Expressionist Decorative Objects

This is a bronze sculpture of Darwin's Thinking Ape. The Ape is seated reading a book.

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...

Early 20th century Expressionist patinated bronze woman sculpture with marble base signed by italian sculptor A. Monti By: A. Monti Material: bronze, marble, copper, metal Technique...

The ceramic charger with scalloped edge 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 on 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...

Underside embossed with workshop signet and monogram. Literature: Galerie Metropol, Bertold Löffler. Note: We do not ship pieces uninsured. We require shipping through 1stDibs, for...

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...

Mid Century Bronze Sculpture UMBILLIS BY David Slivka. David Slivka (1914-2010) is an American artist, both sculptural and pictorial arts. He became enthusiastically recognized t...

This Expressionist sculpture in emerald green polychrome glass is a rare 1950s original by Italian-French artist Gio Colucci (1892–1974). An emerald green sculpture...

Secessionist hand-hammered continental silver compote.

This striking abstract artwork showcases a compelling modern composition with heavily textured relief elements and stylized elongated figures. The piece balances organic forms with b...

Viennese seseion ceramic box Ceramic Origin Austria circa 1900 Very good condition and no restorations Sealed at its base Some chips on the lid ring due to wear and tear. Pink, black and yellow color with orientalist character on its cover. We are Saint John, a company dedicated to the trade...

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 ...

Vienna secession desk set in original condition. Black glass and brass (the watch was restored).

SALE ONE WEEK ONLY "Robert Bielat was an artist’s artist, a sobriquet applied to those whose work is brilliant but idiosyncratic, deeply compelling in a way that is obvious to those who can see it, but not necessarily so to the market or to the arbiters...

Pottery by artist Walter Darby Bannard, 1978 blue - 8" tall x 4 1/2" wide - 1979 white - 6" tall x 5 1/2" wide - 1978 yellow - 4" tall x 5 1/2" wide - 1978 beautiful glaze, color ...

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...

Secessionist Porcelain Lidded Box by KARL KLAUS (1889-1925) for SERAPIS WAHLISS, Vienna, c. 1911, hand-painted in gold and black enamels in a stylized geometric diamond and holly mot...

"Caldare" is a specific object — a bronze pot on a white painted iron base with a stove —designed by Franz West in 1991 for the Meta Memphis Collezione, produced in a limited edition...

1986 Deborah Ballard "Stress" Ceramic Figural Art Sculpture Made from fired white clay by Deborah Ballard (b.1951). Deborah is a Native American who was born in Dallas. She had a ...

Whimsical bespoke paper mache bust. Sourced from an artists estate so to me, it looks like she was going for a Keith Haring inspired piece.

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. Bronze Rhino Sculpture...

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...

Contemporary modern Murano Art glass sculpture, a decorative panel displayed on a dark grey iron base, realized as a colorful Mosaic, grey, yellow, burgundy, white and black murrine, aqua blue, amethyst purple glass...

This is a wonderful antique box from the Vienna Secession period. Adorned with elegant carved details and a wood veneer interior.

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

This pair of antique vases were made by the well known WMF company of Germany in approximately 1900 and done in a Seccessionist style. The vases ...

Contemporary modern Murano Art glass Mosaic centrepiece: High quality of execution using the sophisticated technique of glass fusion with a see-through mosaic of murrine (each little...

A pair of Italian filigrana blown glass birds made by Formia. Magenta and white striped glass is blown and pulled into elegant bird shapes, one with head up and the other with head r...

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...

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...

This charming, unique glazed ceramic sculpture, designed to serve as a candleholder, was created by one of the master ceramicists at the famous Werkstatte in Vienna, or by an American craftsman influenced by their work. The shepherd boy...

A Vienna faience porcelain figurine representing motherly love by Schauer. Bench and figures are porcelain. Faces and arms are in a bisque (flat) finish. Marked on the bottom Vienna ...

Late 20th century Expressionist Giacometti-like pair of french bronze candle holders By: Diego Giacometti (in the style of) Material: bro...

The Maasai Warrior joins my series of figurative works inspired by Africa’s tribes, each piece a reflection of cultural pride and enduring legacy: Standing tall, proud, and resilient...

Abstract expressionist bronze sculpture on wood base. France, 1930s.

Oriental Dancer, Jugenstil Vienna bronze sculpture, 1900s Richard Thuss Austrian Gilt Bronze Figure of an Oriental Woman Dancing Stamped under a foot VNO. Gilt has been restored. It ...

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...

Rare and unique bronze sculpture, on custom lucite base. France, 1940s.

Beautiful and charming little teddy bear in black golden line from the famous designer designer Walter Bosse (1904 - 1979) Beautiful original patina from the mid-20th century. H...

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...

My interpretation of a Samburu herdsman stands as a sentinel of tradition, his life a tapestry woven with the threads of pastoral wisdom and the enduring spirit of the African savann...

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 pair of brass bowl in stepped concentric form designed by Dagobert Peche (Austrian, 1887-1923) and for Wiener Werkstatte circa 1910s-1920s. In the iconic style of Vienna Secession,...

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 bronze sculpture captures a Maasai warrior in a rare moment of stillness and anticipation — poised at the very beginning of the hunt. The figure stands tall and slender, his spe...

CLAUDE FAVIER Sculpture in Bronze. Similar to Zuniga - A deeply moving figurative piece. Numbered 18/50 A compliment to many spaces, a wonderful decorative piece or sculpture on ...

Incredible Expressionist bronze sculpture on stone and bronze base. France, 1940s.

Josef Hoffmann (style) tiered serving stand, 20th/21st century, goldtone pierced metal, unmarked.

Beautiful abstract bronze sculpture. France, 1930s,

A bronze statue of a blacksmith on a marble base by Adolph Joseph Pohl. Made in Austria, circa 1920s.

Decorative art in cast bronze - Bronze candlestick featuring a giraffe and acacia tree. Similar candlesticks in different sizes & motifs on request. Cost on application. Can also...

Expressionist bronze sculpture, female head figure on Lucite base, France, 1930s.

Expressionist bronze sculpture on lucite base, portraying a female upper torso, France, 1940s

Austrian (Bohemia) Secessionist tapered square glass vase with black scroll & leaf design & oval panels with colored urn & flowers (att: Urban Janke & Ludwig Heinrich Jungnickel.

A fabulous vintage Signed studio pottery vase. A charming composition of an open tin can, but in a rich brown.

Ceramic vase signed Turn-Teplitz. Attributed to Paul Dachsel, Austria, circa 1900.

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 ...

Bronze sculpture "Fallen Angel" on wood base. France, 1940s.

Beautiful and unique Expressionist bronze sculpture, on marble base. France, 1930s.