London - Decorative Objects

An individual Rounded black, white and brown volcanic vessel with added lava stone. Inspiration for the piece comes from the clay itself and the chemical relationships that glaze an...

Italian ceramic hedgehog sculpture (circa 1970s) by Alessio Tasca (born 1929). This endearing, minimalist ceramic hedgehog is of the Italian school style most likely inspired by the ...

These truly exceptional and rare antique Louis XVI period vases have been sculpted from agate, a precious and highly sought-after stone. The vases are set on square agate bases with gilt bronze laurel wreath socles. The burgundy and claret agate bodies of the vases are mounted with gilt bronze acanthus leaf ornamentation, and twin lion masks joined by draped swags above. The lids of the vases are mounted with gilt bronze, surmounted by pine cone finials. The vases' design is attributed to the late 18th century, French clockmaker Martin Baffert. Baffert worked with a number of Parisian bronziers including Jean-Nicholas Fremont, Nicolas-Guillaume Jourdan and Francois-Robert Leguel, who assisted in the creation of his designs. This pair of vases is very similar to another pair of vases which Baffert designed, which form part of a clock garniture currently in the Rothschild collection at Waddesdon Manor. The Rothschild vases...

Antique Marble Bust of a Maiden, 19th Century Marble Bust, Antique Marble Sculpture, Marble Bust of a Nymph, Antique Marble Sculpture by Eugene Antoine Aizelin. Beautiful, high qual...

A nice shaped box with a hinged cover; tinplate, gilt and with beautiful colourful motifs. The bottom is embossed with ‘H. Bahlsens Keks-Fabrik Hannover Königl-Preuss-Staatsmedaille ...

The two vases are of large, ovoid form, and feature fluted bodies which are crafted in ceramic with a mottled blue colouring. The vases are mounted with twin gilt bronze scrolling ha...

An excellent French early 20th Century bronze vase decorated with raised frogs upon lily pads around the circumference. The bronze with very fine deep brown patina and fabulous detai...

Made circa 1890 by James Dixon & Sons, this attractive, Antique, Victorian, Silver Plate folding Biscuit Box, is of traditional form, with push button opening to each side, and gilt ...

Pair of water buffalo horn ritual spoons from Timor Island, Indonesia, (circa 1950s). The horns of large creatures were often used to carve intricate spoons which were most likely...

A complete writing desk set in the Coalbrookdale style with lavishly encrusted flowers, consisting of a tray, an inkwell with inner liner and double cover, a pen holder, and a blot h...

A vintage ceramic vase with classic-style handles by master ceramicist, Roger Capron (circa 1950s). In very good overall condition, the chalk-white background is decorated with a til...

A stunning geode slice on a custom metal rotating stand. From the rough basalt on the outside, to the rich purple amethyst crystals inside and calcite formation, this piece presents ...

A unique, handmade resin ice lolly sculpture by MISS BUGS, titled "Echo Chamber", from the Do No Harm series. This striking, sculptural piece features encapsulated surgical blades an...

Abstract sculpture with organic upright form in Carrara marble. It's surface is a smooth satin finish with a diffused soft veining. A unique and artful decorative object.

Pair of Minimalist brass Mid-Century Modern candle holders for 4-5 cm diameter candles. They would have been designed for an altar table in the 1960's but their timeless design and ...

'Paradise 10 Arabica' is a unique glass sculpture created using hybrid hand-made glass techniques by the British artist, Amy Cushing. Combining mouth blown glass with kiln formed gl...

A beautiful mostly complete egg shaped geode with a prominent calcite to the left, partially polished. The amethyst crystals with high peaks and of intense purple. The thick amethy...

This fine and exceptionally cast patinated bronze sculpture is the work of two masters of the decorative arts, Henri Chapu (French, 1833-1891) and Ferdinand Barbedienne (French, 1810-1892). Chapu was responsible for the design of the sculpture which is titled 'La Jeunesse' and depicts a young girl swathed in Classical style clothing reaching up to place a laurel branch on top of a wall. The original work was crafted in white marble as part of a monument to Henri Regnault...

