Expressionist Decorative Objects

Jugendstil Box Set Germany, 1900-1909 Copper and Brass Casket Floral decoration Complete with key Marcho embossed under the base Rare item Excellent state of preservation

Rare white tango box and cover by Loetz enameled with black stylized flowers and black feet and lid finial designed by Dagobert Peche c.1915.

Stunning and great condition, brass Secessionist box with amazing inlay and the original key. There are -for good reasons- collectors of the Vienne...

This is a dynamic female nude sculpture by Auguste Rodin. This suggestive sculpture is beautifully executed in the impressionist style. This museum restrike stands on a black marble ...

A rare rectangular shaped box with a hinge cover; tinplate, gilt and with beautiful colourful abstract floral motifs. The bottom is embossed with ‘H. Bahlsens Keks-Fabrik Hannover Königl-Preuss-Staatsmedaille Weltausstellungen - 1904 1910 Grosser Preis 1911 1913 Baltische Ausstellung Malmö 1914 Die Königl. Medaille’ Bahlsen's new designs for ornamental giftware packaging were shown at the exhibition held by the Deutsche Werkbund...

This flower vase, designed by Josef Hoffmann around 1905 for the Wiener Werkstätte, evokes the shape of a modernist skyscraper. The reissue is produced by Bieffeplast in Italy (80s),...

Surrealist Ceramic Face Sculpture. Offered is an unusual textured ceramic sculpture in the Surrealist style. This shapely abstract surrealist sculpture has many faces on it and appea...

This handcrafted bronze candelabra celebrates the quiet elegance and harmony of Africa’s wildlife. Each piece is entirely original — no moulds are used at any stage. Every giraffe an...

Austrian Cold Painted Bronze Owl Sculpture. Bergmann 1900´s. Early 20th century, Bergmann Bronze Sculpture. An Austrian cold painted bronze model of an Owl. The body naturalisticall...

Josef Hoffmann hexagonal wastebasket or umbrella stand Originally designed in 1905, edition Bieffeplast circa 1980s Gitterwerk structure in black perforated steel with original lab...

MAGNIFICENT HORSE HEAD PLASTER SCULPTURE! BOLD! BOLD! BOLD! SUPERB DETAILS! In the Manner of Charles Marion Russell (DIMENSIONS: Approx. 13" x 5" x 16" ) CIRCA 1960s This m...

A Maasai girl, upon reaching adolescence, undergoes a traditional rite of passage known as "Enkipaata" a ceremony marking her transition into womanhood and preparing her for the resp...

A Continental Secession style Arts & Crafts oak mantle clock stepped top a silvered dial behind a full length door with bevelled glass flanked by two pairs ...

Unique low cabinet with intarsia designed by the architect, artist and craftsman Viktor Lurje (1883-1944) and manufactured by Wiener Werkstätte GmbH, circa 1926. Together with Oskar ...

G Turner 1978 marble sculpture with Lucite base. Features a woman holding onto her children. Singed along the edge of base. Measures: Sculpture 30" H x 12"...

A striking pair of Austrian Secessionist vide-poche bowls, finely cast in solid brass and entirely hand-worked, dating to the early 20th century. These sculptural objects are modeled...

A powerful 20th-century cast bronze Expressionist bust, imbued with raw psychological energy and sculptural immediacy. Evocative of The Scream by Edvard Munch, the distorted features...

Vienna Mahogany Regulator Wall Clock, circa 1900, with carved urn finial and fluted column crest, porcelain and brass clock face with roman numerals encased in glass paneled flanked ...

Entropy a compelling and unique bust by American Ceramic Arist, Bedford, c. 1960's. Expertly handcrafted earthenware, stains, oxides. "I use the word entropy as a metaphor for change...

This antique Art Nouveau art glass vase by Michael Powolny for Loetz is an impressive and highly sought-after art piece from the early 20th cen...

Vienna secession jewelry box atr. Dagobert Peche for Wiener Werkstätte in excellent original condition.

The UNTITLED portrait sculpture has a quiet yet powerful and commanding aura. The viewer cannot be around or near it without feeling its presence. It has a very classical approach in...

This large and unusual floral hand-decorated double-handled ceramic vase by Ampora Turn-Teplitz showcases the characteristic artistic sensibilities of the Art Nouveau Vienna Secessio...

“In Step” is a very personal piece for me — a bronze sculpture that captures the quiet tenderness between a mother elephant and her calf. I was moved to sculpt this moment after watc...

An octagonal green and blue earthenware vase with blue glazed squares, marked Austria and numbered 7143. These type of vases were made in the Vienna School of Applied Arts (Wiener Ku...

Man with toothache, head wrapped in cloth. This expressive and whimsical wooden sculpture captures a universally relatable moment: a man suffering from a toothache. The figure leans...

Simply put this is one of the most beautiful boxes I have owned in my over 40 years of antique dealing, and I buy boxes. The factory applied warm rich brown patina is a good place t...

