Early 1900s Furniture

Secession office chair no.715F by Gustav Siegel for J&J Kohn in very nice original condition with original leather. Very rare finding in this condition.

Super early Emile Galle green over pink cameo vase featuring a dramatic wild flowers with large blooms, branches and big leaves. The vase is a classic early Galle shape with a slight...

This 9-piece desk set is a luxurious antique crafted by Catchpole And Williams LTD in London in 1904. Made of sterling silver (.925), this set exudes elegance and sophistication. Eac...

An Edwardian miniature travel clock. An outstanding antique miniature travel-carriage boudoir clock, made in Geneva Switzerland by the Concord Watch Co. This little antique clock is...

Art nouveau carved wall cabinet in excellent original condition.

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Jugendstil plant stand in nice original condition with signs of use.

W A S Benson. A good quality small copper and brass teapot.

A circa 1900 solid bronze standing mirror made by the Villiers and Picard Company, Ateliers Modernes D'Etalages. Company still in business today as A.M.E. Incredible Art Nouveau fret...

Circa 1900 Edwardian oak side table from England. The top has an amazing edge. It is double beveled and scalloped for a stunning appearance. This follows down to a simple apron an...

Heron & Plovers Ink and silver leaf on paper Maekawa Bunrei (1837-1917) A pair of low six-panel Japanese screens by Maekawa Bunrei, a later master of the Kyoto based Shijo school of painting. On the right screen a solitary white heron stands motionless in a stream. On the left screen plovers play along a shoreline. The elegant forms are executed employing fluid, minimalistic ink brushstrokes. The soft brushstrokes and the sharp light of the silver leaf lend the scenes a sense of translucence. The sophisticated composition superbly exploits the long, horizontal pictorial surface of the pair of folding screens...

A stunning shaped picture frame made from bronze and smothered in gold, beautifully cleaned and restored to it's former glory dating to c.1900. These frames with gilded bronze Napoleonic bees...

A superb antique French mirror hand carved to resemble bamboo, circa 1900. It retains the original mirror glass and the wood has the lovely original surface and patina. Add French st...

Majolica dragonfly wall pocket by Desvres, circa 1900.     

19th Century Majolica Chesnut attributed to Jardinière Saint Clement.

A set of four French Louis XVI style painted lyre back chairs on four tapered legs. C. 1900.

AUTHOR: GOETHE, Johann Wolfgang von - Willy Pogany. TITLE: Faust. PUBLISHER: London: Hutchinson & Co., 1908. DESCRIPTION: LIMITED EDITION SIGNED BY POGANY. 1 vol., 10-15/16" x 9"...

Set of 6 Louis XIV style oak dining room chairs, circa 1900. With a cupids bow crest rail, upholstered seats, turned front legs and stretcher bars. Upholstery with brass nail trim. C...

Early Pine Primitive Coffee Table From France, Circa 1900. Solid Pine construction with nice age related wear and use.

Wicker armchair painted designed by Hans Vollmer circa 1900 in Vienna for Prag-Rudniker Korbwaren-fabrication. Original used condition.

Hallmarked in London in 1900 by Lambert & Co., this handsome, Victorian, Antique Sterling Silver Pair of Candlesticks, feature removable nozzles, and round lobed bases. Each candlest...

A very fine French 19th-20th century Louis XV style burr walnut, kingwood and satinwood floral marquetry and finely chased ormolu-mounted two-drawer bombé commode, in the manner of F...

Early 20Thc Old Hickory child's chair with a hand woven replaced seat.

French Faience cup & saucer signed HB Quimper circa 1900.

Edwardian Mahogany Sheraton Revival Bowfront Music Cabinet, the segmentally veneered top applied with a painted harebell band over a scroll painted frieze, single convex door with co...

A small and finely decorated Japanese Satsuma tripod incense burner (koro), signed Kyozan, Meiji period, circa 1900, Japan. The censer, koro, with a compressed body supported by t...

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...

Circa 1900 Edwardian oak side table. The top is an octagonal shape and has lovely beveled and scalloped edges, following down to a simple apro...

As pioneer and master of the Modern, Otto Wagner seized the then rather new technique of bending Wood for his furniture designs. The design of this armchair dated back in 1901. This ...

A large and deep seated Howard & Sons club armchair, with strong frame and raised on square tapering legs and original brass castors, stamped Howard & Sons to all four castors and re...

Quality antique Edwardian mahogany inlaid table top revolving bookcase having a quality mahogany inlaid top with a pretty satinwood inlaid...

Hallmarked in Sheffield in 1905 by Fenton Brothers Ltd., this handsome, Edwardian, Antique Sterling Silver Bowl, features Art Nouveau influenced detailing. The bowl measures 4"(10cm)...

A Fine French 19th-20th Century Louis XVI Style Mahogany, Tulipwood and Gilt-Bronze (Ormolu) Mounted Belle Époque Guéridon Circular Side-Table with a Parquetry Top, by François Linke (1855-1946). The single-drawer end table inset with a symmetrical parquetry top an ormolu frieze, the apron with bow-tied swagged floral wreaths, the corners with fruit and acorns ormolu mounts, raised on four tapered legs topped with chased rings and inset spigots, all raised on bell-shaped sabots. Signed on top trim: F. Linke. Circa: Paris, 1890-1900. François Linke (1855-1946) was one of the most celebrated ébénistes of his time. Born in Pankraz, Bohemia, Linke moved to Paris in 1875 and six years later established independent ateliers at 170, rue de Faubourg St. Antoine. As was the practice among contemporaries and noteworthy predecessors, such as Alfred Beurdeley and Henry Dasson, Linke initially produced furniture derived from styles popular during the 18th century ancien régime. By 1900, his worldwide reputation as an individualistic master of high quality furniture was already established. However, with a huge display, placing his extravagant pieces in room settings and winning the Médaille d'Or for his Grand Bureau...

