1910s Furniture

“A Robineau vase is a true work of art, unique in conception and perfect in execution, for every piece that left this studio was a labor of love.” – Ethel Brand Wise, The American Magazine of Art, 1929 Adelaide Alsop Robineau was a pioneer in American studio ceramics and excelled as an innovator in pottery both technically and aesthetically. As a young woman of high society in the late Victorian era, she gained early accolades as a skilled watercolorist and china painter and taught for a time at St. Mary’s Hall in Minnesota. In 1899, she married Samuel E. Robineau, a French gentleman and collector of Chinese ceramics. He was deeply intrigued by her talent and steadfastly supported and encouraged her throughout her career. The couple collaborated to produce a popular and influential monthly journal together, Keramic Studio, and went on to build a studio on their property in Syracuse, New York, which they named Four Winds. Robineau would also go on to teach for many years at Syracuse University while creating her own work and raising three children. Early in her career, she studied at Alfred University under Charles Binns, who is widely considered to be the progenitor of contemporary studio ceramics in America. His program established a shift in the craft of ceramics as an academic pursuit, rather than one of apprenticeship. Pottery throwers and the artists who decorated the wares traditionally inhabited separate roles in ceramic manufacture, a practice common in Europe. Binns’ philosophy merged the two, such that the potter had total agency of the final product. This marked a historic divergence in the creation of art pottery – one that Adelaide Robineau...

Stylized, yes, but sensuous and powerful, this transitional Art Nouveau-Art Deco painting depicts King Herod whispering into the ear of Salome, calling upon her to deliver the head o...

A 9x17 antique Arraiolos rug from the titular region of Portugal, famed for its craft honed through generations of needlewomen. This beauty enjoys a neoclassical, turn-of-the-centu...

Edwardian Period, sterling silver-mounted threaded crystal match striker, London, Ca. 1910. Measures approximately 2 inches high x approximately 2 inches diameter (at widest point). ...

Antique Country French Desk or Writing Table with a most unusual curved side. The bottom of the Antique French Desk is for the most part all original and we did not refinish the wood...

Being offered is pair of sterling silver candlesticks by Gorham Silversmiths of Providence, Rhode Island. They are hallmarked 1913 (one hundred and eleven years old). They are Cori...

“A Robineau vase is a true work of art, unique in conception and perfect in execution, for every piece that left this studio was a labor of love.” – Ethel Brand Wise, The American Magazine of Art, 1929 Adelaide Alsop Robineau was a pioneer in American studio ceramics and excelled as an innovator in pottery both technically and aesthetically. As a young woman of high society in the late Victorian era, she gained early accolades as a skilled watercolorist and china painter and taught for a time at St. Mary’s Hall in Minnesota. In 1899, she married Samuel E. Robineau, a French gentleman and collector of Chinese ceramics. He was deeply intrigued by her talent and steadfastly supported and encouraged her throughout her career. The couple collaborated to produce a popular and influential monthly journal together, Keramic Studio, and went on to build a studio on their property in Syracuse, New York, which they named Four Winds. Robineau would also go on to teach for many years at Syracuse University while creating her own work and raising three children. Early in her career, she studied at Alfred University under Charles Binns, who is widely considered to be the progenitor of contemporary studio ceramics in America. His program established a shift in the craft of ceramics as an academic pursuit, rather than one of apprenticeship. Pottery throwers and the artists who decorated the wares traditionally inhabited separate roles in ceramic manufacture, a practice common in Europe. Binns’ philosophy merged the two, such that the potter had total agency of the final product. This marked a historic divergence in the creation of art pottery – one that Adelaide Robineau...

An elegant set of antique dinner plates from the re known firm of George Jones and custom ordered through the New York Gilded Age retailer...

Remarkable pair of Italian Iron Urns with intricate details cleverly fitted as a stunning pair of Table Lamps. Perfect in scale for large rooms, this pair have winged maidens...

Good Condition, Original Condition Unaltered, Some Imperfections. Original Lithograph. A Continuous Tone ( No Dots) Lithographic Print. This piece is named "Garden of Allah...

Theodor Hermann Schmuz-Baudiss for Konigliche Porzellan-Manufaktur. This monumental vase features a winter landscape at the edge of a forest. A stunning example of this artist's work.

