Lajos Mack Vases and Vessels

Pair of two antique art nouveau Zsolnay reticulated pierced openwork floral faience vases from the Mályva (Mallow) series. Designed by Tádé Sikorski. Made in Pecs Hungary. Five C...

One side featuring a turkey the other side featuring a seated turkey. Stamped Zsolnay Pecs. Made in Hungary. Inscribed artists initials K.M.

Pair of Art Nouveau WMF twin handled vases, featuring maidens wearing flowing dresses. The bottom of the dress forms the base. A flowering tree flows up from the base. Complete with ...

Gorgeous patinated bronze art nouveau vase with maiden & floral design by Francesco Flora, circa 1910s. The vase has wonderful detail and is in very go...

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...

Austrian Jugendstil Patinated Bronze Vase designed by Gustav Gurschner manufactured by K.K. Kunst-Erzgiesserei circa 1912 Signed Gustav Gurschner is among the most famous Austrian ...

An exquisite miniature Zsolnay art pottery cabinet vase from Pécs, Hungary, featuring the celebrated iridescent Eosin glaze developed by the renowned Hungarian ceramics manufacturer....

Zsolnay midcentury vase The Zsolnay factory was established by Miklós Zsolnay (1800-1880) in Pécs, Hungary, to produce stoneware and other ceramics in 1853. In 1863, his son, Vilmos Zsolnay...

A pair of patinated bronze vases designed by Jakob Angman for GAB, Sweden, Circa 1930th. Natural patina, marked by manufacturer.

A hammered silver plate metal vase attributed to Josef Hoffmann and made by Wiener Werkstatte, circa 1920s. The vase is in the typical style of the Vienna secession, it features a ve...

Zsolnay Art Nouveau vase in glazed ceramics modelled with a sitting woman. Beautiful eosin glaze. 1920/30s. Measures: 24 x 13 cm. In excellent condition. Stamped.

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...