautifully and guaranteed authentic with provenance and COA. Measures: Height 11.5 inches and width 11 inches Condition: Possible professional restorations but not detectable. Provenance: Sotheby’s London. 16th November, 1999. Lot 12 (2 of 4 horses in that lot). Sotheby’s New York, NY September 14, 2019. The importance of the horse in the history and culture of China can be viewed, in part, through the artistic legacy of this great civilization. In sculpture, painting, and literature, horses were glorified and revered. Horses were believed to be related to mythological dragons, reflecting their sacred status within society. During the unification of China under the Han Dynasty, bands of mounted nomadic warriors from the north threatened the country. In order to thwart their attacks, the Chinese sought to import stronger, faster steeds from Central Asia (as opposed to the Mongol ponies used by the invaders), eventually leading to the creation of the Silk Road. This small sculpture of a mounted soldier reveals the crucial military role of the horse. When compared to the diminutive stature of the rider, the importance of the horse becomes readily apparent. This creature provided security and strength, allowing the Empire to secure its borders and expand its influences across Central Asia. The magnificent regalia of the horse, including a brilliantly painted saddle in red and green/gold, reflect the respect this animal received. The warrior as well is gorgeously decorated with a painted red tunic and gray chest...

A very rare Art Nouveau Daum Nancy pate de verre 'Noisettes' vide poche in orange, reds, greens and yellows. Daum in Nancy was integral is ori...

A Chinese Fahua glazed pottery figure of Songzi Guanyin with child. A rare yellow, turquoise and green glazed statue of Guanyin with downward gaze h...

Daoist sage, official, or possibly a Buddhist acolyte. A large, thick and heavy cast iron statue of a head. Custom vintage carved hardwood stand finishes off this outstanding and decorative bust, circa 10th...

A stunning four color wheel carved and acid etched fat vase with pink, yellow, greenish browns and white on a cream background. The coloring is strong and the workmanship excellent. ...

A large and decorative Chinese green-glazed pottery hu vase. Han dynasty (206 BC - 220 AD). The compressed globular body encircled by eight mystical beasts of monkeys, Rabbits, de...

This vase is meant to be seen in a Museum by tens of thousands of people! Definitely done by the hands of Paul Nicolas in his D’Argental Studio, circa 1920 as a class Art Nouveau - Art Deco transition landscape piece. Two oval framed beautifully acid etched cameo scenes of mountains. Lakes and trees make this vase timeless rare and very important as possibly no other ones exist! The principal blue color permeates through the clouds, the snow and the icy lake waters. Browns and purples make up the mountains and trees. The geometric dragonfly carved and acid etched sides show the transition period. Paul Nicolas was definitely showing with former boss; Emile Galle, with this piece that he was attempting to surpass the Daum...

A very fine late Yuan to early Ming Chinese terracotta gilt and polychrome painted Buddha figure, he is dressed in thick robes, his hair arranged in ty...

Fine costa Rican Jade axe god with alligator head Guanacaste-Nicoya region, circa A.D. 1-500 Material: Jade Of celt form depicting the mythical part human, pa...

Fine Costa Rican Jade Axe God, Guanacaste-Nicoya region, circa. A.D. 1-1500. Of a celt form depicting the mythical part human- part avian bird figure, with cir...

Pre-Columbian Jade Costa Rican Avian Effigy pendant Atlantic Watershed 500AD- 1500AD Material: Jade Measures: Length 9 inches Width 1 inches Depth .4 inch. Exquisite Costa Rican jade (axe god...

A sunshine yellow meets a sunset orange in this ombré variegated Daum Nancy glass Carafe et Verre ensemble. Anyone up for fresh lemonade or merry Sangria. Perfectly sized for a party...

A rare and large pate de verre molded sculpture of the mythological God Pan. Very thick and heavy; this glass piece is primarily bluish green with yellow, reds and orange. The likeness is uncanny with perfectly modeled facial features and traces of his goat horns. This piece was said to exhibit at the Brooklyn Museum in 1971 but there is no documentation. The mask is stamped Decorchemont on his right cheek. For serious collectors of Art Deco - Art Nouveau rare and beautiful glass, circa 1915. Measures: Height: 7.75 inches (19.75 cm) Width: 5 inches (12.8 cm) AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return if the items are not as described. François-Emile Décorchemont...