“A Robineau vase is a true work of art, unique in conception and perfect in execution, for every piece that left this studio was a labor of love.” – Ethel Brand Wise, The American Magazine of Art, 1929 Adelaide Alsop Robineau was a pioneer in American studio ceramics and excelled as an innovator in pottery both technically and aesthetically. As a young woman of high society in the late Victorian era, she gained early accolades as a skilled watercolorist and china painter and taught for a time at St. Mary’s Hall in Minnesota. In 1899, she married Samuel E. Robineau, a French gentleman and collector of Chinese ceramics. He was deeply intrigued by her talent and steadfastly supported and encouraged her throughout her career. The couple collaborated to produce a popular and influential monthly journal together, Keramic Studio, and went on to build a studio on their property in Syracuse, New York, which they named Four Winds. Robineau would also go on to teach for many years at Syracuse University while creating her own work and raising three children. Early in her career, she studied at Alfred University under Charles Binns, who is widely considered to be the progenitor of contemporary studio ceramics in America. His program established a shift in the craft of ceramics as an academic pursuit, rather than one of apprenticeship. Pottery throwers and the artists who decorated the wares traditionally inhabited separate roles in ceramic manufacture, a practice common in Europe. Binns’ philosophy merged the two, such that the potter had total agency of the final product. This marked a historic divergence in the creation of art pottery – one that Adelaide Robineau...

“A Robineau vase is a true work of art, unique in conception and perfect in execution, for every piece that left this studio was a labor of love.” – Ethel Brand Wise, The American Magazine of Art, 1929 Adelaide Alsop Robineau was a pioneer in American studio ceramics and excelled as an innovator in pottery both technically and aesthetically. As a young woman of high society in the late Victorian era, she gained early accolades as a skilled watercolorist and china painter and taught for a time at St. Mary’s Hall in Minnesota. In 1899, she married Samuel E. Robineau, a French gentleman and collector of Chinese ceramics. He was deeply intrigued by her talent and steadfastly supported and encouraged her throughout her career. The couple collaborated to produce a popular and influential monthly journal together, Keramic Studio, and went on to build a studio on their property in Syracuse, New York, which they named Four Winds. Robineau would also go on to teach for many years at Syracuse University while creating her own work and raising three children. Early in her career, she studied at Alfred University under Charles Binns, who is widely considered to be the progenitor of contemporary studio ceramics in America. His program established a shift in the craft of ceramics as an academic pursuit, rather than one of apprenticeship. Pottery throwers and the artists who decorated the wares traditionally inhabited separate roles in ceramic manufacture, a practice common in Europe. Binns’ philosophy merged the two, such that the potter had total agency of the final product. This marked a historic divergence in the creation of art pottery – one that Adelaide Robineau...

Handcrafted in France during the 1910's, this gorgeous chandelier features hand blown glass shades and oxidized cherub centerpiece. Beautiful organically inspired bronze detail work ...

A large French giltwood and gessor mirror in the Louis XV style circa 1910.

Charming Iron Wire Haired Fox Terrier Door Stop with intact original paint attributed to Hubley circa 1910. Hard to find with original patinaed cold ...

French 1910 green bubble glass ornament with brass ormolu of a Monkey, parrot, snake, peacock and a butterfly. Would look great on a base. Signed, but can’...

An antique vintage lithographic portrait of an engraving of Abraham Lincoln by William Edgar Marshall (after). Printed in 1917, Chicago: Berkley-Cardy Co. This engraving was praised ...

Buffet / enfilade from France made of a solid mahogany that has been finished in a museum-quality French polish for a lustrous effect. There are five doors that open to interior shel...

Mirror from France in the Louis XVI style. This piece is made of stuccoed hand-carved wood with a fronton that features an urn, floral motifs, and laurel leaves. The 24 carat gold le...

Spectacular simple be yet so elegant. A beautiful piece from the Gustav Stickley Craftsman workshops of the Arts and Crafts Mission period. Still in its original fumed oak finish and...

Petite chest of drawers from France in the Louis XVI style. This piece is made of mahogany that has been ebonized and finished with a lustrous French poli...

Being offered is an exceptionally tall and beautiful pair of candlesticks by Dominick and Haff of New York. They have an etched motif throughout the base, body and top; a fan shaped ...

This is a beautiful antique Heriz hand-knotted wool rug featuring a red field. The Persian rug showcases a dark goldenrod center medallion motif and a multicolor allover design. Thi...

Early 20th Century S.E. Persian Afshar Carpet ( 4'6" x 6'6" - 137 x 198 )

Antique, 3 piece French 'Sevres' style Porcelain de Paris & gilt-bronze garniture, signed, circa 1915. The garniture comprising a pair of lidded, twin handled urns & a matching twin ...

