Aesthetic Movement Decorative Objects

Madjo is an exceptional unique piece from the Flacon collection. Its structure is composed of two elements of hand-blown white translucent glass, forming a precious, oversized bottle...

The Belgium artist Georges van der Straaten (born 1856) designed the two bronze busts at the end of the 19th century. One is titled "Bergere" (shepher...

Artistically significant hand carved sculpture of nude mother and child, completed during the Second World War.

John Tuska lidded stoneware vessel in a striking green glaze. John Tuska, full name John Regis Tuska, (1931–1998) was an American artist and educator. H...

This remarkable studio pottery vase is a masterclass in Brutalist texture and organic form, epitomizing the raw, expressive energy of the 1970s artisanal movement. Expertly hand-buil...

This garniture is painted with birds and flowers on a pale blue ground. The oblong footed bowl has a shaped gilt rim ,with white jewelling and centering palmettes. The flanking vases...

This exceptional two-piece studio pottery set is a masterclass in Brutalist texture and functional design, celebrating the raw beauty of hand-thrown ceramics. The set features a dist...

Important tray made in gilded bronze and “cloisonné” enamel attributed to Elkington and Willms. Ornamented with a centering polychrome enameled peacock plaque, made of very high standard quality, mounted on a gilt-bronze dish, decorated in relief with Japanese Nô theater masks. The great Birmingham firm of Elkingtons, was largely the creation of George Richards Elkington (1800-1865), who worked from 1824 in Birmingham as a manufacturer of silver-mounted scent bottles. By 1829 the business had expanded sufficiently for a branch to have been established in London. In the late 1830s the Elkingtons began making experiments to apply the principles of electro-metallurgy to gilding and plating with silver and in 1840 the patent was at last taken out. Elkingtons owed their rise to a position amongst the most important silversmiths of the country to their exploitation of this new process and the two of the most famous designers then employed, both of them French, Albert Wilms (1827-1899) and Morel-Ladeuil (1820-1888), who helped to make Elkingtons’ reputation with their elaborate exhibition pieces. Albert Willms was apprenticed as modeler and engraver to Klagman, Dieterle and Constant in Paris before working for Morel & Co. in London in 1848. On his return to Paris he was employed by the great Parisian silversmiths including Christofle and Froment-Meurice, for whom he designed pieces to be presented at the 1855 Universal Exhibition in Paris. It was during this period that he joined the firm of Elkington in London as head decorator. Elkington was soon to become one of the first to produce refined pieces in “champlevé” enamel in the Chinese and Japanese styles, which were presented with great success at the London Universal Exhibition in 1862 (see Masterpieces of Industrial Art & Sculpture at the International Exhibition 1862, J.B. Waring, London, 1863, III, pl. 211). Willms’ “champlevé” enamels could not be compared, however, with the delicate “cloisonné” enamels exhibited by Japan at the Universal Exhibition in Paris in 1867. This explains why Elkington adapted the ancient Japanese technique to produce pieces according to European taste and custom. Followings the 1867 Exhibition all the major European artists rivaled in ingenuity for the 1873 Universal Exhibition in Vienna. In London Albert Willms presented his luxurious vases and cups in “cloisonné” enamel for Elkington (see Illustrations of Art Manufacturers in the Precious Metals exhibited by Elkington & Co., Inventors, Patentees and Manufactures of electroplate, 1873), whilst in Paris, Ferdinand Thesmar (1843-1912) produced in the workshops of Ferdinand Barbedienne (1810-1892) a tray decorated with a golden pheasant in “cloisonné” enamel on copper...

This large square hand painted porcelain planter was made in France ca. 1880's or earlier. It features two hand painted "portraits" of horses heads alternating with 2 sides of hand p...

This striking vintage studio pottery vase is a masterclass in organic modernism and sculptural form. Characterized by its tactile, hand-built construction, the vessel features an exp...

