1910s Furniture

Perfume bottle "Roses Sans Fin" made in frosted glass with sepia patina by René Lalique in 1913. Molded and engraved signature. Perfect condition. height: 8 cm Félix Marcilhac, Re...

Designed by Josef Maria Hoffman, renowed Austrian architect and industrial engineer. Made by Wiener Werkstätte Arts and crafts workshops, founded by Josef Hoffmann, Koloman Moser an...

Body blown in a model, constriction over a flush stand, then widening in the form of a belly and narrowing again to a straight, tubular neck with a straight, rounded mouth rim, verti...

Age: Circa 1910 Colors: grey, brown, burgundy, emerald green Pile: Low. Wear Notes: 5. Material: Wool on Cotton. Palace antique Mahal with a field of earthy grey and brown tone...

Brass barometer by Taylor of Rochester, NY. Patent date of August 18, 1914. Face is printed "stormy", "change", "very dry", "rain", "fair", etc.. Brass mounting ring. Circa 1914.

Pair of Chiavari chairs, made of solid gilded brass with newly upholstered seats in green water velvet. Made in Liguria in Italy.

A impressively large and unusual stoneware vase in an urn shape from the studio of Japanese Potter Makuzu Kozan, also known as Miyagawa Kozan (1842–1916), one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama circa 1870s and later became one of the appointed artist to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. This vase is dated to the end of Makuzu's life circa 1910-1916 based on similar work created around that time. After achieving domestic and international fame, Makuzu retired and handed the business to his son Hanzan in 1912. He dedicated his time to other selected projects that were more in tune with Japanese sensibility than export aesthetic. He made a group of stoneware pottery pieces inspired by Edo master like Ninsei and Kenzan as well as his own poetic creation. This piece is attributed to that period. Standing of an impressive size, this vase is more like an urn, made with stoneware instead of porcelain. It was coated with a brown iron glaze with a slight translucent quality. Underglaze whit slips were used to draw low relief decoration of bamboo leaves that sparsely scatter on the surface. Slightly more elaborate scrolling vines and autumn flowers circles under the mouth rim. Same white slip inlay was used to sign the vase under the base. The whole effect of the piece is unusual. With its dark glaze in contrast with the sparse white decoration that is more abstract and geometric than realistic, it appears almost modern with an Art Deco flavor. For stoneware urn and vase in the similar genre by Makuzu Kozan: see figure 113 on page 182 of "Sekai ni Aisa Reta ya Kimono" MIYAGAWA KOZAN MAKUZU...

This master crafted Persian Lavar Kerman carpet exemplifies the profound understanding of the artistic principles of balance and harmony that make art-level antique...

Møller & Bøgely, Denmark. Art Nouveau vase in glazed ceramics. Beautiful glaze in brown and blue shades. 1917-1920. Measures: 11.5 x 11.5 cm. In excellent condition. Stamped. La...

Antique fine quality C1910 Edwardian inlaid mahogany circular table occasional side centre window. No loose joints and no woodworm. Would...

Antique fine quality C1910 carved mahogany circular occasional, side, centre, or window table (in the manner of Gillows). No loose joints and no woodworm. A rare decorative find, ...

Lotto di sei bicchieri con coperchio a forma di cappello (tre scheggiati come da video) e una bottiglia (la bottiglia ha una crepa ma non è rotta, si nota poco e sembra che sia part...

Quality unusual antique Edwardian mahogany and satinwood inlaid display cabinet. This attractive piece has a shaped cornice top section with one large astragal door opening to reveal...

Antique Solid Silver - COIN & STAMPS COMBINATION CASE. Made in 1911, and with a full English hallmark for Birmingham 1911. With the maker's mark - W....

Outstanding quality antique Edwardian freestanding carved mahogany centre table having a fantastic quality figured mahogany crossbanded top with a quality carved edge above a carved ...

Complete and intact French doll mold in solid copper. Very early industrially used mold for production of rubber dolls. You very rarely see the body and head...

Wonderful antique brass teapot & warmer - i.e. teapot with stand and in original condition. Completely preserved original from the 1910s to 1920s....

Antique Oak Bookcase Display Cabinet - Quality Piece from the Art Nouveau era, circa 1910. This bookcase emanates timeless charm and character. Solidly constructed with no loose jo...