A late 19th Portuguese white terracotta vessel on hand forged iron stand. originally used for the storage of wine. Heavily patinated due to 150 + years of use.

An interesting and stunning amethyst cluster with a striking mineral and colour mix. In this aesthetic piece the edges have been polished to reveal layers of a vibrant green celadonite, blue-grey agate and white quartz, which frame the intense purple colour of the amethyst. The interior of the mineral sculpture is endowed with a gorgeous very deep purple amethyst...

Hallmarked in Chester in 1899 by Nathan & Hayes, this very attractive, Victorian, Antique Sterling Silver Dressing Table Box, is ornately decorated throughout, with a scene on the li...

Two lighting components harmoniously balanced, framing this unique ceiling light. Composed by patinated brass plates and finely brushed brass framework, the Orbit Solo ceiling light ...

'Gold Crumpled Form No 87’ is a unique sculptural vessel by the British artist, Nicholas Arroyave-Portela. Nicholas Arroyave-Portela’s professional ceramic practice began in 1994. After 20 years based in London, he moved and set up his studio in Barcelona, Spain. Arroyave-Portela's creations are all thrown on the wheel using his own unique technique. Pulling up as much clay from the bottom mass as possible, the clay walls of each piece are created thin and even, maximising the artist’s ability to manipulate the form while the material is still soft and malleable. Additional porcelain slips are sometimes applied to create further surface textures and layering. After the first initial bisque firing (1080 degrees) glazes are applied by using various methods such as spraying and pouring, a process often repeated several times after each firing of 1260 degrees. The multi-firing process allows for the build-up of the glaze, creating a rich palette of tones and finishes. Arroyave-Portela's works can be found in various major museums and private collections worldwide including the Ashmolean Museum (Oxford UK...

An unusual mineral formation of organic appearance. This piece is composed of light grey to green druze, with beautiful multiple stalactite formatio...

Hallmarked in London in 1753 by Edward Aldridge, this attractive, George II, Antique Sterling Silver Sweetmeat Basket, features slat piercing, rope borders, and a twist handle. The b...

A pair of patinated bronze antique plaques of Night and Day French, Late 19th Century 80cm in diameter, 5cm in depth Modelled after Bertel Thorvaldsen's iconic 'Night and Day' relie...

Art glass sculpture fish. Slightly shaded of amber mink colour with hints of dark chocolate brown, Murano's (Venice) Italian blown glass with bubbles. Signed on the base by artis...

Two Pumpkin Sculptures by Napoleone Martinuzzi circa 1928 for V.S.M. Venini & Co., blown glass applied with pasta glass with gold foil applications ...

A highly attractive and rare floral Grand Tour micromosaic jewelry or trinket box made by Cesare Roccheggiani in Rome, Italy, c. 1875. This is a beautifully detailed micro-mosaic box. The panel in the lid depicts a lush bouquet of spring flowers, including roses, forget-me-nots, daffodils, buttercups and crocus, amongst others. These are described in brightly coloured stone micromosaic inlaid into a black surround, lending the piece wonderful contrast. The more common subjects for similar micro mosaic boxes are architectural views of Rome; floral examples such as this are much harder to find. The panel is mounted in a box gilded in 24 carat gold. Another distinctive feature is the granulated finish around the lid and to the underside of the box: it is most unusual and lends the piece a lovely texture. A hand-painted champlevé enamel frieze wraps around the central body of the gilt metal box, depicting scrolling turquoise vines blooming with red berries along with blue, green and yellow vine leaves. The interior is lined in the original silk and in very good original condition. The maker’s name ‘C. ROCCHEGGIANI ROMA’ is emblazoned in gold to the interior of the lid beneath the motif of a cross surmounted by a crown. The lining of both the lid and body are bordered with a ropetwist detail. The lid closes with hooked clasp, and the hinge is in good condition. Cesare Roccheggiani was one of the most successful mosaicists in the late 19th century in Rome. He probably worked in Michelangelo Barberi’s workshop, and was in all likelihood related to Lorenzo Roccheggiani, a late eighteenth-century master mosaicist at the Vatican whose work included the altarpiece, Crucifixion of St. Peter after Guido Reni, and Nicolo Roccheggiani who worked on the Achilles Shield tabletop commissioned by Napoleon Bonaparte, and later gifted to Charles X of France, now in the collection of the Louvre. Cesare Roccheggiani opened his premises on Via Condotti in Rome in 1874, and ran a production workshop including mosaicists, goldsmiths and other craftsmen. He was renowned as a source for fine quality Grand Tour mosaics...

