Ashville Fine Arts Vases and Vessels

American Arts & Crafts Roseville for Tiffany Chinese form Pauleo pattern Vase Glazed ceramic Circa 1900 DIMENSIONS Height: 15.75 inches (40.01 cm) Diameter: 10.5 inches (26.67 cm...

Atique Rootwood & Bamboo Ikebana Vase Japan, XIX Century DIMENSIONS Height: 19.25vinches Width: 10.13 inches Depth: 9.5 inches ABOUT This absolutely unique ikebana vase consists of...

Japanese Art Nouveau Flower Vase Awaji Ware Art Studio Pottery ca. 1900s ABOUT AWAJI WARE ART STUDIO POTTERY Awaji pottery was made on the Japanese island of the same name between...

American Art Deco Planter with Geometrical Design Anodized & Painted Metal ca. 1920s DIMENSIONS Height: 13.5 inches Width: 14.5 inches Depth: 8.25 inches

Art Deco Ikebana Basket Chromed Metal Japan, ca. 1930s ABOUT Ikebana is the Japanese art of of beautifully arranging cut stems, leaves, and flowers in vases and other containers t...

Dimensions: Height 5 1/2 inches Maximum width 3 1/2 inches Bottom diameter 2 7/8 inches. Both, the neck and the top cover of the lid are stamped with a full set of French hallmarks, half-erased due to long-term use and therefore illegible. The repose bouquet of Irises on the cover is stamped with an essayist' hallmark, containing artist initials "RD". Fine and unusual French antique perfume bottle of a superb quality and workmanship; can also function as a body lotion or bath salt...

French Art Nouveau Ocean Life Theme Vase Cachepot Iridescent Stoneware & Patinated Bronze Crab Appliqué ca. 1900s ABOUT We present here a most unusual and utterly decorative Fren...

DIMENSIONS Height: 5 1/2 inches Max. width: 3 1/2 inches Bottom diameter: 2 7/8 inches MARKINGS Both, the neck and the top cover of the lid are stamped with a full set of French hallmarks, half-erased due to long-term use and therefore illegible. ABOUT This fine and unusual French antique perfume bottle of a superb quality and workmanship and can also function as a body lotion or bath salt...

Dimensions Height: 7.25 inches Width: 5.25 inches Depth: 4.5 inches. Markings Fully marked on the bottom with a "B" in an urn-shaped cartouche (for “Bergmann”), and “GESHUTZED” (German: “PROTECTED). ABOUT What distinguishes this unique bud vase from others is a perfect synthesis of a utilitarian object and a Fine sculpture. It is not only the amazing subtlety and taste of the author’s artist skills, but an extraordinary design and an absolutely outstanding original plot. Designed for a single flower only, it is nonetheless a very complex and multifaceted composition filled with warm humor and fantasy. Sitting on a vessel shaped as a gourd, clasping its goat legs with hooves and holding on to the neck with one hand in order not to fall of it; a playful and mischievous faun holds by the tail a fleeing lizard with the other hand. FRANZ XAVIER BERGMANN (Austrian, 1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working...

Gustave-Joseph Chéret French Belle Époque Patinated Bronze Figural Flower Vase ca. 1882 Signed ‘Joseph Chéret’ and E. Soleau. Editr. Paris Exqu...

Although unsigned, this magnificent Austrian expressionist art ceramic sculptural vase with three receptacles is attributed to Vally Wieselthier for Wiener Werkstatte, ca. 1920. Valerie "Vally" Wieselthier (Austrian-American, 1895 – 1945) was an outstanding ceramic artist. She was born to a Jewish family in Vienna, Austria. Her father, Wilhelm Wieselthier was a lawyer. Valluy attended theWiener Frauenacademie in Vienna from 1912 to 1914 and studied at the Vienna School of Applied Arts with Rosalinda Rothhansl, Kolo Moser, Jodef Hoffmann and Michael Powolny from 1914 to 1920. In addition, she worked as an auxiliary nurse during the First World War. From 1917 to 1922, she worked for the Wiener Werkstatte. From 1922 to 1927, she ran her own ceramic workshop in cooperation with the Augarten porcelain factory, which was newly founded in 1923, but also with other companies such as Friedrich Goldschider, Gmundner Keramik and Lobmeyr. Her expressive and humorous porcelain figures attracted attention at the Exposition Internationale des Arts Décoratifs et industriels modern in Paris in 1925 and are considered typical examples of the Art Deco style style. From 1928, the artist increasingly moved her center of life to the United States. She went to the International Exhibition of Ceramic Art in New York City in October 1928. In 1933, she moved to Chicago with Paul Lester Wiener...

