Mid C20th, Australian, Art Deco, CHROME and BAKELITE SMOKER’S STAND / STANDARD LAMP: Ashtray cover off
Standing on four ribbed chrome pad feet under a circular brown Bakelite base. The octagonal scalloped lower leading to reverse tapering reeded cover below the table. 360 degree swivelling chrome ashtray with Bakelite knob to ashtray cover present; matchbox holder with fan motif to the side. The Bakelite table with a ringed surface and chrome outer edge. A plain, round, chrome riser below the tapering fluted Bakelite support for the original Bakelite switch and holder. Sculptural, semi beehive glass shade marbled pink and white. The table 44 cm diameter; 52 cm over ashtray. Height to upper edge of gallery 147cm, total height with this shade 170cm. Minor scuff marks to Bakelite; the slightest of pits to the chrome. All Bakelite and chrome are original. New gallery and professionally rewired.
Mid C20th, Australian, Art Deco, CHROME and BAKELITE SMOKER’S STAND / STANDARD LAMP: Ashtray cover off
Standing on four ribbed chrome pad feet under a circular brown Bakelite base. The octagonal scalloped lower leading to reverse tapering reeded cover below the table. 360 degree swivelling chrome ashtray with Bakelite knob to ashtray cover present; matchbox holder with fan motif to the side. The Bakelite table with a ringed surface and chrome outer edge. A plain, round, chrome riser below the tapering fluted Bakelite support for the original Bakelite switch and holder. Sculptural, semi beehive glass shade marbled pink and white. The table 44 cm diameter; 52 cm over ashtray. Height to upper edge of gallery 147cm, total height with this shade 170cm. Minor scuff marks to Bakelite; the slightest of pits to the chrome. All Bakelite and chrome are original. New gallery and professionally rewired.
Mid C20th, Australian, Art Deco, CHROME and BAKELITE SMOKER’S STAND / STANDARD LAMP
Standing on four ribbed chrome pad feet under a circular brown Bakelite base. The octagonal scalloped lower leading to reverse tapering reeded cover below the table. 360 degree swivelling chrome ashtray with Bakelite knob to ashtray cover present; matchbox holder with fan motif to the side. The Bakelite table with a ringed surface and chrome outer edge. A plain, round, chrome riser below the tapering fluted Bakelite support for the original Bakelite switch and holder. Sculptural, semi beehive glass shade marbled pink and white. The table 44 cm diameter; 52 cm over ashtray. Height to upper edge of gallery 147cm, total height with this shade 170cm. Minor scuff marks to Bakelite; the slightest of pits to the chrome. All Bakelite and chrome are original. New gallery and professionally rewired.
Mid C20th, Australian, Art Deco, CHROME and BAKELITE SMOKER’S STAND / STANDARD LAMP
Standing on four ribbed chrome pad feet under a circular brown Bakelite base. The octagonal scalloped lower leading to reverse tapering reeded cover below the table. 360 degree swivelling chrome ashtray with Bakelite knob to ashtray cover present; matchbox holder with fan motif to the side. The Bakelite table with a ringed surface and chrome outer edge. A plain, round, chrome riser below the tapering fluted Bakelite support for the original Bakelite switch and holder. Sculptural, semi beehive glass shade marbled pink and white. The table 44 cm diameter; 52 cm over ashtray. Height to upper edge of gallery 147cm, total height with this shade 170cm. Minor scuff marks to Bakelite; the slightest of pits to the chrome. All Bakelite and chrome are original. New gallery and professionally rewired.
Mid C20th, Australian, Art Deco, CHROME and BAKELITE SMOKER’S STAND / STANDARD LAMPVintage Bakelite Switch
Standing on four ribbed chrome pad feet under a circular brown Bakelite base. The octagonal scalloped lower leading to reverse tapering reeded cover below the table. 360 degree swivelling chrome ashtray with Bakelite knob to ashtray cover present; matchbox holder with fan motif to the side. The Bakelite table with a ringed surface and chrome outer edge. A plain, round, chrome riser below the tapering fluted Bakelite support for the original Bakelite switch and holder. Sculptural, semi beehive glass shade marbled pink and white. The table 44 cm diameter; 52 cm over ashtray. Height to upper edge of gallery 147cm, total height with this shade 170cm. Minor scuff marks to Bakelite; the slightest of pits to the chrome. All Bakelite and chrome are original. New gallery and professionally rewired.
