Awesome Art Deco Alabaster Shades & Bronze Chandelier w. Stylish Lion Sculptures

Exclusive bronze and alabaster, pure Art Deco pendant light for the perfect atmosphere. If you are looking for an awesome light fixture to grace your living space then this antique Art Deco chandelier from the earliest years of the 1900s could very well be the one. Because of the quality and the design of the stylized bronze deer sculptures and the equally pure Art Deco alabaster...

Beautiful Art Deco pendant light with a bronze sculpture (probably of Dione, goddess of water). If you are looking for a truly stylish and top quality made antique light fixture to ...

Good size and remarkable, antique bronze and brass five-arms snake pendant light. This rare and remarkable five-light chandelier is yet another recent great find and offering such a piece in our gallery always is a point of pride. Step into a world of timeless craftsmanship with this breathtaking antique bronze snake chandelier...

Majestic antique pendant with a stunning, 20 inch alabaster shade and two sets of glass shades. Thanks to its unique design, its impressive size and its truly excellent condition this six-light alabaster chandelier will light up both your days and evenings, both in summer and winter time. This antique light fixture could not be more original and it even comes with a set of three near-transparent glass roses shades AND a set of three amberish color glass roses shades (matching the alabaster). So you can always choose the type of glass rose shades that you think are best for the occasion, season etc. The superb condition, colorful, extra large and deep alabaster shade combined with the equally excellent glass roses are a match made in heaven. However, what takes this chandelier to the next level are the three large and gilt bronze ram sculptures at each of the three suspension points. May these meaningful symbols for determination, power and leadership inspire their new owner(s) to reach for the stars and beyond. The black veins combined with other color veins and patches in this natural mineral stone shade contrast even more beautiful when the light is switched on, because the already marvelous colorful alabaster then turns into an even warmer spectacle of colors. We could shoot a hundred photos, but you still would not be able to see the true beauty of this impressive chandelier. The unique patterns inside this hand carved shade are the work of mother nature herself and the light brings them out in their true glory. In real life our antiques always have that little bit extra and this stunning pendant is all but an exception to that rule. You can, again, take our word for it. The original and heavy gilt bronze chain and the stunning and large, gilt bronze canopy are like the icing on the cake of this incredibly rich chandelier. If you have also noticed the double rose pattern on each of the gilt bronze shackles then you must agree that whomever had this chandelier made clearly spared no expenses. And to give you an even better idea of the quality, the gilt bronze canopy alone weighs over 11 pounds lbs. To find this majestic chandelier in such excellent condition made our day, week and month and we are proud to be able to offer it to our 1stdibs clientele first. For our photos of this six-light chandelier we used three 75 watt bulbs inside the shade and one 60 watt bulb in each of the rose shades. This chandelier, however, will easily take three times 100 watts inside the shade and also easily 80 watts in each of the glass rose...

Pair of sculptures from the Art Deco period in France. Each is sculpted into the shape of a lion, featuring one outstretched paw on a ball and supported by a base. These sculptures a...

Art Deco signed Alabaster pierrot clown sculpture. Pierrot sculpture playing the mandolin. The figure is signed, but i cannot read what it says.  

This Art Deco sculpture captures the Samaritan woman wearing a tunic draped about her body, carrying the jug. Her hair pulled up in a bun, is supported...

