STiLODROM Vases

This huge and heavy ART floor vase, crafted in 2006, was produced by a renowned artist whose name is not recalled at this time. ... let´s call the vase KISS-KISS ... Height: 48cm ~ ...

MELIOR two italian vases lava glaze / enamel painting 1960s Alassio and San Marino Alassio : 22cm high ~ Ø 9cm ~ 960 grs San Marino: 9.5 cm high ~ Ø 7cm ~ 180 grs

"Set of two masterfully crafted vases by Barbara Lampe, granddaughter of company founder Anton Lang from Oberammergau (January 17, 1875 - May 30, 1 938) was a German studio potter an...

extravagant vase studio ceramics by Rudi Stahl art pottery late 60s early 70s .... one of a kind!

1960s 3 VASES ASEDA: H / Height: 21 cm ~ DM / Diameter: 7cm WMF CYLINDER: H / Height: 26cm ~ DM / diam.: 7cm Chalice shaped vase / Purple Chalice : H / height: 16cm ~ DM / diam.: ...

beautiful elegant artful Italian German Art Deco Set of of art deco vase plus a fruit plate Design Period 1925 to 1940 Production Period around 1935 Country of Manufacture Ger...

Landshut artist Peter Landesberger cachepot plus a matching vase 1960s measurements: cachepot: height : 18cms ~ Ø 22cms ~ weight: 1422 grs vase : height: 22cms ~ Ø 14cms ~ weight: 842 grs Brush mark LP Landshut, a town in Bavaria, Germany, is known for its ceramics school and its historical significance. The construction of Landshut began in 1204 under the rule of Duke Ludwig of Bavaria. It was a typical Wittelsbach founding town and marked a new form of territorial politics for the Bavarian dukes. From 1231, Landshut became the residence of the Wittelsbach dynasty and the capital of the Duchy of Bavaria until 1255. Due to the division of Bavarian lands, Landshut alternated between being a capital and a residential town. The town thrived thanks to its location on the Isar River and its strategic positioning along trade routes. By the 14th century, Landshut had developed its Gothic town center, which remained largely unchanged until the 19th century. During the period from 1392 to 1503, Landshut experienced a prosperous and politically important era under the rule of the three "rich" Dukes Heinrich, Ludwig, and Georg. Landshut also gained prestige through the magnificent wedding of Duke George the Rich to the daughter of the Polish king...

This beautiful ceramic vase, which features a floral painting very similar to the designs of the renowned art mirror, was meticulously hand-painted in the Italian province of South T...

This is an exceptional example of Italian design and craftsmanship. The jug-style vase with a handle initially appears to be composed of glass. Upon closer examination, it becomes ...

Huge pewter bottle Manufactured most probably in Southern Germany Production Period around 1880 Country of Manufacture Germany H / height: 522cm ~ Gew. / weight: 1275 grs 9cm x 1...

STUDIO KERAMIK FLOOR VASE Atelier Herta Huber Roethe Landshut 1950s marked "HR" Manufacturer ATELIER HUBER ROETHE Design Period 1950 to 1959 Production Period 1950 to 1959 Count...