A gorgeous Arts & Crafts period large glazed art pottery vase with floral decoration By Rookwood Pottery USA, 1919 Glazed ceramic in a beautiful light blue color. Measures: 4.75"...

A gorgeous Arts & Crafts period copper tea kettle By Tiffany Studios (signed to the underside) USA, Circa 1910 Measures: 8.5"W x 5.25"D x 7.25"H. Very good original vintage condi...

Table petrol lighter designed by Tiffany & Co. Beautiful and unusual antique table petrol lighter, created in Paris France by the Tiffany & Co., back in the 1919. Crafted after the WWI as a trench-art piece in solid brass with high polished finish and embellished with a round flat holed piece, carved from natural white nacre. It is mounted in a round flat base and is fitted with a thumbwheel and a chained snuffer lid. This antique lighter should be a great conversation piece. Trench Art This is a term used to describe objects made from the debris and by-products of modern warfare. Trench Art is usually associated with the First World War, although similar items have been produced in other conflicts too. Most trench art was made by servicemen to pass the time when not in the front line. Weight: 124.7 Grams, (79.94 Dwt). Measurements: Diameter of 42 mm and a height of 94 (1.65 x 3.68 Inches). Hallmarks: Stamped with the maker's mark, attached with the French tax plaque Ministere Des Finances and signed, "TIFFANY & CO. FRANCE". Ministere Des Finances Lighter Tax 1911-1945 Historic Taxation Data On 10th December 1910 the French state adopted a new tax regulations on all devices indented to produce spark or fire by friction, or by any other means, and of the combustion of a flammable substance. Since 1st January 1911 every lighter in France that was intended for sale in the French market had to be taxed and adequately marked. To confirm that the excise duty was paid to the Ministry of Finance a special duty metal plate (stamp) was attached (usually welded) to the lighter by the lighter manufacturers. The fees charged by the French state were high but the tax rates levied by the state were varying depending on the type and finish of the lighter. Following tax rates were used: 2 French francs for common pocket lighters, 5 Fr for pocket lighters made of silver, 20 Fr for luxury pocket lighters made in gold, 5 Fr for common table/desk lighters (lower 10 cm), 10 Fr for table/desk lighters (over 10 cm) made of silver, 50 Fr for luxury table/desk lighters (over 10 cm) made of gold or platinum. Between 1911 and 1916 a simple cooper plate was used which had the date 1911 engraved. Later, between 1916 and 1945 a new plate (undated) was introduced with the letters "C" and "I" (stands for indirect taxes) and a profile of Mercury (patron god of financial gain, commerce and messengers) with an inscription "Ministère Des Finances" (Ministry of Finance). Two shapes were used for the plate – oval for table lighters, the other one for pocket lighters. Additional to the two duty plates a marking "BL" (Briquet de Luxe, eng. luxury lighter...

extremely rare one of a kind spice container made for the Havdalah ceremony, or maybe a snuff box, This chest shaped box is small but its adorned with the most amazing filigree work ...

Vase "Perruches" made in electric blue glass with white patina by René Lalique in 1919. Engraved signature on bottom and molded signature into the design. Perfect condition. Exce...

Circa 1920 Country House hand painted single bed with original frame & wooden castors Exceptional form, wear and colour. sku 871 W210 x D96 x H1...

George I style burled wood chest of drawers, circa 1910. With a slightly rectangular top with molded front and side edges, two top drawers over 3 lower drawers all with brass tear dr...

