London - Decorative Objects

William Hutton. An Arts and Crafts pewter jug with four bullseye Ruskin jewels inset into the lid, with a back stop when opened, and geometric decoration to the main body with a flar...

An impressive pair of tall Arts & Crafts silver plated candle sticks with semi-precious cabochons to the stem and to the central knop decora...

‘Earthly Treasures No 27’ is a unique sculptural bowl by the British artist, Morrison Thomas. It is made from burred English Elm inlaid with Cornish Turquoise. Morrison turns beautiful wooden spheres from damaged or diseased trees that have been felled as they can no longer survive. Using aged wood such as this, reveals cracks and crevices which the artist can inlay with precious minerals. The results are breathtaking. These take on the role of globes and are evocative of old maps. The minerals suggest undiscovered islands and continents. During Thomas’ time as a designer and maker of furniture it was usual practice to mask and hide any blemishes or cracks in the wood, however much like the Japanese art of Kintsugi (where ceramic breakages are repaired with gold and precious metals) Thomas highlights the anomalies in the wood by inlaying them with naturally formed colorful minerals, many taken from his personal collection which he still adds to. Recent visits to the ‘World Famous’ Blue John Mine and also a working Fluorspar mine in Derbyshire has meant new materials for future inlays. With the wood hard to find and unpredictable to turn, the resulting union of the Earth’s natural resources are patiently and skilfully jigsawed together, resulting in truly unique treasure-laden artworks. Is his own words: ‘The two mediums I combine both come directly from the Earth. The trees form and grow at the surface whilst the minerals can form at great depth. It is not unknown for some trees to have accumulated pieces of crystals in their roots. The thought of this combination of a substance formed during explosive episodes in the Earth millions of years ago with a gently formed living substance, which may have been growing for hundreds of years before finally coming to an end, is both exhilarating and intriguing. I think of it as a fusion between animate and inanimate, above and below the ground, naturally both beautiful, and without which, we as humans could not survive’ Morrison Thomas was born at New Inn Cottage in the tiny village of Charlton near Banbury, Oxfordshire. His father was a cabinet maker & carpenter who was also a wheelwright and blacksmith, as with many village craftsman of the time, he was skilled in all things. Keeping the family tradition, Thomas continued in his father’s footsteps and is a fourth generation woodworker. As a furniture designer & maker Thomas has exhibited his work in numerous high profile galleries and undertaken many prestigious commissions. He has written articles on woodworking with his work appearing in numerous publications. Previously the chairman of the Surrey Guild of Craftsmen and with a listing in Debrett’s Who’s Who, his achievements are many, especially in consideration that he received no formal training, with his skills obtained from observing and listening to his father. For many years Thomas designed and made contemporary furniture but mainly due to health reasons stopped making larger-scale works. With woodworking in his blood and a material he simply couldn’t stop creating with, he resumed his creative skills some years later by making unique hand-turned wooden vessels...

'Individual Twist in Aquamarine & Grey' is a unique glass sculpture by the British artist, Nina Casson McGarva. Casson McGarva firstly casts her glass in a flat mould where she intr...

Mid-century decorative tall vase by Albert Thiry (circa 1960s). A gentle creamy-white glaze encompasses the exterior of the tall vase (it could also be used as an umbrella holder) to...

An attractive limited edition perfume bottle, the fluted pillars are decorated with palm patterns inspired by Rene Lalique’s Jaffa vase circa 1931. ...

'Line Sapphire' is a unique cast and hand-made glass sculpture by the Danish artist, Karin Mørch. Mørch’s inspiration often derives from simple expressions and in the contrast betwe...

An attractive late 19th Century Art Nouveau French bronze bust exhibiting deep multi-hued patination and excellent detail. The beautiful character wearing a head dress and a loosely draped blouse representing ’Cinderella’ from the famous French opera. The bronze is signed E Villanis and titled to the fore on its integral bronze base. ADDITIONAL INFORMATION Height: 30 cm Width: 19 cm Depth: 12 cm Condition: excellent original condition Circa: 1890 Materials: Bronze Book Ref: Emmanuel Villanis by Josje Hortulanus-de Mik Page No: 35 SKU: 8773 ABOUT Villanis Cendrillon Emmanuel Villanis was an industrious man. He is believed to have created some 200 to 250 pieces. His oeuvre pre-eminently consisted of busts and full body statues...