A beautiful heavy porcelain Vase Björn Wiinblad Rosenthal Studio Linie Model No.: 3512/28 in mint condition ! definetely collectionable! Manufacturer Rosenthal Design Period 1970s Production Period 1972 to 1976 Country of Manufacture IWestern Germany Maße / mearurements 25,7 cm x 11,5 cm ~ H / height: 28 cm ~ Gew. / weight: 2450g Öffnung innen / inner rim : 7.2 cm x 21.8 cm Rosenthal GmbH is a German manufacturer of porcelain products and other household goods. The original firm was founded in 1879 in Selb, Bavaria. Since 2009, Rosenthal has been owned by the Italian company Sambonet Paderno Industrie (Arcturus Group). History Rosenthal was originally founded in 1879 as a family business. The founder, Philipp Rosenthal, moved his porcelain painting from Werl in North Rhine-Westphalia to Selb in Bavaria, where he industrialized in the castle Erkersreuth with his painting workshop. In 1897, Philipp Rosenthal founded the company Bauer, Rosenthal & Co. in Kronach, as well as Philipp Rosenthal & Co. AG. In 1908, Rosenthal bought the porcelain manufacturer Thomas in Marktredwitz, and the porcelain company Zeidler & Co. in 1917. In 1921, the company took over the Krister Porzellanmanufaktur in Wałbrzych, Silesia. The factory was closed in 1945, but the brand was revived in 1951 and used until 1971. In the period of national socialism, Philipp Rosenthal, while Catholic, had to withdraw from the enterprise in 1934 because of his Jewish origin. The Board of Management and the supervisory board turned against Rosenthal and implemented various measures to prevent Philipp Rosenthal from using his voting shares in order to change the composition of the management board and the supervisory board. The government was asked for support and sold the voting shares to persons who were not well-disposed towards Rosenthal. However, the Nazi regime did not go directly against Philipp Rosenthal in order not to jeopardize the foreign business of the company. The reasonably covertly concealed Aryans took advantage of the family, and urged Rosenthal's successor to step out of the company. Philipp Rosenthal's death in 1937 finally paved the way for his grandchildren. In 1936, Rosenthal bought the porcelain manufacturers Waldershof and Thomas in Weidenberg-Sophienthal. Rosenthal Isolatoren GmbH (RIG) was established in 1939 with branches in Erkersreuth (Selb) and Hennigsdorf near Berlin. In 1939 the company changed to Rosenthal Porzellan AG. When the Decree on Companies of Deprived Commercial Enterprises (RGBI 1941, p. 177), adopted on 27 March 1941, forced the discontinuation of the Jewish company and brand name Rosenthal, the "Aryan" management intervened through Joseph Goebbels to continue the use of the Rosenthal brand name. With the return of Philipp Rosenthal's son Philip Rosenthal from exile and his entry into the enterprise in 1950, he won a pioneering role in the modern product design. In 1960, the Rosenthal Studiohaus was opened in Nuremberg, from which the world's first design chain was built. In 1965 the uniform name Rosenthal Glas & Porzellan AG was elected and shortened to Rosenthal AG in 1969. In 1972, Philip Rosenthal founded the furniture factory Rosenthal Einrichtung in Espelkamp. The furniture factory was renamed in 2009 Philip Möbelmanufaktur GmbH and in 2013 rebranded the Fröscher GmbH & CO. KG. Rosenthal, In collaboration with industrial designers such as Raymond Loewy, Tapio Wirkkala, Elsa Fischer-Treyden, Timo Sarpaneva, Verner Panton and Luigi Colani, created an impressive series of products. Walter Gropius design for Rosenthal the tea service TAC. In 1967, Rosenthal built the so-called "Glassmaker's Cathedral," a factory for the Thomas-Glassworks in Amberg. The Thomas-Glassworks was renamed the Amberg crystal glass factory. In 1997, Rosenthal AG was 90% owned by the British-Irish Waterford Wedgwood Group. Rosenthal was the market leader for high-quality porcelain and glassware in Germany and was the world market leader in conjunction with Waterford Wedgwood. In the year 2000, the company took over the Hutschenreuther brand and Hutschenreuther-Werk B in Selb. In June 2008, the Waterford Wedgwood Group wanted to divest the Rosenthal share package due to liquidity difficulties. At this time, around 1,100 employees were employed worldwide. The company, faced with insolvency by the subsequent collapse of Waterford Wedgwood, filed for insolvency on 9 January 2009. The subsequent insolvency proceedings of Rosenthal AG were opened on 1 April 2009 by the District Court.On 20 July 2009, a sale was announced to an Italian company, Sambonet Paderno Industrie (Arcturus Group). Founded on 1 August 2009, Rosenthal GmbH is an independent part of Sambonet Paderno Industrie (Arcturus Group). The Rosenthal company headquarters remain in Selb under the managing director Pierluigi Coppo. The Rosenthal Archive, a collection of around 15,000 exhibits from 130 years of company history, were purchased by the Oberfranken Foundation on 12 August 2009 and is provided as a permanent loan to the Porzellanikon, the State Museum of Porcelain in Hohenberg an der Eger, Selb. These include nearly all product designs, from the company's foundation to today, as well as originals designed by artists such as Salvador Dalí, Andy Warhol, Wilhelm Wagenfeld and Walter Gropius. Designers Otmar Alt Joannis Avramidis Bele Bachem...

A beautiful huge Murano art glass vase in the manner of Barovier Seguso & Ferro in honey yellow amber colour, Italy, circa mid / late 1940s It stays in very good original conditio...

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 striking RED FAT LAVA FLOOR VASE no. 284-47 by SCHEURICH Scheurich originated from a joint venture initiated in 1928 by Alois Scheurich and his cousin Fridolin Greulich in the small town of Schneeberg, situated near the Czech border in Saxony. The venture involved the wholesaling of glass, porcelain, and ceramics. In 1938, the business was relocated to the market community of Kleinheubach in the northeast corner of Bavaria. Ten years later, the partners initiated the production of household ceramics, which were sold under the name Scheurich & Greulich. In 1954, the partnership was dissolved, and Alois proceeded to establish Scheurich GmbH & Co. KG proceeded to continue production independently. In 1955, the celebrated designer Heinz Siery was recruited by Scheurich as the company's lead form designer. In addition to designing an extensive range of shapes, he played a pivotal role in developing a successful overarching production strategy. This strategy involved producing a wide array of simple forms that could be produced cheaply and decorated in a variety of glazes. This resulted in the creation of a diverse and economically adaptable range of pieces. This approach proved to be entirely successful, resulting in Scheurich's ascendency in the market by the late 1960s. The company's strategy of maintaining low prices in conjunction with an extensive range of appealing designs resulted in significant sales, with millions of units sold annually. The designs were adapted twice a year to align with changing consumer preferences. Scheurich's product range included vases and flowerpots, in addition to ashtrays, piggy banks, candle stands, beer mugs, buffet clocks, wall reliefs and Christmas tree holders...

