art nouveau oak chair Jugendstil Nikolai Schule embroidery a. 1910 exc condition

solid built oak Jugendstil CHAIR made in Rabenau / Saxonia upholstered with care - fitted with hand embroidered jute fabric Rabenau's chairmaking tradition is almost 400 years ol...

This bed and night stand was produced by Colli Torino established in 1850. - solid oak with hand-carved elements - mattress size is 120cm x 190cm - The company is well known becau...

This corner wardrobe was produced by Colli Torino established in 1850. - solid oak with hand carved elements and beautiful brass fittings with its original key - The company is we...

extremely comfortable Western German 1950s wing back arm chair + footstool in very good A++ condition solid beech high class firm spring upholstery please feel free to ask for a ...

This wardrobe was produced by Colli Torino established in 1850. - solid oak with hand-carved ornaments - beautiful brass fittings - with its original keys - height: 195cms ~ width: 245cms ~ depth: 60cms ~ weight: ca. 360-400 Kg (!) -: please have a closer look - which hopefully will make my fascination with this masterpiece comprehensible. What also makes this wardrobe quite special is the 2 doors on each side covering compartments with narrow shelving...

A giving joy beautiful French Fayence Floor Vase fantastic Art Nouveau pattern - Impressing Colours Manufacturer unknown - marked Design Period 1915 - 1925 Country of Manufacture : France H / height: 46 cm ~ Gew. / weight: 4550 grs DM / diameter max: 28 cm ~ DM oben / diameter inner rim: 19.8 cm .... an ode to Southern France A Legend of Provence by Adelaide Anne Procter (30 October 1825 – 2 February 1864) The lights extinguished, by the hearth I leant, Half weary with a listless discontent. The flickering giant-shadows, gathering near, Closed round me with a dim and silent fear. All dull, all dark; save when the leaping flame, Glancing, lit up a Picture's ancient frame. Above the hearth it hung. Perhaps the night, My foolish tremors, or the gleaming light, Lent power to that Portrait dark and quaint, — A Portrait such as Rembrandt loved to paint, — The likeness of a Nun. I seemed to trace A world of sorrow in the patient face, In the thin hands folded across her breast: — Its own and the room's shadow hid the rest. I gazed and dreamed, and the dull embers stirred, Till an old legend that I once had heard Came back to me; linked to the mystic gloom Of that dark Picture in the ghostly room. In the far south, where clustering vines are hung; Where first the old chivalric lays were sung; Where earliest smiled that gracious child of France, Angel and knight and fairy, called Romance, I stood one day. The warm blue June was spread Upon the earth; blue summer overhead, Without a cloud to fleck its radiant glare, Without a breath to stir its sultry air. All still, all silent, save the sobbing rush Of rippling waves, that lapsed in silver hush Upon the beach; where, glittering towards the strand The purple Mediterranean kissed the land. All still, all peaceful; when a convent chime Broke on the mid-day silence for a time, Then trembling into quiet, seemed to cease, In deeper silence and more utter peace. So as I turned to gaze, where gleaming white, Half hid by shadowy trees from passers' sight, The Convent lay, one who had dwelt for long In that fair home of ancient tale and song, Who knew the story of each cave and hill, And every haunting fancy lingering still Within the land, spake thus to me, and told The Convent's treasured Legend, quaint and old: — Long years ago, a dense and flowering wood, Still more concealed where the white convent stood, Borne on its perfumed wings the title came: " Our Lady of the Hawthorns " is its name. Then did that bell, which still rings out to-day, Bid all the country rise, or eat, or pray. Before that convent shrine, the haughty knight Passed the lone vigil of his perilous fight; For humbler cottage strife or village brawl, The Abbess listened, prayed, and settled all. Young hearts that came, weighed down by love or wrong, Left her kind presence comforted and strong. Each passing pilgrim, and each beggar's right Was food, and rest, and shelter for the night. But, more than this, the Nuns could well impart The deepest mysteries of the healing art; Their store of herbs and simples was renowned, And held in wondering faith for miles around. Thus strife, love, sorrow, good and evil fate, Found help and blessing at the convent gate. Of all the nuns, no heart was half so light, No eyelids veiling glances half as bright, No step that glided with such noiseless feet, No face that looked so tender or so sweet, No voice that rose in choir so pure, so clear, No heart to all the others half so dear, So surely touched by others' pain or woe, (Guessing the grief her young life could not know,) No soul in childlike faith so undefiled, As Sister Angela's, the " Convent Child. " For thus they loved to call her. She had known No home, no love, no kindred, save their own. An orphan, to their tender nursing given, Child, plaything, pupil, now the Bride of Heaven And she it was who trimmed the lamp's red light That swung before the altar, day and night; Her hands it was whose patient skill could trace The finest broidery, weave the costliest lace; But most of all, her first and dearest care, The office she would never miss or share, Was every day to weave fresh garlands sweet, To place before the shrine at Mary's feet. Nature is bounteous in that region fair, For even winter has her blossoms there. Thus Angela loved to count each feast the best, By telling with what flowers the shrine was dressed. In pomp supreme the countless Roses passed, Battalion on battalion thronging fast, Each with a different banner, flaming bright, Damask, or striped, or crimson, pink, or white, Until they bowed before a newborn queen, And the pure virgin Lily rose serene. Though Angela always thought the Mother blest Must love the time of her own hawthorn best, Each evening through the years, with equal care, She placed her flowers; then kneeling down in prayer, As their faint perfume rose before the shrine, So rose her thoughts, as pure and as divine. She knelt until the shades grew dim without, Till one by one the altar lights...