Sculptural forged steel candelabra made in the 1960's looks monumental and architectural. It has three arms is suitable for candles diameter 4-5 cm. The piece is signed by the artist.

Finely hand-spun brass plates make up this pendant light. One side of the plate is finished in a bronze gradient patina while the other side in a gently brushed brass gradient. The l...

Handmade brushed brass bowl with legs, vide-poche. Each of those original and elegant bowls are handmade individually. Cast using very traditional techniques. Slight variations in p...

Made in Paris circa 1830 by Odiot, this spectacular 1st quality, French Antique, silver centrepiece jardinière and plateau, has an oval bowl beautifully detailed with fluting, floral...

Vintage ceramic horse by Bruno Gambone, (circa 1970s). A charming, sizeable ceramic parade horse with groomed mane and tail in Gambone's signature chalk-white glaze. Light brown figu...

A timeless and distinguished gift, this antique sterling silver cigar box is hallmarked in London in 1895 by renowned silversmiths Gibson & Langman. Beautifully crafted with a smooth, minimalist exterior and gently rounded edges, it exudes quiet sophistication and classic Victorian refinement. Inside, a richly grained cedar wood lining not only preserves cigars but adds a touch of luxury that speaks to the craftsmanship of the era. Whether for a milestone birthday, retirement, wedding, or Father’s Day, this piece is ideal for those who appreciate fine design and enduring quality. The elegant plain surface offers ample space for a bespoke engraving—perfect for initials, dates, or a personal message—making it a meaningful and memorable keepsake. Gibson & Langman's silverwork is celebrated for its superior finish, and this box is no exception, offering beauty, function, and sentiment in equal measure. A thoughtful and versatile gift, it can also serve as a refined storage box for watches...

An excellent frosted glass figure of a crouched sparrow with its head turned cleaning beneath its wings exhibiting good hand finished detail, signed Lalique France to base ADDITIONA...

Cloisonné lidded box attributed to jeweller Käthe Ruckenbrod (1905 - 1989). Germany, mid-20th century. The box is rounded, smooth and tactile to to...

An impressive skull of an Edmontosaurus, a large herbivorous dinosaur that lived during the Late Cretaceous period, 68-66 million years ago. The three rows of sixty or more teeth on either side of the jaw, known as the ‘dental battery’, mark the Edmontosaurus as part of the Hadrosauridae, or duckbill family of dinosaurs. It belongs to the flat-skulled, or solid-crested, Hadrosaurinae, which replaced the older hollow-crested hadrosaurs. Edmontosaurus was one of the last non-avian dinosaurs to ever exist, living shortly before the Cretaceous-Paleogene extinction event. The Edmontosaurus was named in 1917 by Lawrence Lambe, after a partial specimen from Edmonton in Alberta, Canada. The existence of large Edmontosaur bone beds...

1960s Danish handblown purple and clear glass round tapering vase. The base is solid clear glass contrasting with the purple above. No manufacturer's stamp or inscription is presen...

An enigmatic late 19th Century bronze study of a seated female nude leaning on her knees, hiding her face, on integral naturalistic canted rectangular base, signed to one side DALOU above the cracked mirror (facing to the rear), the opposing side marked Susse Fres Edts the rear with Susse Freres pastille flanked by the letters H P and S. The title of this subject translates as 'The Truth Revealed' and refers to the young woman inconsolable having seen her true reflection in a mirror, which she has dropped and lies broken on the hard floor. ADDITIONAL INFORMATION Height: 14 cm Width: 12 cm Depth: 8 cm Condition: Excellent Original Condition Circa: 1890 Foundry: Susse Frères Paris Materials: Bronze SKU: 8790 ABOUT Aimé-Jules Dalou...

A captivating amber glass sculpture of a standing tang horse with excellent contrasting clear and frosted coloured glass and fine detail, signed ...

