Tall Art Deco Silver Overlay Vase

Taupe glass vase by Daum with acid etched geometric design. Etched signature on rim of base. Very good antique condition. circa 1930s.  

Italian art glass vase in blue tones with orange accents and bronze overlay that looks like abstract flower or leaf/vine, circa 1980s. Signed by the artist.

Pair of tall French art glass vases in warm tortoise and amber tone with black iron surrounds with large, curved handles and open work circular pedestal base with leaves and berries, circa 1930. Etched signature (see detail photo) Delatte Nancy...

Found in the US, this circa 1990 tall art glass vase has a wide, flared neck and blue green splatter pattern with accents of metallic gold. No fla...

Cone-shaped cut to clear purple art glass vase attributed to Val Saint Lambert of Belgium, circa 1930s. Excellent vintage condition with minor scattered surface wear. No flaws found.

Found in France, this signed François-Théodore Legras art glass vase dates from the 1920s. Dark taupe colored glass is acid engraved with abstract Art ...

Art Deco mottled purple art glass vase with applied silver overlay birds. Features silver overlay birds and butterflies.

Turn-of-the-century Art Nouveau glass vase with engraved silver overlay. Made by Alvin Corporation in Providence. Tall baluster with flared rim and short foot. Overlay in form twiste...

This lovely 1930s French Art Deco black glass vase features a silver and red deposit decoration around it with a geometric pattern. There is no visible maker's mark. Fine original co...

This lovely 1930s French Art Deco black glass vase features a silver deposit decoration all around with geometric patterns. Please note that although usually named "black glass," the...

Lovely Art Nouveau period glass vase with silver overlay depicting leafy foliage. Apparently unsigned. In very good condition.

Loetz Art Nouveau circa 1900 art glass vases with floral and decorative scroll Silver Overlay. (Pair) Larger: Corset form in iridescent gold glass decorated with scrolling silver overlay and a blank cartouche. Height: 5.25 X 2.75 Diameter Condition: Mint. Smaller: Bulbous smoke stack form in iridescent green-gold decorated with scrolling silver overlay flowers. Marked: Alvin pat 67 Height: 4.25 X 2,65 Diameter Condition: Mint 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 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 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...