Each of these splendid bronze leaves is handmade individually with incredible detail. Cast using very traditional techniques, they are polished capturing the raw finish of this noble...

Beautiful hand cast bronze patinated gecko paperweight. The polished details in the gecko's feet highlight the characteristic rose gold colour of bronze. Each of these geckos are ha...

A good size, chunky, early 19th C. primitive dug-out planter. Beautiful colour/wear. Most likely originally used as a trough - now perfect as a planter. - We offer free shipping ...

A magnificent Suite of 11 Sterling Silver Baskets made in the shape of classic 1770s Georgian Silver Adams Style Epergne Baskets. The Baskets make up an...

Taking inspiration from planetary shapes and textures, the Cosmic collection artfully explores the interplay of metal properties and a curated selection of patina finishes. Handcra...

A remarkable early 19th C. Black Catalan terracotta cosi pot from the village of quart, Catalonia. Incredibly rare XXL size. Heavily patinated with age old repairs. Originally used for the storage of wine &/or olive oil. This Cosi pot (along with the other pair listed) have fantastic provenance… having been acquired from the wine cellar of the world famous “El Bulli...

This wonderful collection of Bohemian glass objects was created in the late 19th Century for the Persian market. The set—which includes three vases, one huqqa base...

Pair Chinese Famille rose with turquoise ground vases C.1940. Enamelled in famille rose palette with large blooms borne around a border of curling ...

Carrying Import marks for London in 1930 by Ludwig Nereshiemer, this charming, Sterling Silver Model of A Snipe, is realistically poised. The snipe measures 7"(18cm) tall, by 10"(2...

A fine pair of Maiolica vases, Painted to one side with a religious figure and to the reverse with a portrait, the sides decorated with traditional large flowers enclosed by yellow s...

A rare Wiener Werkstätte ceramic, beautifully stylised as the head of a young African woman with flame orange lips. Overall in a black glaze, with enigmatic tilt to the composition a...

Regeny Heavily inlaid Brass Tea Caddy This Tea Caddy in Walnut and Elevated on Four Bun Feet Some Minor Nicks The Interior Consists of a Tea Compartment with Shedding Paint

Tactile and curvaceous hand driven brass vessel or container or trinket box with lid signed Franz J. Peters Stolberg RH, Peters, 1913-1977. In this handcrafted container the traces o...

