Genuine Bybee (tm) Matte Crystalline Green handled vase.

A monumental weed vase by studio potter Clyde Burt. This is 20" tall by 5.5" diameter and is from the 1960's series "Zig Zag Lines". A related (smaller) ex...

A rare large scale Eskimo fisherman theme mid century modern vase by noted California Artist Edmund Ronaky. Signed to the base and a quintessential West Coast work of modernism. The ...

In 1886, John Northwood, famous glass artist of Stourbridge, UK, (later instrumental in the development of art glass in the US), invented a pull up machine allowing small metal teeth...

Cristalleries de Vannes-le-Châtel, France gull wing abstract sculptural vase. Acid etched Art Vannes France Mark. This is a quintessential 1970's elegant design ready for your home...

Art Deco Bat pattern cut crystal vase Attributed to Charles Graffart (1873-1967) Val Saint Lambert circa 1928 Charles Graffart is described in the Bri...

Bertil's work is often haunting, but this bottle vase is ready for display or perhaps for the most adventurous as a container for your personal witch's brew. A entire layer of end of day type scattered glass has been cameo acid cut back to reveal a frosted midnight blue glass underlayer. But, just look at these birds. Ravens, crows... certainly birds of the night. A taller neck than I have seen before and the slight slumping and bubbled inclusions reinforce the visual message that this is both art and handicraft. The fortuitous bold coloration of the birds makes the pattern boldly assert. Marked Kosta Boda Atelier 92 and B Vallien...

Elevate your home decor game with the Lilium Vase! This beautifully designed piece is perfect for those who want to add a touch of sophistication and elegance to their space. Crafte...

A beautiful green vase with a green crystalline glaze designed by Isak Isaksson in Sweden. The vase is 12.5 cm (5") high and about 9.5 cm (3.8") in diameter and it is in excellent co...

A beautiful green / blue-toned vase with a stunning crystalline glaze designed by Isak Isaksson in Sweden. The vase is 22.5 cm (9") high and about 11.5 cm (4.6") in diameter and it i...

A blue & green vase with a stunning crystalline glaze designed by Isak Isaksson in Sweden. The vase is 30 cm (12") high and about 13 cm (5.2") in diameter and it is in excellent cond...

Loetz Rubin Matte Iris - 1898 (aka: rubin metall) Registered Model: PM I-7875 Ruby ground; metallic-bronze iridescent finish (iris) with purple highlights. Measures: Height 7.75 inches Width 4.25 inches Condition: Excellent AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return if the items are not as described. In 1836, Johann Eisner established a glassworks in the Southern Bohemian town of Klostermühle, today part of the Czech Republic and called Klášterský Mlýn. His heirs sold the glassworks to Martin Schmid in 1849, and two years later Schmid sold it to Frank Gerstner, attorney-at-law, and his wife Susanne. Susanne was the widow (‘Witwe’ in German) of Johann Loetz, a glassmaker about whom we know very little. Gerstner transferred sole ownership to Susanne shortly before his death in 1855, and she successfully led and expanded the company during the subsequent 20 years, manufacturing mainly crystal, overlay and painted glass. In 1879, Susanne transferred the company – now called ‘Johann Loetz Witwe’ – to Maximilian von Spaun, the son of her daughter Karoline. One year later, von Spaun hired Eduard Prochaska and the two of them modernized the factory and introduced new, patented techniques and processes. The Historicist Period The first fruits of this collaboration were exciting innovations in Historicism glass, including Intarsia and Octopus glass and the very popular marbled (‘marmorisierte’) glass which imitated semi-precious stones like red chalcedony, onyx and malachite. Success at exhibitions in Brussels, Munich and Vienna were crowned by awards at the Paris World’s Exposition in 1889. In 1897, von Spaun first saw Tiffany Favrile glass exhibited in Bohemia and Vienna, and this convinced him that the art nouveau style was also the way to go for Loetz Witwe. The next eight years were to be the most artistically significant and profitable period in the entire history of the company. The Art Nouveau Period – the Glory Years Loetz Paris-Expo1900Loetz Paris-Expo1900The glassworks created large numbers of its own new designs of iridescent, trailing art nouveau glass, sometimes in collaboration with well-known artists and designers like Marie Kirschner and Franz Hofstötter (aka Franz Hofstätter). The zenith of Loetz art nouveau glass was epitomized by the so-called Phänomen series of designs, much of it designed by Hofstötter, which won a Grand Prix (alongside Tiffany, Gallé, Daum and Lobmeyr) at the Paris World’s Exposition in 1900. The company’s success during this period had two prime drivers – the technical expertise of Prochaska and the business acumen of von Spaun. Loetz Witwe created many of its own designs, and also supplied glass commissioned by major customers like E. Bakolowits (Vienna) and Max Emanuel...

“A Robineau vase is a true work of art, unique in conception and perfect in execution, for every piece that left this studio was a labor of love.” – Ethel Brand Wise, The American Magazine of Art, 1929 Adelaide Alsop Robineau was a pioneer in American studio ceramics and excelled as an innovator in pottery both technically and aesthetically. As a young woman of high society in the late Victorian era, she gained early accolades as a skilled watercolorist and china painter and taught for a time at St. Mary’s Hall in Minnesota. In 1899, she married Samuel E. Robineau, a French gentleman and collector of Chinese ceramics. He was deeply intrigued by her talent and steadfastly supported and encouraged her throughout her career. The couple collaborated to produce a popular and influential monthly journal together, Keramic Studio, and went on to build a studio on their property in Syracuse, New York, which they named Four Winds. Robineau would also go on to teach for many years at Syracuse University while creating her own work and raising three children. Early in her career, she studied at Alfred University under Charles Binns, who is widely considered to be the progenitor of contemporary studio ceramics in America. His program established a shift in the craft of ceramics as an academic pursuit, rather than one of apprenticeship. Pottery throwers and the artists who decorated the wares traditionally inhabited separate roles in ceramic manufacture, a practice common in Europe. Binns’ philosophy merged the two, such that the potter had total agency of the final product. This marked a historic divergence in the creation of art pottery – one that Adelaide Robineau...