Late 20th Century Vases and Vessels

An impressively large ceramic vase with a bulbous body and a long coiled neck by potter Brother Thomas Bezanson (1929-2007). The minimalist modern form might be distilled from the classic Chinese garlic bottle. The high glossy surface displays a splendid shades of dark purple, copper red, auberge and blue, in a copper flambé pattern called "peacock" glaze that was clearly inspired by ancient Jun Kiln...

This designer on-trend architectural 23.5" long rectangular concrete planter is by Swiss architect Willy Guhl for Eternit, crafted in the 1960s and 1970s Switzerland and signed and dated underneath, circa 1968. This special low-profile and rare long sized rectangle-shaped concrete planter has a patinated natural exterior finish and organic aging over decades of UK climate. Excellent planter size for a variety of various uses such as succulents, plants, weeping grass with the planter on a stand, window or balcony privacy hedge, or any other outdoor decorative use. Consider using this Willy Guhl Concrete Planter Pot in a Architectural, Postmodern, Mid-Century Modern, Scandinavian Modern or Danish modern garden, yard or penthouse apartment balcony but could also look fantastic in a Contemporary or Zen / Minimalism setting. Also consider mixing it up in a Traditional, Transitional, Classical or Art Deco space with a splash of juxtaposition. Would also be an apt choice in a commercial project such as an outdoor hotel lobby lounge or members club, creative design studio or high-rise executive office balcony. MEASUREMENTS: H 6.875" x W 23.5" x D 6.875" CONDITION: Sturdy and structurally sound. Has beautiful antiquing and patina throughout from decades of organic aging which can include minor chipping, stains or other blemishes however this lightly distressed look is common, expected and desirable for these early production originals. Some examples may display light...

A set of three beautiful stoneware vases with amazing glaze. Made by Claes Thell, in the Artist's studio, Höganäs, Sweden, 1991. Excellent condition. Signed Thell '91. Claes Thell...

Spectacular Mid-Century vase in the style of Antonio Prieto. Beautiful, soft earthtone colors and great form. Very hard to find size measuring 40 inches high ,29 inches in diameter a...

A sculptural Modernist round vase by artist Lorenzo Burchiellaro. Textured cast aluminum. Signed underneath Burchiellaro.  

A study in texture and tone, this artisan-crafted vase makes an elegant statement with its deep green glaze and intricate surface detailing. The spherical form is softened by a satin...

Impressions made from tree bark were first used to make moulds in the early 1970s, as factories investigated new ways to bring surface texture to glass objects. Some models are color...

Unique sculptural ikebana weed pot cluster circa 1970s Three conjoined vessels in stoneware with black abstract glaze decoration Signed by the artist 8 inch width 7 inch depth 5 i...

Beautiful hand-turned geometric blackware vase by Oscar Quezada, circa 1990s. The exquisite piece made of naturally black clay has a unique geometric des...

1980s Gorgeous vase in glass by Sottsass Associati for Egizia . This vase is in very good condition. Made in Italy. Signed at the bottom Dimension: diameter 4,72 x 11,61 height inche...

Danish studio ceramicist. Ceramic vase with glaze in light tones. Unglazed at the bottom of the vase. Circa 1980s. Natural crazing from production. Signed with artist signature and D...

A stylish ash glazed stoneware studio pottery vase decorated with seeding grasses by renowned potter Mike Dodd (British, b.1943) and dating from the latter 20th Century. The heavily ...

Organic lipped glass vase designed by Gino Cenedese and Maurizio Albarelli for Cenedese et Albarelli, circa late 1970s. Irregular and voluptuous fish-like lips make this piece a rare...

This is a small vintage flower vase. A Maltese, art glass flower sleeve or tea light holder, dating to the late 20th century, circa 1990. Distinctive Mdina glass with great colour ...

Experience the charm of vintage with this stunning vase by Marei Keramik, Germany, from 1970. The vase boasts of a breathtaking glaze and shape that will...

Murano hand blown vase made of opaline glass by the Italian artist glassblower Costantini. The body is decorated with round freeform reliefs. This exquisite Venetian vase is signed ...

We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have any questions we are at your disposal. Pushing the button that reads 'View All ...

Tall bottle shaped ceramic vase. The body of the bottle represents 2 characters , one on each face. The collar and base are glazed in a shiny bright blue color. Gilbert Portanie...