beautiful FLOOR VASE attributed to / most probably by RUSCHA KERAMIK RUSCHA KERAMIK was launched in 1948 when Rudolf Schardt assumed the management of Klein & Schardt, his father Georg's ceramics factory in the town of Rheinbach, located near Bonn in the German state of North Rhine-Westphalia. (RUSCHA is a syllabic abbreviation of his name.) The timing of the re-founding ensured that the company was in a good position to benefit from Germany's post-war growth boom. RUSCHA KERAMIK became a leading manufacturer during the "golden age" of Western German ceramics and is credited with some of the era's key developments. It produced some very successful and innovative forms and glazes, including the 'Vulcano' décor (Otto Gerharz, 1951)—which heralded the move towards thick, dripping fat-lava glazes—and the iconic no. 313 (Kurt Tschörner, 1954), probably the period's most famous shape. Hans Welling, Adele Bolz, Heinz Siery, and Cilli Wörsdörfer were among other notable designers to work for RUSCHA. RUSCHA KERAMIK was celebrated for exquisite wall plates, plaques, and tiles—manufactured for both indoor and outdoor applications—as well as its high-quality vases. Specimens from the 1970s will frequently exhibit remarkable lava and volcanic glazes. When RUSCHA closed its factory in 1996, Scheurich acquired many of its designs and molds; distinctive silver RUSCHA labels were sometimes applied to the subsequent production. Notes on identification: White clay was used practically exclusively. The rare examples made with red-brown clay are thought to date from periods when normal supply sources ran out. Embossed and incised base-numbering was used for vessels. If a vase was made in more than one size, a single digit indicating relative size followed the form number. Low form numbers (< 100) were sometimes preceded by a letter. Like a few other manufacturers, RUSCHA KERAMIK occasionally recycled form numbers, a cause of distress for some collectors. Pieces were never molded with "Germany" or "West Germany." Manufacturer most probably RUSCHA Design Period 1965 to 1975 Production Period 1965 to 1975 Country of Manufacture Germany H / height: 40cm ~ Gew. / weight: 2950grs DM max / diameter max : 16,5 cm ~ DM oben / diameter inner rim: 8.8cm MARKED: marked G...

A very rare 'Aztec' relief-décor floor vase from JASBA KERAMIK. JASBA produced several series of ceramics on themes inspired by ancient civilizations; among the most sought-after t...

FLOOR VASE DECORA Ritzdekor (sgrafitto) A 40cm late50s / early 60s studio quality 'Klinker' floor vase nr. 56/40 with an sgraffito decor designed for DECORA Keramik. It is comp...

STUDIO KERAMIK FLOOR VASE Atelier Herta Huber Roethe Landshut 1950s (it´s been created by an artist who has worked in their Atelier : marked "BR") Manufacturer ATELIER HUBER ROETHE...

an amazing set of 2 STUDIO KERAMIK FLOOR VASES by Atelier Herta Huber Roethe Landshut 1950s Manufacturer HUBER ROETHE Design Period 1950 to 1959 Production Period 1950 to 1959 C...

beautiful Italian art pottery floor vase floral pattern Manufacturer unknown Design Period 1958 to 1968 Production Period 1958 to 1968 Country of Manufacture Italy H / height: ...

HUGE FLOOR VASE cloudy brown / blue glaze Manufacturer DÜMLER & BREIDEN Production Period 1968 to 1978 Country of Manufacture Germany H / height: 40cm ~ Gew. / weight: 4250g...

BESPOKE HUGE & HEAVY STUDIO KERAMIK FLOOR VASE - ARCHAIC AMPHORA amazing blue/brown luster overglaze Manufacturer unknown Design Period 1968 to 1978 Production Period 1968 to 19...

HUGE FLOOR VASE cloudy green glaze Manufacturer CARSTENS TÖNNIESHOF Design Period 1968 to 1978 Production Period 1968 to 1978 Country of Manufacture Germany H / height: 52cm ~...

FLOOR VASE Siershahner Feinsteinzeugfabrik DEKOR CAPRI 1950s Ritzdekor (sgrafitto) A huge 50s or 60s studio quality 'Klinker' floor vase nr. 54/50 with an sgraffito decor designed ...

a real beauty and an absolute rare piece as this is the luxury gilded edition of Schumann Kobalt floor vase range a very elegant Porcelain SCHUMANN Arzberg midcentury Classic Floor...