Early 1900s Decorative Objects

Vase, Johann Loetz Witwe, experimental decoration, ca. 1907 This object is an absolute peculiarity in the production range of the Johann Loetz Witwe glassworks. At first glance, the...

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A wonderful hand-painted papier-mâché box beautifully decorated in a blue and gold. Kashmir, India, circa turn of the century.

Uniquely decorated porcelain Limoges jar with a wide winged span nude woman and a duck flying out of her hair, perhaps beckoning her to join in the flight. Her legs and feet end as one "a la mermaid". She is quite beautiful and is holding a bouquet of flowers in front of her. The same image appears on the other side. She is hand painted with brown hair, skin tones, with white and black detail to the "butterfly like" double wings. The duck is painted brown and black. Two gold leaf bands circumvents the vessel at the bottom and two thirds up. A blue band above the gold band at the base completes the hand painted decoration of the exterior. The interior of the jar is painted a light colored lime green. The underneath is clearly marked "P L Limoges...

Beautiful Antique English Copper FLAGON, Pitcher, Vessel or Jug #2~~c. 1900 Excellent heavy copper flagon with hallmark 15" tall to top of handle ...

Loetz Mixed Cobalt, Green and Red Papillon Glass Vase. A rare mixed color Iridescent papillon Art Nouveau art glass vase mounted with a scrolled pewter mount in wonderful condition ready to join as the crown of your collection. Rubin (Ruby) Papillon Decor Czech Republic Circa 1900 Pewter mount with impressed stamp marks "1670" and crow and lion in shield marks for the Van Houten Manufacturing Co. Height: 10.5 Inches X 5 Inch diameter Condition: Excellent in original condition commensurate of age and use. The Loetz glassworks existed in Klostermuhle, Austria, for just over a hundred years, starting from 1840. But its heyday was during the life-time of Max Ritter Von Spaun, grandson of the original Johann Loetz who had founded the company. Von Spaun took over the company in 1879 and ran it until 1908, a year before his death. He was assisted by Eduard Prochaska, his technical specialist, and together they invented, designed and produced a whole series of wonderful new types of glass, taking out several patents and winning awards at all the major world exhibitions during the 1890's and the first years of the new century. The Loetz company were amongst the leaders in Art Nouveau design and expecially in irridescent art glass. "Papillon" glass, like the vase on the left, is sometimes known today as "oil spot" glass. Another favourite Loetz colouring was irridized glass with pulled trails called "Phenomenon" glass. There were irridized vases with ribbons of metallic colours winding over the surface, and many spectacular designs with applied trails of beautiful colours, or simply pulled out of the body of the glass to form handles or decoration. About 1900 the company started collaborating with outside designers, and some great artists designed pieces for Lotz, notably Joseph Hofmann, Koloman Moser, Maria Kirchner, and Hofstatter. In 1908 Loetz was taken over by Max Von Spaun's son, also called Max, and although it struggled financially (going through bankruptcy in 1911 and again in 1931) there were several great designers whose work was produced by Loetz during those years and through the art deco period. These included Adolf Beckert...

A fine antique French Art Nouveau Emille Galle cameo glass vase, circa 1900. The stem vase of a tapering conical form and finely wheel carved and acid etc...

Pair of antique silver plated Corinthian candlesticks having pretty shaped removable sconces to the top and supported by attractive circular re...

A pair of Jugendstil Alpaca vases, circa 1908s Polished and stove enameled Beautiful children with bird's Motivs on both vases.

This is an antique wooden netsuke made in Japan around Meiji period 1900s. The signature is written on the back side 'Sekisen'. Netsuke is a miniature sculpture, originating in 17th...

Hallmarked in Sheffield in 1904 by Henry Wigfull, this wonderful pair of Edwardian, antique, sterling silver candlesticks are the height of Arts & Crafts style. They are simplistic i...

A delightful pair of Chinese cloisonne candlesticks in the form of tapirs, Late Qing Dynasty, circa 1900, China. The charming pair of candlesticks each crafted as a tapir seated upo...

French Desvres faience jardinière cachepot painted with flowers, coat of arms and a farmer, circa 1900.

Bronze plaque sculpture with a finely detailed relief depicting a lush natural scene, where birds, flowers, and fruits intertwine masterfully. Created in the late 19th and early 20th...

Rare and Unusual Unger Brothers Jester Sterling Letter Opener from the 1900's. Wonderful detailing and unusual subject matter. 1900 USA. 9.5" x 1.85" x 1.25".

An outstanding antique French photograph frame made from cast mixed metals with the most amazing collection of cherubs gracing the front amongst a p...