1655 Japanese artist madeundulating glazed ceramic vase. Makers stamp on bottom

We have specialized in the sale of Art Deco and Art Nouveau and Vintage styles since 1982. If you have any questions we are at your disposal. Pushing the button that reads 'View All From Seller'. And you can see more objects to the style for sale. Why are there so many antiques in Argentina? In the 1880 – 1940 there was a grate wave of immigration encouraged by the periods of war that were taking place. 1st World War took place between 1914 and 1918 2nd World War took place between 1939 and 1945 The immigrants options were New York or Buenos Aires. Tickets were cheap and in Buenos Aires they were welcomed with open arms, as it was a country where everything was still to be done. Argentina was the country of new opportunities, labour was needed and religious freedom was assured, in many cases the of the family travel first until they were settled and then the rest of the family members join them. In the immigrant museum “Ellis Island Immigrant Building” in New York you can se the promotional posters of the boats that would take them to a new life. Between the years 1895 and 1896, Argentina had the highest DGP (gross domestic product) per capita in the world according to the Maddison Historical Statistics index, this situation arose due to the large amount of food being exported to European countries, which were at war. The Argentinean ships left the port of Buenos Aires with food, but they returned with furniture, clothes and construction elements, (it´s common to see this the old buildings of the historic neighbourhood of San Telmo, the beams with the inscription “Made in England)”, as well as many markets that were built in Buenos Aires, such us the San Telmo Market, whose structure was brought by ship and afterwards assembled in 900 Defensa Street. With the great influence of European immigrants living in the country, the children of the upper classes travelled to study in France, resulting in the inauguration of “La Maison Argentinienne”, on 27th of June 1928, in the international city of Paris, which hosted many Argentinians that were studying in Frace. It´s the fourth house to be built after France, Canada and Belgium, being the first Spanish-speaking one. Still in place today (17 Bd Jourdan, 75014, Paris, France). Many of the children of these wealthy families who attended international art exhibitions, museums and art courses abroad, took a keen interest in the European style. This is why Buenos Aires was at the time referred as “The Paris of South America”. Between the years 1890 and 1920 more than a hundred Palaces were built on Alvear Avenue the most exclusive avenue in Buenos Aires. Today some of these palaces have been transformed into museums, hotels and embassies. In the year 1936, the Kavanagh building was inaugurated, it was the tallest reinforced concrete building in South America. During 1994 the American Society of Civil Engineers distinguished it as an “international engineering milestone”, and it´s now considered a World Heritage of Modern Architecture. At the time was common to hire foreign architects such as Le Corbusier, who visited Buenos Aires/Argentina in 1929 and in 1948 he drew up the blueprints for a house built in La Plata City (which was declared a World Heritage Site). In 1947, the Hungarian architect Marcelo Breuer designed “Parador Ariston” in the seaside city of Mar del Plata. After an Argentinean student at Harvard University convinced him to come to Argentina. He worked on an urban development project in the Casa Amarilla, area of La Boca. The Ukrainian architect, Vladimiro Acosta, arrives in Argentina in 1928 and worked as an architect until que moved to Brazil. Antonio Bonet, a Spanish architect who worked with Le Corbusier in Paris, arrives in Argentina in 1937, where he carried out several architectural works and in 1938 designs the well-known BFK chair. Andres Kálnay, of Hungarian origin, made around 120 architectural masterpieces, among which the former Munich brewery stands out, he even made the furniture’s design. The German architect, Walter Gropius, director of the Bauhaus, lived in Argentina, where he wrote articles for “Sur” magazine and founded in Buenos Aires, an architectural firm with Franz Möller, who was also an architect, where he built two houses. At the same time several famous designers decided to immigrate to Argentina, among them we can find the well-known French designer, Jean-Michel Frank, who arrived in the country in 1940 and also worked for the Rockefeller family. Special pieces were made, which were sold exclusively in the country, such as the well-known German company “WMF”, who sold their products by catalogue, which were chosen by the ladies of High Society in the list of wedding gifts, as well as the pieces designed by Christofle. The Swiss sculptor Alberto Giacometti, made special pieces for Argentinean mansions. In 1904 the first Jansen branch outside Paris was established in Buenos Aires, as the Argentinean clientele demanded a large amount of furniture, from the end of the 19th Century to the mid-20th Century. In 1970, the brand Rigolleau Argentina made pieces authorised by Lalique. The brands Maple and Thompson also set up shop in the country. The French plastic artist, Marcel Duchamp moved to Argentina in 1918-1919. Glass signed Gallé, Charder, Leverre, Schneider, Muller and other French firms. They were bought in flower shops and were given to ladies with beautiful floral arrangements. Some furniture manufacturers travelled to international fairs and bough the patterns to produce the furniture in Argentina, such as the furniture firm Englander and Bonta, who bought the patterns ins Italy. It is worth mentioning that in Argentina we have the largest Community of Italians outside...

