American Art Deco
Magazine Rack
Wrought & Cut Iron
Circa 1920s
DIMENSIONS
Height: 20 inches (50.8 cm) Width: 15 inches (38.1 cm) Depth: 4 inches (10.16 cm)
ABOUT MAGAZINE RACK
This exquisite American Art Deco magazine rack is a stunning example of wrought iron craftsmanship combined with elegant cutout design. Crafted from durable wrought iron, this piece features a central vignette that showcases a graceful silhouette of a lady walking her dog, all rendered in a sophisticated bronze patina. This eye-catching detail adds a touch of timeless charm and artistry to the rack. The versatile design allows the magazine rack to be used in two distinct ways: it can either stand gracefully on the floor or be mounted on the wall, adapting to your space and style preferences. In terms of condition, this vintage piece is in remarkable shape, showing only minimal, age-appropriate wear that enhances its character and authenticity. Whether displayed as a functional item or as a decorative focal point, this Art Deco magazine rack is sure to add a touch of historical elegance to any setting.
$2,500
French Art Deco
La Maison Desny
Tabletop or Vanity Mirror
Silvered Bronze
Circa 1920s-1930s
DIMENSIONS
Height: 17 inches (43.18 cm) Width: 15.5 inches (39.37 cm) Depth: 4.75 inches (12.07 cm)
ABOUT MIRROR
This exquisite round tabletop or vanity mirror, attributed to the illustrious Maison Desny, embodies the elegance and innovation of French Art Deco design. Crafted in France during the 1920s or 1930s, this mirror showcases a striking blend of modernist aesthetics and luxurious materials. The mirror features a silvered nickel finish over a robust bronze structure, lending it a sophisticated sheen and durability. The design of the mirror is a testament to the Art Deco movement’s emphasis on sleek, minimal lines and geometric precision. Its modernist form exudes a streamlined and refined aura, characteristic of the era’s trend towards elegance and functional beauty. The mirror is mounted on a pivot mechanism, allowing for adjustable angles and optimal usability. In terms of condition, this piece is in remarkable vintage shape, with only minimal signs of age-appropriate wear that attest to its rich history and storied past. This mirror is not merely a functional object but a distinctive work of art that encapsulates the glamour and innovation of early 20th-century French design. It serves as a timeless addition to any interior, reflecting both the exquisite craftsmanship of Maison Desny and the enduring allure of Art Deco design.
ABOUT MANUFACTURER
La Maison Desny is a historical and renowned French brand known for its elegant and luxurious home furnishings, including furniture, lighting, and decorative arts. Founded in Paris, the company gained prominence in the early 20th century, particularly during the Art Deco period. The brand was established by the designer and entrepreneur Maurice Desny, who was noted for his innovative and sophisticated approach to design. La Maison Desny became celebrated for its high-quality craftsmanship and the distinctive style that characterized the Art Deco movement, blending modernity with classic influences. Desny's creations often featured sleek lines, geometric shapes, and luxurious materials like polished metals and rich woods, reflecting the opulence and artistic flair of the era. The company’s work extended to a range of products, from elegant lighting fixtures to exquisite furniture, all embodying a refined aesthetic that appealed to the elite of Parisian society. In addition to its artistic achievements, La Maison Desny played a significant role in shaping the design trends of its time, influencing both contemporary and future generations of designers. The brand remains a symbol of sophistication and craftsmanship in French design history.
$4,000
French Art Deco
Planter Stand
Wrought Iron & Brass
Circa 1920s
DIMENSIONS
Height: 35.5 in (90.17 cm) Diameter: 13.5 in (34.29 cm)
ABOUT
This elegant French Art Deco plant stand, crafted from wrought iron and adorned with a brass plant holder, originates from late 1920s to early 1930s France. The piece showcases ornate volutes and stylized fleur-de-lis motifs on the planter holder, complemented by cascading applied balls adorning its feet.
$4,250
French Art Deco
Edgar Brandt
ATTRIBUTED
Wrought Iron Table Mirror w/ Snake Base
Circa 1920
ABOUT
This elegant wrought iron American Art Deco table mirror of an outstanding design features the finest forged iron, a stand with an unusual composition of a coiled snake surrounded by stylized foliage; and the original diamond-shaped beveled mirror with truncated corners.