François-Emile Decorchemont Pate-de-Verre Glass Mold Of A Female Ladies Face. A rare, large and very heavy sculpture of either a mask or a modeled face. At 3.5 inches thick in glass with a peach, pink or rose color; this statue was exhibited in the Brooklyn Museum, New York in 1971. With much research; I haven’t seen or heard of a similar form by Decorchemont. The original Brooklyn Museum loan sticker is on verso with the Decorchemont stamp on her left cheek. For serious collectors or rare Art Deco, Art Nouveau glass. Circa 1910 Molded Signature DECORCHEMONT Height: 7 Inches (13.3 cm) Width:. 5.2 Inches (16.5cm). AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return if the items are not as described. François-Emile Décorchemont French, 1880-1997 François Décorchemont, originally an accomplished painter and potter of recognized ability, turned to the making of glass in 1904. Pâté de verre was the medium in which he excelled and for which he is best known. After studying decorative art in Paris, François Décorchemont returned to his native Conches in 1910 to develop new techniques in stained glass, particularly in the use of crystal to give multicolored and faceted panes. After 1909, while continuing to produce fine glass paste pieces, Francois Decorchemont began to experiment with a new casting technique. François Decorchemont, Emile's son and also an artist, helped out in his father’s studio, in particular helping him to research the possibilities of creating jeweled adornments in pates d'email (enamel pastes) for Gerome's polychrome sculptural creations. Francois Décorchemont, a potter and painter at the outset of his career, became fascinated with the IDEA of developing and utilizing a thin translucent glass material in his work. It was in essence the revival and an adaptation of a long forgotten Egyptian glass-making process using colored crystal powdered glass, metallic oxides and an adhesive paste. This "new" material, known as pâte de verre was developed around the turn of the century, principally at the Sevres porcelain factory, by a number of artists working there, notably Henri Cros and Albert Dammouse. The end of the 19th century was an illuminated period in the history of art. Impressionist painting appeared and created an interest in glass as material. Traditional sculpting materials such as bronze and marble made way for glass with its possibilities of light and color. Henry Cros and François Décorchemont became the leaders of French pâte de verre and facilitated the proliferation of this colorful glass. His first major work, in 1934, was inn the Eglise Sainte-Odile near Porte Champerret in Paris, some 300 square meters of brilliant colors. After the war, he devoted his work to churches in the Eure, including of course Beuzeville where, thanks to the generosity of the local council, the church is lit at night so that his work can be admired from outside. During the first half of the 20th century a number of French artists became famous for their work in pâte de verre, and Francois Decorchemont among them. March 2014, 20th Century’s Greatest Art Dealer Felix Marcilhac’s Collection Privee at Sotheby’s - Chang Yi Entrusts Antoine Leperlier in the Bidding of a Francois Decorchemon's Original. It has been reported that Felix Marcilhac’s Collection Privee auction at Sotheby’s brought in 33,125 Euros (28,000 RMB), three times the estimated price. Marcilhac is considered the greatest Art Deco dealer...

Another rare pate de verre item by Henri Cros in collaboration with his son Jean Cros. A very nice size at 10.75 Inches by 8.65 Inches. translucent; this plaque can be lit up from be...

Fine Costa Rican Jade Axe God, Guanacaste-Nicoya region, ca. A.D. 1-1500 Of celt form depicting the mythical part human- part avian figure, with circular eyes...

Pre-Columbian Jade COSTA Rican Avian Effigy pendant Atlantic Watershed 500AD- 1500AD Measures: Length 9.75 inches Width 1.15 inches Depth .75 inch Very nice COSTA Rican jade (axe god...

Emile Louis Picault, French (1833-1915) "Olympias XCI Graeci Syracusis Captivi" bronze tazza Dated 1863. Standing on decorated base with Roman head motifs. Signed 'E. Picault, Exp...