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...

A large and rare ceramic monochromatic putto holding grapes (Autumn from "The Four Seasons") by Austrian designer Michael Powolny for Gmundner Keramische Werkstatte. First designed b...

Clearly showing the influences of the Vienna Secession and the Wiener Werkstatte, at a time when Vienna led the Germanic world's interpretation of Art Nouveau and Art Deco, this cyli...

A unique studio art ceramic vessel featuring an unusual bombastic contrapposto stance with bulging belly, signed, early aughts. In deep licorice with hints of iridescent aubergine an...

A fine porcelain covered sugar bowl (that doubles perfectly as a table box). In the Melone (pattern) designed by Josef Hoffmann in 1929. In white porcelain with gold highlights. B...

Antique Austrian Ormolu Jewelry Box Circa 1900. A beautifully decorated jewelry box in an ormolu case and lined with an aubergine velvet interior....

The ceramic charger is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. It is signed by the artist and stamped with Plum Street Pottery on the verso. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery” (now a designated historic landmark in Farmington Hills, Michigan) studio opened around 1965 and closed in the summer of 2016. It was a private studio space for John and a number of his students and assistants. He believed his shapes evolved guided by forces apparently outside his control. This was instinctual, intellectual and due to his openness to change, fusing into what he thought was the most positive force behind a potter’s approach: evolution and growth. Some have called it inspiration. John was not only a major figure in the Detroit creative community, but in the ceramics world at large. According to Shelley Selim in her book on John, “John Glick: A Legacy in Clay” John remains: “one of the most recognizable names in the field of studio pottery – known for lecturing, publishing, and offering workshops widely – and his work has been featured in well over a hundred local, national and international exhibitions since he was a college student in the late 1950s.” Along with this John has mentored over thirty studio apprentices over five and a half decades, received numerous grants and awards for his work, and has been prolific, with an estimated 300,000 ceramic wares throughout the world. He received his Masters from Cranbrook Academy of Art in Bloomfield Hills, Michigan, working with Maija Grotell, a legendary and influential teacher. Grotell was noted for her deep interest in the human connection to nature’s rhythms and patters. These ideas often grounded her dialog with her students including Glick, affecting, a profund and lasting influence on his future work. This famous Art Academy was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), Morris Brose (Bronze Sculptures), Herb Babcock (blown glass), Larry Butcher (mixed media) and Lauren Anais Hussey...

Beautiful bronze sculpture of 2 nude males embracing titled LOVE by Norma Goldberg, dated 1977 The piece can really communicate the love this couple ...

A Wiener Werkstatte silver reticulated flower basket with original glass insert in a very rare model made with silver. Designed by Josef Hoffmann (Austrian, 1870-1956), Vienna, circa...

Large Impressive cold painted Austrian bronze study of a standing stag / Deer, with intricate detail and very fine color. Additional information Height: 34 cm Depth: 8.5 cm Width: ...

This lovely little vase is a fine example of the Vienna Secessionist movement. The hand worked copper overlay is all you need to look at to see what I ...

Jewelry Box Erhard und Söhne Gilt bronze Origin: Germany Features their logo on the (original) key and base Blue tapestry interior Impeccable condition Filigree decoration with geome...

The "Untitled" abstract sculpture by Robert Sestok has a very deliberate aura of strength in its columnar shape. Upon closer inspection details emerge su...

A very cool Peter Max pop art ceramic ashtray by Iroquois of Syracuse, NY, circa 1980s. There are three different ashtrays available; all are in excell...

Candlestick dancing clown atr. Dagobert Pechce for Wiener Werkstatte. Not signed.

A pair of cast stone abstract sculptures depicting female bodies with exaggerated curves seating in different reclining poses. The sculptures are finished...

Abstract agate sculpture on wood base.

This striking theater mask by German artist Wolfgang Utzt was crafted in 1992 for a production of the play Ragtime. Expertly formed from treated leather, the mask embodies Utzt’s dis...

The Black Rhino is one of Africa’s most formidable creatures, yet also among its most vulnerable. This bronze bust, finished in a deep blue verdigris patina, captures the raw strength and weathered dignity of the rhino’s head, its horn thrust forward like a spear forged by evolution. I first sketched this piece in the field when all I could see was a rhino’s head emerging through the thicket—an unforgettable impression of power and presence. The rhino’s horn, once its ultimate defense, has tragically become the very reason for its decline. In this sculpture, that paradox is frozen in bronze: resilience and fragility bound together. Set on a sandstone base, the piece is both a tribute and a reminder—of nature’s grandeur and mankind’s responsibility to protect it. Black Rhino Bust, Bronze Rhino Sculpture...

This artistic head of a man, created by an unknown artist, is extraordinary and expressive. This lovely head was passed down from the estate of an art collector and connoisseur of be...