Signed “E. Seger”. Black patina. Dimensions Height: 8 inches (20cm) Width: 7.5 inches (18.75cm) Depth: 8.5 inches (21.25cm) THE BIBLE STORY Samuel 17:34-36 Originally, Saul would not allow David to fight Goliath (17:33). Saul’s reason was simply that Goliath would be stronger than David. David was young and he did not have the experience to fight such a capable enemy as Goliath. David was likely to die, and his death would benefit nobody. Often people wrongly imagine that they are acting in faith (in other words, that they are trusting God). Really, they are acting in a foolish manner, as if the danger is not real. They are not trusting in God, but in their own thoughts, hopes and desires. David’s reply to Saul shows us his attitudes. This reply explains clearly why David had offered to fight Goliath. In other words, it shows how David considered himself able to defeat Goliath. Like many boys and young men in Israel, David had worked as a shepherd. That is, he looked after sheep. He was responsible to look after those sheep in every way. In particular, he had to protect them from wild animals. Lions and bears are some of the fiercest large wild animals. They were common in Israel at the time of the Bible. They are much stronger than a man (see for example 1 Kings 13:24 and 2 Kings 2:24). Only the bravest and strongest men were able to kill a lion (Judges 14:5-6; 2 Samuel 23:20). However, David had killed both a lion and a bear. He had killed animals that were stronger than him. David did not believe that the strongest man would win the fight. David had a close relationship with God; he was trusting God to rescue him (17:37). David was not pretending that there was no danger. However, God’s Holy Spirit was active in David’s life (16:13). By the power of his Holy Spirit, God had given David the faith (trust in God) to fight Goliath. Because David really was trusting God, there was no reason for him to be afraid of Goliath. THE ARTIST Ernst Seger (1865 1939), born in Neurode (Nowa Ruda, now Poland), studied sculpturing from 1884 at the Kunstschule in Breslau under Robert Härtel. From 1886 he worked in the Atelier of Christian Behrens, where he created the Eichendorff-Memorial for the Silezian City of Neisse. From 1893 to 1894 Seger stayed in Paris where he worked in the atelier of Auguste Rodin. However, Seger finally chose a ‘Jugenstill’ and a more ‘naturalistic’ or ‘Neuklassizismus’ style. His sculptures, modelled like the Greek antiques, were later greatly admired by the National Socialists. At the end of 1894 Ernst Seger went back to Berlin, founded his own atelier and created the Kaiser Wilhelm I memorial for the Silesian City of Glatz. In 1897 Seger created the sculpture ‘Jugend’ (‘Youth’), which was displayed at the ‘Große Berliner Kunstausstellung’ in 1898, at the ‘Große Berliner Kunstausstellung’ in 1899, at the ‘Münchener Glaspalast Ausstellung’ in 1899 and at the ‘Münchener Glaspalast Ausstellung’ in 1908. As a sculptor Seger regarded this as his first relevant work, his breakthrough. A copy of the sculpture in bronze, 1.60 metres high, was placed in the ‘Scheitniger Park’ in Breslau (now Wroclaw). In 1898 Segers ‘Diana’, the Roman Goddess of the Hunt, the Moon and Childbirth, was unvealed in Park Szczytnicki, Breslau, Polen (earlier ‘Schneitniger Park’). Until 1945 the sculpture stayed in the Schneitniger Park, Breslau. This part of the park is still called ’Dianagarten’. After the turn of the century the elegant female dancers and nudes by Seger gained great popularity. In 1905 Ernst Seger created -together with the sculptor Bernhard Sehring- the ‘Bismarck Brunnen’ (‘Bismarck Fountain’) in Breslau. This memorial-fountain (which still exists) represents the allegories ‘Kampf’ and ‘Sieg’ (‘Battle and Victory’). Seger’s ‘Verwundete Amazone’ (‘Wounded Amazon’), displayed at the Grosse Münchner Kunstausstellung in the Glaspalast in 1908, was placed in the garden of the ‘Kaufhauses Wertheim’ in Berlin. In the same year he was appointed as a professor. Seger’s marble sculpture ‘Kypris’, created in 1916, was placed in the Alten Nationalgalerie in Berlin. In 1925 the City of Berlin acquired his sculpture ‘Anbetung’ and placed it at the Johannaplatz. ‘Storchenbrunnen’ (‘Stork-fountain’), was placed in 1931 at the Adolf-Scheidt-Platz in Berlin. In 1935 the American newspaper publisher William Randolph Hearst bought Seger’s sleeping ‘Ganymede’. During the Third Reich Ernst Seger was commissioned numerous Hitler busts...