Eduard Stellmacher Vases and Vessels

Art Nouveau vase by Svend Hammershøi for Kähler. Executed in glazed earthenware with a beautiful, deep green glaze. Classic baluster shape, richly modeled with organic relief decorat...

Beautiful petite ceramic vase from France, 1960s. Made Amphora shape with off white glaze and painted brown and green squiggle and zigzag motif.

This early 20th century Art Nouveau porcelain vase was designed by Paul Dachsel for Riessner, Stellmacher & Kessel Amphora of Turn-Teplitz, Bohemia. The piece has an organic squash-like form and features Dachsel's distinctive ribbed mouth design at the top. The body of the vase is flanked by two delicate arched arms with reticulated detail. This ivory porcelain vase has a blush colored body with gilt accents at the foot and handles. The front and back piece have been hand-painted with a floral motif in a Japanese style and feature the images of gilt accented purple orchids with long green leaves. The ribbed mouth is finished in a matte green that echoes the color of the foliage and also has gilt highlights. An example of this shape with similar decoration can be seen on page 66 of Richard L. Scott's 'Ceramics From The House Of Amphora 1890-1915. The vase is in excellent condition with no chips, cracks or repairs. As an antique item, the piece shows appropriate signs of age consisting of wear to the gilded decoration. The vase stands just over 6" tall and is 2" as measured from the furthest points of the mouth. The foot is just over 2" in diameter and bears the RStK burnt in mark reading "RStK TURN Teplitz...

Stunning green Pulegoso Murano glass "Urn" vase with applied glass decoration. The base, mouth, decorations and handle were rolled gold gold leaf during hot phase of creation, leavin...

Paper mache vessel commissioned for use on a film set. Convincingly done, now lots of fun. British 1990s H 97cm x ø 50cm

Summer Sale...! An exquisite pair of French Art Nouveau vases in its original patina. It can be turned into a stunning pair of table lamps wit...

This late 19th century porcelain vase was designed by Eduard Stellmacher for Riessner, Stellmacher & Kessel Amphora of Turn-Teplitz, Bohemia. The piece has a Classic Art Nouveau form and features a dimensional nymph partially encased in the leaves of a lily of the valley plant. The maiden's body is accented by two delicate arched tendrils finished in gilt which bear small white lily of the valley blossoms, also accented in gilt. The remainder of the piece is painted in shades of light green and ochre with gilt highlights. An example of this shape with similar painted decoration can be seen on page 37 of Richard L. Scott's 'Ceramics From The House Of Amphora 1890-1915.' As an antique item, the vase shows appropriate signs of age consisting of wear to the gilded decoration along with a shallow chip on one of the ridged leaves on the back of the piece. The foot is 4" in diameter and bears the red RStK mark reading "RStK TURN Teplitz...

Originally from Czechoslavakia, this marked Amphora vase dates from 1910-1920. Vase stands 14” tall and has a dark rim and handles with a pale tan pebbled texture with and dramatic s...

Beautiful vase in swirl Titania glass and overlay silver, This is a rare antique vase.