A small yellow and blue art-glass perfume bottle, signed and dated. A striking blend of two glass tones: a rich, yolk-like yellow glass forms the majority of the bottle, contrastin...

Almost every color imaginable appears in the palette of this studio art glass vase by Norwegian Glass Designer Odd Ingar Karlengen. It is signed by hand and its a piece unique made a...

Stunning fat lava hole vase - vibrant orange with crusty thick fat lava glaze in bronze/brown. According to Mark Hill the quality of Dümler...

Refreshing vase from the 'Century New Wave' series in porcelain. Designed by Tapio Wirkkala and Dorothy Hafner. Made by Rosenthal from 1985. The vase is an exemplary piece from...

Karim Rashid for Leonardo Germany Limited Edition New Move Silver Glass Vase, ca 1999. Measures 8” high, base 3-1/2” wide, and mouth 2-1/4” wide. There is a small scratch of silver finish/coating on glass (we've posted an image of the interior and exterior at the area of the scratch). There is also a faint area of small blemishes at the base See images for more detail. If there’s one thing karim rashid hates, it’s trophies. The 40-year-old designer has more than 40 of them, from big international ones like the 1999 George Nelson Award (given for breakthrough furniture design), to quaint little Canadian ones like Designer of the Year 2001. “It came with a little pin,” says Rashid, “and a … a … very nice …” He tries to describe the shape of the award with his hands but gives up. “It’s time that whole trophy thing changes. It’s kitsch. They’re functionless things.” Rashid was asked to design one for the DaimlerChrysler Design Awards (he’s a past recipient). “I was going to make it electro-luminescent. When the lights go out, it has a sensor so it turns on,” he says. But the trophy-as-night-light, a reminder of one’s worth in the darkest hours, didn’t impress Chrysler’s people. He never heard back. They may well be gnawing their knuckles over that decision right now because Rashid’s conquest of the realm of product design is all but complete. A lush and suitably worshipful retrospective of his work, Karim Rashid: I Want to Change the World (Thames & Hudson; 249 pages), hits Australasian bookstores this month. There was a crowd around anything with his stamp on it-including stools, chess sets and storage units-at the recent International Contemporary Furniture Fair in New York City. More than 2 million North Americans are throwing their rubbish into a receptacle he designed, while 750,000 or so park their rears on one of his cheapo plastic chairs. It’s not just in North America. He has been dubbed Der Poet des Plastiks by a retailer in Germany and the prolifico progettista Americano by Interni magazine in Italy. Trophies he may despise, but accolades Rashid can handle. The problem with being the Most Famous Industrial Designer in All the Americas is that you’re still less famous than someone who got kicked off Survivor the first week. Most people cannot name the designer of one nonclothing item in their homes. Rashid, who was born in Egypt, raised in Canada and is living in New York City, is more than happy to bring an end to this anonymity. Not just because he wants to be famous, although there seems to be that, but because he believes design should be a bigger part of the social discourse. “I have been almost alone in this country, trying to make design become a public subject,” he says. His chief method of persuasion is to make the banal better so that people notice design more. He likes creating expensive furniture and perfume bottles just fine, but what really gets his juices going is the everyday: manhole covers, a cremation urn, disposable cigarette lighters, garbage bins, salt and pepper shakers, plastic pens. “I want American Standard to come to me to do the toilets for Home Depot,” he says. In many ways Rashid is more like an itinerant industrial evangelist than a designer. He traveled 200 days last year. He claims to have been to every major mall in America, where he signs his products in high-end design stores and trolls about observing humans interacting with the objects around them. He has taught at design schools for more than a decade, and his work has been in 11 art shows in the past eight months. But mostly he has proselytized the corporate barbarians. And like any good missionary, he has learned to speak the language of his converts. One of the first things he does when he gets new clients is tour their factories to understand their manufacturing capacity. He also visits the retail outlets to see how the product might be displayed. And he really knows how to sell, especially himself. “I work with a guy in L.A.,” says Rashid, declining to name him. “He made a lot of really bad furniture. His business was hand-to-mouth. I proposed seven or eight projects. The pieces I’ve done for him have already become iconic.” The subtitle of his monograph, I Want to Change the World, is not ironic, just characteristically immodest. “Most industrial-design studios try to interpret a client’s needs and come up with a style,” says Paul Rowan, co-founder of housewares manufacturer Umbra. “Karim has his own personal vision.” It helps that Rashid’s vision incorporates things that Rowan needs, like a design that will stack and ship easily and that creates little waste in the making. Rashid’s father was a set designer for Canadian TV who rearranged the family furniture every Sunday. So perhaps it was ordained that Karim would grow up to become one of the pioneers in non-cheesy plastic, making objects that have energy and personality but aren’t wacky. He, like many of his generation, has championed the could-only-be-designed-with-computers blob. But his is not just a blob for its own sake. His Oh Chair...

