Gustav Gurschner Vases

A pair of patinated bronze vases cast after the antique. Each vase is of krater form with elaborate scrolling volute handles with swan heads a...

Set of two W.M.F. silver plate flower vases and jardinière, Jugendstil period, Germany, circa 1900. Dimensions of the jardinière: Height 19 c...

A stunning Art Nouveau era art glass vase produced in Austria or Bohemia. Possibly by Loetz. The vase or cache pot is sculpted bronze decorated with foliage legs and great owl form h...

Finest Bohemian Art Nouveau Glass Vase: Mould-blown solitary vase on a flush stand; conically rising body, forming gently rounded shoulders; long, slender neck tapering further towar...

Luxury at its finest, high-end glass dandelion vase for Baccarat, France. The vase - made out of art glass - is made from a clear glass, with yellow dandelions and green leafs on it...

Julius Dressler's factory opened in Biela, Bohemia in 1883 and closed in 1944. His work was influenced by the Art Nouveau and Vienna Secessionist movements. Style-looks, simply s...

An amazing Jugendstil Style amphora from Rudolstadt, Thuringia hailing from the Triebner Ens Manufacture and the artist Karl Ens Volkstedt. A vase decorated with a iris flower form...

W. Lachner (XIX-XX) Jugendstil Patinated Bronze Mantel Clock, with mother and daughter figures below ivy vines and the Latin inscription "Ut cuspis, sic vita fluit, dum starevidet" [...

An early 20th century, Jugendstil period inkwell by Erhard und Sohne. Austria ca. 1910 .Burl wood with Brass inlay  .Beautiful crafted piece .

A visually striking pair of vintage ceramic vases in the Jugendstil style, handcrafted in Germany circa 1960 by BB Hohenstein. These decorative vases feature a raised Chinese dragon ...

Exceptional Bohemian Art Nouveau glass vase: Blown into the shape of a large, widening body on a flush base, tapering to a spherical top with a slightly raised, wide rim, indented three times in the lower half and twisted to the right, with a ground and polished pontil. Form: Series II Prod. no. PN 883, year 1900 Decor: Cobalt Papillon Cobalt blue underlaid, colorless glass with rolled-in silver yellow crumbs, model-blown and formed, reduced and iridescent. Vase manufactured by Loetz Widow, Klostermühle, Bohemia Dating of manufacture: 1900 Size: Height: 31,0 cm / 12.20 in Diameter: 18,0 cm / 7.08 in Bibliography: LÖTZ, Böhmisches Glas / Bohemian Glass 1880-1940, Band 1 / Part 1,Work Monograph, Prestel-Verlag, Munich, 1989, page 91, nr. 50 Tulip...

An octagonal green and blue earthenware vase with blue glazed squares, marked Austria and numbered 7143. These type of vases were made in the Vienna School of Applied Arts (Wiener Ku...

A pair of Jugendstil Alpaca vases, circa 1908s Polished and stove enameled Beautiful children with bird's Motivs on both vases.

Alfonso Canciani (Italian-Austrian, 1863-1955) was a famous Italian-Austrian sculptor of the period of accession to the Viennese Secession. Son of a stonemason, after a realist period he managed to establish himself as a leading sculptor of the Viennese Secession. In fact, he worked in Vienna, where he had enrolled in 1886 at the Academy of Fine Arts, then at the Higher School of Sculpture and finally at the Special School, where he obtained the Rome prize for the sketch for Dante's Monument. He developed a notable business obtaining important prizes and numerous commissions. First among the sculptors of the Viennese capital, he was invited to join the Association of the Viennese Secession, of which Klimt was magna pars, after the exhibition of Dante's group in 1900 at the Secession exhibition, and obtained the most important Austrian artistic prize, the Kunstlerlpreis. This same work, presented in 1910 in Berlin, at the Great Art Exhibition, also received an important recognition here. He obtained the Rome prize in 1896, exhibited successfully in Munich and in 1899 at the III International Art Exhibition in Venice. In that period he made some statues of saints for the cathedral of Santo Stefano in Vienna, the monument to Wagner, the bust of Nietzsche for the University, the scepter and the gold chain of the University Rector, figures of Italian poets ( Petrarch, Boccaccio, Tasso, Ariosto). He submitted a sketch for the official monument to Empress Elizabeth, which was then built in Austrisn Gföhl and Pula. At the time of his accession to the Secession, he dedicated himself to decorating the facade of the Artaria house in Vienna in collaboration with the architect Max Fabiani. He later abandoned the symbolist decorativism of the Jugendstil for a more concentrated and vigorous style, approaching the Belgian sculptor Constantin Meunier for the theme of work, and preferring to exhibit at the Künstlerhaus. In Vienna, he was generous with advice and help with the Italians and in particular with his fellow citizens (such as the Brazzanese Luigi Visintin, then a university student). After the First World War, he returned to Italy and lived in Friuli, penalized by the fact that the Habsburg Empire had by now disappeared. Instead of large-scale public monuments, he then devoted himself to engraving medals (e.g. for Benedict XV and for the Italian mission in Vienna in 1919) and to designing funeral monuments (examples in Mali Lošinj and Trieste) and portrait busts (of Generals Carlo Caneva and Antonio Baldissera in Udine, sculptures of the War Memorial of Corno di Rosazzo). After all, he had already executed the Bab grave monument in the Döblinger cemetery in Vienna in 1909. He taught in Trieste from 1920 until 1935, at the local school of industrial art, where he had Marcello Mascherini...

Theodor Hermann Schmuz-Baudiss for Konigliche Porzellan-Manufaktur. This vase features a geometric thistle at the neck and variations of animals at the shoulders, a hawk and a lion/...