ABOUT
This elegant wrought iron American Art Deco table mirror of an outstanding design features the finest forged iron, a stand with an unusual composition of a coiled snake surrounded by stylized foliage; and the original diamond-shaped beveled mirror with truncated corners.
DIMENSIONS
Height: 19 inches Width: 13 inches Depth: 6 inches
EDGAR WILLIAM BRANDT (1880 –1960) was a French ironworker and prolific weapons designer. In 1901 he set up a small workshop at 76 rue Michel-Ange in the 16th arrondissement in Paris, where he began designing, silversmithing, and forging small items such as jewelry, crosses, and brooches. His business began to take off with special commissions such as the door of the French Embassy in Brussels, the Escalier Mollien stairs in the Louvre, and the stair and balcony railing for the Grand Theatre Municipal de Nancy.
At the start of World War I in 1914 Brandt was called to serve. Observing a need for mortars in trench warfare, he designed an aerodynamic mortar shell with obturation grooves (see details at Brandt Mle 27/31) which has not substantially changed since, and made a successful armaments business from his invention after the war. His 60mm, 81mm and 120mm mortars were very widely copied (both under and without license) before, throughout and subsequent to World War II. He also invented armor-piercing discarding sabot artillery shells and contributed substantially to the development of effective HEAT-warhead weapons for infantry anti-tank use through his development of HEAT rifle grenades.
Following the WWI Brandt embarked on his most productive years as a designer, starting to show his work in the Salon d’Automne every year. In 1919 he decided to expand his business, engaging architect Favier and constructing a new building on the corner of the Boulevard Murat and the rue Erlanger. In it he maintained a physical catalogue of his ironwork. He also added nearly 150 people employees, each with specialized tasks ranging from concept to production.
Brandt's career began to peak in the 1920s. Stylish entrances for shops in Paris and lighting were an important part of his production. Additionally, with the rise of radiators in homes, rather than concealing them, he drew attention their way with elegantly designed covers. Throughout the rest of his career his work spanned from iron gates and fireplace grills to mirrors and console tables.
Brandt's work was acknowledged by the American Association of Architects making him an honorary member in 1929.
As Brandt is now more known internationally, he expanded his business again and opened a state-of-the-art factory in the Paris suburb of Chatillon-sous-Bagneux, where upward of 3,000 workers fabricated both decorative metalwork and armaments under his name. His company was nationalized in 1936. Several years later World War II forced him to flee with his family to Switzerland. At war's end in 1945 Brandt returned to France but chose not to reopen his studio. Instead, he worked on small projects until he died in 1960.
Today, the Brandt company lives on through several mergers as FagorBrandt, a manufacturer of household appliances.
$4,800
ART DECO
Pedestal
Wrought Iron & Marble
France, circa 1920s
DIMENSIONS Height: 30.5 inches Top diameter: 12.25 inches Base width: 11.75 inches
$3,800
Art Deco
Wrought Iron Wall Mirror
Signed A. Valentin
Ca. 1920s
Signed: A. Valentin
Original beveled glass
Height: 29” Width: 27” Depth: 1”
$4,500
French Art Deco
Maurice Dufrêne
Nickeled Bronze Wall Mirror
ca. 1920s
Dimensions:
Mirror (only): 14 x 20.75 inches
Mirror (w/sconces): 20 x 25 inches
This elegant and unusual nickeled bronze wall mirror with electrified sconces was designed by Maurice Dufrêne, an important French Art Deco designer in the 1920s.
Maurice Dufrêne (French, 1876–1955) was one of the most representative designers of Art Deco furniture was Maurice Dufrene. He was born in Paris in 1876. He studied at the Ecole des Arts Decoratifs and worked at La Maison Moderne in Paris. Dufrene quickly moved into the vanguard of modern art and in 1904, he became a founding member of the Salon des Artistes Decorateurs where he exhibited for more than 30 years. In 1925, he participated in the Exposition Interncionale des Arts Décoratifs et Industriels modernes adapting and quickly forming part of the Art Deco movement.
