An Art Deco vase in black amethyst glass with engraved chrysanthemums, a flower associated with renewal, resilience, and joy. c. 1920s.
Black Amethyst emerged in the late 19th and early 20th centuries as a poetic reference to the material’s deep violet undertone, which is only revealed when held against light.
Created through metallic oxide coloration, the glass was designed to resemble the richness of carved onyx and precious hardstones while still maintaining a lighter weight.
During the Art Deco period, glossy black finishes became especially prominent across furniture, objects, lacquer work, and decorative arts. This form of glass reflected that same fascination with dark reflective surfaces.
An object of affection. Sold.
A satin amber glass bud vase from the early 20th century.
The satin finish diffuses light, giving the glass a muted, almost luminous quality.
Available on The Edit.
A Lalique ‘Degas’ vanity box, designed by René Lalique in 1921 as a tribute to Edgar Degas and his enduring fascination with ballet and movement.
the French artist, celebrated for his intimate depictions of Parisian ballerinas in the late 19th century, rather than portraying ballerinas as distant performers, captured the quieter moments surrounding ballet itself: rehearsals, stretching, adjusting ribbons and costumes, moments of rest backstage, and the repetition required to perfect movement.
Beyond the beauty of the performances was an immense sense of discipline, devotion, grace, and precision, something Degas captured with remarkable sensitivity. His ballerinas became some of the most recognizable figures in French art, admired not only for their elegance, but for the humanity and quiet dedication present behind each movement.
A few decades later, Lalique translated that same fascination with movement and the female form into glass through this sculptural dancer emerging softly from the lid. Executed in Lalique’s signature satin-finished glass, the surface was achieved through acid treatment, softening transparency and allowing light to diffuse gently across the form. Originally conceived as a vanity or powder box, this piece would have lived on a dressing table during the Art Deco period.
Available on The Edit.
On study: René Buthaud, Primavera, c. 1925.
Reverse glass painting framed in verre églomisé, a decorative technique dating back centuries in which gold leaf is applied to the reverse side of glass and delicately engraved before sealing. The process saw a revival during the French Art Deco period, where designers and artisans embraced it for its luminosity, and architectural quality across furniture, objects, and decorative arts.
The Spira Cuff.
Hand-sculpted in sterling silver and set with a Colombian emerald.
Accompanied by a duchesse silk pouch, finished with silk cord and onyx beads.
An object from The Atelier.
Founded during the golden age of glass in Vienna in 1823, Lobmeyr has spent two centuries mastering the art of light and glass.
Designed in 1856, the Patrician Crystal Glass is made from their signature mouth-blown muslin glass. Each piece is the result of at least 18 caring hands.
As seen via @stylenotcom at The Row Summer 2026 Show, held by Nina Garcia, and from @christietyler ‘s personal collection, captured beautifully in her space by her.
Only a few available on The Edit.
A century-old Art Deco hair comb, made of black bakelite.
Set with alternating clear and brown glass stones, and a single amber-toned center.
Bakelite, an early synthetic resin developed in the early 1900s, allowed for durable, sculptural forms that defined the era.
Foil-backed glass stones were cut and set to reflect light with precision, offering brilliance in place of fine gemstones.
A small keepsake, available on The Edit.
The Edit SS26 is now available.
Glass shaped by craftsmanship, capturing the beauty of softened light.
Natural materials such as fine cotton, silk and mother of pearl.
The chrysanthemum, a symbol of joy and nobility.
From an original Lalique ‘Degas’ ballerina box to a century-old Art Deco hair comb.
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