We are delighted to offer for sale 1 of 4 Gold gilt Sterling Silver plated, fully hallmarked for Sheffield 1919 Serving trays with engraved Armorial coat of arms crest for King George IV “His Royal Highness George Auguseue Frederick” These are truly exquisite trays, the armorial coat of arms is for King George IV, a brief history as below, these are the old set in gold gilt I have seen, they have each been fitted with a hanging tag so they are for display not use The trays are very decorative and expertly made, the Armorial coat of arms must have cost quite a pretty penny to have the press made. Each tray is fully hallmarked for the sideways facing Lion for Sterling Silver, the Queens Crown for Sheffield made and the date letter A for 1919 The condition of each tray is good, some have more wear and light discolouration than others as you would expect from 100+ year old pieces, there will be normal honest patina front and back, none have any chips or damage Dimensions Height:- 50cm Width:- 50cm Depth:- 3cm Please note all measurements are taken at the widest point George IV (George Augustus Frederick; 12 August 1762 – 26 June 1830) was King of the United Kingdom of Great Britain and Ireland and King of Hanover from the death of his father, King George III, on 29 January 1820 until his own death ten years later. He had already been serving as Prince Regent since 5 February 1811, during his father's final mental illness. George IV was the eldest child of King George III and Queen Charlotte. He led an extravagant lifestyle that contributed to the fashions of the Regency era. He was a patron of new forms of leisure, style and taste. He commissioned John Nash to build the Royal Pavilion in Brighton and remodel Buckingham Palace, and commissioned Jeffry Wyatville to rebuild Windsor Castle. George's charm and culture earned him the title "the first gentleman of England", but his dissolute way of life and poor relationships with his parents and his wife, Caroline of Brunswick, earned him the contempt of the people and dimmed the prestige of the monarchy. He excluded Caroline from his coronation and asked the government to introduce the unpopular Pains and Penalties Bill in an unsuccessful attempt to divorce her. Despite presiding over the British Empire's emergence as a global hegemon, his rule was tarnished by scandal and financial extravagance. His ministers found his behaviour selfish, unreliable and irresponsible, and he was strongly influenced by favourites. During most of George's regency and reign, Lord Liverpool controlled the government as Prime Minister of the United Kingdom. Liverpool's government presided over Britain's ultimate victory over Napoleon and negotiated a peace settlement with the French. After Liverpool's retirement, George IV was forced to accept Catholic emancipation...

An art deco desk clock with blue enamel. This is an exceptional desk clock, made in Switzerland during the art deco period, around the 1915. The craftsmanship of this beautiful desk...

Pair of Thonet Vienna Secession side chairs. Stained beechwood frames with caned seats.

Bedside tables from the beginning of the 20th century with a stone top. Dimensions: height 73 cm / width 42 cm / depth 27 cm

Antique Louis XV French marquetry marble night stands, side tables or bedside tables. Beautiful walnut and fruitwood, having serpentine marble tops above two inlaid and dovetailed fl...

The top of this English satinwood console cabinet has book matched quarter panels that are cross banded with mahogany with inlay behind the banding. ...

Egyptian revival Pharaoh sarcophagus pencil designed by Hans Aigner. Fantastic miniature pendant-pencil, created at the silversmith atelier of Hans...

This lovely antique French Art Nouveau wood commode or nightstand was designed by Louis Majorelle and made in Nancy, France circa 1910-1920. This exceptional, museum-quality cabinet ...

Pretty solid oak entrance cloakroom / Hall Stand / hat stand / coat stand decorated with a beveled mirror and 2 ceramic tiles. Small storage box. 4 hooks. Good condition. Art Nouve...

Completely restored, brass refinished, new textile on central rod. Blown opaline glass white shades. Rewired: 5x60W, E25-E27 bulbs. US wiring compatible.

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

Antique quality Art Nouveau C1910 oak bookcase. Full of age, charm and character. Solid, with no loose joints and no woodworm. Would look amazing in the right location! Overall m...

Beautiful wooden folding screen painted in imitation of marquetry. Inspired by the work of Emile Gallé. Signed Setbon. France, Circa 1910. Good condition, small traces of use. Dime...

English Silver Cigarette Case Birmingham 1911, Joseph Gloster Ltd. Slightly concave rectangular shape case; front, reverse and outside borde...

In this listing you will find a gorgeous Art Nouveau or Vienna Secession chandelier. It is done in polished brass with beautiful relief and the milk dome in the center. The chandelie...

This elegant 1915 French mirror is a real gem. With its measurements of 36 cm x 17 cm, it is perfect for decorating any space with a touch of Classic and sophisticated style. Despite having a slightly open corner...

A good and unusual antique American Art Nouveau/ Craftsman/ Mission bronze and slag glass lamp, Circa 1910. The twin light lamp having a helmet shaped shade with filigree work and is inset with striated caramel and blue slag glass...

A miniature travel clock designed by R. Vachet Paris. Exceptional and very rare miniature travel-carriage clock, made in Paris France at the atelier of R. Vachet. This fabulous litt...