$3,800
Arts & Crafts
Oscar Bach
Pedestal
Gilt Wrought Iron & Marble
1900s
Dimensions: Height: 41.5” Marble top diameter: 6” (with frame: 9.5”) Base diameter: 13”
Oscar Bruno Bach (German/American 1884 - 1957), a German-born artisan, who was one of the most technically skilled and commercially successful figures in the field of decorative metalwork during the first half of the 20th century. His design and production ranged from small and domestic to grand-scale architectural. His style was as diverse as his use of metals and included Arts & Crafts, Gothic, Renaissance, Spanish Baroque, Tudor Revival, and, on occasion, modern Art Deco. Thematically he was particularly fond of the zodiac, of lush scrolling grapevines, classical masks, mythological symbols and elements of the Italianate and Germanic grotesque. Oscar Bach's work can be found in the permanent collections of The Metropolitan Museum of Art, The Minneapolis Museum of Art, The Wolfsonian, and Reynolda House. As a young man, he studied painting at the Royal Academy in Berlin and underwent a 4-year apprenticeship in metallic arts. From 1898-1902, he attended the Imperial Academy of Art in Berlin.
Following this formal education, Bach became the artistic director of metallic arts firm in Hamburg, where he made an ornate jewel encrusted Bible cover for the study of Pope Leo XIII - an early article of his craft which remains in the Vatican permanent collection. Two years later, Bach won several important commissions to design metalwork for civic buildings, including the new city hall in Berlin. Between 1904 and 1911, Bach worked as a successful metalsmith in Germany, keeping a studio in Venice and traveling extensively throughout Europe, the Middle East and North Africa, where he became keenly aware of various decorative styles, history, materials, and techniques.
In 1911, Bach won the Grand Prix at the World's Exposition in Turin, Italy for a bed he designed for Kaiser Wilhelm II. 1911 was also the year when he moved to the United States to join his brother Max, and establish a business in New York City. Soon after his arrival, Oscar Bach and his brother opened a metal design studio together - first in Greenwich Village, under the name of BACH BROTHERS; but soon moved to 257 West 17th Street and became Oscar B. Bach Studios, Inc.
In the period of 1913-1923, Oscar Bach's little metal shop kept busy creating beautiful household objects for moneyed New Yorkers, as well as custom architectural works for America's great country estates. He worked often with architect Harrie T. Lindeberg and designed exterior and interior fittings for many of Lindebergh's clients. In April of 1923, the Bach brothers moved to a new studio at 511 West 42nd Street upon an acrimonious split with their business partner, Bertram Segar. Segar remained in Bach's West 17th Street studio, renaming it The Segar Studios. There, Bertram Segar continued to reproduce many of Bach's original designs and variations on Bach's designs, either selling them in an unmarked state or stamping them with his Segar Studios mark. Segar would continue to run a successful custom metalwork studio throughout the 1920s despite Oscar Bach's continued denouncing of Segar's poor ethics and poor taste.
Despite such difficulties, Oscar Bach's Manhattan-based business continued to flourish throughout the mid-1920s and 1930s. Commercially, Bach's production pieces ranged from the modest, such as a small lead ashtray - to the pricey, such as a highly- ornamental bronze chandeliers. Almost every conceivable form was available - smoking stands, library lamps, footed bowls, card trays, planters, torchéres, andirons, slab tables, mirrors, sconces, picture frames, humidors, chairs, bookends, children's flatware, porringers - all fabricated in bronze or iron, steel or aluminum, silver or copper or, occasionally, lead; and featuring polychrome enamels, delicate chemical and cold patina work, custom Steuben glass components, and fanciful cast ornamental detail. Bach routinely submitted his diverse objects to the Metropolitan Museum of Art's Exhibition of Industrial Art and would capitalize on the show's prestige by posting advertisements with photos of his exhibits.
He networked well and made important social and business connections with bankers, museum directors, hotel magnates, and architectural firms. In 1926, he won the prestigious Medal of Honor from the Architectural League of New York for a set of bronze doors to their clubroom. Bach was a perceptive self-marketer, who advertised consistently in a variety of magazines - some associated with fine art and décor, such as International Studio; and others, more associated with the leisure class lifestyle, such as Theatre and Country Life. Wherever his commission work took him, Bach would seek to secure a local venue, usually a high-end department store, to sell his designs.
