Art Nouveau Furniture

Glass vase designed by Louis C. Tiffany, manufactured by Tiffany Studios New York, 1894, signed signed "L. C. T. B2216" (underneath) Material and technique: mouth-blown glass, reduced and iridescent Louis Comfort Tiffany (New York 1848 – 1933 New York) was a famous American designer, artist and painter of American Art Nouveau. He was best known for his works in glass colored with metal salts and made a name for himself in the decorative arts at the time. In the course of his career, he created a unique style that combined outstanding craftsmanship with a love for natural shapes and bright colors. Nature had always been his inspiration and in his designs he tried, in his very own way, to capture its beauty forever. Tiffany designed lamps...

Popular in the 19th century, domed glass displays offered protection for portico clocks and flora & fauna specimens without compromising visibility. Inside this cloche is an oval eas...

French Majolica pink daisy plate Orchies, circa 1890.

'Bohemienne' An Art Nouveau bronze sculpture by Emmanuel Villanis (1858-1914), depicting an elegant young woman holding a lyre with her other arm raised behind her head with robes fl...

Elegant and rare Majolica stork with a bamboo vase signed Delphin Massier, circa 1890. The Massier are known for the quality of their unique enamels an...

A rare and important French Art Nouveau tea table with two shapely shelves. Engraved with lily pads petals & leaves. Decorative bronze handles.

Spectacular Majolica rose vase signed Delphin Massier, circa 1890. The Massier family are known for the quality of their unique enamels and paintings. ...

This large Art Nouveau poster is one of the few surviving examples and, dating from 1896, is one of the earliest. The poster comes from the collection of an architect couple who had ...

Arthur Heygate Mackmurdo (1851-1942), a highly important oak chair, with an Art Nouveau floral back. Mackmurdo's influence in Europe is recognized as having produced the earliest examples of Art Nouveau, particularly in the styling of a chair-back designed in 1882 and the title page for Wren's City Churches a year later. The present chair was designed for the head of Rainhill hospital St Helen's south Lancashire/Merseyside (now demolished), an institute for the mentally ill, as part of an interior scheme for his study. It was almost certainly designed and made only for this interior, unlike the earlier chair which was designed in 1882 and made and sold until 1888. It was originally thought this interior was designed by the Liverpool architect Edmund Rathbone whose brother, Harold Rathbone, founded the Della Robbia Pottery factory in 1894. A picture is shown in Jeremy Cooper's Victorian and Edwardian Furniture and Interiors, p. 199, illus. 516, from the Bedford Lemere archive at the National Monuments Record, apparently credited as 'Rainhill, Edmund Rathbone'. But Edmund Rathbone was actually the Century Guild...

The most beautiful pitcher I have ever seen. You just want to kiss it and hug it. So charming!!! In pristine condition. Ideal to serve water or wine, or as a flower vase. Stun...

19th century diana the huntress bronze bas relief wall plaque. Diana with raised bow and hunting dog near her side. We have specialized in the sale of...

An early 20th century two-tier Art Nouveau corner shelf with one drawer

These are 7 champagne glasses made from hand blown crystal by Moser in the ever popular Lady Hamilton glass cut. This pattern is an example of the "papal" cut so called because it i...

A table set for 12 or 18 people, "Marine," signed by Ludovic Napoléon Lepic, was crafted in earthenware by the prestigious Creil and Montereau manufactory in 1889. This unique set fe...

A scarce pair of fine quality antique Bohemian parcel gilt enameled light cobalt blue glass decanter bottles, exquisitely decorated for the ...

Rare French Majolica pink rose cache pot jardinière Delphin Massier, circa 1880. The Massier family are known for the quality of their unique enamels and paintings. They produced an...

Small 19th century French Majolica Iris Jardiniere Onnaing.

Majolica Carnation Wall Pocket Delphin Massier, circa 1880.

19thc Antique Austrian Art Nouveau Gilt Bronze with Cut Crystal "Palm" Chandelier an Original by Josef Hoffmann. Jugendstil. This is a very rare chandelier. Copies of the Josef Hoff...

Rare Large Majolica Pansy Cache Pot signed Delphin Massier Circa 1890.

Lovely antique Art Nouveau period tall plant stand with finely carved organic motifs. 47 inches tall. Original stained finish with patina that reflects its age. Likely of French o...