A wonderful early 20th century Persian Sarouk Farahan rug with a traditional central tree-of-life motif flanked by pairs of more flowers and trees, and surrounded by an incredible bo...

Unveil the allure of this Antique 830S Silver Marmalade Spoon, elegantly marked 'RR,' believed to be associated with the prestigious Richard Richardso...

This original WWI poster encourages onlookers to "Fight or Buy Bonds" and dates to 1917. Issued as part of the Third Liberty Loan run, the poster w...

Pair of Early 20th Century Federal Style Mahogany Cabinets. Each stand has five dovetailed drawers with glass flower shaped knobs. These would be perfect as nightstands, lingerie ca...

Antique French or possibly English, very large brass lantern. Although we purchased this antique brass lantern in France, there is a part of us, that thinks they could have originated in England? What we find most unusual about this antique lantern, other than the very large size, is that it's brass and 90% of the antique lanterns...

Nautical chart showing the harbor and local water. The chart display depths buoys, lighthouses, etc., This chart shows Eastern Point, Rocky Neck, Stage head, Thatcher Island, Sandy B...

Fantastic Oak Arts & Crafts Mission leaded glass bookcase with 3 adjustable shelves. Storage space is 10" x 33". Recently refinished and a very tight cabinet. One side has a very mi...

A Wedgwood Lustre Butterfly vase designed by Daisy Makeig-Jones circa 1915 as part of her revolutionary Ordinary Lustres line at the manufactory. This Wedgwood lustreware vase is a ...

AUTHOR: KIPLING, Rudyard. TITLE: La Guerre Sur Mer. PUBLISHER: Paris: Payot et Cie, 1919. DESCRIPTION: FIRST FRENCH EDITION SIGNED. 1 vol., signed by Kipling above his name on th...

A highly important monumental American Arts & Crafts landscape window, attributed to Tiffany & Co, New York, Circa 1910. The window having a border with textured gold tone tiles, the background is composed of variegated blue glass, with a mountain range made of variegated dark brown glass. To the center is a fairytale castle with a body of blue water to the background. The castle having a pathway of textured glass and walls of golden colored glass tiles. The landscape is framed out with a pair of ivory colored columns festooned with trailing ivy. The panel is housed is a substantial wooden frame. Condition is very good, there are no cracked tiles, there are a few tiles that have been historically lead lined, the panel is in very good condition indeed. Whilst we have not located a Tiffany signature...

A circa 1910's Caldwell silver plated bronze chandelier with 8 lights

This is a Swedish Gustavian Style 1 Door Cabinet. its been restored and repainted with Milk Paints "Oyster White"

Fantastic elegant and beautiful arts and crafts mission quarter sawn oak table by L & JG Stickley C1910. Great condition well taken care of thro...

Stunning and rare set of early 20th Century Vases by the Swedish designer Alf Wallander for Rörstrand. As with many of Alf Wallanders ceramic pieces these vases have a art nouveau in...

Pair of antique mirrors from Spain. 23 carats gold leafed frames. Each features a finely hand-carved pattern to the wood.

Unusual, tall, Edwardian Period, sterling silver, wood-backed picture frame, Sheffield, England, year-hallmarked for 1914, James Deakin and Sons (John and William F. Deakin) - makers...

Primitive stools of Japanese wood circa 1920s with rich brown patina.

Antique Original Folk Art Ride On Wooden Horse on Platform with Wheels, c. 1910. A stunningly handsome piece which stands on the original platform with functioning wheels. Painted on...

This is a Unique Swedish Gustavian Style 3 Drawer Chest. its been restored and repainted with Milk Paints "Oyster White"

A beautiful early 20th century Persian Kashan runner with a fantastic large-scale floral pattern with scrolling leaves, flowers, and vines, all woven in light and dark indigo and pin...