A Bohemian Austrian Art Nouveau gilded glass single flower vase in Bristol blue color with gilded floral overlay painting.

A very pretty silver gilt and blue guilloche enamel sub miniature carriage or boudoir clock in carry case. The case, of arched form, the superb engine turned blue guilloche enamel s...

Secessionist basket, Austria, 1900. Metal & glass. Enameled garlands of roses. Measures: width : 8.1"(20.5cm), depth : 2.4"6cm), height: 3.4" (8.7cm). Just small traces of age on the...

Bulbous shoulder vase on a flush stand, short neck piece with silver mount as a ring in a smooth, slightly flared design, on the outside opposite two fully sculptural branch and cone bundles, colourless glass with white powder meltings, overlay in blue-violet and green, meadow flower decoration etched in various stages, matt etched inside and outside. Cameo signature 'Gallé' with star on the wall between the plants. Silver mount hallmarked 'Minerve casquée' for 950 silver, France, and master's mark. Hand-made Cameo Glass: Glass overlaid with several layers, with high-cut worked out motifs. Since the middle of the 19th century, the design has also been done by etching. Cameo glass vessels were already being made in antiquity; at the end of the 19th century, Émile Gallé further developed this glass art, created Art Nouveau designs and employed a large factory in Nancy...

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Vase "Glycines" (Wisteria) made in multilayer purple and white cameo acid-etched glass. Molded signature. Perfect condition.  height : 33 cm

Lilac ground. Each encircled by frieze of classical figures beneath floral swags, the largest flanked by serpent handles with mask terminal and Cupid finial, impressed WEDGWOOD, MADE...

A beautiful antique French silver overlay glass perfume cologne bottle with stopper, circa 1900. It has a gorgeous lobed shape and stylish Art N...

Another cast without gilt is in the Musee D'orsay. The work was also edited in Biscuit by Sevres. Sicard studied under Barrias and Felix Laurent. He won Prix de Rome in 1891 and a Go...

Large Terracotta bulldog from Bavent (Normandy), circa 1900. H / 9 inches, L / 10.5 inches.

Charles Henri Delanglade (1870-1952) - "Le Lierre" Technique : Sculpture en marbre blanc Dimensions : H : 109 cm Signature : Signé et titré dans le marbre Base : Roche sculptée Cond...

Antique Satsuma gilt porcelain vase depicting hand painted immortal figures all around the piece in high relief. Made in Japan, c. 1900's. *Includes mark on base. Dimensions: 11.5"H ...

A stunning French picture or photograph frame made from solid cast bronze (it's a hefty piece) and smothered in gold. Beautifully refurbished, restoring it to it's former glory, rea...

Add a touch of regal elegance to your collection with this decorative terracotta lion head, crafted in the early 1900s. This striking piece captures the majestic essence of the lion,...

Circa !900 Japanese Large well shaped bronze champleve enameled vase.. Six paneled sides with Asian themed engravings on each panel.With two ringed handles. Original warm amber brow...

Vienes Candle Holder 1910s.

French Majolica Daisies Kitchen flour Canister signed Saint Clement Keller & Guerin Circa 1900. H / 7.5 inches. Flour / farine in French.

This French Art Nouveau enameled and etched "Fleurs et Abeilles" glass vase by Daum Nancy features an unusual and wildly undulating form that is countered neatly by the tightly executed landscape that decorates its organic curves, bulges, dips and valleys. Climbing from a deeply, darkly colored base upward to the bright, nearly translucent bright yellow rim of the vase are a field of ultra-finely rendered red orchid blooms with framing leaves...

A pair of Art Nouveau or Secessionist WMF 'Britannia metal' (pewter) and silver plate candle holders. Both marked to the interior of the base 'WMFB' and 'OX'. This finish was used be...

Extremely rare and beautifully sculpted and executed, this monumental terracotta clock depicting a nude Adam and Eve exchanging the fateful apple, is finished in a green-black glaze ...

A terracotta jar from the island of Java once used for storing dyes used for crafting traditional batik textiles. The jar dates to the early 20th century. There is visible wear to th...

A lifesize French 19th-20th century carved marble sculpture of "Venus and Cupid" In the manner of Felix Maurice Charpentier (French, 1858-1924). The tall and slender nude figure of a...

Rare large Terracotta Majolica Pig Bavent Normandy.

Inkwell travel desk Islamic symbols Inkwell with Islamic symbols Circa 1900 Origin France Middle East Gold and silver patina with Islamic symbols and monograms Very good general condition with some wear from use It is a beautiful, very old writing desk...

