Art Nouveau Vases and Vessels

Model #2059 Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the tradename “Amphora” by the late 1890s and became known by that name. The Amphora pottery fa...

Antique art nouveau hand-decorated porcelain vase by artist Astrid Ewerlöf (1876-1927) for Rörstrand. Manufactured in 1915. Intricate and delicately hand-painted deep blue floral and...

This exquisite Sarreguemines Crystalline Glaze Vase is a rare and captivating example of vintage French art. Showcasing a mesmerizing crystalline glaze, this technique creates organi...

Stile Liberty Portrait Vase by Galileo Chini.

A stunning pair Austrian heliosine iridescent glazed art pottery vases by Karl Rudolf Ditmar (1818-1895). The pair of squat double gourd shaped vases are...

Model #2011 Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an opti...

Vase Orivit Signs: Orivit In 1905, WMF acquired a majority stake in the company that manufactures Orivit AG under the name "Orivit". Country: Germany Materials: silver plated ...

Art nouveau Pair handmade and Hand painted opaline vase, France 1920s Handmade and hand-glazed in brilliant coloured with a spray of chrysa...

A beautiful antique ceramic vase handcrafted by Alphonse Cytère known for developing this metallic finish. Typical Art Nouveau style. This model with...

Small lilac vase like an Amphora.

By Wilhelm Schiller & Son. Austria Majolica vase. Early 1900 Impressed within a raised cartouche in the clay at bottom: WS&S / 7...

Weller Art Deco Pottery Peach Vase Beautiful hand-painted ceramic vase from the 1930's in peach color with an ivory flower motif. Wonderful ad...

Established in 1853 by Miklós Zsolnay, Zsolnay began as a small business producing basic stoneware and earthenware. Ten years later Miklós’ son, Vilmos, joined the company and led it...

Jugendstil vase, Vienna, around 1909 Polished and stove enameled.

Early and rare Muller cameo glass vase, circ 1907-1914. Heavily applied cameo glass with wheel cut finish. Applied outside decoration. Red, brown and whit...

Jack-in-the-pulpit vase designed by Louis C. Tiffany, manufactured by Tiffany Studios New York, 1906, signed The "Jack-in-the-pulpit" vases represent a special design category within the production of the Louis Comfort Tiffany company. These glasses were modeled after the Arisaema Triphyllum plant and are among the most iconic designs of this famous manufacturer. Our example shines in pure gold. It was made in 1906 and received as a wedding gift at the time. The vase is marked "L.C.T." and "2210A" (underneath). Material and technique: mouth-blown glass, reduced and iridescent Louis Comfort Tiffany (New York 1848 – 1933 New York) was a famous American designer, artist and painter of American Art Nouveau. He was best known for his works in glass colored with metal salts and made a name for himself in the decorative arts at the time. In the course of his career, he created a unique style that combined outstanding craftsmanship with a love for natural shapes and bright colors. Nature had always been his inspiration and in his designs he tried, in his very own way, to capture its beauty forever. Tiffany designed lamps...

Large Royal Dux cup crafted in porcelain biscuit. The biscuit is partially enameled, and highlighted with polychrome accents. The cup features two nymphs climbing a shell on waves. O...

Signed: Alexandre / Belgium Vase green glazed terracotta decorated with Fish in relief Alexandre Gempfenstein (Alexandre de Wemmel) (Ukrainian Be...

Antique Sgraffito vase / pot by Josef Ekberg for Gustafsberg., circa 1911. Beautiful large piece made at his studio in the Gustavsberg Porcelain Factory, Sweden. Blue flower decorat...

A rounded Art Nouveau ceramic plant decorated with flower motifs. It features a striking lotus flower motif in soft enamel relief. The body is finished in a warm brown glaze, agains...

A wonderful early 20th Century Art Deco glass vase etched with vibrant red orchids against a deep orange background interspersed with deep burgundy reefs exhibiting excellent colour ...

Attributed to Lucien Levy Dhurmer for Clement Massier. Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling....

A stunning Art Nouveau era art glass vase produced in Austria or Bohemia. Possibly by Loetz. The vase or cache pot is sculpted bronze decorated with foliage legs and great owl form h...

Müller Freres glass vase with a flower motif. Art nouveau cameo technique. The vase is in excellent condition with no restorations. circa 191...

Rare Small Majolica Wild Rose Salt Cellar Delphin Massier, circa 1890.

Baluster-shaped vase, on a round base set off by a nodus, widening in a trumpet shape and narrowing to a drawn-in rim, colorless glass with flaky yellow, orange-reddish, and violet p...