By 1929, consumers could purchase Bach's fine metals across the U.S. - from Manhattan's B. Altman to Joseph Horne in Pittsburgh and Forster-Smith in Toledo. Winning the commissions to furnish custom metalwork for the ocean liners SS Manhattan and SS Washington, Bach then persuaded US Lines to offer a selection of his small domestic objects for tourists to purchase on board while traveling across the Atlantic.
Once in Europe, one could visit Bach's studio in Piazza Oberdan, Florence, Italy. But New York City was Bach's headquarters and it is here that one could find artist's main show room and many of his most ambitious architectural commissions, including New York's Riverside Church, Temple Emanu-el, the Masonic Level Club, the Earl Carroll Theatre, the Daily News Building, the Chrysler Building, Rockefeller Center, the Woolworth Building, the Airlines Building, and the Williamsburg Savings Bank in Brooklyn. Perhaps his crowning glory is the large inlaid stainless steel mural he fabricated and installed in the lobby of the Empire State Building in 1931. Elsewhere Bach won high-status commissions from the Procurement Division of the Treasury Department, Washington D.C., Yale University, The Toledo Museum of Art, Christ Church at Cranbrook, and the Circle Tower in Indianapolis. At the same time, many of Bach's most impressive creations were not accessible to the public. These were the custom metalwork commissions he executed for the homes of some of America's wealthiest aristocrats, including Eugene duPont, Jr.'s Delaware mansion Owl's Nest; W. E. Scripps' Michigan estate, Moulton Manor; Lloyd Frank's lavish Fir Acres in Portland (now Lewis & Clark College); and the ornate Villa Philbrook for Waite Phillips of Tulsa.
By the late 1930s, Bach's showroom and sales office had relocated to the prestigious British Empire Building at 620 Fifth Avenue and was operating under the name Bach Products. His studio, which employed numerous European trained artisans, was located at 288 East 18th Street in Patterson, NJ. Throughout his career, Bach filed for a total of 66 patents with the U.S. Patent Office and in 1941 Bach patented the "Bachite" system of construction to render steel corrosion and abrasion proof.
The year of 1941 marks the end of his work in the field of decorative arts and the beginning of his career as a metallist for some of America's top industrial firms.
From 1941 until his death in 1957, Bach worked as a top consultant for Remington-Rand, Manning, Bowman, Edward Budd, Oneida, Baldwin Locomotive, American Radiator Company, and the Tappan Stove Company. Upon his death, Oscar Bach and his wife Pauline were living at 962 Fifth Avenue with a lovely view of Central Park and the surrounding city of New York that had been his home for over four decades. According to his obituary in the New York Times, in the months leading up to his death, Bach's largest free-standing sculpture, "The Spirit of Democracy," a 17 foot allegorical figure, was nearing completion and scheduled to be placed at Rockefeller Center's La Maison Française terrace.
Though Bach finished this massive tribute work, "The Spirit of Democracy" was never installed. During Bach's lifetime, the artist was celebrated by renowned art critic and author, Matlack Price, in a publication called "Design & Craftsmanship in Metals: The Creative Art of Oscar Bach." Interviews with Bach were featured in numerous magazine articles and trade publications.
Oscar Bach died in 1957, at the age of 72.
sold
Arts & Crafts
Oscar Bach
Oxidized & Gilt Bronze and Enamel-Painted Sheet Metal
Wall Mirror
1900s
Dimensions:
Height: 37 inches Width: 20.5 inches Depth: 1 inch
Oscar Bruno Bach (German/American 1884 - 1957), a German-born artisan, who was one of the most technically skilled and commercially successful figures in the field of decorative metalwork during the first half of the 20th century. His design and production ranged from small and domestic to grand-scale architectural. His style was as diverse as his use of metals and included Arts & Crafts, Gothic, Renaissance, Spanish Baroque, Tudor Revival, and, on occasion, modern Art Deco.
Thematically he was particularly fond of the zodiac, of lush scrolling grapevines, classical masks, mythological symbols and elements of the Italianate and Germanic grotesque. Oscar Bach's work can be found in the permanent collections of The Metropolitan Museum of Art, The Minneapolis Museum of Art, The Wolfsonian, and Reynolda House.