An impressive early 20th Century American iridescent glass vase of slender form with green hearts shining through an attractive golden iridescence, signed L C Tiffany Favrile and numbered to base. ADDITIONAL INFORMATION Height: 23 cm Condition: Very Good Condition Circa: 1905 Materials: Iridescent Coloured Glass SKU: 6667 ABOUT Louis Comfort Tiffany Louis Comfort Tiffany (February 18, 1848 – January 17, 1933) was an American artist and designer who worked in the decorative arts and is best known for his work in stained glass. He is the American artist most associated with the Art Nouveau and Aesthetic movements. Tiffany was affiliated with a prestigious collaborative of designers known as the Associated Artists, which included Lockwood de Forest, Candace Wheeler, and Samuel Colman. Tiffany designed stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewellery, enamels and metalwork. Early Life He was born in New York City, New York, the son of Charles Lewis Tiffany, founder of Tiffany and Company; and Harriet Olivia Avery Young. He attended school at Pennsylvania Military Academy in West Chester, Pennsylvania, and Eagleswood Military Academy in Perth Amboy, New Jersey. His first artistic training was as a painter, studying under George Inness in Eagleswood, New Jersey and Samuel Colman in Irvington, New York. He also studied at the National Academy of Design in New York City in 1866-67 and with salon painter Leon-Adolphe-Auguste Belly in 1868-69. Belly’s landscape paintings had a great influence on Tiffany. Career Louis started out as a painter, but became interested in glassmaking from about 1875 and worked at several glasshouses in Brooklyn between then and 1878. In 1879, he joined with Candace Wheeler, Samuel Colman and Lockwood de Forest to form Louis Comfort Tiffany and Associated American Artists. The business was short-lived, lasting only four years. The group made designs for wallpaper, furniture, and textiles. He later opened his own glass factory in Corona, New York, determined to provide designs that improved the quality of contemporary glass. Tiffany’s leadership and talent, as well as his father’s money and connections, led this business to thrive. In 1881 Tiffany did the interior design of the Mark Twain House in Hartford, Connecticut, which still remains, but the new firm’s most notable work came in 1882 when President Chester Alan Arthur refused to move into the White House until it had been redecorated. He commissioned Tiffany, who had begun to make a name for himself in New York society for the firm’s interior design work, to redo the state rooms, which Arthur found charmless. He worked on the East Room, the Blue Room, the Red Room, the State Dining Room and the Entrance Hall, refurnishing, repainting in decorative patterns, installing newly designed mantelpieces, changing to wallpaper with dense patterns and, of course, adding Tiffany glass to gaslight fixtures, windows and adding an opalescent floor-to-ceiling glass screen in the Entrance Hall. The Tiffany screen and other Victorian additions were all removed in the Roosevelt renovations of 1902, which restored the White House interiors to Federal style in keeping with its architecture. A desire to concentrate on art in glass led to the breakup of the firm in 1885 when Tiffany chose to establish his own glassmaking firm that same year. The first Tiffany Glass Company was incorporated December 1, 1885 and in 1902 became known as the Tiffany Studios. In the beginning of his career, he used cheap jelly jars and bottles because they had the mineral impurities that finer glass lacked. When he was unable to convince fine glassmakers to leave the impurities in, he began making his own glass. Tiffany used opalescent glass in a variety of colors and textures to create a unique style of stained glass. He developed the “copper foil” technique, which, by edging each piece of cut glass in copper foil and soldering the whole together to create his windows and lamps, made possible a level of detail previously unknown. This can be contrasted with the method of painting in enamels or glass paint on colorless glass, and then setting the glass pieces in lead channels, that had been the dominant method of creating stained glass for hundreds of years in Europe. (The First Presbyterian Church building of 1905 in Pittsburgh, Pennsylvania is unique in that it uses Tiffany windows that partially make use of painted glass.) Use of the colored glass itself to create stained glass pictures was motivated by the ideals of the Arts and Crafts movement and its leader William Morris in England. Fellow artists and glassmakers Oliver Kimberly and Frank Duffner, founders of the Duffner and Kimberly Company and John La Farge were Tiffany’s chief competitors in this new American style of stained glass. Tiffany, Duffner and Kimberly, along with La Farge, had learned their craft at the same glasshouses in Brooklyn in the late 1870s. In 1889 at the Paris Exposition, he is said to have been “Overwhelmed” by the glass work of Émile Gallé, French Art Nouveau artisan. He also met artist Alphonse Mucha. In 1893, Tiffany built a new factory called the Stourbridge Glass Company, later called Tiffany Glass Furnaces, which was located in Corona, Queens, New York, hiring the Englishman Arthur J. Nash to oversee it. In 1893, his company also introduced the term Favrilein conjunction with his first production of blown glass at his new glass factory. Some early examples of his lamps were exhibited in the 1893 World’s Fair in Chicago. At the Exposition Universelle (1900) in Paris, he won a gold medal with his stained glass windows The Four Seasons He trademarked Favrile (from the old French word for handmade) on November 13, 1894. He later used this word to apply to all of his glass, enamel and pottery. His first commercially produced lamps date from around 1895. Much of his company’s production was in making stained glass windows and Tiffany lamps, but his company designed a complete range of interior decorations. At its peak, his factory employed more than 300 artisans. Recent scholarship led by Rutgers professor Martin Eidelberg suggests that a team of talented single women designers – sometimes referred to as the “Tiffany Girls” – led by Clara Driscoll played a big role in designing many of the floral patterns on the famous Tiffany...