A stunning four color wheel carved and acid etched fat vase with pink, yellow, green and white on a cream background. The coloring is strong and the workmanship excellent. A truly ex...

Francois Decorchemont Pate-de-Verre Chameleon Paperweight sculpted with orange and clear bubbled glass. Francoise Decorchemont pioneered the pate de Verre industry in the turn of the...

Durand Iridescent orange gold glass vase. With large beautiful proportions; this vase adds color and warmth to an important space. Perfect for that special gift! circa 1925. Ename...

Japanese Meiji Genryusai Seiya bronze elephant and tigers, circa 1890. This moving and detailed bronze grouping depicts a savage attack by two viscous...

Large Martaban Ming dynasty stoneware storage vase with dragons, 14th century. Beautiful Ochoa and yellow brown glaze with decorated dragons and Ming clouds. Applied snail or dragon ...

Large Martaban Ming dynasty stoneware storage vase with dragons, 14th century. Beautiful Ochoa and yellow-brown glaze with decorated dragons and Ming clouds. Applied snail or dragon ...

Art Nouveau green and silver irredescent art glass trumpet vase from Austria, circa 1900. Mottled striated and swirled oil spot design with irredescent blue and purple favrille desig...

This French Art Deco cameo glass vase was created by Charles Schneider (1881–1958) for his Le Verre Francais line. The vase in the “Cardamines” cutting was produced from 1924-1927. A...

Large enameled glass columbine flower pedestaled vase by Daum nancy. Variegated yellow glass with enameled red flowers, circa 1900. Signed in cameo ...

Loetz Rubin Matte Iris - 1898 (aka: rubin metall) Registered Model: PM I-7875 Ruby ground; metallic-bronze iridescent finish (iris) with purple highlights. Measures: Height 7.75 inches Width 4.25 inches Condition: Excellent AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return if the items are not as described. In 1836, Johann Eisner established a glassworks in the Southern Bohemian town of Klostermühle, today part of the Czech Republic and called Klášterský Mlýn. His heirs sold the glassworks to Martin Schmid in 1849, and two years later Schmid sold it to Frank Gerstner, attorney-at-law, and his wife Susanne. Susanne was the widow (‘Witwe’ in German) of Johann Loetz, a glassmaker about whom we know very little. Gerstner transferred sole ownership to Susanne shortly before his death in 1855, and she successfully led and expanded the company during the subsequent 20 years, manufacturing mainly crystal, overlay and painted glass. In 1879, Susanne transferred the company – now called ‘Johann Loetz Witwe’ – to Maximilian von Spaun, the son of her daughter Karoline. One year later, von Spaun hired Eduard Prochaska and the two of them modernized the factory and introduced new, patented techniques and processes. The Historicist Period The first fruits of this collaboration were exciting innovations in Historicism glass, including Intarsia and Octopus glass and the very popular marbled (‘marmorisierte’) glass which imitated semi-precious stones like red chalcedony, onyx and malachite. Success at exhibitions in Brussels, Munich and Vienna were crowned by awards at the Paris World’s Exposition in 1889. In 1897, von Spaun first saw Tiffany Favrile glass exhibited in Bohemia and Vienna, and this convinced him that the art nouveau style was also the way to go for Loetz Witwe. The next eight years were to be the most artistically significant and profitable period in the entire history of the company. The Art Nouveau Period – the Glory Years Loetz Paris-Expo1900Loetz Paris-Expo1900The glassworks created large numbers of its own new designs of iridescent, trailing art nouveau glass, sometimes in collaboration with well-known artists and designers like Marie Kirschner and Franz Hofstötter (aka Franz Hofstätter). The zenith of Loetz art nouveau glass was epitomized by the so-called Phänomen series of designs, much of it designed by Hofstötter, which won a Grand Prix (alongside Tiffany, Gallé, Daum and Lobmeyr) at the Paris World’s Exposition in 1900. The company’s success during this period had two prime drivers – the technical expertise of Prochaska and the business acumen of von Spaun. Loetz Witwe created many of its own designs, and also supplied glass commissioned by major customers like E. Bakolowits (Vienna) and Max Emanuel...