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This vintage silver-plated figural pedestal tazza dates to about 1980 and shows off a lotus-scalloped rim. Each petal is decorated with floral repousse and textured panels that catch the light, while the center well stays smooth and reflective. The low, wide bowl sits on a sturdy foot, giving it a graceful lift yet feeling solid. Condition is near mint: the details are crisp, the plating is bright, and you’ll see light surface swirls from careful handling. It’s the kind of piece that works anywhere—centered on a dining table with fruit, holding wrapped sweets on a sideboard, or corralling jewelry on a vanity.

About the line: tazza or compote forms have been table staples since the Renaissance and made a comeback in late 20th‑century giftware. Many makers offered silver-plated lotus designs then, usually electroplated over brass or EPNS and finished with hand chasing and repousse. Marks, when present, often appear under the base and may read EPNS, Silver Plate, or a retailer’s name. Practical facts: keep polish gentle and infrequent, avoid the dishwasher and prolonged contact with acidic foods, and store dry to prevent spotting. Collecting tips: seek even plating, sharp petal outlines, and a tight join between bowl and pedestal.

Photos form part of the description. Exact item shown; please review all images carefully.

Photos form part of the description. Exact item shown; please review all images carefully.
This near mint bronze-toned trinket box brings Arts & Crafts charm to a dresser or desk. The lid is hand-hammered, giving it that pebbled texture that catches light, while the sides wear a lively frieze of folk dancers in relief. The low feet and clean, squared edges keep the profile sturdy and simple, so the dancing figures do all the talking. Color sits in a deep, warm patina with just a touch of brighter metal on the high points—evidence of light handling rather than hard use. Inside is ready for jewelry, watches, stamps, or little keepsakes you like to keep close.

Made in 1970, this piece reflects the mid-century revival of the original Arts and Crafts movement. Makers leaned into honest materials and handwork: planished copper tops, cast or pressed relief panels, and a heat-darkened finish that was often sealed with lacquer. Folk scenes like these dancers were popular across Europe and the US because they felt homey and timeless. Earlier pioneers such as Roycroft or Newlyn set the look decades before; later studios and import houses kept it alive for everyday homes. Collectors value crisp detail, even patina, and sturdy construction, all of which this box shows in spades.

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This vintage bronze trinket box is a clean-lined, low-profile jewelry casket with a hand-hammered surface and a warm, brown patina. The lid floats slightly over the body; along the front runs a crisp laurel-leaf band in relief, giving it a quiet, classical note. The metal shows gentle, even color with tiny dings from the hammer marks—part of the design rather than wear.

The piece follows the Arts and Crafts tradition, which favored honest materials and visible workmanship. Hammered copper and bronze were hallmarks of the movement, chosen for their rich hand textures and the way they age into a natural patina. Laurel decoration is a classic nature motif, symbolizing achievement and protection, often used to add meaning without flash. To keep the character, avoid abrasive polishes; a light dust and a soft cloth preserve the patina and the handmade feel.

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This piece is a French Art Nouveau bronze wall plaque showing a scene of classical nymphs in rich bas‑relief. The figures flow across the round field with swirling drapery, vines, fruit, and a playful putto, all framed by soft, organic lines. The bronze has a warm, even patina with bright highlights on the high points and deep shadows in the recesses, giving the scene real depth. It presents in near mint condition, with crisp detail and only the lightest signs of handling. Cast in 1930 and weighing about 6 pounds, it’s substantial in the hand and ready to hang or display on a stand for an instant focal point in a hallway, study, or gallery wall.

About the line and some facts: French Art Nouveau decorative bronzes like this were created by sculptors and cast by established foundries, then sold through salons and fine department stores. Subjects often celebrated myth, nature, and abundance—hence the nymphs, flowers, and harvest motifs. These plaques were commonly produced by sand casting or lost‑wax methods, then hand‑chased and patinated. Weight like this usually indicates true bronze rather than pot metal. Surface color is part of the original finish, so it’s best not to polish; just dust with a soft cloth and, if desired, apply a microcrystalline wax to protect and deepen the sheen. Pieces from 1930 sometimes bridge Art Nouveau into early Deco, but keep the flowing, organic look collectors love.

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This vintage hand-painted enamelled cloisonné brass vase, German floral design, dates to about 1970. It stands 6 inches tall, about 5.5 inches wide, and roughly 2 inches deep, with a round shoulder and short neck that frame the warm brass body. Flowers in earthy reds sit within fine raised lines, so the pattern catches light without being flashy. The rim and interior show a soft patina in line with its age of about 56 years. Condition is near mint: crisp enamel, no chips noticed, and just minor shelf rubs, ready to sit on a mantel, credenza, or small side table.

Pieces like this came from West German workshops in the late 1960s and early 1970s, when cloisonné-on-brass giftware was made for export and department stores. Cloisonné is created by setting thin brass wires to outline the design, filling the cells with colored glass enamel, firing, and then polishing smooth. Floral themes echoed the period’s Art Nouveau revival. Many were unmarked or had paper labels that vanished, so an unbranded example is common. Near mint survivors aren’t everywhere, and small sizes are popular with collectors, so it’s a genuinely vintage, somewhat scarce piece. Care is easy: dust gently, avoid soaking, and skip harsh cleaners.

