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This small Herend Victoria Baroque vase is a cheerful, hand‑painted porcelain beauty from 1960. The flared, scalloped mouth is trimmed with bright gold, and the body shows lively garden blooms in juicy shades of orange, lilac, and green. The painting is crisp and layered, with soft shading that gives the petals depth. The glaze is glossy and clean, and the gilt still pops, a good sign it’s been lightly used and well cared for. Its curvy silhouette and petite footprint make it an easy accent on a bedside table, vanity, or shelf. It’s in near mint condition, ready to display as is or to hold a small bouquet.

Herend is Hungary’s famed porcelain house, founded in 1826 and celebrated for fully hand‑painted work. The Victoria pattern—often called Queen Victoria—debuted at the 1851 Great Exhibition in London, where it caught royal attention and became a signature of the brand. Inspired by East Asian motifs, it mixes butterflies and peonies with generous 24k gold accents. Every piece is painted by a single artisan, fired multiple times, and finished with hand‑applied gilding. Vases from the mid‑century era typically bear the blue Herend shield and pattern numbers underneath. Collectors prize the craftsmanship, durability, and timeless color palette. For care, hand wash gently and avoid abrasives to keep the gold bright.

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This is a Herend Queen Victoria mini vase from 1960, kept in near mint shape. The porcelain body is bright and clean, with no chips or distracting wear, and the hand-painted flowers and butterflies still look crisp and lively. Colors shift from soft pinks and greens to cobalt outlines, all framed by a real gold scalloped rim that catches the light. The petite, pear-shaped silhouette suits a single garden stem or simply stands as a cheerful accent on a shelf. It’s a charming little survivor from the mid‑century era, showing the confident craftsmanship that makes Herend pieces feel special.

Herend, Hungary’s storied porcelain house founded in 1826, is famous for hand painting every detail and finishing edges with 24k gold. The Queen Victoria pattern, inspired by Chinese peonies and butterflies, debuted at London’s 1851 Great Exhibition, where the set was admired by Queen Victoria herself and the name stuck. Collectors know the design by the VBO code and its vivid palette on a snow-white, hard‑paste body. Because each piece is brush-painted, small variations are normal and add charm. Mid-century examples like this often carry clear backstamps and hold value, especially when condition is strong and gilding remains bright and intact.

This is a solid bronze nude woman sculpture from around 1920, standing a compact 7 inches tall (17.5 cm) on a turned pedestal base. The figure holds a draped cloth at her side and has crisp facial features and hair, with a warm brown patina that reads classic Art Deco. It is near mint, showing only tiny rubs and a touch of old verdigris at the base—normal for a piece that’s about 106 years old. Despite the small footprint—about 1.5 inches wide and 1.5 inches deep, with a 1.5 inch diameter base—it feels heavy and well balanced. Small bronzes like this were desk or mantel accents, and solid-bronze examples are less common than spelter versions, which makes this one a nicer, rarer find.

About the line: Art Deco bronzes of the 1919–1939 era favored stylized bathers and dancers, often produced by French, German, or Austrian foundries. Many were unsigned studio casts, made by lost-wax or sand casting and finished with heat-applied chemical patina. Collectors look for original surfaces, crisp details, and the tell‑tale heft of real bronze. Care is simple—dust only, avoid metal polishes. Authentic 1920 pieces in this size and condition are genuinely vintage and relatively scarce compared with later reproductions.