Pair of Ansonia silver-plated 5-light candelabra in a style reminiscent of the Aesthetic Movement and from the 19th century. They measure 20'' in height by 11 1/2'' from arm to arm and appear to be unmarked. The Ansonia Clock Company was a clock manufacturing business founded in Ansonia, Connecticut, in 1851, as a subsidiary of the Ansonia Brass Company by Phelps and two Bristol, Connecticut, clockmakers, Theodore Terry and Franklin C. Andrews. Terry & Andrews were the largest clock manufacturers in Bristol, with more than 50 employees using 58 tons of brass in the production of about 25,000 clocks in 1849. The company has produced hundreds of different clock models, including Gingerbread, Porcelain, and Crystal Regulator styles. Ansonia clocks were exhibited at the U.S. Centennial exhibition in Philadelphia in 1876. In 1877 the clock company purchased a factory in New York and moved most of its production there after being spun off from the brass company. Henry J. Davies of Brooklyn, himself a clockmaker, inventor and case designer, joined the newly reconstituted company as one of its founders. As President, he is thought to have been largely responsible for the figurine clocks, swing clocks...

Elegant and abstract Bronze sculpture "Golfer" on a green marble base by Levan Vardosanidze, Georgia 1999. The georgian sculptor, born 1957 in Tiflis studied at the Academy there. He...

Elegant 19th centuryletter rack or stationery rack from France It is unusual to find them with their original key. Very nice interior beautiful pati...

Ceramic decorative flower and vegetation chinese plate signed Perfect gift for your special someone. Dimensions: Diameter 20 cm (37.86 inches) A series of three make the matchin...

Pair of Chinese export late 19th century cloisonne vessels. Vessels feature hand chased glass stylized floral patterns in Victorian era colors of red/...

Hallmarked in London in 1879 by Martin, Hall & Co., this stunning, Antique Sterling Silver Bowl, is in the Aesthetic taste, featuring cast and applied floral and butterfly detailing,...

An American Aesthetic Movement Basket, naturalistically modeled as a bird perched on a a leafy twig, above a shallow dish simulating cloth, decorated with gilt and silvered leaves an...

Made circa 1880 by Hukin & Heath, this stylish, Victorian, antique silver plated candelabrum, is a fine example of the Aesthetic Movement, featuring a textured base, and will hold 6 ...

O/5734 - Large giltwood frame with pomegranates carved in relief: very fine ! It can be vertical or orizonthal, for a mirror or for a picture. I h...

Made circa 1880 by Hukin & Heath, this stylish, Victorian, antique silver plated candelabrum, is a fine example of the Aesthetic Movement, featuring a plain base, and will hold 6 can...

This figural porcelain grape stand and holder is decorated with whimsical mushrooms encircling the "faux branch" to hold the grapes. It is embellished with...

Mojo is an exceptional unique piece from the Flacon collection. Its structure is composed of two elements of hand-blown white translucent glass, forming a precious, oversized bottle....

A beautifully potted vase with raised delicate floral decoration with a burnt orange flower in a subtle Japanese aesthetic typical of aesthetic movement po...

A Beautiful Pair of Late Victorian Aesthetic Brass Candlesticks (Circa 1880–1900) This exquisite pair of brass candlesticks exemplifies the refined craftsmanship and decorative flai...

This pair of candelabra made in the form of urns holding floral arrangements are French and were cast in bronze in the 1870s. It’s possible that at one time they were gilded but they...

A superb antique 6-inch dust-pressed terracotta tile by Minton Hollins & Co. (stamped) depicting a profile portrait in the aesthetic movement style. Such is this tiles beauty, that the back is equally as interesting as the front, showcasing how the portrait profile is pressed into the terracotta to bring life and shape to the relief figure at the front. Dating from the mid-late 19th century, the figure is carved with ornate Celtic style dress before a plentiful scrolling background impressed with the name ‘GAEL’ to the top. Ex British collection, this original Minton Hollins tile...