We kindly ask that you read the entire description, as we strive to provide detailed technical and historical information to guarantee the authenticity of our items. This exquisite n...

Bentwood magazine rack by THONET GEBRÜDER (Vienna), Austria, ca.1880. Beechwood). Height : 24"(61cm), Width : 16.5"(42cm), Depth : 22"(56cm). In stunning original condition.

19th Century French Majolica Egg shaped Vase Delphin Massier. Decorated with flowers a daisy ,a pansy and a wild rose. H / 4.3 inches. The Massier family are known for the quality of...

Late 19th century tortoise bamboo side table from France. The top and lower shelf are covered with rush, which has normal signs of wear for age and use. The top is supported on spl...

A beautiful set of 2 antique vases, made of glass. With beautiful relief decoration on the sides and hand-painted with graceful motifs. The vases are i...

Austrian Art Nouveau Three Rooster Diminutive Vase with Talon Legs Austria, Circa 1890s, Franz Bergmann School, Unmarked This rare and striking Art Nouveau vase exemplifies the o...

Such a beautiful rare and original gustavian stool, made in giltwood with horsehair upholstered seat. Made in by a Swedish cabinetmaker in the late 18th century. A great vintage o...

This listing features a pair of Art Nouveau style marble sculptures of female figures holding torches. Art Nouveau is a style that is characterized by its organic forms, flowing line...

Exceptional and rare set of 6 Bistro chairs by Jacob & Josef Kohn from the end of the 19th century. Bentwood chairs with seats and backs carved with be...

This bowl is a stunning example of Longwy ceramic craftsmanship, renowned for its vibrant enamel cloisonné-style decoration. Longwy, a French ceramic manufacturer founded in 1798, is...

Stunning, practical and all hand-crafted dressing table with full-size beveled mirror. This museum quality AND condition piece of Art Nouveau furniture is a work of art at the same ...

Immerse yourself in the magic of yesterday with these exquisite hand-linked crystal chandeliers, a blend of elegance and Art Nouveau opulence. Carefully restored in Berlin, these cha...

Arts and Crafts copper and brass candleholder Jugendstil Aesthetic Movement. Candleholder retains original patinated surface.

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 defau...

Here we have a beautiful Austrian golden glass vase from the late 19th century art nouveau period. Has a stunning oily, iridescent finish. Made by Loetz, part of their "Candia Papill...

Antique Black Painted Iron Umbrella Stand / Rack – Scandinavian Jugend / Art Nouveau Style (Circa 1880-1920s) This elegant umbrella stand, crafted from iron / metal / wrought iron d...

19th century tortoise bamboo side table from France. The top has bamboo banding around the edge of the rush covered top. The table is supported on splayed bamboo legs, joined by ba...