L & LG Stickley Oak Bookcase. Circa 1910 A single 16 pane glass window door bookcase with mortise and tenon oak wood construction is wonderful condition with a beautiful finish ready to complete your arts and crafts Gustave Stickley collection. Dimensions: 54-3/4 x 34-1/4 x 12 inches (139 x 87 x 30.5 cm) (each) Provenance: Property from the Estate of Angela Gross Folk Condition: Very good condition with tasteful handmade quality of the Arts and Crafts movement. Minor nicks and losses to edges throughout. Minor splits. Paint on interior not original to bookcase tastefully done.. No chips or cracks to glass pane. Founded in 1900 by Leopold and John George Stickley, L. and J.G. Stickley, Inc. is a manufacturer and marketer of premium solid wood furniture. Privately owned by the Audi family since 1974, the company now operates a facility greater than 400,000 square feet in Manlius, New York, an upholstery plant in North Carolina, and six retail showrooms in New York and Connecticut. Stickley, then 41, returned home to Eastwood, New York, where he set up his Craftsman Shops in 1898 and began to experiment with his own distinctive designs. He favored clean lines and emphasized the inherent beauty of natural wood and leather. Like Morris, he sought inspiration in the styles of the medieval period. He worked in natural white oak because of its strength and "honesty." Rejecting ornamentation and valuing craftsmanship, he based his designs on rectilinear forms; construction features, such as mortise and tenon and dovetail joints, doubled as decoration. He labeled his original pieces with his name and shopmark, which depicted a small joiner's compass inset with the slogan "Als ik kan," or "To the best of my ability," in Flemish. Stickley's furniture--called Mission Oak because of the early 1900s popularity of California mission architecture and because it somewhat resembled the furniture used in the missions--soon found enthusiastic support. So, too, did Stickley's philosophy, which others embraced as visionary and reformist. Soon manufacturers across the country were creating their own versions of "mission" furniture. These included Stickley's own younger brothers: Leopold and John George, who incorporated in Fayetteville, New York, in 1904, and, in 1905, introduced their first furniture line alongside Gustav's Mission Oak at a Grand Rapids trade show; Albert Stickley, who made furniture under the label Stickley Brothers Co. in Grand Rapids, Michigan; and Charles Stickley, who shared ownership of Stickley and Brandt Chair Co. in Binghamton, New York. All of the Stickleys were accomplished craftsmen, who, like their older brother, were not opposed to machines; they simply used machinery to get the manufacturing process to the point where the hand could efficiently take over and complete the joinery. It was not industrialization per se that they rejected, but the sloppy work practices encouraged by mass production. In fact, Leopold and John George Stickley introduced some cutting edge designs and innovative construction techniques of their own with their Handcraft line. However, only Gustav Stickley attempted to market a lifestyle. Like his European counterparts, Gustav Stickley published on the subject of his philosophy of simplicity. He introduced his own magazine, The Craftsman, whose masthead announced its purpose as being "in the interest of better art, better work, and a better, more reasonable way of living," and filled it with treatises and illustrations of his furniture and interior design--every aspect of the designed environment, from tiles and pottery to gardens and landscape. He also developed and sold model house plans...

This is a Antique Swedish Sundial in original condition.

A Kazak Rug circa 1910. Hand knotted, made of 100% wool yarn.

A Kazak Rug circa 1910. Hand Knotted and made of 100% wool yarn.

Simple & elegant hand painted enamel on copper of a French cottage by a pond with dock. Petite in size, work of art is 3.5 x 5. Totality is 10.5 x 9.5 framed. In excellent antique co...

Edwardian period, sterling silver-mounted, etched glass syrup jug with hinged lid, T.G. Hawkes and Company (makers), New York, Ca. 1910. The Hawkes Company a...

:: Repeating single center column medallions in geometric format with serrated interior blossoms. Unique artistic merit throughout with minor asymmetry found in the contour and design relief as well as unpatterned inverted color fills. Excellent abrashes throughout, especially those found in the powder and sapphire blue shades. Great gem-like green tone and unusual size and proportions for type and age. Colors and shades include: Madder root red, sky blue, powder blue, gold, jade green, beige, chocolate brown, sand, and more. Condition notes: Areas of pile, knot heads and foundation. Most of the original side cord selvages are intact or restored. Tatter to ends. Loss to both ends. Some mending to side cord selvage. There is a slight size differential with one end measuring 2'3" in some areas as opposed to 2'6", within normal margins for type and age. Recently professionally cleaned ready for in-home use! Many years of enjoyment to come with this hand knotted Persian Northwest Persian rug runner...

Rug Number 26930 Size 8' 7" X 11' 10" Design Mahal Collection Antique/Vintage Material Wool Texture Pile Weave Origin Iran Age Antique/Vintage

A Farahan Rug circa 1910. Hand knotted, made of 100% wool yarn.

Fantastic, pair of early 20th century Italian Louis XV style carved gilt-wood console tables with marble tops. These antique consoles feature beautifully carved gilt details includi...

This is a set of Swedish Gustavian Pedestals . they have been restored and repainted with Milk Paints "Oyster White"

A Shirvan Rug circa 1910. Hand knotted, made of 100% wool yarn.