A museum piece of French Art Nouveau glass art: Lamp with baluster-shaped foot on a stepped, flat, round stand raised in the centre, hemispherical shade, slightly heat-stretched and pressed upwards on four sides, made of multi-layered glass with coloured powder fusions, predominantly in yellow-orange, red, brown, green and blue-violet tones, with highly etched vine leaves and grapevine decoration, two fully sculpted snails on the foot as a special accent, Cameo signature ‘DAUM NANCY’ with Lorraine cross on the foot in the lower area, and on the shade, which rests on a patinated metal mount, which also carries the threads for the light sources, one at the top and one inside the foot. Technique: Handmade cameo glass Glass overlaid with several layers, with high-cut worked out motifs. Since the middle of the 19th century, the design has also been done by etching. Cameo glass vessels were already being made in antiquity; cameo glass vessels were already being made in ancient times, and at the end of the 19th century this glass art was further developed, especially in Nancy. Manufactory: Daum Frères / Nancy, Lorraine, France Dating: Circa 1905 Dimensions: Height: 53,5 cm / 21.06 in Diameter: 32,0 cm / 12.59 in Bibliography: Carolus Hartmann, Glasmarken-Lexikon / Encyclopedia of Glass Marks, Stuttgart / Germany 1997, Signature number 2984 on page 148, and page 561: Daum Frères & Cie, Verreries de Nancy Condition: Very good The electrification is functional, but should be renewed for safety reasons. About the design: The development of Art Nouveau glass art coincides with a revolution in lighting, the significance of which we can no longer fully appreciate today in the 21st century. Around 1880-1890, oil lamps and paraffin lamps were still almost unrivalled in every household. It was not until the beginning of the 20th century that the ‘electricity fairy’ emerged as a remarkable advance and gradually found its way into the daily lives of all social classes. The glassmakers at the Ecole de Nancy were true pioneers and eagerly seized the opportunity to use electricity to illuminate the colours applied to the glass. Colour was one of the main concerns of the master glassmakers at the Ecole de Nancy. Emile and Antonin Daum returned to the colours that had made the stained glass of the Middle Ages so splendid and extended the palette of colours in the glass mass as they needed it for the floral motifs and exact representations of nature. But the modulation of the colours, their arrangement in juxtaposed patches, the technique that the Impressionist painters practised on their canvases at the same time, was difficult to achieve due to the nature of the glass melted in a large mass. To achieve this richness of expression, around 1900 Daum developed ‘the process of applying glass powder and enamel to the outside of the vases to create coloured backgrounds or decorative spots’, according to the report of the jury of the 1900 World Exhibition. The field of naturalistic, contrasting and shimmering colours was one in which Antonin Daum excelled. This new technical process made it possible to create the symphonies of colour that we find on the ‘Vignes et escargots’ lamp...

Almeric Walter and Henry Mercier Pate De Verre Art Nouveau Figure of a Nude Cherub or boy seated with his hand on his head. A wonderful pâte-de-ver...

Beautiful hand painted bulbous vase circa 1900, the Japanese Meiji period hand painted decoration depicts a temple scene with figures. The decoration in a classic Kutani pallet. Di...

Fine quality pair of antique Japanese Imari lidded vases having quality hand painted Imari vases in wonderful red, blue and white colours with original lids, one has a piece missing ...

Beautiful and very refined alabaster bust depicting a young woman with her head slightly bowed, in a reflective or prayerful attitude, made around 1900 in France. It is part of the ...

Model #4598. Hard Earthenware. Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the tradename “Amphora” by the late 1890s and became known by that name. The ...

Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the tradename “Amphora” by the late 1890s and became known by that name. The Amphora pottery factory was loc...

A stunning pair of antique English silver plated candlesticks, quite stunning with a stylized naturalistic design with a definite Art Nouveau flair dating to c.1890/1900. They com...