A large and impressive late 19th Century bronze study of the famous Venus de Milo sculpture of antiquity with excellent rich brown patina and good hand finished surface detail, inscribed F.Barbedienne foundry ADDITIONAL INFORMATION Height: 95 cm Width: 28 cm Depth: 28 cm Condition: Excellent Original Condition Circa: 1890 Materials: Bronze Foundry: F.Barbedienne SKU: 7741 ABOUT The Barbedienne Foundry is a famous 19th century bronze foundry, whose statues and art objects became rapidly very renowned. This bronze studio co-worked with other trades, and put his name to a great variety of works, such as furnishing in particular. Attending every World's Fair of its time, the Barbedienne Foundry was regularly awarded, notably at the World's Fair of 1855 where it was awarded the Great Medal of Honor. A Parisian bronze maker and caster, Ferdinand Barbedienne (1810-1892) creates a firm in 1839 in collaboration with Achille Collas, the inventor of the mechanical method to obtain copies of sculptures at a smaller scale. With this groundbreaking proceed, they facilitated an unprecedented production. Under the “Collas et Barbedienne” name, they specialized in Antiquity copies and perfected new chemical methods for the color and patina finish of their bronzes. As a true Romantic, Ferdinand Barbedienne is committed to democratization of arts, he thus realizes numerous Antiquity copies and stimulates his contemporaries’ works broadcasting. A great deal of famous sculptures are hence cast by the Barbedienne Foundry. All his life, Barbedienne co-worked with the greatest artists, sculptors or designers of his time, such as Edouard Lievre, Ferdinand Levillain, Attarge, Aizelin, Barye or Fremiet. Statues aside, he products a great deal of decorative artifacts, such as clocks, vases, mirrors, etc. Since 1855, Ferdinand Barbedienne collaborates with the famous decoration designer Louis-Constant Sévin (1821-1888). Joining the firm as a sculptor-designer, he stays loyal to it his life long, always finding more new designs for daily objects, which hence become true art works. Sevin’s creations, specialized in the “Neo-Greek” style, were particularly appreciated for antiquity reference in decorative arts, just like the great mirror preserved by the Orsay Museum. He also teams up with enamelers including Alfred Serre, and develops a set of “cloisonnés” enamels that made the headlines at the World's Fair of 1862 in London, which was the very beginning of the art of enamel’s return. In collaboration with Serre, Barbedienne realized between 1878 and 1889 the Monumental Clock in Renaissance style, decorated with enamels, which is preserved in the Paris City Hall. Venus de Milo Facts about Venus de Milo sculpture. For much of the world, the mystery of the Venus de Milo lies in her missing arms. But there’s much more to this iconic statue than a couple of absent appendages. 1. Venus de Milo‘s title is a bit misleading. It’s popularly believed that this Grecian statue depicts the Greek Goddess of love and beauty, who was often rendered half-naked. However, the Greeks would have called this deity Aphrodite. Nonetheless, the Roman-inspired Venus de Milo caught on. 2. She’s named in part for where she was discovered. On April 8, 1820, a farmer named Yorgos Kentrotas came across the statue in pieces within the ruins of an ancient city on the island of Milos (formerly known as Melos). 3. Alexandros of Antioch is credited with her creation. A sculptor of the Hellenistic period, Alexandros is believed to have carved this masterpiece between 130 and 100 BCE. The inscription on the plinth—the slab on which the statue rested—that identified him as Venus de Milo‘s creator was lost nearly 200 years ago. 4. She might not be Venus. Some have suggested the sculpture is not Aphrodite/Venus, but Amphitrite, the sea goddess who was particularly adored on Milos. Still others have proposed she’s Victory, or perhaps a prostitute. With her arms long missing, would-be context clues have been lost for centuries. A spear could have meant one thing, a spool of thread another. If she held an apple—as some reports claim—it could mean she was Aphrodite, holding the award given to her by Paris before the Trojan War began. To this day, it’s a matter of passionate debate. 5. She became a gift to the King of France. When Kentrotas called upon a French naval officer to help him unearth the spectacular sculpture, he began a chain of events that would eventually lead to the Marquis de Rivière presenting Venus de Milo to Louis XVIII. In turn, the ruler gave the statue to the Louvre, where it is on display to this very day. 6. The loss of her limbs is the fault of the French. Kentrotas did find fragments of an arm and a hand when he uncovered the statue in the ruins, but as Venus de Milo was being reassembled, those arms were discarded for having a “rougher” appearance. Modern art historians believe that the variation of finish does not mean those arms did not belong to Venus, but both the arms and the original plinth have been lost since the piece moved to Paris in 1820. 7. The original plinth was ditched on purpose. Sight unseen, early 19th century art historians decided the newly discovered Venus must have been the work of Greek artist Praxiteles, and publicized the work as such. This attribution would have placed the piece in the Classical period (5th through 4th centuries BCE), which was more respected artistically than the Hellenistic period. To save face and better promote Venus de Milo—even at the cost of misinforming the public—the plinth was removed before it was presented to the King. 8. Venus de Milo was meant to make up for a national embarrassment. During his conquests, Napoleon Bonaparte had plundered one of the finest examples of Greek sculpture, Venus de’ Medici, from Italy. In 1815, the French government returned that beloved sculpture, but in 1820, France embraced the chance to fill the hole its absence left in the French culture and national pride. As such, Venus de Milo was promoted as being even greater than Venus de’ Medici upon her Louvre debut. The ploy worked, and the piece was met with almost universal praise from artists and critics. 9. Renoir was not impressed. Perhaps the most famous of Venus de Milo‘s detractors, the celebrated Impressionist painter dismissed this delicate depiction of grace and female beauty as “a big gendarme.” 10. She went into hiding during World War II. By the autumn of 1939, war threatened to descend on Paris, so Venus de Milo along with some other priceless pieces, such as Winged Victory of Samothrace and Michelangelo’s Slaves, were whisked away for safekeeping at various châteaux in the French countryside. 11. She’s been robbed! Venus is missing more than just her arms. She was originally draped in jewellery including a bracelet, earrings and a headband. These flourishes are long lost, but the holes for fixing them to the piece remain in the marble, giving clues to the missing accessories. 12. She lost her colour. While it’s easy for today’s art admirers to think of Greek statues as white, the marble was often painted in the style of polychromy. However, no trace of the original paint scheme remains on Venus de Milo today. 13. She’s taller than most people. Even with her slight slouch, Venus de Milo stands at 6 feet 8 inches tall. 14. She could be a copy. Art historians have noted that Venus de Milo bears a striking resemblance to Aphrodite of Capua, which is a Roman era copy of a possibly late 4th century BCE bronze Greek original. That would be at least 170 years before Alexandros carved his goddess, leading some to speculate that both statues are actually replicas of an older statue...