Art Deco Decanter by Karl Palda
1930s Bohemian Art Deco Decanter by Karl Palda. Multifaceted with precisely engraved edges to the green and matte Zig Zag decoration. Acid etched “23” inside the neck of the decanter. The firm of Karl Palda was founded in 1888 in Haida, Nový Bor, Bohemia. Little is known of their development but from their 50th anniversary catalogue of 1938 - which showed a huge range of glassware - it is obvious that they co-operated closely with glass schools and other manufacturers and were well-respected makers of high quality glassware. 22 cm high, 19 cm wide; 9.5 cm deep.
Art Deco Decanter by Karl Palda
1930s Bohemian Art Deco Decanter by Karl Palda. Multifaceted with precisely engraved edges to the green and matte Zig Zag decoration. Acid etched “23” inside the neck of the decanter. The firm of Karl Palda was founded in 1888 in Haida, Nový Bor, Bohemia. Little is known of their development but from their 50th anniversary catalogue of 1938 - which showed a huge range of glassware - it is obvious that they co-operated closely with glass schools and other manufacturers and were well-respected makers of high quality glassware. 22 cm high, 19 cm wide; 9.5 cm deep.
Art Deco Gilt Bronze Desk Set: Mythical stork seal
Art Deco, 1930s, French inspired, gilt bronze desk set signed Clem comprising a 26 cm long, letter opener decorated with a detailed, well sculpted mythological stork accompanied by a seal showing the same bird sculpted in the round, the seal being vacant.
Age consistent wear to original fitted case. Clemente Spampinato was born in Calabria, Italy in 1912. While being schooled in the classical arts in Rome, he developed a keen love for both art and athletics. He befriended many of Italy's top-flight athletes including the great Olympic Champions. In the 1930s & '40s he was commissioned to sculpt many Bronze Trophies and Medallions for the Olympics and other Italian sporting events. In 1947 he became an American citizen and lived and work prolifically there until his death in Sea Cliff New York in 1993.
Art Deco Gilt Bronze Desk Set
Art Deco, 1930s, French inspired, gilt bronze desk set signed Clem comprising a 26 cm long, letter opener decorated with a detailed, well sculpted mythological stork accompanied by a seal showing the same bird sculpted in the round, the seal being vacant.
Age consistent wear to original fitted case. Clemente Spampinato was born in Calabria, Italy in 1912. While being schooled in the classical arts in Rome, he developed a keen love for both art and athletics. He befriended many of Italy's top-flight athletes including the great Olympic Champions. In the 1930s & '40s he was commissioned to sculpt many Bronze Trophies and Medallions for the Olympics and other Italian sporting events. In 1947 he became an American citizen and lived and work prolifically there until his death in Sea Cliff New York in 1993.
Art Deco Gilt Bronze Desk Set: detail with artist mark
Art Deco, 1930s, French inspired, gilt bronze desk set signed Clem comprising a 26 cm long, letter opener decorated with a detailed, well sculpted mythological stork accompanied by a seal showing the same bird sculpted in the round, the seal being vacant.
Age consistent wear to original fitted case. Clemente Spampinato was born in Calabria, Italy in 1912. While being schooled in the classical arts in Rome, he developed a keen love for both art and athletics. He befriended many of Italy's top-flight athletes including the great Olympic Champions. In the 1930s & '40s he was commissioned to sculpt many Bronze Trophies and Medallions for the Olympics and other Italian sporting events. In 1947 he became an American citizen and lived and work prolifically there until his death in Sea Cliff New York in 1993.
French Art Deco Opalescent Decorative Glass Bowl
French, 1930s, Art Deco, opalescent glass, Starfish and Seaweed design bowl impressed MADE IN FRANCE to base. Possibly made by André Hunebelle (1896-1985) master glass maker and film director.
Has tiny nibble to rim otherwise fine with good, strong opalescence. Circa 30.5 cm diameter x 8.5 cm high.
French Art Deco Opalescent Decorative Glass Bowl: contrasting background
French, 1930s, Art Deco, opalescent glass, Starfish and Seaweed design bowl impressed MADE IN FRANCE to base. Possibly made by André Hunebelle (1896-1985) master glass maker and film director.
Has tiny nibble to rim otherwise fine with good, strong opalescence. Circa 30.5 cm diameter x 8.5 cm high.
French Art Deco Opalescent Decorative Glass Bowl: markings
French, 1930s, Art Deco, opalescent glass, Starfish and Seaweed design bowl impressed MADE IN FRANCE to base. Possibly made by André Hunebelle (1896-1985) master glass maker and film director.