This is an antique Victorian Coromandel scent bottle box of domed form with elaborate decorative brass mounts with inset attractive Pietra Dura cabochons, circa 1860 in date. The domed lid reveals three cut glass bottles with stoppers. The box has a working lock with key. Provenance: The Dr. Lawrie Webster Collection of Boxes...

This is a finely cast brown patinated bronze Grand Tour sculpture of Napoleon Bonaparte, Mid 19th Century in date. It features Napoleon standing contrapposto in uniform wearing a...

Organic table mirror pivots into a picture frame by touch. The bronze has been cast into a relief of natural lines inspired by Art Nouveau depicting a landscape and sunset. The frame...

This is beautiful antique French marble shoulder length bust of a beautiful maiden, signed Auguste Moreau, circa 1890 in date. The face and body has been sensitively modelled in Carrara marble with her head tilted to the right, her loose hair falling on her bare shoulders. There is no mistaking its unique design and superb quality, which is certain to attract attention and make it a talking point in any room of your home. Condition: In excellent condition, please see photos for confirmation. Dimensions in cm: Height 53 x Width 33 x Depth 23 Dimensions in inches: Height 20.9 x Width 13.0 x Depth 9.1 Louis Auguste Moreau, 1855-1919, was a French sculptor best known for his bronze-cast figurines. His allegorical Art Nouveau works often depicted women, children, cherubs, and historical figures adorned with floral motifs and ornaments, and were influential to other artists working at the time. Born in Dijon, France in 1855 to a celebrated family of sculptors, including his father Auguste Moreau, he went on to regularly exhibit his work at the Paris Salon from 1861 on. The artist died in 1919 in France. Carrara marble - is a type of white or blue-grey marble popular for use in sculpture and building decor. It is quarried at the city of Carrara in the province of Massa-Carrara (Tuscany, Italy). Carrara marble has been used since the time of Ancient Rome; the Pantheon and Trajan's Column in Rome are constructed of it. Many sculptures of the Renaissance, such as Michelangelo's David, were carved from Carrara marble. For Michelangelo at least, Carrara marble was valued above all other stone, except perhaps that of his own quarry in Pietrasanta. The Marble Arch in London and the Duomo di Siena are also made from this stone, as are the interiors of Manila Cathedral, the cold-white marbles of the Sheikh Zayed Mosque and the campus of Harvard Medical...

Small bronze brutalist box by Jacques Lautertach. French c.1970’s

'Big Line Hyacinth' is a unique cast and hand-made glass sculpture by the Danish artist, Karin Mørch. Mørch’s inspiration often derives from simple expressions and in the contrast b...

An erotic Austrian cold painted bronze figure of an Egyptian sarcophagus opening to reveal a naked beauty with excellent colour and very fine hand finished detail, signed with the Be...

This is a stunningly beautiful antique pair of Chinese red lacquered leather chinoiserie trunks, circa 1880 in date. The pair features rectangular shaped red leather trunks decorat...

This is a truly magnificent antique Italian Grand Tour figural golden patinated bronze sculpture depicting a wounded gladiator known as "The Dying Gaul", and signed B Boschetti...

Globe Pottery. Tunis design. A large Aesthetic Movement blue and white jug.

This is a magnificent antique brass bound coromandel Victorian Gothic Revival casket by Parkins and Gotto, 24 & 25 Oxford Street, London, circa 1860...

Designer Sarah Murphy focuses on recycling materials and a form of paper pulp to create sculptural vessels and lights. Drawn to playful shapes and vibrant c...

This is an iconic "The Bentley Collection" desk set, late 20th century in date. These were sold by high end retail establishments such as Harrods of London. The Bentley Collection ...

'Amorphous Trio' is a unique cast and hand-made glass sculpture by the Danish artist, Karin Mørch. Mørch’s inspiration often derives from simple expressions and in the contrast betw...

This elegant trinket box by Fontana Arte, showcases a refined design that combines luxurious materials and minimalist aesthetics. The base of the box is crafted from rich wood, which...

