Theodore Deck Decorative Objects

A Pair of French Theodore Deck ( 1823-1891) Ormolu-Mounted Celadon Porcelain Lamps, circa 1870. A very elegant pair of celadon green porcelain lamps in the Chinese taste, mounted ...

A Theodore Deck (1823-1891) Faience Persian blue, " Bleu Deck" Diabolo shape Vase Moulded in low relief and incised with fretwork and scrolls pattern in the Chinese Archaistic taste, Impressed Uppercase TH.DECK mark. circa 1875 Illustrated in "Théodore Deck ou l'éclat des émaux 1823-1891", Exhibition Catalogue held in Musée de Marseille, under # 24 page 54 Born in Guebwiller in Alsace, Théodore Deck trained as a ceramist in his home region, then in Germany. He went into partnership with his brother, Xavier Deck, to create his own factory in Paris in 1858. At the Exhibition of Industrial Arts in 1864, he presented pieces covered with transparent enamels that were not cracked, and then made his first attempts at reliefs under transparent enamels. He developed a bright turquoise color, famously renowned as "Bleu Deck". It is this nuance that we find on the salamander represented on this vase. In 1887 he published a treatise entitled "La Faïence", in which he explained some of his discoveries. That same year, he became director of the Manufacture de Sèvres. Theodore Deck (1823-1891) is a French ceramist born in Guebwiller in Alsace. He is passionate about chemistry and the physical sciences. In 1841, he joined the master stove maker Hügelin father as an apprentice in Strasbourg. In two years, he learned of the methods inherited from the 16th century, such as the encrustation of colored pastes in the style of Saint-Porchaire. This apprenticeship did not prevent him from spending his free time draw-ing or modeling clay in the studio of sculptor André Friederich. Escaping military service, he made a tour of Germany as is the tradition with fellow Alsatian stove-makers. The quality of his work allows him to obtain important orders in Austria for the castles of the provinces and the imperial palaces, in particular for the palace of Schönbrunn. He continues his journey in Hungary to Pest, to Prague, then, going north through Dresden, Leipzig, Berlin and Hamburg. On the strength of his apprenticeship, he arrived in Paris in 1847. Recommended by Hügelin, he went to the stove factory of the Bavarian potter Vogt, located rue de la Roquette. The Revolution of 1848 interrupts production and Deck decides to return to his hometown. His family then advised him to set up a small terracotta workshop: he made a few busts, statuettes, vases, lamps and copies of famous antiques there. Aware that this situ-ation would not allow him to provide for himself properly, he returned to Paris in 1851 where he was employed by the widow Dumas, daughter of the earthenware maker Vogt for whom he had worked. Hired as a foreman, he supplied the drawings and models to the workers, while working the land himself. The following year, he made the decision to settle not far from his former employer at 20, rue de la Fontaine-au-Roi, probably using his ovens. His brother, Xavier Deck, joins him. It was officially in 1858 that the Deck brothers created their business and settled in Paris at 46, boulevard Saint-Jacques. Initially, the brothers only carry out coatings for stoves. But the business is going so well that barely a year after their installation, they want to diversify their production and engage in ceramics for the cladding of buildings as well as in shaped parts. Deck is interested in politics. In 1870, he opted for French nationality and was elect-ed deputy mayor in the 15th arrondissement of Paris. In 1861, at the Salon des arts et industries de Paris, which was held on the Champs-Élysées, Théodore Deck exhibited his works for the first time: these were pieces with an inlay decoration called “Henri II” and others. pieces covered with turquoise blue enamel or decoration in the style of Iznik ceramics.If he wins a silver medal, reviews are mixed, however. The following year, on the occasion of the Universal Exhibition of 1862 in London, he won over English customers. He surprised by presenting, like the previous year, his Alhambra Vase of exceptional dimensions (1.36 m in height and 2.25 m in circumference) which was purchased by the South Kensington Museum a few years later. At this same exposure, however, we notice the numerous cracks in its glaze and its poor adhesion to the dough. At the Indus-trial Arts Exhibition of 1864, Deck managed to present pieces coated with transparent, non-cracked enamels, and then made his first attempts at reliefs under transparent enamels. He developed a bright turquoise colour, which he named "Bleu Deck". Théodore Deck explained the manufacture and qualities of these transparent enamels when he published his treatise La faïence in 1887. A year later, he made the first tests of reliefs in transparent enamels. He will never abandon this technique which will also be taken up by several large manufacturers. Inspired to pastiche by Islamic...

A Monumental Exceptionally Made Islamic style green glazed earthenware three-piece vase and pedestal centerpiece. This is an extraordinary earthenwar...

Théodore Deck (1823-1891), ceramic vase, signed, circa 1870.

Polychrome enameled ceramic sculpture depicting a tanagra also called "Titeuse Dancer", resting on a rectangular base. Signature under enamel "TH.Deck". Around 1880-1890. Perfect Con...

Théodore Deck (1823-1891) An Impressive baluster shape vase on a celadon background with light relief and brown decoration of scrolls, rosettes, shells and arabesques in the orienta...

A Théodore Deck (1823-1891) Iznik Baluster polychromed vase Persian Islamic design Impressed Uppercase TH.DECK Mark under the base Dated 1870.

A Théodore deck faience blue Persian vase Impressed TH.DECK Mark.

A Theodore Deck (1823-1891) deep green enamelled faience pair of vases moulded in the Chinese archaistic taste Coves in the shape of elephant heads. With originals Théodore deck's ...

A polychrome Theodore deck blue-ground enameled faience jardinière of waisted flaring form, painted in the Japonisme Aesthetic with Dogrose, wisteria and other flowering branches a...

A Rectangular Théodore Deck blue-Persian faience cachepot in the Islamic style, modelled in low relief and incised with interlacing and rosette pattern. With original zinc planter r...

A Theodore Deck (1823-1891) polychromed Faience Baluster vase, the body richly decorated with vegetation’s, birds, butterflies and stork in the Japanese Taste in Cloisonné Imitation ...