As a young man, he studied painting at the Royal Academy in Berlin and underwent a 4-year apprenticeship in metallic arts. From 1898-1902, he attended the Imperial Academy of Art in Berlin. Following this formal education, Bach became the artistic director of metallic arts firm in Hamburg, where he made an ornate jewel encrusted Bible cover for the study of Pope Leo XIII - an early article of his craft which remains in the Vatican permanent collection.
Two years later, Bach won several important commissions to design metalwork for civic buildings, including the new city hall in Berlin.
Between 1904 and 1911, Bach worked as a successful metalsmith in Germany, keeping a studio in Venice and traveling extensively throughout Europe, the Middle East and North Africa, where he became keenly aware of various decorative styles, history, materials, and techniques.
In 1911, Bach won the Grand Prix at the World's Exposition in Turin, Italy for a bed he designed for Kaiser Wilhelm II. 1911 was also the year when he moved to the United States to join his brother Max, and establish a business in New York City.
Soon after his arrival, Oscar Bach and his brother opened a metal design studio together - first in Greenwich Village, under the name of BACH BROTHERS; but soon moved to 257 West 17th Street and became Oscar B. Bach Studios, Inc.
In the period of 1913-1923, Oscar Bach's little metal shop kept busy creating beautiful household objects for moneyed New Yorkers, as well as custom architectural works for America's great country estates.
He worked often with architect Harrie T. Lindeberg and designed exterior and interior fittings for many of Lindebergh's clients.
In April of 1923, the Bach brothers moved to a new studio at 511 West 42nd Street upon an acrimonious split with their business partner, Bertram Segar.
Segar remained in Bach's West 17th Street studio, renaming it The Segar Studios. There, Bertram Segar continued to reproduce many of Bach's original designs and variations on Bach's designs, either selling them in an unmarked state or stamping them with his Segar Studios mark. Segar would continue to run a successful custom metalwork studio throughout the 1920s despite Oscar Bach's continued denouncing of Segar's poor ethics and poor taste.
Despite such difficulties, Oscar Bach's Manhattan-based business continued to flourish throughout the mid-1920s and 1930s. Commercially, Bach's production pieces ranged from the modest, such as a small lead ashtray - to the pricey, such as a highly- ornamental bronze chandeliers.
Almost every conceivable form was available - smoking stands, library lamps, footed bowls, card trays, planters, torchéres, andirons, slab tables, mirrors, sconces, picture frames, humidors, chairs, bookends, children's flatware, porringers - all fabricated in bronze or iron, steel or aluminum, silver or copper or, occasionally, lead; and featuring polychrome enamels, delicate chemical and cold patina work, custom Steuben glass components, and fanciful cast ornamental detail.
Bach routinely submitted his diverse objects to the Metropolitan Museum of Art's Exhibition of Industrial Art and would capitalize on the show's prestige by posting advertisements with photos of his exhibits. He networked well and made important social and business connections with bankers, museum directors, hotel magnates, and architectural firms.
In 1926, he won the prestigious Medal of Honor from the Architectural League of New York for a set of bronze doors to their club room. Bach was a perceptive self-marketer, who advertised consistently in a variety of magazines - some associated with fine art and décor, such as International Studio; and others, more associated with the leisure class lifestyle, such as Theatre and Country Life. Wherever his commission work took him, Bach would seek to secure a local venue, usually a high-end department store, to sell his designs.
By 1929, consumers could purchase Bach's fine metals across the U.S. - from Manhattan's B. Altman to Joseph Horne in Pittsburgh and Forster-Smith in Toledo. Winning the commissions to furnish custom metalwork for the ocean liners SS Manhattan and SS Washington, Bach then persuaded US Lines to offer a selection of his small domestic objects for tourists to purchase on board while traveling across the Atlantic. Once in Europe, one could visit Bach's studio in Piazza Oberdan, Florence, Italy.
But New York City was Bach's headquarters and it is here that one could find artist's main show room and many of his most ambitious architectural commissions, including New York's Riverside Church, Temple Emanu-el, the Masonic Level Club, the Earl Carroll Theatre, the Daily News Building, the Chrysler Building, Rockefeller Center, the Woolworth Building, the Airlines Building, and the Williamsburg Savings Bank in Brooklyn.
Perhaps his crowning glory is the large inlaid stainless steel mural he fabricated and installed in the lobby of the Empire State Building in 1931.