Unique and exquisite brass cast leaf decorative bowl (medium size). Handmade using highly skilled and specialised traditional processes to create an original and sumptuous piece. Sl...

Pair of vintage 1960s Scandinavian purple glass vases which I am selling together because of their interlocking design. The vase with the bulbous middle has a tiny chip on the insid...

Vintage European earthenware vase (circa 1970s). A very rustic piece with a matt orange hue accented by incised brown markings encircling the body...

A pair of tessellated marble with brass inlay vases by Maitland Smith. A very elegant and stylised pair with stepped design with brass banded inlay. G...

Excellent early 20th Century Art Nouveau green glass dimpled vase of bulbous form with fine petrol blue iridescent surface and further applied with a silver Art Nouveau organic flora...

Ingenious and very charming reversible handmade cast brass candle / tea-light holder. Just reverse the piece whether you wish to use it to hold a candle or a tea-light. Solid brass ...

An orignal 1940s Murano glass picture frame by Barovier and Toso, with thick clear glass woven twist frame, with inner brass frame, top centre detailing and stand. Stamped on the bra...

An early twentieth century shell spoon, comprised of two shells and supported on a metal stand. The handle is delicately carved from a singular shell, with...

This is a splendid three-well ink stand or writing desk set made by Chamberlains Worcester in about 1810. The ink stand contains a stand with a pen holder or candle holder in the sha...

A small decorative ceramic vase with sunflower by the Cloutier brothers (circa 1970s). This lovely petite vase was made in one of the Cloutier's trademark rich blue colours with whim...

An eyecatching limited edition bronze of an elegant woman dressed in an impressive coat lined with fur collars and decoration with gilded flames. The figure raised on an integral ste...

A magnificent Antique Victorian Silver Dish Ring with matching Bowl / Dish created in the typical antique Irish Georgian Silver Dish Rings. This a particularly fine example with a go...

Margit Wittig has used her sculptural skills to create beautifully-crafted, well-proportioned candlesticks, which are compositions of her unique signature pearl-shaped designs. Eac...

An attractive limited edition cold painted Art Deco bronze figure of an elegant beauty dressed in a purple full length gown with excellent color and detail, signed Erté, numbered 145...

An impressive clear and frosted glass paperweight in the form of a grazing bison with excellent hand finished detail, signed Lalique France ADDITIONAL INFORMATION Height: 9.5 cm Width: 12 cm Condition: Excellent Condition circa: 1970 Materials: Frosted Glass ABOUT Lalique Glass René Lalique (1860-1945) began his career as a jewellery apprentice at the age of 16, and by 1881 he was a freelance designer for many of the best-known Parisian jewellers. In 1885, he opened his own workshop on Place Gaillon in Paris, the former workshop of Jules Destape. In 1887, Lalique opened a business on Rue du Quatre-Septembre, and registered the "RL" mark the following year. In 1890, he opened a shop in the Opera District of Paris. Within a decade, Lalique was amongst the best-known Parisian jewellers. In 1905, Lalique opened a new shop at Place Vendôme which exhibited not only jewellery, but glass works as well. It was close to the shop of renowned perfumer François Coty; in 1907, Lalique began producing ornate perfume bottles for Coty. The production of glass objects began at his country villa in 1902, and continued there until at least 1912. The first Lalique glassworks opened in 1909 in a rented facility in Combs-la-Ville, which Lalique later purchased in 1913. In December 1912, Lalique hosted an exhibition of Lalique Glass—as his glass would come to be known—at the Place Vendôme shop. During the First World War, the glassworks produced mundane items in support of the war effort. In 1919, work began on a new production facility in Wingen-sur-Moder, which opened in 1921. From 1925-1931, Lalique produced 29 models of hood ornaments; a mermaid statuette first produced in 1920 was also later sold as a hood ornament. During the 1920s and 1930s, Lalique was amongst the world's most renowned glassmakers. René Lalique died in 1945. His son Marc Lalique took over the business, operating initially as "M.Lalique" and later as "Cristal Lalique...