Has tiny nibble to rim otherwise fine with good, strong opalescence. Circa 30.5 cm diameter x 8.5 cm high.
Art Deco Wall Mirror
A rather stunning, probably Australian, Art Deco Wall Mirror of segmented glass with gilded gesso decoration. Circa 120 x 45 cm.
Is it an Owl or is it a Cat?
Art Deco Wall Mirror: detail
A rather stunning, probably Australian, Art Deco Wall Mirror of segmented glass with gilded gesso decoration. Circa 120 x 45 cm.
Is it an Owl or is it a Cat?
Art Deco Wall Mirror: detail
A rather stunning, probably Australian, Art Deco Wall Mirror of segmented glass with gilded gesso decoration. Circa 120 x 45 cm.
Is it an Owl or is it a Cat?
Art Deco Display Cabinet
Early C20th, Art Deco display cabinet with three astragal glazed doors to the front with the centre one a half circle arch.Plain glazed sides, two glass shelves, cloth lining to base and back. Probably Australian made.
Length 122 cm, height 141 cm , depth 32 cm.
Displayed in the middle shelf are 1930s, Art Deco, Arzberg, Germany, cream porcelain with Platinum rim breakfast set designed by Hermann Gretsch. Top and bottom shelf contain Art Deco, Fostoria USA, George Sakier designed black glass “Mayfair” plates and the black and clear “Comet” glasses.
Circa 1920s, Beard Watson Sideboard: maker's stamp
Circa 1920s, Beard Watson Sideboard stamped Beard Watson Sydney 58826 to top front board of one small drawer. There is a less elaborate sibling in this design at the Powerhouse Museum in Sydney.
Probably Maple and showing something akin to fiddleback grain pattern and typical maple colour. Two short drawers over one long drawer above a pair of small, panelled doors to centre. The sides canted, with full height and matching panelling to small centre doors over single shelf. The whole on square block feet with arched apron between. The top backboard mirrored below a full width shelf itself also with an arched top backboard. 168 cm wide x 68 cm deep x 140 cm high “as found”
Circa 1920s, Beard Watson Sideboard
Circa 1920s, Beard Watson Sideboard stamped Beard Watson Sydney 58826 to top front board of one small drawer. There is a less elaborate sibling in this design at the Powerhouse Museum in Sydney.
Probably Maple and showing something akin to fiddleback grain pattern and typical maple colour. Two short drawers over one long drawer above a pair of small, panelled doors to centre. The sides canted, with full height and matching panelling to small centre doors over single shelf. The whole on square block feet with arched apron between. The top backboard mirrored below a full width shelf itself also with an arched top backboard. 168 cm wide x 68 cm deep x 140 cm high “as found”
Circa 1920s, Beard Watson Sideboard
Circa 1920s, Beard Watson Sideboard stamped Beard Watson Sydney 58826 to top front board of one small drawer. There is a less elaborate sibling in this design at the Powerhouse Museum in Sydney.
Probably Maple and showing something akin to fiddleback grain pattern and typical maple colour. Two short drawers over one long drawer above a pair of small, panelled doors to centre. The sides canted, with full height and matching panelling to small centre doors over single shelf. The whole on square block feet with arched apron between. The top backboard mirrored below a full width shelf itself also with an arched top backboard. 168 cm wide x 68 cm deep x 140 cm high “as found”
Circa 1920s, Beard Watson Sideboard
Circa 1920s, Beard Watson Sideboard stamped Beard Watson Sydney 58826 to top front board of one small drawer. There is a less elaborate sibling in this design at the Powerhouse Museum in Sydney.
Probably Maple and showing something akin to fiddleback grain pattern and typical maple colour. Two short drawers over one long drawer above a pair of small, panelled doors to centre. The sides canted, with full height and matching panelling to small centre doors over single shelf. The whole on square block feet with arched apron between. The top backboard mirrored below a full width shelf itself also with an arched top backboard. 168 cm wide x 68 cm deep x 140 cm high “as found”
Art Deco Breakfast Setting: Marking
Art Deco breakfast setting for four people in cream porcelain with platinum highlight by Arzberg of Germany. This setting was made in the 1930/40s. The shape number 1382 was designed in 1931 by Hermann Gretsch (1895-1950) and is still in production today but not in this colourway. Examples are held in the V & A (London) and NGV (Melbourne) among other institutions.
Art Deco Breakfast Setting: Lidded Sugar Pot
Art Deco breakfast setting for four people in cream porcelain with platinum highlight by Arzberg of Germany. This setting was made in the 1930/40s. The shape number 1382 was designed in 1931 by Hermann Gretsch (1895-1950) and is still in production today but not in this colourway. Examples are held in the V & A (London) and NGV (Melbourne) among other institutions.