A very Fine Pair of Japanese Two Handled Vases Meji Period C1890 Very Decorative

Fossilised wood fragment displaying vibrant streaks of browns, reds, blues and yellows. This is a magnificent example of the results of a fossilisation process known as permineralization. In the right environment over great lengths of time, buried wood tissue permeated by minerals transported in water can transform into fossils. This particular example has fossilised over a copper deposit, resulting in bright inclusions of copper minerals that manifest as impressive streaks of blue, yellow, green and red. This distinctive coloration is unique to Colla wood...

Hallmarked in Edinburgh in 1801 by McHattie & Fenwick, this handsome, George III, Antique Sterling Silver Wax Jack, is plain in style, with reed detailing. Th...

A beautiful art nouveau casket made by Erhard and Sohne in Germany in c. 1905. The casket is exquisitely executed with foliate detailing, made in th...

The Froxfield clock in Walnut. A unique limited edition floor clock created by Comitti designer Edmund Barker using selected timbers and contemporary styling. The design is inspired ...

This charming antique Black Forest inkstand dates from circa 1880. Beautifully modelled, hand carved from linden wood, with mother and baby bear on a naturalistically carved rocky outcrop. The inkwells are in the form of a pair of tree trunks with fluted glass wells with carved lids and a useful pen tray in front. Condition: In excellent condition. As an antique item, it shows signs of use commensurate with age, these minor condition issues are mentioned for accuracy and, as seen in the accompanying photographs, the inkstand displays beautifully. Dimensions in cm: Height 15 cm x Width 23 cm x Depth 14 cm Dimensions in inches: Height 6 inches x Width 9 inches x Depth 5 inches History of Black Forest Carving The idea behind the success of Brienz wood carving was quite simple. After a disastrous famine in 1816 in the Brienz area people were forced to find new areas of revenues. Driven by the need to create jobs in the Bernese Oberland, an economically underdeveloped region, the Swiss government encouraged the existing resource of timber industry to liaise with the traditional wooden craftsmanship. It took some time to improve from home requirements to sophisticated designed arts but the process was supported by the rising amount of tourists visiting the region. Christian Fischer and other founders Christian Fischer (1790-1848) started self-taught from simple turneries (carved bowls and other articles of daily use) to unsophisticated regional animals and people. Due to his success and the interest of the tourists, other carvers started also following his idea of carving the pristine naturalism. The Swiss government supported these start-ups with additional training of apprentices at special trade school. Brienz School of Wood Carving In 1884 the "School of Wood Carving, Brienz" was founded. It became an important educational institution to strengthen and develop the artistic backgrounds and exhibit an area of creativity. During the years of war in the 20th century, the demand for wooden sculptures came to rest and led to the re-orientation in areas such as toys and carvings for constructions. Beyond that the Brienz wood carving articles had to face an enormous competition from abroad. The School of Wood Carving had to get through difficult economic times but in the late 1970s wood carving enjoyed a renaissance. A lot of young people searched for elemental jobs and added a new value to school education. Today Brienz School of Wood Carving is combined with the education of turner, basket makers and coopers. The school still claims high-quality standards and follows old principles with regard to future perspectives. Wild animals At all times wild animals fascinate people. The highland around Brienz has large variety of different wild animals. Bears are among the most popular models for carvers. On the one hand bears are easy to cut and on the other hand they have a strong symbolized image. The enthusiasm for bears in art...

Grotesque theatrical mask of Maccus Late Hellenistic or Early Imperial period, circa 1st century B.C. – 1st century A.D., likely from Southern Italy. Terracotta with remains of pin...

Vintage Italian decorative ceramic candy dish attributed to Guido Gambone (circa 1950s). A flying saucer shaped dish with cover is painted with alte...

Silver plated candlestick, decorated with seven candleholders and a removable central area. The conical shaped base is decorated with holes. Hallmark to the base. Circa 1989, Prague. Biography. Boris...

An abstract sculpture of a seated figure in white, handcrafted molded and cast in full bodied gypsum reinforced with fibreglass matting. The creative process takes multiple stages,...

This pleasing open geode contains a bed of orange-brown amethystine quartz of moderate size with a frontal rosette of several small calcite crystals. The borders polished. This ...

