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1608 Pair Antique bronze pediment top 2 light wall sconces with a new white lacquer finish Rewired takes 2 60 watt candelabra based bulbs

A graphite on paper, study of a classical drapery by artist Jan Matulka. The image is drawn on the back of a typewritten, folded sheet of stationery, from Dyer, Hudson & Co., New Yo...

Art Deco armchairs by J. Halabala, Czech Republic, 1930s Very good condition. After professional renovation and replacement of upholstery. Wood: oak dimensions: height 82 cm, seat...

Ture Ander (1881-1959) Sweden A Bouquet of Digitalis, Poppy, Iris, Snapdragons, Cornflower, Buttercup. 1936 oil on board signed and dated Ture Ander 36 board dimensions 24,41 x 18,...

Art Deco library, Poland, 1930s The furniture is in very good condition, after professional renovation. Dimensions: Library: height 185 cm / width 200 cm / depth 41 cm

Otto Lindberg's 'Moonlight Over the Lake' is a remarkable testament to the serene beauty and atmospheric tranquility that characterizes the finest of landscape paintings. Created in ...

A slinky and easty to wear vintage slip dress in a pretty ivory colour. The dress has a net bodice and side opening. Measurements Bust 33'', waist 2...

Oil on board by Spanish artist Mariano Andreu Estany (1888-1976). Amazing quality and fine detail. Excellent original condition. Signed lower left, "Mariano Andreu '39". Image si...

Stylized zodiac Pen-holder or vase in patinated bronze. It features the mermaid to one side and Sagittarius (the shooter) to the opposite side. Made by Tinos in Copenhagen Denmark ci...

This beautiful circa 1930 art deco vitrine cabinet was constructed in gorgeous deep brown Mahogany, featuring a bowfront design with beveled glass for door panes and adjustable / rem...

Rosewood Bruno Mathsson Maria folding dining table, Sweden, circa 1936 Rare Mid-Century Modern Bruno Mathsson Maria folding table crated in rose...

Our very attractive vintage Omega features a 9k yellow gold and steel case made by Dennison, hallmarked Birmingham 1935. The case measures 22mm inc crown x 39mm lug to lug, originall...

Iconic arched desk lamp in a full brass construction. Designed by Egon Hillebrand during the 1930s and manufactured by Hillebrand Lighting in The Nede...

Lithograph on vélin du Marais paper. Inscription: Signed and dated in the plate, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. I, N° ...

A wonderful Art Deco drawing by Illinois woman artist and illustrator Frances Poe.

Art Deco stools and seats, Poland, 1930s. Very good condition, after professional renovation and replacement of upholstery. It is possible to purchase a single piece for PLN 1,200....

Agusti Ferre Pino (1884-1960) - Children - Oil on burlap Oil measurements 100x97 cm. Frame measurements 107x104 cm. Painter trained at the La Lonja School of Fine Arts. He became kn...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

In very good condition. Total weight is 4.9 grams. Totally is sapphire 0.25 carat. Totally is brilliant cut diamond 0.15 carat. Totally is rose cut diamond 0.15 carat. The diamond is...

Mokka set from the 1930s, produced in the Victoria Carlsbad porcelain manufactory- This coral coloured set with handprinted black linen co...

Vintage Walnut China Cabinet, Display Cabinet, Camerons Perth, Scotland 1930, H1008 Solid Walnut Original finish Rectangular moulded top ...

Four stools from around 1930, Germany. Furniture in very good condition, professionally renovated. The seat has been covered with new fabric. Dimensions: height 47 cm / diameter 37 cm

Jens Thirslund (1892-1942) Kähler pitcher decorated with greenish glaze. Stamped HAK for Herman A. Kähler, Denmark, 1930s. In perfect condition. Meas...

A pair of rare Art Deco nightstands with four drawers that are compartmentalized. Dark burled rosewood. The large drawers feature circular pulls. The top drawer includes a pencil org...

Oak chest of drawers, Germany, circa 1930. Very good condition, after professional renovation. dimensions: height 158 ​​cm length 248 cm depth 74 cm

A set of 2 antique golden brass 6-branch Candlesticks, a pair of Rococo-style brass candlesticks, pressed, cast and chased. Circular, curved feet with hinged. Tested with the scratch...

Actinia, an Art Deco opalescent glass vase by René Lalique (1860-1945). Raised, swirling pattern in graduated blue green opalescence with a peach coloured tint. Etched 'R Lalique Fra...

A tonal, watercolor of a steel mill by artist Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canada in 1909. Haydon came to Chicago with his family in 191...

Objekt: Stahlrohr Freischwinger (Sessel & Armlehnstuhl) Entwurf: Mart Stam, Bauhaus Dessau um 1931 Modell-Nummer: B43 & B43F Ausführung: verm. Robert Slezak, CZK um 1935 (Modell K/S1...