Art Deco Breakfast Setting: Egg Cup
Art Deco breakfast setting for four people in cream porcelain with platinum highlight by Arzberg of Germany. This setting was made in the 1930/40s. The shape number 1382 was designed in 1931 by Hermann Gretsch (1895-1950) and is still in production today but not in this colourway. Examples are held in the V & A (London) and NGV (Melbourne) among other institutions.
Art Deco Breakfast Setting: Cup and Saucer
Art Deco breakfast setting for four people in cream porcelain with platinum highlight by Arzberg of Germany. This setting was made in the 1930/40s. The shape number 1382 was designed in 1931 by Hermann Gretsch (1895-1950) and is still in production today but not in this colourway. Examples are held in the V & A (London) and NGV (Melbourne) among other institutions.
Art Deco Breakfast Setting: Lidded Butter Dish
Art Deco breakfast setting for four people in cream porcelain with platinum highlight by Arzberg of Germany. This setting was made in the 1930/40s. The shape number 1382 was designed in 1931 by Hermann Gretsch (1895-1950) and is still in production today but not in this colourway. Examples are held in the V & A (London) and NGV (Melbourne) among other institutions.
Art Deco Breakfast Setting: Master Bowl and Breakfast Bowl
Art Deco breakfast setting for four people in cream porcelain with platinum highlight by Arzberg of Germany. This setting was made in the 1930/40s. The shape number 1382 was designed in 1931 by Hermann Gretsch (1895-1950) and is still in production today but not in this colourway. Examples are held in the V & A (London) and NGV (Melbourne) among other institutions.
Art Deco Breakfast Setting: Coffee Pot
Art Deco breakfast setting for four people in cream porcelain with platinum highlight by Arzberg of Germany. This setting was made in the 1930/40s. The shape number 1382 was designed in 1931 by Hermann Gretsch (1895-1950) and is still in production today but not in this colourway. Examples are held in the V & A (London) and NGV (Melbourne) among other institutions.
Hester Margaret Sainsbury Hand Painted Copper Plate Engravings 5
Hester Margaret Sainsbury (1890-1967), British artist, dancer, poet and illustrator. These are from a series of hand painted copper plate engravings she made between 1927 and 1930 for the 12 volumes of Eastern Love, a collection of texts on love and sex translated by the orientalist and erotic aesthete Edward Powys Mathers. Hester Sainsbury illustrated books for the Favil Press which was run by her family. She then illustrated books for the Cayme Press founded by her brother Philip in 1922. Her skills were much admired by Robert Gibbings who in 1928 commissioned her to illustrate The Ladies Pocketbook of Etiquette for the Golden Cockerell Press. She created engravings in both copper and wood and was noted for her decorative use of colour and for her powerful treatment of light and shade. Hester Sainsbury had a passionate relationship with the Japanese playwright Torahiko Kori (1890-1926) from 1917 until his death from TB in 1926. She later married the Vorticist painter Frederick Etchells who was one of the founding members of the Omega Workshops.
Ref: The Max Boehme Gallery, Gloucestershire, UK
Hester Margaret Sainsbury Hand Painted Copper Plate Engravings 4
Hester Margaret Sainsbury (1890-1967), British artist, dancer, poet and illustrator. These are from a series of hand painted copper plate engravings she made between 1927 and 1930 for the 12 volumes of Eastern Love, a collection of texts on love and sex translated by the orientalist and erotic aesthete Edward Powys Mathers. Hester Sainsbury illustrated books for the Favil Press which was run by her family. She then illustrated books for the Cayme Press founded by her brother Philip in 1922. Her skills were much admired by Robert Gibbings who in 1928 commissioned her to illustrate The Ladies Pocketbook of Etiquette for the Golden Cockerell Press. She created engravings in both copper and wood and was noted for her decorative use of colour and for her powerful treatment of light and shade. Hester Sainsbury had a passionate relationship with the Japanese playwright Torahiko Kori (1890-1926) from 1917 until his death from TB in 1926. She later married the Vorticist painter Frederick Etchells who was one of the founding members of the Omega Workshops.