'Big Line Rose' is a unique cast and hand-made glass sculpture by the Danish artist, Karin Mørch. Mørch’s inspiration often derives from simple expressions and in the contrast betwe...

This set of bronze monkey sculptures depicts the classic motif of the "Three Wise Monkeys" — See No Evil, Hear No Evil, Speak No Evil. Each monkey is made with intricate detail, feat...

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...

Dynamic abstract oak wooden sculpture with organic finish on a black and gold marble plinth, hand-carved and signed by E. Robson 1971, England.  

Vintage Italian travertine porcupine sculpture and card or letter holder by Mannelli Bros (circa 1970s). Designed by Italian brothers, Fratelli Mannelli, this charming piece has load...

An attractive late 19th Century French cameo glass souffle vase decorated with raised deep red and burgundy flowers against a variegating yellow field. Exhibiting excellent detail an...

Mid Century Anglo-Indian Leather Tiger Footstool C.1950 Liberty London A superb example, of wonderful proportion. In excellent condition commensurate o...

This is a beautiful antique bronze sculpture of a lioness by the renowned French sculptor Louis Riche (1877 - 1947), circa 1910 in date. The sculpture depicts a recumbent lioness r...

'Takamaka Opal', is a unique glass sculpture by the Austrian artist Sandra A. Fuchs, created in aqua, deep red and vibrant orange glass. Fuchs creates her own multi-colored and complex glass canes, which are then cut to create small 'murrina'. These she composes to create her flat sheet 'canvas' glass artworks, which are fired again, to fuse the pieces together. The detail is breathtaking and testament to these labour intensive unique works. The dimensions above are for the glass panel and European Walnut wood base. Sandra A. Fuchs lives and works in Mautern, a small town located on the Danube within the Wachau, a UNESCO World Heritage Site, in Austria and in Murano, Italy. Specializing in the areas of cold working, fusing and flameworking, Fuchs has undertaken additional advanced training for glassblowing at the Technical College of Glass for Design and Craft (Kramsach, Tyrol, Austria) Abate Zanetti (Scuola del Vetro, Murano, Italy) and at Cam Ocagi (The Glass Furnace Istanbul, Turkey). Her artistic approach and style has also been developed through attending numerous master classes with artists predominantly from Italy and the USA. Since 2014 and after much time abroad, Fuchs is now focused on working exclusively as an independent glass artist in her own studio. Fuchs’ artworks share a common ‘spirit’ and ‘organic’ aesthetic. The themes which run through her pieces are inspired by the beauty and power of nature; of rising, elevating and growth, which she also interprets from a spiritual influence. She feels creativity and vision are born by traveling, connecting with people from around the world and through cultural exchange. Her signature fused panels have an inner life which is captured in dense and complex patterns which are formed from many unique pieces of ‘murrine’, which Fuchs designs and makes by herself. Traditionally ‘murrine’ all possess the same pattern, however by employing a different kiln formed technique, Fuchs makes each ‘murrina’ unique by having more control during the stretching process whilst working with her hot molten glass. With her blown art works, Fuchs combines this new special manufacturing technique of 'kiln formed murrine’ (which has only been in existence since 1992) with centuries old traditional Muranese glassblowing knowledge, resulting in pieces that are the only ones of their kind worldwide. In the artist’s own words; "Offering me every possible way to express myself, glass became my ‘partner in crime...

Vintage ceramic vase (or pencil holder if you prefer) by Raymonde Leduc (circa 1970s). Sandstone coloured small vessel with plant motifs inlaid on all four sides. In good overall con...

Lovely Statue of a Bronze Pixie Very Quirky and a Real Addition to Any Garden Suitable for Either indoors or Out Lovely Patina

A 1950s Murano green opaline jewellery box by Cendese with gilt metal edging. There are other available colours and designs under other listings.

A captivating limited edition Art Deco bronze figure of an elegant beauty wearing a full length gown with a dramatic black and gold shawl draped across her arms with a large decorati...

Silver plate apple with decorative brass stem and leaf handle. A lovely objet d'art that is perfect for the dressing-table or bathroom.