Emile Galle scenic wheel carved and acid etched cameo vase. A beautiful and tall cameo vase by Galle. The 18 - 1/2” tall vase has a background of muted yellow glass near the base, which progresses to blue/gray at mid-vase, and then peach towards the top. Brown, cameo cut trees are generously displayed across the body of the vase, with the addition of a boat in the lake. Signed "Galle". Dimensions: 18 - 1/2” x 10” x 8”. Condition: Very good Émile Gallé (8 May 1846 in Nancy – 23 September 1904 in Nancy) was a French artist and designer who worked in glass, and is considered to be one of the major innovators in the French Art Nouveau movement. He was noted for his designs of Art Nouveau glass art and Art Nouveau furniture, and was a founder of the École de Nancy or Nancy School, a movement of design in the city of Nancy, France. Gallé born on 4 March 1846 in the city of Nancy, France. His father, Charles Gallé, was a merchant of glassware and ceramics who had settled in Nancy in 1844, and his father-in-law owned a factory in Nancy which manufactured mirrors. His father took over the direction of his mother's family business, and began to manufacture glassware with a floral design. He also took over a struggling faience factory and began manufacturing new products. The young Gallé studied philosophy and natural science at the Lycée Imperial in Nancy. At the age of sixteen he went to work for the family business as an assistant to his father, making floral designs and emblems for both faience and glass. In his spare time he became an accomplished botanist, studying with D.A. Godron, the director of the Botanical Gardens of Nancy and author of the leading textbooks on French flora. He collected plants from the region and from as far away as Italy and Switzerland. He also took courses in painting and drawing, and made numerous drawings of plants, flowers, animals and insects, which became subjects of decoration. At the age of sixteen he finished the Lycée in Nancy and went to Weimar in Germany from 1862–1866 to continue his studies in philosophy, botany, sculpture and drawing. In 1866, to prepare himself to inherit the family business, he went to work as an apprentice at the glass factory of Burgun and Schwerer in Meisenthal, and made a serious study of the chemistry of glass production. Some of his early glass and faience works for the family factory at Saint-Clémont were displayed at the 1867 Paris Universal Exposition. In early 1870 he designed a complete set of dishware with a rustic animal designs for the family enterprise. During this time he became acquainted with the painter, sculptor and engraver Victor Prouvé, an artist of the romantic "troubadour" style, who became his future collaborator in the Nancy School. He enlisted for military service in the Franco-Prussian War in 1870, then was demobilised after the disastrous French defeat in 1871 and the French loss to Germany of much of the province of Lorraine, including Meisenthal where he had done his apprenticeship. Thereafter the Cross of Lorraine, the patriotic symbol of the region, became part of his signature on many of his works of art. After his demobilization Gallé went to London, where he represented his father at an exhibition of the arts of France, then to Paris, where he remained for several months, visiting the Louvre and Cluny Museum, studying examples of ancient Egyptian art, Roman glassware and ceramics, and especially early Islamic enamelled...

Reuben Rising for Rörstrand. Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel ser...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