Ref: The Max Boehme Gallery, Gloucestershire, UK
Hester Margaret Sainsbury Hand Painted Copper Plate Engravings 3
Hester Margaret Sainsbury (1890-1967), British artist, dancer, poet and illustrator. These are from a series of hand painted copper plate engravings she made between 1927 and 1930 for the 12 volumes of Eastern Love, a collection of texts on love and sex translated by the orientalist and erotic aesthete Edward Powys Mathers. Hester Sainsbury illustrated books for the Favil Press which was run by her family. She then illustrated books for the Cayme Press founded by her brother Philip in 1922. Her skills were much admired by Robert Gibbings who in 1928 commissioned her to illustrate The Ladies Pocketbook of Etiquette for the Golden Cockerell Press. She created engravings in both copper and wood and was noted for her decorative use of colour and for her powerful treatment of light and shade. Hester Sainsbury had a passionate relationship with the Japanese playwright Torahiko Kori (1890-1926) from 1917 until his death from TB in 1926. She later married the Vorticist painter Frederick Etchells who was one of the founding members of the Omega Workshops.
Ref: The Max Boehme Gallery, Gloucestershire, UK
Hester Margaret Sainsbury Hand Painted Copper Plate Engravings 2
Hester Margaret Sainsbury (1890-1967), British artist, dancer, poet and illustrator. These are from a series of hand painted copper plate engravings she made between 1927 and 1930 for the 12 volumes of Eastern Love, a collection of texts on love and sex translated by the orientalist and erotic aesthete Edward Powys Mathers. Hester Sainsbury illustrated books for the Favil Press which was run by her family. She then illustrated books for the Cayme Press founded by her brother Philip in 1922. Her skills were much admired by Robert Gibbings who in 1928 commissioned her to illustrate The Ladies Pocketbook of Etiquette for the Golden Cockerell Press. She created engravings in both copper and wood and was noted for her decorative use of colour and for her powerful treatment of light and shade. Hester Sainsbury had a passionate relationship with the Japanese playwright Torahiko Kori (1890-1926) from 1917 until his death from TB in 1926. She later married the Vorticist painter Frederick Etchells who was one of the founding members of the Omega Workshops.
Ref: The Max Boehme Gallery, Gloucestershire, UK
Hester Margaret Sainsbury Hand Painted Copper Plate Engravings 1
Hester Margaret Sainsbury (1890-1967), British artist, dancer, poet and illustrator. These are from a series of hand painted copper plate engravings she made between 1927 and 1930 for the 12 volumes of Eastern Love, a collection of texts on love and sex translated by the orientalist and erotic aesthete Edward Powys Mathers. Hester Sainsbury illustrated books for the Favil Press which was run by her family. She then illustrated books for the Cayme Press founded by her brother Philip in 1922. Her skills were much admired by Robert Gibbings who in 1928 commissioned her to illustrate The Ladies Pocketbook of Etiquette for the Golden Cockerell Press. She created engravings in both copper and wood and was noted for her decorative use of colour and for her powerful treatment of light and shade. Hester Sainsbury had a passionate relationship with the Japanese playwright Torahiko Kori (1890-1926) from 1917 until his death from TB in 1926. She later married the Vorticist painter Frederick Etchells who was one of the founding members of the Omega Workshops.
Ref: The Max Boehme Gallery, Gloucestershire, UK
Art Deco Costume Jewellery 11
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 4
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 5
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 6
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 7
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 8
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 9
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 10
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 3
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 13
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 14
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Costume Jewellery 15
A selection from our stock of circa 1920/1930s, Art Deco, Costume Jewellery dress clips, fur clips, pins and brooches.
Art Deco Ceiling Light by Charles Schneider
An absolutely stunning, ART DECO, CEILING LIGHT by CHARLES SCHNEIDER, FRANCE. The hexagonal ceiling cap, the flats cast with stylised flower heads, tapering to a cylindrical round, cast with overlapping pointy leaves and continues into a geometrical embossed waist. It then opens into a circular mouth embossed with panels of flower heads. From this emanate three, articulated, hexagonal tubes (one concealing the electrical power cable) which form the suspension to the circular, 35cm diameter, vivid “electric blue” light bowl. The upper rim of the bowl bears the cast mark SCHNEIDER FRANCE (model) 1027. Below the rim is a band of stepped triangles interspersed by circular ‘fish scales’. From these emanate geometric lightning bolts over stepped flats interspersed with stylised flower heads, towards the domed central hub where fish scales are repeated. Originally from a stylish 1920s Sydney residence, bought and sold by us 10 years ago and repurchased by us recently.
All original metal suspension etc. bronzed to bare metal colour; glass with age conforming minor nibbles. Total drop circa 80 cm. Charles Schneider and his brother Ernest were both working with glass in Nancy, the artistic centre of France, just after the turn of the C20th. In addition Charles also trained and worked with metal and painted.