Unique Art Deco armchairs custom made in France in 1930s. Construction made of walnut wood. Renovated and repholstered in our workshop with high quality geometric material. Very good...

Unique bauhaus style tubular steel console table produced by Slezák, former Czechoslovakia in the 1930s. Made of chrome plated tubular stee...

A sixteen-light crystal chandelier in the manner of Baccarat. The 16 lights are on three floors. The crystals are perfectly preserved. Cleaned and re-wired, in full working order and...

Exceptional triptych mirror from Coco Chanel workshop. This is one of several leather-wrapped triptych mirrors from Chanel's workshops at 31 rue Cambon in Paris. Acquired from a cr...

Agustí Ferré Pino (1884-1960) - Still life of flowers - Oil on canvas Oil measurements 61x50 cm. Restored. Frameless.

Extraordinary late Deco riviere necklace, 1935 circa Beautifully hand crafted as unique example of solid 18 KT white gold Displayed in the middle neckline a selection of bright white...

Pair of Danish Modern folding safari chairs (Model MK-16) designed by Mogens Koch in 1932, one manufactured by Rud. Rasmussen and the other by Cado. Made in natural beech wood and br...

A set of 5 antique nickel silver, bronze and glass Art Deco-style candlesticks and candelabra pressed cast, and chased. Circular, curved feet wit...

Medium: original lithograph. Published in Paris in 1938 by Teriade for the second issue of the art revue Verve (Volume 1, Number 2). Andre Masson was invited to contribute an origina...

Art Deco style office set from the first half of the 20th century, Poland. Furniture in very good condition, professionally renovated. The seat of the armchair has been covered with...

Rare Bookshelf from the American Modern series. Designed by Russel Wright for Conant Ball. Maple Construction.

Modernist Art Deco chandelier/suspension, in acid-etched pink glass and chrome/nickel-plated bronze frame. Sign. By Henry Petitot (1914-1938). France, Circa 1935 In excellent condi...

Dive into the opulence of the early 1900s with our Antique English Chesterfield Lounge Chair, masterfully hand-crafted from high-quality leather and meticulously restored by our team...

Early 20th Century American Hooked Rug ( 2'3" x 7' - 68 x 213 )

Portrait of a young woman, drawing / pastel framed under glass. By M.Ducoin, signed and dated. France, 1934. Art Deco. Gilded wooden frame from the same period as the work. Framer'...

Elegant mahogany table/stand mirror. Modernist Art Deco, France, circa 1925-1930. In very good condition. Total dimensions: height 54 cm width 47 cm depth 15 cm Dimensions of the...

Ceramic lamp with white crisp enamel on a pink background. In the style of Jean Besnard Art Deco, France, Circa 1925. In good condition. Electricity OK. Dimensions: Height 21 cm D...

A very uncommon, exceptionally intricate, and visually transfixing 1930s Syrian or Syrian-style wood marquetry folding card table. Top and sides feature an incredibly complex and ve...

Exceptional piece of multi-faceted pink/rose/salmon/peach'y crystal set in large pertruding squares. It features its original patinated copper lid with beaded ornamentation towards i...

Art Deco wood credenza, France 1930s. Art Deco solid walnut wood credenza with black opaline top. Internal parts are upholstered with its or...

Our collection of antique and vintage Dhurries, including desirable square formats, is extensive, and this colorful example is a study in carefully abrashed light blue, with ashiks centered in red and edged in cerulean blue. Red and blue squared wave fret border on this almost antique...

In the style of André Sornay's productions. Tripod pedestal table with 2 trays Art Deco. France, Circa 1930. In smoked oak. In excellent condition. Dimensions: height 58 cm diamet...

A tonal, watercolor of a steel mill by artist Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canada in 1909. Haydon came to Chicago with his family in 191...

Introduce a piece of timeless design with this 1930's Christian Dell Lighting Design and Bauhaus influenced modernist black desk lamp. The sleek and minimalist silhouette showcases t...

Modernist Art Deco pedestal table in walnut and chrome, France, Circa 1930 Circular pedestal table, walnut veneer and chrome tubes. Modernist Art Deco, France, Circa 1930 In very ...

Art Deco Egyptian Faux Snakeskin Writing Desk Set, Ashtray & Letter Rack Measurements for the items combined

Decorated white porcelain tea service. Paintings are attributed to Giò Ponti, director and designer of Richard Ginori at the time. Manufacturing brand under the base. Teas service made of teapot, sugar bowl, milk jug, 12 small plates...

Late 1930s to early 1940s Black twill hat with brown mink trim and a wide grosgrain drape.

STUNNING! Vintage French peach silk satin and lace 1930s antique Hollywood movie star dress. The doll is French 36/38 and we have not pinned the dress...