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Here’s a Vintage Bronze Horse Head Lamp with a marble base, made around 1980. It stands 19 inches tall, spans about 11.5 inches at the shade, and the base is roughly 11.5 inches wide and deep; it’s in near mint condition. A fluted gold-tone column rises from the red marble block and supports a cast horse head just under the shade. The red and white fabric shade adds warmth while keeping the look upscale. The cord and inline switch match vintage hardware, and the lamp shows crisp casting, clean edges, and minimal wear—what you hope to see on a well-kept, 46‑year‑old piece.

These equestrian bronze-on-marble lamps were popular décor in the late 1970s and 1980s, offered by makers such as Chapman, Stiffel, Wildwood, Frederick Cooper, and various Italian ateliers; unlabeled examples are usually filed under Hollywood Regency or Neoclassical Revival. Metal was typically solid bronze or heavy brass with lacquer, and the red stone often resembles Rosso Verona or Rojo Alicante. At 46 years old this is firmly vintage—not rare overall, but increasingly scarce in near mint shape. Collectors look for weight, sharp casting, intact marble corners, and maker’s tag. Use a standard E26 bulb and avoid harsh metal polish.

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This piece is a Bronze Art Nouveau–style Scorpio sign sculpture from Italy, made around 1980. It shows a woman in a flowing dress stepping forward, with a scorpion worked into the rocky base as a nod to the zodiac. The bronze has a dark patina and sits on a polished black base. At 14 inches high and 6 by 6 inches across, it’s mantel friendly without taking over a room. Condition is near mint—crisp details, smooth surfaces, and only light signs of handling.

Made by an Italian foundry during the late‑20th‑century revival of Art Nouveau, pieces like this were cast by the lost‑wax process, then hand‑chased and patinated, which is why the folds and hair look alive. It’s about 46 years old, vintage rather than antique, and zodiac figures of this era don’t turn up every day, making it an uncommon find. Collectors look for good patina, an intact base, and sharp detail—this example checks those boxes. Many were produced in workshop runs, sometimes signed or numbered; when unsigned, Italian bronze from this era is respected. Care is simple: dust with a soft cloth, avoid metal polish, and apply microcrystalline wax yearly. A gift for a Scorpio (Oct 23–Nov 21).

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This is an Italian bronze Art Nouveau–style Aries zodiac sculpture made in 1980. It shows a graceful, draped woman with flowing hair, standing over a ram motif that signals the Aries sign. The bronze has a warm, hand-rubbed patina and sits on a round stone base, giving it a sturdy, gallery feel. It measures 14 inches tall, 6 inches wide, and 6 inches deep, and it’s in near mint condition with crisp detailing in the hair, drapery, and the ram’s head. At about 46 years old, it’s solidly vintage—old enough to carry character and collectability, but not antique—and the size and finish make it a standout for a mantel, entry table, or bookshelf.

About the line and facts: Italian foundries in the late 1970s and 1980s often revisited Art Nouveau themes, casting small-batch bronzes with the traditional lost-wax method and finishing them with rich brown patinas. Many workshops offered zodiac subjects, so this Aries likely belonged to a series that included all twelve signs. Pieces from these runs can vary slightly in color and base stone, which is part of their charm. Because they weren’t mass-produced in huge numbers, near mint examples at this larger 14-inch height are less common. Care is simple: dust gently, avoid metal polishes, and occasionally apply microcrystalline wax to preserve the patina.

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This eye-catching artifact is an antique bronze coffee grinder, specifically the Magus “Extra” hand crank mill, and it dates all the way back to around 1930. Measuring about 7 inches tall and just over 4.5 inches wide and long, it’s quite a compact piece but built solidly with hefty bronze. The grinder features a classic square base, curved edges, a beautifully domed top, and an elegantly long hand crank, making it feel both functional and stylish. You can tell right away it was made to last, with real attention to detail in the construction and a finish that’s stayed bright and shiny even after more than a hundred years. The small drawer at the bottom would have caught the freshly ground coffee, and the handle turns smoothly, letting anyone step back in time and imagine the smell of fresh coffee beans filling an old kitchen. Because it’s in near mint condition, it’s even rarer, considering how many of these would have worn down, gotten lost, or simply stopped working over the decades.

The Magus brand, while not as widely known as some European coffee mill names, has built up a solid reputation among collectors for their sturdy build and stylish brass finish. Mills like this were common household items in the early 20th century, especially before electricity became widespread and kitchen gadgets went high-tech. The Magus Extra line was prized for its extra durability and sleek look, making it a favorite for those who wanted both practicality and a little luxury in their morning routine. Collectors and coffee enthusiasts often search high and low for these old grinders, since finding one that’s both complete and so well-preserved is pretty rare today, making it a prized centerpiece in any vintage kitchen setup or antique collection.