They started a business together in 1913 when they bought a small glass factory but this was very soon interrupted by the outbreak of war. They reopened their factory after the war making the Art Nouveau designs which were still popular. They moved into Art Glass and employed all the newest designs and techniques which were developing at this time. The business grew quickly through the 1920s and they sold to the European market and exported to America. After the Wall Street crash of 1929 business dropped off significantly and, although it existed until the 1950s, it never regained the size and creativity which it had had through the 1920s when 500 people were in their employ.
Art Deco Ceiling Light by Charles Schneider: ceiling cap and suspension
An absolutely stunning, ART DECO, CEILING LIGHT by CHARLES SCHNEIDER, FRANCE. The hexagonal ceiling cap, the flats cast with stylised flower heads, tapering to a cylindrical round, cast with overlapping pointy leaves and continues into a geometrical embossed waist. It then opens into a circular mouth embossed with panels of flower heads. From this emanate three, articulated, hexagonal tubes (one concealing the electrical power cable) which form the suspension to the circular, 35cm diameter, vivid “electric blue” light bowl. The upper rim of the bowl bears the cast mark SCHNEIDER FRANCE (model) 1027. Below the rim is a band of stepped triangles interspersed by circular ‘fish scales’. From these emanate geometric lightning bolts over stepped flats interspersed with stylised flower heads, towards the domed central hub where fish scales are repeated. Originally from a stylish 1920s Sydney residence, bought and sold by us 10 years ago and repurchased by us recently.
All original metal suspension etc. bronzed to bare metal colour; glass with age conforming minor nibbles. Total drop circa 80 cm. Charles Schneider and his brother Ernest were both working with glass in Nancy, the artistic centre of France, just after the turn of the C20th. In addition Charles also trained and worked with metal and painted.
They started a business together in 1913 when they bought a small glass factory but this was very soon interrupted by the outbreak of war. They reopened their factory after the war making the Art Nouveau designs which were still popular. They moved into Art Glass and employed all the newest designs and techniques which were developing at this time. The business grew quickly through the 1920s and they sold to the European market and exported to America. After the Wall Street crash of 1929 business dropped off significantly and, although it existed until the 1950s, it never regained the size and creativity which it had had through the 1920s when 500 people were in their employ.
Art Deco Ceiling Light by Charles Schneider: bowl illuminated
An absolutely stunning, ART DECO, CEILING LIGHT by CHARLES SCHNEIDER, FRANCE. The hexagonal ceiling cap, the flats cast with stylised flower heads, tapering to a cylindrical round, cast with overlapping pointy leaves and continues into a geometrical embossed waist. It then opens into a circular mouth embossed with panels of flower heads. From this emanate three, articulated, hexagonal tubes (one concealing the electrical power cable) which form the suspension to the circular, 35cm diameter, vivid “electric blue” light bowl. The upper rim of the bowl bears the cast mark SCHNEIDER FRANCE (model) 1027. Below the rim is a band of stepped triangles interspersed by circular ‘fish scales’. From these emanate geometric lightning bolts over stepped flats interspersed with stylised flower heads, towards the domed central hub where fish scales are repeated. Originally from a stylish 1920s Sydney residence, bought and sold by us 10 years ago and repurchased by us recently.
All original metal suspension etc. bronzed to bare metal colour; glass with age conforming minor nibbles. Total drop circa 80 cm. Charles Schneider and his brother Ernest were both working with glass in Nancy, the artistic centre of France, just after the turn of the C20th. In addition Charles also trained and worked with metal and painted.
They started a business together in 1913 when they bought a small glass factory but this was very soon interrupted by the outbreak of war. They reopened their factory after the war making the Art Nouveau designs which were still popular. They moved into Art Glass and employed all the newest designs and techniques which were developing at this time. The business grew quickly through the 1920s and they sold to the European market and exported to America. After the Wall Street crash of 1929 business dropped off significantly and, although it existed until the 1950s, it never regained the size and creativity which it had had through the 1920s when 500 people were in their employ.
