Murrle Bennett Gold, Peridot and Mother-of-Pearl Bracelet*
Bracelet from Murrle Bennett crafted in 9 ct. gold, so very typical of the style of jewellery supplied by them to Liberty’s during the early 1900’s. Openwork in design with alternate rectangular and square sections,…
Archibald Knox Gold Pendant for Liberty
Gold pendant with an openwork entrelac design from the drawing board of Archibald Knox and dating from circa 1905. Set with a central blister pearl drop and with a turquoise matrix lower drop, this pendant…
‘Lady on The Seine’ by Dietz Edzard*
Ornately framed oil on canvas by the German born artist Dietz Edzard (1893-1963). This is an atmospheric half length portrait of an elegantly dressed young woman taking refreshment whilst seated on a verandah raised above…
Loetz ‘Candia’ Vase with Silver Overlay
Little cabinet vase from Loetz in opaque ‘Candia’ glass with a trefoil rim, further decorated with an applied Art Nouveau ‘Silberiris’ design in pure silver. Loetz collaborated with a company in the US known as…
WMF Flower Dish
Pewter flower dish from WMF with the original green cut glass removable liner. So Art Nouveau, with its flowing outline, featuring an openwork whiplash design framing leaves and berries of ivy. Originally electro-plated but most…
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Dancer by Dakon*
Item Description
Another fabulous and large figure from Goldscheider circa 1937-39. Designed by Dakon, this dancing lady is titled “Frasquita”.
Wearing a bikini top she is holding out the hem of her long, open-fronted skirt in both hands, revealing the lower half of her bikini and a very fine pair of legs. Beautifully painted in strong, vibrant colours and full of movement and atmosphere.
This is a classic Art Deco figure and an imposing 39.5 cm tall, marked Goldscheider Wien and also Made in Germany. The numbers are 8127/192/31.
In very good condition with just some light crazing to parts of the glaze and the tiniest nibble towards the top of the leading edge of her skirt, as can be seen in the photos..
Lit: Dechant/Goldscheider p. 483 – also Pinhas pp. 145 & 156