A guilloche enameled round box with flowers Beautiful enameled box, created in Pforzheim Germany, during the art deco period back in the 1915-20 This beautiful box was carefully cra...

Antique fine quality Georgian revival bowfront mahogany bedside table C1910. A fantastic piece with quality and style. Drawers slide freely. Attractive line inlays to the edge of t...

A gorgeous antique Arts & Crafts period picture frame By Tiffany Studios New York, USA, Early 20th Century Gilt bronze in iconic grapevine pattern, with beautiful slag glass. Mea...

Step into a world of refined elegance with our Spanish-style dining table, a masterful representation of 1850s design and craftsmanship. Expertly handcrafted from solid wood and brou...

Antique large quality Oriental Japanese bronze champleve enamel Jardiniere planter bowl C1910 Meiji Period. Would look amazing in the right location. Rare large size and design. ...

Beech bentwood Thonet Nr. 1 first time mentioned in the catalogue from the 1880s. This one is from 1910s-1920s. Chair is fully restored, walnut stained and shellack polished with ne...

Salt cellar designed by Atkin Brothers Co. An Edwardian neoclassical salt cellar with a spoon created in the city of Sheffield England by the Atkin Brothers, back in the 1912. Cra...

Antique quality oval Art Nouveau copper and brass overmantle or wall mirror, circa 1910. This is a lovely mirror in a great frame in very good condit...

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

Brass hospital bedside cabinet with marble top and oak drawer. Nice details on the sides and front. Produced in the 1910's in germany.

A gorgeous Arts & Crafts period glazed ceramic art pottery handled bowl, catchall, or ashtray By Rookwood Pottery USA, 1919 Glazed ceramic, in a beautiful pink color. Measures: 5...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Statuette of a naked woman sitting in patinated plaster of Paris; plaster of Paris, is a very resistant material, used since ancient times, it was used by the ancient Egyptians as a binder in the construction of the pyramids and is used in sculpture for its strength, the name is linked to the ancient quarries of Montmartre in Paris; the statue is a work of the famous Belgian sculptor and bronze artist Joseph Zomers which he executed between 1915 and 1920 and whose signature is on the pedestal. The woman is represented posing with ill-concealed malice and shows without reticence her body with a thin erotic veil, the artist has not executed the face precisely to accentuate a mysterious charm; it is a figure of harmonic proportions that takes into greater consideration the erotic connotations, however, a refined and elegant eroticism that presents itself in a courteous manner, subtle and suggestive but at the same time provocative and irreverent; the woman, in her most intimate dimension, as a naked presence, defenseless but seductive, becomes the embodiment of the poetic essence of the artist, the emblematic figure of his aesthetics. It is an object in perfect Art Nouveau style (Jugendstil), in fact, many artists of this current used eroticism as their work, portraying women as ethereal and fatal beings, letting themselves be inspired by "le beau sexe" thanks to their naked forms, soft and seductive. Joseph Zomers was born in Liege in Belgium in 1895 and died in 1928; he studied art in Maredsous (Belgium), many of his works are permanently exhibited at the Musèe de Liège; Zomers is well known for his public monument "Tchantchès" in Liege. This great work in stone and bronze is located in the Otremeuse district in Rue Pont-Saint-Nicolas; designed by Joseph Zomers, the statue represents a "hiercheuse", the name was given to the women who pulled the carts in the mine, a tribute to those valiant young people vilified and victims of the exploitation of women's labor, the woman holds aloft the puppet of Tchantchès. Tchantchès is the name given to a puppet that appeared in Liège in the 19th century. The popular character, Tchantchès became over time the archetype of the goodman of Liege, witty and good-natured, wise and subtle, quick to find resolutions and fertile in resources, when he is depressed, he recovers with a joke that reveals the popular Walloon citizen, mocking and sentimental. It was therefore fitting to erect a monument to these two popular and significant symbols of the proud city...

Superb eclectic Belle Époque / Rococo / Art Nouveau chest of drawers. In solid carved oak with red marble top and brass handles. It has 4 drawers including 1 “secret” drawer. Keys pr...

Antique dressing table from the beginning of the 20th century. Dimensions: H 146 cm / W 117 cm / D. 58 cm.

A stylish dress cane or women's walking stick. Its made from black lacquered wood and features an ornamented handle in Alpacca Silver. Fully hallmarked from...