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...

ABOUT IRIS The iris is a special and mysterious flower. Not only because of its striking appearance, but also from an artistic and historical point of view. It is also like a work of art, as though created by Mother Nature. The unique leaves of this plant not only create wonderful shadow casts, but also look as if they were painted by hand. It's no wonder that iris acts as the muse for countless artists, and can be seen in many famous works of art. The iris was first spotted in the time of Pharaoh Thutmose, in 1504 BC. He had the iris inscribed into the wall reliefs of a temple as a sign of his power, as well as decorating his sceptre with motifs of the flower. Since then, the iris has been a symbol of victory in Egypt. But the symbolism of the iris goes further than that. In Japan, the flower represents courage and is the symbol of the boys' festival. In Islamic cultures, the iris is a symbol of prosperity. In Europe, the flower was a popular weapon symbol in the Middle Ages and stood for chivalry. And in Christianity, the iris was seen as a symbol of the trinity because of its three-part flowers. With more than 300 varieties, the iris is now the most popular flower among growers and gardeners following the rose. Countless artists use the iris in their works and the flower is present in all eras. You can see the flower on furniture, vases, jewelry, fabrics, sculptures, coats of arms and much more. Did you know that the iris is also called the sword lily? It's not a coincidence that it used to symbolize physical and emotional pain and suffering caused by a weapon. We also see the flower in religious art, where it's often associated with Mary and Jesus. The iris is also associated with the Greek goddess Iris, where the flower symbolizes reconciliation and divine messages. This is also reflected in many paintings. Finally, the iris is also visible in Dutch and Flemish still-life paintings. This can be in a religious form, incorporated into an object or as a decorative flower. In the Art Nouveau art movement, the iris (along with other plants, such as the birch) was often used as an expression of feminine beauty. With its almost otherworldly appearance, the iris is perfectly suited to the Art Nouveau aesthetic and is featured in many well-known works of art. The poet of that era, Hermann Hesse...

Paul Louis Emile Loiseau-Rousseau (French, 1861-1927) was a famous French sculptor. In his youth, he planned to devote himself to etching, was a student of Antoine-Louis Barye at the...

DIMENSIONS: Height: 12.5 inches Width: 6.75 inches Depth: 6.75 inches ABOUT AWAJI POTTERY Awaji pottery was made on the Japanese island of the same name between 1830 and 19...

DETAILS: Fully marked on bottom. DIMENSIONS: height: 6.75 inches, width: 4.5 inches, depth: 4.5 inches ABOUT THE ARTIST Paul Dachsel (Czech, born circa 1880) was the son-in-law of Alfred...

DIMENSIONS: Height: 4 inches Width: 6 inches Depth: 6 inches ABOUT THE OBJECT With the laconic Japanese-style Art Nouveau design, filled with symbolism and metaphorism, this multi-use bowl...

Dimensions Height: 2.5 inches Diameter: 12.25 inches About the object This unique decorative bowl, most likely, was created at the Kinkozan workshop. Kinkozan pottery...

Signed/Stamped This masterly created pair of two-handled lidded vases adorned from top to bottom and all around with depictions of nature in extremely fine and crisp relief casting ...

Original dark-brown patina. Dimensions Height: 9.25 inches (23.12cm) Width: 14.25 inches (35.6cm) Opening diameter: 11.4 inches (28.12cm).  

This beautiful end of Meiji Period Japanese Kyoto Fuzan Satsuma Ware double-handled vase has a gold plated intricate infinite circular relief pattern design and two images of goddess...