Art Deco Ceiling Light by Charles Schneider: bowl not illuminated
An absolutely stunning, ART DECO, CEILING LIGHT by CHARLES SCHNEIDER, FRANCE. The hexagonal ceiling cap, the flats cast with stylised flower heads, tapering to a cylindrical round, cast with overlapping pointy leaves and continues into a geometrical embossed waist. It then opens into a circular mouth embossed with panels of flower heads. From this emanate three, articulated, hexagonal tubes (one concealing the electrical power cable) which form the suspension to the circular, 35cm diameter, vivid “electric blue” light bowl. The upper rim of the bowl bears the cast mark SCHNEIDER FRANCE (model) 1027. Below the rim is a band of stepped triangles interspersed by circular ‘fish scales’. From these emanate geometric lightning bolts over stepped flats interspersed with stylised flower heads, towards the domed central hub where fish scales are repeated. Originally from a stylish 1920s Sydney residence, bought and sold by us 10 years ago and repurchased by us recently.
All original metal suspension etc. bronzed to bare metal colour; glass with age conforming minor nibbles. Total drop circa 80 cm. Charles Schneider and his brother Ernest were both working with glass in Nancy, the artistic centre of France, just after the turn of the C20th. In addition Charles also trained and worked with metal and painted.
They started a business together in 1913 when they bought a small glass factory but this was very soon interrupted by the outbreak of war. They reopened their factory after the war making the Art Nouveau designs which were still popular. They moved into Art Glass and employed all the newest designs and techniques which were developing at this time. The business grew quickly through the 1920s and they sold to the European market and exported to America. After the Wall Street crash of 1929 business dropped off significantly and, although it existed until the 1950s, it never regained the size and creativity which it had had through the 1920s when 500 people were in their employ.
Art Deco Ceiling Light by Charles Schneider: cast mark
An absolutely stunning, ART DECO, CEILING LIGHT by CHARLES SCHNEIDER, FRANCE. The hexagonal ceiling cap, the flats cast with stylised flower heads, tapering to a cylindrical round, cast with overlapping pointy leaves and continues into a geometrical embossed waist. It then opens into a circular mouth embossed with panels of flower heads. From this emanate three, articulated, hexagonal tubes (one concealing the electrical power cable) which form the suspension to the circular, 35cm diameter, vivid “electric blue” light bowl. The upper rim of the bowl bears the cast mark SCHNEIDER FRANCE (model) 1027. Below the rim is a band of stepped triangles interspersed by circular ‘fish scales’. From these emanate geometric lightning bolts over stepped flats interspersed with stylised flower heads, towards the domed central hub where fish scales are repeated. Originally from a stylish 1920s Sydney residence, bought and sold by us 10 years ago and repurchased by us recently.
All original metal suspension etc. bronzed to bare metal colour; glass with age conforming minor nibbles. Total drop circa 80 cm. Charles Schneider and his brother Ernest were both working with glass in Nancy, the artistic centre of France, just after the turn of the C20th. In addition Charles also trained and worked with metal and painted.
They started a business together in 1913 when they bought a small glass factory but this was very soon interrupted by the outbreak of war. They reopened their factory after the war making the Art Nouveau designs which were still popular. They moved into Art Glass and employed all the newest designs and techniques which were developing at this time. The business grew quickly through the 1920s and they sold to the European market and exported to America. After the Wall Street crash of 1929 business dropped off significantly and, although it existed until the 1950s, it never regained the size and creativity which it had had through the 1920s when 500 people were in their employ.
Dressing or Vanity Case: marking
The outer cover of pigskin and the lining of taffeta with leather straps and brackets to hold the Art Deco design hallmarked sterling silver and crystal fittings which provide and hold the essentials for a lady when not at her own home. Marked for London 1946-47, maker T P unknown; externally 31.5 x 22 x 11.5 cm.
Dressing or Vanity Case: silver detail
The outer cover of pigskin and the lining of taffeta with leather straps and brackets to hold the Art Deco design hallmarked sterling silver and crystal fittings which provide and hold the essentials for a lady when not at her own home. Marked for London 1946-47, maker T P unknown; externally 31.5 x 22 x 11.5 cm.
Dressing or Vanity Case: bottom section
The outer cover of pigskin and the lining of taffeta with leather straps and brackets to hold the Art Deco design hallmarked sterling silver and crystal fittings which provide and hold the essentials for a lady when not at her own home. Marked for London 1946-47, maker T P unknown; externally 31.5 x 22 x 11.5 cm.
Dressing or Vanity Case: top section
The outer cover of pigskin and the lining of taffeta with leather straps and brackets to hold the Art Deco design hallmarked sterling silver and crystal fittings which provide and hold the essentials for a lady when not at her own home. Marked for London 1946-47, maker T P unknown; externally 31.5 x 22 x 11.5 cm.