A giving joy beautiful French Fayence Floor Vase fantastic Art Nouveau pattern - Impressing Colours Manufacturer unknown - marked Design Period 1915 - 1925 Country of Manufacture : France H / height: 46 cm ~ Gew. / weight: 4550 grs DM / diameter max: 28 cm ~ DM oben / diameter inner rim: 19.8 cm .... an ode to Southern France A Legend of Provence by Adelaide Anne Procter (30 October 1825 – 2 February 1864) The lights extinguished, by the hearth I leant, Half weary with a listless discontent. The flickering giant-shadows, gathering near, Closed round me with a dim and silent fear. All dull, all dark; save when the leaping flame, Glancing, lit up a Picture's ancient frame. Above the hearth it hung. Perhaps the night, My foolish tremors, or the gleaming light, Lent power to that Portrait dark and quaint, — A Portrait such as Rembrandt loved to paint, — The likeness of a Nun. I seemed to trace A world of sorrow in the patient face, In the thin hands folded across her breast: — Its own and the room's shadow hid the rest. I gazed and dreamed, and the dull embers stirred, Till an old legend that I once had heard Came back to me; linked to the mystic gloom Of that dark Picture in the ghostly room. In the far south, where clustering vines are hung; Where first the old chivalric lays were sung; Where earliest smiled that gracious child of France, Angel and knight and fairy, called Romance, I stood one day. The warm blue June was spread Upon the earth; blue summer overhead, Without a cloud to fleck its radiant glare, Without a breath to stir its sultry air. All still, all silent, save the sobbing rush Of rippling waves, that lapsed in silver hush Upon the beach; where, glittering towards the strand The purple Mediterranean kissed the land. All still, all peaceful; when a convent chime Broke on the mid-day silence for a time, Then trembling into quiet, seemed to cease, In deeper silence and more utter peace. So as I turned to gaze, where gleaming white, Half hid by shadowy trees from passers' sight, The Convent lay, one who had dwelt for long In that fair home of ancient tale and song, Who knew the story of each cave and hill, And every haunting fancy lingering still Within the land, spake thus to me, and told The Convent's treasured Legend, quaint and old: — Long years ago, a dense and flowering wood, Still more concealed where the white convent stood, Borne on its perfumed wings the title came: " Our Lady of the Hawthorns " is its name. Then did that bell, which still rings out to-day, Bid all the country rise, or eat, or pray. Before that convent shrine, the haughty knight Passed the lone vigil of his perilous fight; For humbler cottage strife or village brawl, The Abbess listened, prayed, and settled all. Young hearts that came, weighed down by love or wrong, Left her kind presence comforted and strong. Each passing pilgrim, and each beggar's right Was food, and rest, and shelter for the night. But, more than this, the Nuns could well impart The deepest mysteries of the healing art; Their store of herbs and simples was renowned, And held in wondering faith for miles around. Thus strife, love, sorrow, good and evil fate, Found help and blessing at the convent gate. Of all the nuns, no heart was half so light, No eyelids veiling glances half as bright, No step that glided with such noiseless feet, No face that looked so tender or so sweet, No voice that rose in choir so pure, so clear, No heart to all the others half so dear, So surely touched by others' pain or woe, (Guessing the grief her young life could not know,) No soul in childlike faith so undefiled, As Sister Angela's, the " Convent Child. " For thus they loved to call her. She had known No home, no love, no kindred, save their own. An orphan, to their tender nursing given, Child, plaything, pupil, now the Bride of Heaven And she it was who trimmed the lamp's red light That swung before the altar, day and night; Her hands it was whose patient skill could trace The finest broidery, weave the costliest lace; But most of all, her first and dearest care, The office she would never miss or share, Was every day to weave fresh garlands sweet, To place before the shrine at Mary's feet. Nature is bounteous in that region fair, For even winter has her blossoms there. Thus Angela loved to count each feast the best, By telling with what flowers the shrine was dressed. In pomp supreme the countless Roses passed, Battalion on battalion thronging fast, Each with a different banner, flaming bright, Damask, or striped, or crimson, pink, or white, Until they bowed before a newborn queen, And the pure virgin Lily rose serene. Though Angela always thought the Mother blest Must love the time of her own hawthorn best, Each evening through the years, with equal care, She placed her flowers; then kneeling down in prayer, As their faint perfume rose before the shrine, So rose her thoughts, as pure and as divine. She knelt until the shades grew dim without, Till one by one the altar lights...

A ceramic Art Nouveau vase produced by Turn-Teplitz, Bohemia, made in Austria. Amphora manufacture between 1892 and 1905. Signed.

A ceramic Art Nouveau vase produced by Turn-Teplitz, Bohemia, made in Austria. Amphora manufacture between 1892 and 1905. Signed.