Thonet nr 461 catalogue of 1910 Thonet was the only manufacture of this chair in Frankenberg Germany Jugendstil or art nouveau style For perfect extra fine caned chairs On the bo...

Chair Jugendstil, Art Nouveau, Liberty Material: Wood Country:France We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982.If you have any questi...

Hello, These exceptional set of six Viennese Art Nouveau solid oak chairs from circa 1910 represent a high level of craftsmanship and elegant design. Viennese Art Nouveau is a trend...

Hello, These exceptional set of twelve Viennese Art Nouveau solid oak chairs from circa 1910 represent a high level of craftsmanship and elegant design. Viennese Art Nouveau is a trend in Austrian art, architecture and design at the turn of the 20th century. The name was taken from the association formed by a group of artists who protested against the rejection of their work by the Vienna Academy. Gustav Klimt, Otto Wagner, Josef Hoffmann and other artists decided to completely break with the prevailing historicism and promote a new style in art, architecture, and interior design. Art Nouveau focused on simplicity, which foreshadowed modern 20th century design. The elaborate decorations emphasized the close relationship between crafts and Fine arts. Ornamentation (carvings, paintings, marquetry) referred to the world of nature - plants, birds' feathers, insects' wings. Embossed leather with lovely floral elements blends beautifully with the elegant form of the chairs. In the field of ornamentation plant and animal elements were the most important, but not the only set of motifs typical of Art Nouveau in furniture making. They were accompanied by geometric and abstract motifs, and although Art Nouveau is associated with ornamentation, some Art Nouveau furniture is rather simple in form, using shape and line rather than decoration. Compared to other trends of this style, the Vienna Secession was devoid of splendor and rich decoration. It was characterized by sublime simplicity and attention to detail, which paved the way for modern design. Artists creating in the style of Vienna Secession preferred geometric and floral ornaments. Even when using organic motifs, they tended to keep them geometric. Buildings designed in the spirit of the Viennese Art Nouveau often have elegant floral decorations which resemble these beautiful chairs. The set of twelve chairs...

Classic collectible chair by famous German-Austrian cabinetmaker Michael Thonet. Bentwood frame with hooped legs. The seat is embossed with a decorative floral motif.  

6 chairs in leather and wood. Jugendstil, Art Nouveau, Liberty The back of the chair forms the word Munich Year 1900 Country: German Materials : wood and leather Elegant and ...