Art Nouveau Porcelain Sunburst Vase by Emile Diffloth

Model #2 Eduard Stellmacher and Co, Porzellanfabrik und Kunstkeramische Industriewerke Driven to establish a new company that produced luxury porcelain and ceramic items based on his own aesthetic aspirations, Stellmacher left Amphora when the workshop was at its most prosperous, in 1904. Together with entrepreneur Karl Frank, who provided the financial backing, he founded Ed. Stellmacher & Co. in Turn-Teplitz in 1905. From the outset, Stellmacher worked hard to achieve a major position among other high-end ceramic art producers. He believed the success of the company would depend on his products of “appropriate methods and unerring quality, perfect from both the technical and artistic sides”. Stellmacher based his first collection on artistically progressive products, pieces he believed would be in high demand. The greater part of the designs were either large vases complemented with sculptures of fantastic dragons or natural animals. With this series, Stellmacher continued the themes he had created for Amphora from 1899-1902, however, his naturalistic renderings of animals was even more elaborately precise. He developed a special ceramic material called refined earthenware, which minimized the shrinkage that was common during firing and allowed for greater preservation of details in the original models. Unfortunately, by 1905, contrary to Stellmacher’s plans, there was little to no demand for objects of this type. Very few pieces exist today as very few were originally produced. Even after redirecting the company to produce commercial goods Stellmacher still could not ward off the company’s demise. By 1910 the Stellmacher & Co. fell into bankruptcy and was liquidated. Art Nouveau Dragon...

Created while a lead designer for J. Winhart & Co., Ludwig Vierthaler’s cicada themed copper vase showcases the design principles which he developed at J. Winhart in the pre-war years, where emphasis was placed on craftsmanship and the characteristics of the material itself. The vase’s ambiguous quality and use of allegory also shows his uncanny understanding of the dual nature of German life at the time. On the one hand, under Kaiser Wilhelm II, Germany was asserting herself strongly in the Weltpolitik through alliances with other central-European powers and in making grand plans to grow in military strength. With hindsight, Vierthaler’s vase is all the more remarkable for his prescience in the twilight of an empire. By presenting a cicada, he evokes a conundrum. Is this cicada a strong adult, newly emerged from a long dormancy? Or is this the cicada...

With artful and sensuous handling of material, Emile Jacob demonstrates his life-long love of learning with a technical mastery of porcelain and glazes as well as an awareness of current artistic trends such as Japonisme and l’Art Nouveau. From a bird’s-eye view perspective popularized by Japanese wood block prints circulating in Europe, Jacob immediately confronts the viewer with the sea. The variegated blues and greens take on every murky depth, every iridescence produced on a sun-filled water’s surface; while the suggestion of movement created by undulating patterns of water morphs into sand ridges caused by breaking waves as the viewer nears for a closer examination. The effect is remarkable. Upon closer scrutiny, the abstracted ridges create an affect of being even farther away from the sea, as if high in flight. The same captivating qualities are achieved by the opaque and crystalline glazes to suggest the interior of an oyster’s shell. The ultimate pearl, a female nude, is voluptuously modeled; fusing as one with her seascape, her hair spreads out in wavy tendrils and her graceful, long fingers wrap around the plaque’s edge. Literature: Arthur, French Art Nouveau Ceramics: An Illustrated...

Zsolnay bowl with their "peacock" eosin-glaze. Zsolnay introduced its patented shiny metallic glaze, known as eosin, in 1893. The small family ceramics workshop begun in Pecs, Hunga...

Zsolnay bowl with eosin-glaze. Zsolnay introduced its patented shiny metallic glaze, known as eosin, in 1893. The small family ceramics workshop begun in Pecs, Hungary by Miklos Zso...

The Venus of Willendorf if she were a pot; this diminutive size is perfectly suited for holding in your hands. This pot is meant to be caressed. Its rather buxom top narrows at the w...

Art Nouveau Zsolnay porcelain green iridescent centerpiece with female figure holding round tray above head.

Bing & Grondahl porcelain, B&G art nouveau bowl. Measures: Diameter 10.5 cm, height 3.5 cm. In perfect condition. 1st. factory quality.

Austrian Art Nouveau porcelain basket-shaped bowl designed by Ernst Wahliss and molded with flowers and decorated with gilt accents. The piece is marked ...

Emile Gallé for St. Clement, Nancy. Antique art nouveau bowl in hand-painted faience with feet shaped like spruce cones. Approx. 1880. Measures: 32 x 26 x 12 cm. Damaged with lar...

A beautiful Austrian Art Nouveau porcelain pink and gold oblong dish, circa early 20th century, Austria. Piece has hand painted design of flowers and leaves at center and on sides, f...

A French Art Nouveau glass and wood footed bowl by Emile Galle´, featuring a multicolored pinched-sided glass bowl in yellow, purple, and green. The bowl sits atop a carved walnut fo...