This geometric, floral inspired 1930s French Art Deco deeply acid etched pâte-de-verre elegant flower vase bears the signature Daum Nancy on the base edge. There is a nice weight to the thick-walled heavy glass. It has a beautiful amber yellow color etched right through to the clear. Sophisticated in its simplicity, the design consists of geometrically-stylized leaves and flowers encircling a vase, with a smooth banded edge at the top. Period: Ca. 1930’s Style: French Art Deco. Medium: Acid Etched Pâte-de-Verren Art Glass. Dimensions: Height: 6.875” x max. diameter: 6.875” x opening diameter: 3.375” Markings: Engraved on the base edge, ‘Daum Nancy’ Condition: Good antique condition. No chips or cracks. No damages, no restorations. Maker: Daum Freres of Nancy, France The success of the Daum glass company is directly a result of its excellent management and entrepreneurial spirit. The accidental founder of the company was Jean Daum (1825-1885). He was a financier of the company when it was known as the Verrerie Sainte Catherine. This company quickly hit hard times and it was Jean Daum who took control of it before it failed. Daum was not an artist by trade. He was a notary and industrialist. This new venture was a trial by fire. The first glass produced by Daum is collectible, but it was not art glass. They made mostly clear glass with gold rims to be used while dining. It wasn’t until the 1890s that Daum began producing what we think of today as “Daum Nancy” glass. Daum glass is thought to be made by the Daum Freres (brothers). This was not accurate when the company first began operating. It was Jean Daum and his son Auguste Daum (1853-1909) who laid the ground work for Auguste and his brother Antonin Daum (1864-1930) to lead the company in the early 20th century. All Daum glass is handmade, but that certainly shouldn’t lead the reader to believe that Daum was a mom and pop...

Antoine Bofill (Spanish-French, 1875-1925) was a Spanish artist and member of the Animalier movement of the 19th century. Best known for his small, decorative bronze sculptures, Bofi...

This large elegant, museum quality flower vase was probably made by Johann LOETZ Witwe Glassworks (Klostermühle, Bohemia, circa 1900) is a superior example of Jugendstil ~ Art Nouveau luxury object. The semi-translucent art glass strikes a spectator not only with the uniqueness of its surface, reminiscent of crocodile skin, but also with unexpected color scheme - a combination of dark brown, old gold and green, covered with craquelure; against the background of iridescent violet. The vase is framed by outstandingly designed bronzed & patinated pewter mounting, consisting of simple large handles, almost geometric-form; with one wreath of leaves, crowning the neck; and the second, forming a base. The simplicity of the forms both, the glass vessel and the mounting are generating extremely interesting decorative effects, inherent exclusively to Jugendstil ~ Art Nouveau era. LOETZ Witwe Glassworks In 1836, Johann Eisner established a glassworks in the Southern Bohemian town of Klostermühle, today part of the Czech Republic. The Art Nouveau Period was the glory years of the company. 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 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...

Although unsigned, this Art Deco masterpiece in red and white art glass and wrought iron most probably by Charles Schneider. Charles and Ernest Schneider were a generation younger...

Although unmarked, this rare and important, grand but at the same exquisite patinated bronze vase has just a very few little details, defying the shape of the handles, as well as the...

Frederic Rhead, a pair of English Arts & Crafts Glazed terracotta vases with Peacocks, circa 1900. This outstanding pair of English Arts & Crafts gla...

American Renaissance period. A Pair of Patinated Bronze Vases with Nymph and Satyr Bas-Reliefs by Roman Bronze Works, New York City, circa 1900. Dimensions: Height: 16 inches ...

Dimensions: Height 18-3/4 inches Diameter 8-3/4 inches Found in the middle section of the vase’ neck, there is a round glass medallion with letter “m”, indented into it for Maestro Imperio Rossi...

This striking, tall and elegant French Art Nouveau flower vase made out of wood, hand-hammered copper and leather; its narrow top encrusted with f...

A garniture is a decoration for the top of a fireplace mantel. Presented here is a good example of richly patinated and gilded bronze and red marble in the style of Napoleon III, who...

This beautifully designed and highly decorative Art Nouveau ceramic vase is outstanding by all measures. It is very impressive and fabulously rendered in a most unusual technique, co...

Charles Vital-Cornu (French, 1851 - 1927), Jouffroy’s and Pils’ pupil, he acquired a skillfulness mastery in carving marbles and producing bronzes. He used several patinas in his production. Indeed, if his pieces' embodiments are often golden-brown colored, the hollow part are darker. His figures, hands, faces, and bodies are of a great quality. Charles Vital-Cornu had participated in numerous annual ‘‘Salons’’ organized in Paris by ‘‘la Société des Artistes Français’’ where he got several awards, such as a mention of Honor in 1880 and 1881, a third class medal in 1882, a travelling grant in 1883, a second class medal in 1886, a bronze medal at the 1889 World Fair and, finally, a silver medal at the 1900 World Fair at the Grand palace...

An Art Nouveau gilt bronze lobed ewer by Alexandre Vibert (French, 1847-1909), produced within the early 20th century period, depicting a classical nude female figure on the bank of ...