An impressive mid 19th Century Animalier bronze study of a jockey standing with his horse exhibiting fabulous rich brown patina and excellent surface detail. Raised on naturalistic b...

Superb and extremely rare Daum # Nancy vase designed after a drawing by Edmond Lachenal, France late 1800s. Signed, etched and gilt "Daum # Nancy, d'après E. Lachenal". Decorations o...

19th century Italian Majolica Dog Pitcher Nove Di Bassano. signed Giovanni Battista Viero GBV.

French Art Nouveau mahogany & walnut cupboard cabinet with floral inlay and carving and bronze drawer handles with 2 glass door upper structure (signed MAJORELLE)

Vintage limited edition lithographic reproduction poster of "Marguerite Dufay" by 19th Century French artist Louis Anquestin (1861-1932). Published in 1968 by The Sunday Times (Lond...

A rare early model of famous chair "Nr.14", manufactured in Austria by the Gebrüder Thonet Company. With original luxury finish, imitating rosewood. Marked with early paper label, wh...

This Art Nouveau ring/candy dish by Pemco, showcases the elegance of the Edwardian era with its cast iron construction and light green/teal color palette. Featuring a depiction of a ...

Listed price is for 1 (one) chandelier, 4 pieces available. Original glass shades available. Lovely patina. New wiring.  

Signed Lucien Levy Dhurmer & Clement Massier. An encounter with Massier’s luster-glazed ceramics is an embarkation on an acid-colored trip, the sort of exploration which inspires de...

This stunningly designed Art Nouveau piece is comprised of sterling silver overlay that wraps a hand blown 8-lobed glass bottle, most likely used for perfumes in or about 1893. This ...

A fine quality Art Nouveau style art glass vase, by Loetz the historic glass maker from the municipality of Austria featuring Alvin Sterling Silver overlay. Overlay in form of open and horizontal patterns with stylized leaves and scrollwork. A great find, handcrafted vase skillfully made using centuries old techniques of art glass works from the world-renowned maker, Loetz. Simply stunning this Art Nouveau glass vase with Alvin Sterling Silver overlay by Loetz would enhance any shelf, table, nightstand or countertop. This is a rare antique Loetz Green Glass...

Beautiful, antique, early Venetian / Murano hand blown blue to pink and gold flecks Italian art glass with ornate fish shaped flower vase / table object. Created in the manner of the...

Here we have a beautiful Bohemian mother-of-pearl glass posy vase with metal flower frog, from the late 19th century art nouveau period. Has a stunning oily, iridescent finish. Most ...

French Art Nouveau centerpiece planter by Victor SAGLIER, 12 rue d'Enghien , Paris, France, ca.1890. Silverplate metal. Black patina in the hollows to accentuate the reliefs. Height ...

19th century faux bamboo tall chest of drawers from France. The chest is made from pitch pine, which has the wonderful warm color and graining that you can't find in any other pine!...

Attributed to Lucien Levy Dhurmer for Clement Massier. An encounter with Massier’s luster-glazed ceramics is an embarkation on an acid-colored trip, the sort of exploration which in...

Aqua Turquoise Majolica Turtle Clement Massier, circa 1890.

French majolica vase designed by De Longwy. This is a very nice elaborated tall vase, created in France during the art nouveau period, back in the 1890's. The fabulous decorative va...

For the art nouveau lover, this is certainly worth one to ponder, for all others, here is fine example art nouveau. The two color patina makes this very desirable. Her beautiful gold...