Hand painted terracotta and bronze clock design by Stanislaw Czapek for Friedrich Goldscheider. Austria, 1903. Vienna Secession. Goldscheider mark, signed Capeque. The Latin inscription on the front is from the famous poem "The Song of the Bell" by Friedrich Schiller...

It is hard to forget the first time you see a sable antelope — the glossy black coat, the proud arch of the neck, and those magnificent, scimitar-shaped horns curving gracefully back...

A very fine Italian 19th century carved carrara marble sculpture Group Titled "LA GIOIA NELL'INNOCENZA DOPO IL LAVORO" (The Joy of Innocence After Labour) by Professor Raffaele Belliazzi (Italian, 1835-1917). The slender figure of the young boy, seated and resting on a rock with his hanging legs crossed and joyfully eating a cluster of grapes picked from his hat that is resting on his lap. The intricate carving of his shirt, jacket, pants, hat and boots with fine attention details such at the stitching, buttons, the hem on his pants, the wear on the soles of his boots and the features on his face makes this one of Belliazzi's finest known works. The sculpure rests on a dark green serpentine marble pedestal with a rotating top. Signed: Profor. Belliazzi, Carrara. Florence, circa 1870-1880. It may be possible to identify the present marble sculpture of a boy eating grapes...

Zulu warriors were renowned for their disciplined formations and innovative tactics in battle, epitomized by the "buffalo horns" strategy developed by the legendary Shaka Zulu: a man...

Attila Tivadar Nude Male Torso Bust Cast Stone Sculpture. A Well Modeled Sculpture with wonderful patina and texture. It's a great substantial work. The sculpture measures 7.5 x 10...

Elisabetta Mayo d’Aloisio, L’Eterno Padre, Bronze Bust, Italian, c. 1930s, on Marble Base Description A commanding and emotionally charged bronze sculpture by Elisabetta Mayo d’Aloi...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the default quote does not include packing and insurance. 1stDibs shipping provides a level of value, protection, and care that aligns with our commitment to safeguarding historic artworks and providing excellent client service. Secessionist Clock...

Cylindrical base, vessel above rising in a tulip shape, flared rim, two curved bands applied offset on the sides as handles, three-leaf flowers in relief on the front and back. Geome...

This bronze sculpture captures a Maasai warrior in a moment of stillness and anticipation — poised at the very start of the hunt. I was inspired by the elegant silhouettes of tribal ...

The ceramic charger is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. It is signed by the artist and stamped with Plum Street Pottery #129 on the verso. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery” (now a designated historic landmark in Farmington Hills, Michigan) studio opened around 1965 and closed in the summer of 2016. It was a private studio space for John and a number of his students and assistants. He believed his shapes evolved guided by forces apparently outside his control. This was instinctual, intellectual and due to his openness to change, fusing into what he thought was the most positive force behind a potter’s approach: evolution and growth. Some have called it inspiration. John was not only a major figure in the Detroit creative community, but in the ceramics world at large. According to Shelley Selim in her book on John, “John Glick: A Legacy in Clay” John remains: “one of the most recognizable names in the field of studio pottery – known for lecturing, publishing, and offering workshops widely – and his work has been featured in well over a hundred local, national and international exhibitions since he was a college student in the late 1950s.” Along with this John has mentored over thirty studio apprentices over five and a half decades, received numerous grants and awards for his work, and has been prolific, with an estimated 300,000 ceramic wares throughout the world. He received his Masters from Cranbrook Academy of Art in Bloomfield Hills, Michigan, working with Maija Grotell, a legendary and influential teacher. Grotell was noted for her deep interest in the human connection to nature’s rhythms and patters. These ideas often grounded her dialog with her students including Glick, affecting, a profund and lasting influence on his future work. This famous Art Academy was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), Morris Brose (Bronze Sculptures), Herb Babcock (blown glass), Larry Butcher (mixed media) and Lauren Anais Hussey...

Painted porcelain and hand carved, gold leaf wood frame, signed "Épanouissement", Vienna, circa 1890.

Late 19th century Vienna Secession cold-painted bronze small sculpture of two men playing chess by Franz Bergmann/Nam Greb, Austria By: Franz Bergmann, Nam Greb Material: bronze, co...

Zuri, which is beautiful in Swahili, is a Bronze African Abstract Nude and marks a significant moment in my creative evolution—an expansion from sculpting wildlife into exploring the human form. Initially, my art was inspired by Africa’s magnificent wildlife, but over time, the graceful silhouettes of tribal warriors and women—often glimpsed through the blistering summer haze—began to captivate me in a new way. There was something profoundly moving about their presence—dignified, resilient, and quietly powerful. That vision led me to explore the human spirit in bronze. Zuri is an abstract interpretation of that essence: rooted in strength, shaped by grace, and elevated by simplicity. Through her, I seek to honour not just form, but feeling. Bronze sculpture in a rich traditional patina with hints of Verdigris...