Dressing or Vanity Case
The outer cover of pigskin and the lining of taffeta with leather straps and brackets to hold the Art Deco design hallmarked sterling silver and crystal fittings which provide and hold the essentials for a lady when not at her own home. Marked for London 1946-47, maker T P unknown; externally 31.5 x 22 x 11.5 cm.
Fostoria USA Art Deco Glass: Champagne or Sherbet
Fostoria USA Art Deco Glass designed by George Sakier.Comet-black glasses produced 1930-35 only; Water Goblet x 11; 5 7/8 in or 15 cm; Champagne / Tall Sherbet x 12; 4 3/8 in or 11cm; stem pattern #4020; cut #702.Mayfair-Ebony Plates x 12 in Luncheon size of 8 ¼ inches or 21cm; produced 1930-1942; pattern #2419
The Fostoria Glass company was founded in 1887 in Fostoria Ohio by L. B. Martin and W. S. Brady. When the area's natural gas deposits ran out, Fostoria moved to Wheeling, West Virginia, and then in 1891 to Moundsville, West Virginia where it remained until it closed in 1983. Mayfair and Comet were designed 1929/30 by George Sakier (1897–1988) an American artist and a man of multiple talents. His work is represented in the collection of the Metropolitan Museum of Art, NY.
Fostoria USA Art Deco Glass: Water Goblet
Fostoria USA Art Deco Glass designed by George Sakier.Comet-black glasses produced 1930-35 only; Water Goblet x 11; 5 7/8 in or 15 cm; Champagne / Tall Sherbet x 12; 4 3/8 in or 11cm; stem pattern #4020; cut #702.Mayfair-Ebony Plates x 12 in Luncheon size of 8 ¼ inches or 21cm; produced 1930-1942; pattern #2419
The Fostoria Glass company was founded in 1887 in Fostoria Ohio by L. B. Martin and W. S. Brady. When the area's natural gas deposits ran out, Fostoria moved to Wheeling, West Virginia, and then in 1891 to Moundsville, West Virginia where it remained until it closed in 1983. Mayfair and Comet were designed 1929/30 by George Sakier (1897–1988) an American artist and a man of multiple talents. His work is represented in the collection of the Metropolitan Museum of Art, NY.
Fostoria USA Art Deco Glass: size comparison
Fostoria USA Art Deco Glass designed by George Sakier.Comet-black glasses produced 1930-35 only; Water Goblet x 11; 5 7/8 in or 15 cm; Champagne / Tall Sherbet x 12; 4 3/8 in or 11cm; stem pattern #4020; cut #702.Mayfair-Ebony Plates x 12 in Luncheon size of 8 ¼ inches or 21cm; produced 1930-1942; pattern #2419
The Fostoria Glass company was founded in 1887 in Fostoria Ohio by L. B. Martin and W. S. Brady. When the area's natural gas deposits ran out, Fostoria moved to Wheeling, West Virginia, and then in 1891 to Moundsville, West Virginia where it remained until it closed in 1983. Mayfair and Comet were designed 1929/30 by George Sakier (1897–1988) an American artist and a man of multiple talents. His work is represented in the collection of the Metropolitan Museum of Art, NY.
Fostoria USA Art Deco Luncheon Plate
Fostoria USA Art Deco Glass designed by George Sakier.Comet-black glasses produced 1930-35 only; Water Goblet x 11; 5 7/8 in or 15 cm; Champagne / Tall Sherbet x 12; 4 3/8 in or 11cm; stem pattern #4020; cut #702.Mayfair-Ebony Plates x 12 in Luncheon size of 8 ¼ inches or 21cm; produced 1930-1942; pattern #2419
The Fostoria Glass company was founded in 1887 in Fostoria Ohio by L. B. Martin and W. S. Brady. When the area's natural gas deposits ran out, Fostoria moved to Wheeling, West Virginia, and then in 1891 to Moundsville, West Virginia where it remained until it closed in 1983. Mayfair and Comet were designed 1929/30 by George Sakier (1897–1988) an American artist and a man of multiple talents. His work is represented in the collection of the Metropolitan Museum of Art, NY.
Art Deco Vase by Beswick Ceramics
Art Deco vases by Beswick Ceramics, England. Genuine vases of the period showing some of the amazing variety of designs created during this period and made into ceramics by this company.
Art Deco Vase by Beswick Ceramics
Art Deco vases by Beswick Ceramics, England. Genuine vases of the period showing some of the amazing variety of designs created during this period and made into ceramics by this company.
Eva: Erwin Vollmer
Painted in Germany and named and dated on the reverse of the original wood frame - 25/03/25.