Elsewhere Bach won high-status commissions from the Procurement Division of the Treasury Department, Washington D.C., Yale University, The Toledo Museum of Art, Christ Church at Cranbrook, and the Circle Tower in Indianapolis.
At the same time, many of Bach's most impressive creations were not accessible to the public. These were the custom metalwork commissions he executed for the homes of some of America's wealthiest aristocrats, including Eugene duPont, Jr.'s Delaware mansion Owl's Nest; W. E. Scripps' Michigan estate, Moulton Manor; Lloyd Frank's lavish Fir Acres in Portland (now Lewis & Clark College); and the ornate Villa Philbrook for Waite Phillips of Tulsa.
By the late 1930s, Bach's showroom and sales office had relocated to the prestigious British Empire Building at 620 Fifth Avenue and was operating under the name Bach Products. His studio, which employed numerous European trained artisans, was located at 288 East 18th Street in Patterson, NJ.
Throughout his career Bach filed for a total of 66 patents with the U.S. Patent Office and in 1941 Bach patented the "Bachite" system of construction to render steel corrosion and abrasion proof.
The year of 1941 marks the end of his work in the field of decorative arts and the beginning of his career as a metallist for some of America's top industrial firms. From 1941 until his death in 1957, Bach worked as a top consultant for Remington-Rand, Manning, Bowman, Edward Budd, Oneida, Baldwin Locomotive, American Radiator Company, and the Tappan Stove Company.
Upon his death, Oscar Bach and his wife Pauline were living at 962 Fifth Avenue with a lovely view of Central Park and the surrounding city of New York that had been his home for over four decades. According to his obituary in the New York Times, in the months leading up to his death, Bach's largest free-standing sculpture, "The Spirit of Democracy," a 17 foot allegorical figure, was nearing completion and scheduled to be placed at Rockefeller Center's La Maison Française terrace. Though Bach finished this massive tribute work, "The Spirit of Democracy" was never installed.
During Bach's lifetime, the artist was celebrated by renowned art critic and author, Matlack Price, in a publication called "Design & Craftsmanship in Metals: The Creative Art of Oscar Bach." Interviews with Bach were featured in numerous magazine articles and trade publications. Oscar Bach died in 1957, at the age of 72.
$6,500
American Arts & Crafts
Wrought Iron and Copper Planter
1920s
Dimensions: Height: 41 ½ Width: 12 ¼ Depth: 12 ¼
Outstandingly designed and rendered Arts & Crafts wrought iron and copper planter, consisting of a removable double-handled bowl on matching stand. Objects similar to this were an integral part of the most stylish interiors of that era.
Good condition, wear consistent with age and use. We make our best effort to provide a fair and descriptive condition report. Send message to this seller to request more details or discuss price…
SOLD
French Art Deco
Illuminated Bronze and Mosaic
Decorative Pond
Circa 1930’s
Dimensions:
Height: 47.5 inches (121 cm) Diameter: 26.25 inches (67 cm)
An Art Deco era illuminated pond or bird bath, manufactured in France, circa 1930s, featuring colorful mosaic tiles against a wrought iron frame, raised bowl with central blue glass. Requires three electric bulbs.
sold
Streamlined Art Deco
A Pair of Wood Bar Cabinets with Marble Tops
Circa 1940’s
Dimensions
Height: 37.5 inches (95 cm) Width: 19.5 inches (50 cm) Depth: 11 inches (28 cm)
A pair of vintage small-scale Art Deco era bar cabinets, produced within the early to mid-20th century period, with dark green marble tops over bodies in beautiful veneered wood, mounted on raised ebonized wood bases, each with a curved front corners on opposing sides. The door of either cabinet, with circular brass knob, opens to reveal storage space, inset with glass shelves. Despite some age appropriate wear, including minor chipping and surface scratches, as well as restoration to one of the bases, both cabinets are in very good vintage condition.
sold
American Art Deco
Bronze and Marble Console Table
Ca. 1920’s
Dimensions:
Height: 41 inches Width: 71 inches Depth: 17 inches
A vintage American Art Deco console table with brass base and marble surface.
The piece was formerly used in a bank and the reverse has three open slots for drawers (the drawers are not included).