Direct from Paris, a magnificent pair of Louis XVI silver plate 3-candle candelabra by France's premier silversmith "Christofle - Gallia Collection", meticulously restored to near new condition, includes two anti-tarnish storage wraps for easy storage, you can't go wrong buying quality, circa early 1900s. The French silversmithing brand Christofle stands as a paragon of artistry, quality, and timeless sophistication in the world of fine silverware. Founded in 1830 by Charles Christofle, the company has built a reputation for exquisite craftsmanship and pioneering innovation. Over nearly two centuries, Christofle has become synonymous with opulence, earning the favor of royalty, securing prestigious awards, and adorning homes and dining tables worldwide. From their revolutionary silver-plating processes to their dazzling silver plate candelabra, Christofle’s creations epitomize the pinnacle of silversmithing artistry. Charles Christofle’s foray into silversmithing began when he took over his wife’s family jewelry workshop. His entrepreneurial vision and artistic sensibilities allowed him to transform the modest enterprise into a global luxury brand. Early on, Christofle recognized the demand for high-quality yet affordable silverware, leading him to explore innovative methods for producing silver-plated items. This ingenuity was paired with a deep commitment to artistry, ensuring that every piece bore the hallmarks of French elegance and meticulous craftsmanship. Christofle’s philosophy of blending tradition with innovation set the company apart. In 1842, Charles Christofle obtained an exclusive license for the electroplating process developed by the English inventors George and Henry Elkington. This technology allowed the company to produce silver-plated goods of unparalleled quality and durability, democratizing the availability of fine silverware. The decision to adopt and refine this technique marked the beginning of Christofle’s ascent to global renown. The electroplating process revolutionized silversmithing by enabling the application of a thin layer of silver onto a base metal, typically copper or nickel silver. This innovation significantly reduced costs without compromising quality, making silverware accessible to a broader clientele. Christofle’s mastery of this technique elevated the art form, as their artisans meticulously ensured that every piece retained the luster, weight, and elegance of solid silver. Christofle’s silver plating involved several intricate steps, each requiring skill and precision. The base metal was first meticulously cleaned to ensure that the silver coating would adhere uniformly. The item was then submerged in an electrolytic bath, where an electric current deposited a fine layer of silver onto its surface. Finally, the piece underwent polishing and finishing, a process that demanded an artisan’s eye for detail and dedication to perfection. The company’s innovations did not stop at electroplating. Christofle continually refined their techniques, developing proprietary methods to enhance the durability and brilliance of their silverware. Their relentless pursuit of excellence ensured that Christofle pieces would retain their splendor for generations, cementing the brand’s reputation for quality and longevity. Christofle’s commitment to excellence quickly attracted the attention of European royalty and nobility. The brand’s association with regal splendor began in 1851, when Napoleon III appointed Christofle as the official purveyor of silverware to the French court. This prestigious commission marked a turning point in the company’s history, solidifying its status as a symbol of luxury and refinement. The French court’s endorsement opened the doors to further royal patronage across Europe and beyond. Christofle created bespoke silverware for monarchs, aristocrats, and heads of state, often crafting pieces that were as much works of art as functional items. Their designs graced palaces, embassies, and luxury liners, including the opulent dining rooms of the Titanic and the Orient Express. Among Christofle’s most notable commissions was the creation of the Sèvres table service for Napoleon III, a stunning collection that showcased the company’s technical prowess and artistic flair. The service featured intricate designs inspired by classical motifs, reflecting the grandeur and sophistication of the Second Empire. Christofle’s ability to seamlessly blend tradition with innovation ensured that their creations remained relevant and desirable, even as tastes and styles evolved. At the 1855 Exposition Universelle in Paris, Christofle was awarded a gold medal for their groundbreaking electroplating technique. This recognition underscored the company’s role as a pioneer in the field of silversmithing and solidified their reputation as a leader in luxury silverware. Subsequent exhibitions in London, Vienna, and Philadelphia further showcased Christofle’s mastery, earning them accolades for both technical innovation and artistic excellence. Christofle’s enduring appeal lies in their ability to strike a harmonious balance between form and function. Their pieces are not only visually stunning but also practical, reflecting the company’s commitment to creating silverware that enhances everyday life. This dedication to excellence has earned Christofle a place among the world’s most esteemed luxury brands. One of Christofle’s most iconic creations is their collection of silver plate candelabra. These masterpieces exemplify the company’s dedication to artistry and craftsmanship, serving as both functional lighting fixtures and decorative centerpieces. Christofle’s candelabra...

The older brother of Clément Massier, Delphin Honoré Massier had inherited his share of the family ceramics business upon the death of their father Jacques in 1871, establishing the ...

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A small Arts and Crafts silver plated jewellery box with enamel decoration displaying grapes and leaves to the lid and shaped sides.

An encounter with Massier’s luster-glazed ceramics is an embarkation on an acid-colored trip, the sort of exploration which inspires deep reflection and requires transparency. Clemen...

Decanter engraved with acid with floral decoration around 1900 attributed to Daum Nancy and Victor Saglier for the setting. Signature at the bottom of the carafe. Note a slight defor...

An absolutely stunning Arts & Crafts bud shaped art glass vase attributed to renowned glass maker Harry James Powell (British, 1853 - 1922) and dating from around 1900. The vase hand...

Beautiful, graceful, Art Nouveau Period, sterling silver vase, having a trefoil-shaped base, Sheffield, England, year- hallmarked for 1903, William Mammatt and Son - makers. Measures...

Sevres porcelain box Origin France Circa 1900 Interior decoration (flowers) bronze mount hand painted box.

Antique Spanish stone mortar.