Jugendstil Loetz vase, circa 1903 Original condition.

This nice champagne bucket is made of silver plated. This is a French work, circa 1900

Art Nouveau pendant light circa 1905 in copper and brass in the spirit of Was Benson. This one was produced by General Electric France. 4 lights, electrified in very good condition...

Edwardian Art Nouveau sterling silver picture frame. Made by AE Goodby & Son in Birmingham in 1904. Shaped surround with bracket supports; applied ornament with climbing tendrils, unfurled scrolls, and languid overhanging flowerheads. Mounted to stained-wood support. With glass, silk lining, and hinged easel wood...

Gorgeous French Art Nouveau side table / gueridon by Emile Gallé model: Plate 162. Designed produced in 1905-1910. This is an antique original and not some reproduction. Amazing tri...

Sterling Silver Birmingham Hallmarks From our Silver collection, we are delighted to introduce this Art Nouveau Silver and Enamel Cigarette Case by Robert Chandler. The Silver and ...

Marvelous antique crystal chandelier made in France circa 1900. Beautiful brass scrollwork is embellished with rectangular cut crystal glass and elabo...

Wonderful and rare Art Nouveau corner armchair. Striking Dutch design from the 1900s. Solid oak frame with a re-upholstered black leather seat. In very good condition with a beaut...

This is a large hand blown emerald green opaque glass vase with applied open work copper overlay decoration, which is likely to have been manufactured i...

This charming and rare French doll's bedroom playhouse, dating from around 1900, is a delightful example of antique bamboo, rattan, and wicker craftsmanship. Featuring a set of minia...

A very fine french 19th-20th century Louis XVI style giltwood carved settee by François Linke (d. 1946). The finely carved frame, upholstered in a recent cream fabric, topped with an...

Heading : WMF card tray silver plate depicting a woman Date : c1905 Origin : Germany Decoration : Cast depiction of a reclining woman with various fl...

Antique Rookwood Irene Bishop vase or urn featuring Art Nouveau / Arts & Crafts styling with an Autumn Oak leaf motif of browns and orange glaze. Cirac 1901. Shape 40. Signed IB f...

A beautiful pair of circa 1900 Baccarat crystal sconces with crystal hangings

This is a gorgeous giltwood oval back French settee that dates to the 1900s era and will show a distressed giltwood finish and beautiful original Aubusson floral upholstery. The fram...

A fine antique original, authentic, Art Nouveau French cameo glass table lamp, signed Muller Freres, circa 1900. Established in Lunéville, France, Muller Frères consisted of a group ...

Vienna cold painted bronze of a Cat antique figure. Offered is a Viennese cold-painted bronze figure of a Cat dating to the early 20th century. He shows...

This charming early American hand-hooked rug was crafted in the early 1900s in the New England region of the United States. Featuring a classic floral design, the rug displays blossoms in brilliant vintage tones, radiating warmth, character, and nostalgic beauty. Antique hooked rugs are celebrated for their unique blend of folk art creativity and unpretentious simplicity. This piece is a wonderful example—both artistic and heartfelt—showcasing the resourcefulness and imaginative spirit of its maker. Created from repurposed materials and hand-dyed wool, it reflects a tradition where everyday utility met artistic expression. A delightful and authentic piece of Americana, ideal for collectors of folk art or anyone drawn to the beauty of handmade heritage. Dimensions: 2’ 1” x 3’ 4” Date of Manufacture: Early 1900s Place of Origin: America Material: Wool and cotton pile on a burlap foundation Condition: Wear consistent with age and use The Persian Knot, SKU 1451 American Hooked Rugs, Vintage Hooked Rugs, Early American Hooked Rugs, American Rag Rugs, Antique Rug, Antique Rugs, Antique Carpets, Vintage Carpets, Handwoven Rugs, Vintage Artisan Rugs, Antique Handmade Rugs, Sustainability, Vintage Distressed Rugs, Allover Design Rug, Mid Century Modern Rugs, Vintage Rag Rugs, Vintage Wool Rag Rugs...

An unusual French Beaux-Arts period wood and iron pegged hat and coat rack, with removable arms – circa early 1900s. Most often found in the entry ways of French homes or in the caf...

This French wooden side table from the 1900s blends rustic charm with modern flair. The steam-bent wood, inspired by the ‘Thonet’ style, forms a graceful trestle base, supporting a c...

This is a fine antique shotgun carry case. An Indian State Railway gun box in teak and brass, dating to the late Victorian period, circa 1900. Rich wit...

A gorgeous chocolate mold. Made of metal, not marked. Beautiful and ready to use or display, with nice patina. The 1890s to 1920s were the golden age of Chocolate production and cons...

Cameo Glass Landscape Vase with spuriously signed "Daum Nancy" and "TIP". 10.25" H

Antique mahogany display cabinet having an astragal glazed door to the top section with a fitted interior and two shelves. The base ha...

Sculptural ceramic vase made by Herman A. Kähler ceramic works circa 1910 The vase has modeled starfish-arm shaped handles glazed with glossy deep blue luster...