In the 1960s, Murano glass reached new heights of experimentation and refinement, thanks to the work of master glassmakers such as Seguso, a name that for centuries has embodied the ...

Set of 5 rattan pot holders with wheels, Italy 1980. Dimensions of individual elements Large high 31 H x 49 D cm Large bass 23.5 H x 52 D cm Medium 1 – 31.5...

Beautiful Italian Sommerso murano glass vase by Luigi Onesto for Oball. In beautiful vintage condition, shows some wear consistent with age in underside of vase(see detail photo). S...

Vintage Henry Gernhardt studio pottery vase in spherical form with little trumpet mouth and terrific blue and purple velvety mottled matt glaze. Impressed cipher on base. 5 3/4" high...

Chelsea House Italian Regency Style Ram Head Green Faux Malachite Painted Porcelain Urn - a Pair. Circa Late 20th Century. Measurements: 11" H x 6.5 " W x 6" D.

Very nice white porcelain vase with Chinese dragons in relief. Dated from mid 20th century with the Schumann, Arzberg Germany stamp. In very good condition. The factory was founded in 1881 by Christian Heinrich Schumann and a businessman Franz Ferdinand...

Circa 1980s Van Briggle Grecian urn with turquoise ming glaze signed by the potter Dorothy Ruff (D.R.) The urn has a high shoulder with loop handles, figure...

Modern Pair of Italian Venetian Blown Murano Glass Vases Red & Green Steaks, 80s. Entirely manufactured in the Italian Venetian Murano Island, during 19...

This handcrafted Italian terracotta vase brings warmth and tradition to your space. Skilled artisans shape each vase using natural clay, then fire it at high temperatures for strengt...

Superb and rare brown and yellow cubic sommerso vase designed and manufactured for seguso in murano in the 1970s. Handcrafted work of faceted glass using the "sommerso" technique (su...

Bruno Gambone Italian ceramic bottle-shaped vessels with chalk-white surface with a black and blue green drip glazed motif (circa 1970s). With a modern rectangular base and lean, el...

Unleash a dose of playful charm with this truly unique vintage studio pottery vase. A delightful testament to artisan craftsmanship, this piece takes on an endearing figurative form,...

Vintage Ettore Sottsass ET4 postmodern centerpiece with lopsided walls and garden green glaze produced by Alessio Sarri, circa 1980's. 4 3/4" high, 9 3/4" wide, 9 3/4" deep. Excellen...

This is a unique glass vase designed by the renowned Timo Sarpaneva for Iittala Glass in Finland. He designed it in 1993, especially for the new residence of the Finnish President. T...

Fulvio Bianconi 1915-1996 F. Bianconi, Venini, Murano 1982 A polychrome blown glass "Colpo di Vento" sculpture with a milk glass thread decor. Etched signature. Colourless and green ...

Vintage tree or giant coral shaped floor vase crafted of composite / resin finished in black lacquer, thoroughly embedded with small sea shells, their exte...

An Italian white glazed ceramic terracotta flower or plant pot holder planter cachepot with fruit and vine design, Rustic European, circa late-20th century, Firenze (Florence), Italy...

An elegant and generous cylindrical planter with a golden border, Art-Deco, Modernist, Shabby-Chic, in mirror polished steel enhanced with a golden square section border, brown plast...

Laura Diaz de Santillana (b. 1955) for Venini rare Sommersi Oro vase from "Laura" series, Italy, 1980. This elegant hand-blown Murano glass vase is an exquisite celadon green color w...

Blown glass vase is a beautiful glass decorative object, realized by an Italian manufacture during the 1970s. Very fashionable transparent vase realized with blown glass processi...

Robert Maxwell Set of 3 Ceramic Vases. The measurements given apply to the larger vase. The two smaller ones measure 9cm in diameter and 7.5cm i...

A fun and colored single-flower modern vase by Swedish glass master Bertil Vallien for Kosta Boda, limited Edition n.48on 75. Etched with the artist's signature and details under the...

"Hsing" vase designed by Ettore Sottsass for Alessio Sarri, Sesto Fiorentino. Green glazed ceramic.

A fossil stone vase designed and produced in Gotland, Sweden, 1970s.

Hervé Rousseau - Boisbelle Original large stoneware ceramic vase Signed under the base Circa 1990 Original perfect condition brown and ce...

A stunning vintage English Studio Pottery tall vessel with wings by Colin Pearson (1923-2007). The stylish stoneware vessel stands on a tall nar...

This wonderful footed earthenware planter can be used as a vase or bowl. It presents as an impressive object in it's own right, or can be used as a plant pot holder. Based on ancient Middle Eastern hand-building and mineral glazing techniques, it has wonderful Organic Modern styling potential, but will also interest those who like ancient pottery and/or the Brutalist aesthetic of the 1970s. It was purchased in the late 1960s or early 1970s from Israel by a dedicated collector of ceramics for use as an Ikebana vessel, and shipped to Australia...

This large facett cut vase uses the Murano technic of Sommerso: a layer of bright yellow and one of green cover the inside of the vase in thick clear glass. Unusually big with a beau...

A gorgeous Italian glass bowl by Lino Tagliapietra for Effetre International, Murano, 1986. The bowl still has an Effetre International label on it. It is also graven at the bottom with Lino Tagliapietra, Effetre International and 1987 the year of creation. Clear glass with a black or sepia colored thin net like pattern called 'zanfirico' (Italian): A type of polychrome cane made by assembling a bundle of rods of different colors, and heating it until it is soft. The bundle is then attached to two pontils and elongated by drawing. At the same time, the bundle is twisted to produce a spiral pattern. Zanfirico, which is a synonym for vetro a retorti, takes its name from the Venetian dealer Antonio Sanquirico, who, in the 1830s, encouraged the revival on Murano of this and other traditional techniques. About Lino Tagliapietra: Master glassblower Lino Tagliapietra is one of the world’s most prominent glass artists. Trained in traditional Venetian techniques, Tagliapietra is a key influence on the American studio glass movement. In 1955, at the age of 21, Tagliapietra received the title of maestro. He established himself with vividly colored sculptures...

Made in Italy by Giovanni Bertoncello, 1970s. It is made in brown and orange hand-glazed ceramic. This vase is signed on the bottom. It is a vintage piece, therefore it might show s...

Set of 2 ceramic planter produced by Ceramiche Bitossi Montelupo, 70s. Glazed ceramic, green pictorial decoration. Each work created by Bitossi follows a very complex working process...

An amazing midcentury brutalist glass vase made in Germany, circa 1970s. Vase is in very good condition with no chips, a small hairline crack and ...

Magnificent series of Six Murano Drinking glasses. This set is called "Goti De Fornasa". Tradition wants that the Murano glass master with his employe...

Set of 3 Brutalist chrome foil cylinder planters with a chrome foil finish and black plastic caps by H.U.D.D.L.E. OF Los Angeles. Measures: Large: 40" W / 11" D Medium: 29" H / 10" ...

Ulrica Hydman for Kosta Boda Open Minds miniature vase , Sweden Dimensions: 9,5cm Height , 5,5cm Width , 6cm Depth Condition: Good Materi...