An impressive early 20th Century American iridescent glass vase of slender form with green hearts shining through an attractive golden iridescence, signed L C Tiffany Favrile and numbered to base. ADDITIONAL INFORMATION Height: 23 cm Condition: Very Good Condition Circa: 1905 Materials: Iridescent Coloured Glass SKU: 6667 ABOUT Louis Comfort Tiffany Louis Comfort Tiffany (February 18, 1848 – January 17, 1933) was an American artist and designer who worked in the decorative arts and is best known for his work in stained glass. He is the American artist most associated with the Art Nouveau and Aesthetic movements. Tiffany was affiliated with a prestigious collaborative of designers known as the Associated Artists, which included Lockwood de Forest, Candace Wheeler, and Samuel Colman. Tiffany designed stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewellery, enamels and metalwork. Early Life He was born in New York City, New York, the son of Charles Lewis Tiffany, founder of Tiffany and Company; and Harriet Olivia Avery Young. He attended school at Pennsylvania Military Academy in West Chester, Pennsylvania, and Eagleswood Military Academy in Perth Amboy, New Jersey. His first artistic training was as a painter, studying under George Inness in Eagleswood, New Jersey and Samuel Colman in Irvington, New York. He also studied at the National Academy of Design in New York City in 1866-67 and with salon painter Leon-Adolphe-Auguste Belly in 1868-69. Belly’s landscape paintings had a great influence on Tiffany. Career Louis started out as a painter, but became interested in glassmaking from about 1875 and worked at several glasshouses in Brooklyn between then and 1878. In 1879, he joined with Candace Wheeler, Samuel Colman and Lockwood de Forest to form Louis Comfort Tiffany and Associated American Artists. The business was short-lived, lasting only four years. The group made designs for wallpaper, furniture, and textiles. He later opened his own glass factory in Corona, New York, determined to provide designs that improved the quality of contemporary glass. Tiffany’s leadership and talent, as well as his father’s money and connections, led this business to thrive. In 1881 Tiffany did the interior design of the Mark Twain House in Hartford, Connecticut, which still remains, but the new firm’s most notable work came in 1882 when President Chester Alan Arthur refused to move into the White House until it had been redecorated. He commissioned Tiffany, who had begun to make a name for himself in New York society for the firm’s interior design work, to redo the state rooms, which Arthur found charmless. He worked on the East Room, the Blue Room, the Red Room, the State Dining Room and the Entrance Hall, refurnishing, repainting in decorative patterns, installing newly designed mantelpieces, changing to wallpaper with dense patterns and, of course, adding Tiffany glass to gaslight fixtures, windows and adding an opalescent floor-to-ceiling glass screen in the Entrance Hall. The Tiffany screen and other Victorian additions were all removed in the Roosevelt renovations of 1902, which restored the White House interiors to Federal style in keeping with its architecture. A desire to concentrate on art in glass led to the breakup of the firm in 1885 when Tiffany chose to establish his own glassmaking firm that same year. The first Tiffany Glass Company was incorporated December 1, 1885 and in 1902 became known as the Tiffany Studios. In the beginning of his career, he used cheap jelly jars and bottles because they had the mineral impurities that finer glass lacked. When he was unable to convince fine glassmakers to leave the impurities in, he began making his own glass. Tiffany used opalescent glass in a variety of colors and textures to create a unique style of stained glass. He developed the “copper foil” technique, which, by edging each piece of cut glass in copper foil and soldering the whole together to create his windows and lamps, made possible a level of detail previously unknown. This can be contrasted with the method of painting in enamels or glass paint on colorless glass, and then setting the glass pieces in lead channels, that had been the dominant method of creating stained glass for hundreds of years in Europe. (The First Presbyterian Church building of 1905 in Pittsburgh, Pennsylvania is unique in that it uses Tiffany windows that partially make use of painted glass.) Use of the colored glass itself to create stained glass pictures was motivated by the ideals of the Arts and Crafts movement and its leader William Morris in England. Fellow artists and glassmakers Oliver Kimberly and Frank Duffner, founders of the Duffner and Kimberly Company and John La Farge were Tiffany’s chief competitors in this new American style of stained glass. Tiffany, Duffner and Kimberly, along with La Farge, had learned their craft at the same glasshouses in Brooklyn in the late 1870s. In 1889 at the Paris Exposition, he is said to have been “Overwhelmed” by the glass work of Émile Gallé, French Art Nouveau artisan. He also met artist Alphonse Mucha. In 1893, Tiffany built a new factory called the Stourbridge Glass Company, later called Tiffany Glass Furnaces, which was located in Corona, Queens, New York, hiring the Englishman Arthur J. Nash to oversee it. In 1893, his company also introduced the term Favrilein conjunction with his first production of blown glass at his new glass factory. Some early examples of his lamps were exhibited in the 1893 World’s Fair in Chicago. At the Exposition Universelle (1900) in Paris, he won a gold medal with his stained glass windows The Four Seasons He trademarked Favrile (from the old French word for handmade) on November 13, 1894. He later used this word to apply to all of his glass, enamel and pottery. His first commercially produced lamps date from around 1895. Much of his company’s production was in making stained glass windows and Tiffany lamps, but his company designed a complete range of interior decorations. At its peak, his factory employed more than 300 artisans. Recent scholarship led by Rutgers professor Martin Eidelberg suggests that a team of talented single women designers – sometimes referred to as the “Tiffany Girls” – led by Clara Driscoll played a big role in designing many of the floral patterns on the famous Tiffany...

A stunning and monumental example of Kayserzinn pewter, an exceptional piece for the collector. This antique art nouveau Jugendstil pewter tankard is stamped "Kayserzinn 4009" and wa...

Vase Sign: Muller Freres Luneville acid worked Muller Feres The heart of the company was formed by five brothers (Henri, Desire, Eugene, Pierre, Victor) from a glass making family wh...

A good early perfume bottle Ambre for the perfume company D'Orsay, designed by René Lalique and made in his glassworks, likely those located in Combs-la-ville, which was before he op...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Dramatic multi color decor, cobalt and orange, in hand blown splatter glass vase in the Art Deco style. This design for vases is often called 'Pique ...

A pretty 19th century Majolica cache pot, decorated in shades of green and brown, and featuring the vivid colouration, whimsical shapes and high-relief sculpture typical of the style...

This tall and rare Tiffany Studios jack in the pulpit vase has an inverted saucer foot with opalescent wafer transition stem to ...

A very fine quality Art Nouveau Austrian or Bohemian opalescent art glass egg shaped vase with shaped and pinched flower shaped opening attributed to Kralik or possibly Loetz and dat...

Vase Sign: Muller Fres Luneville acid worked Muller Feres The heart of the company was formed by five brothers (Henri, Desire, Eugene, Pierre, Victor) from a glass making family who ...

Algot Eriksson & Waldemar Lindström for Rörstrand. Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. Whi...

Model #4598. Hard Earthenware. Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the tradename “Amphora” by the late 1890s and became known by that name. The ...

This early 20th century Art Nouveau porcelain vase was designed by Paul Dachsel for Riessner, Stellmacher & Kessel Amphora of Turn-Teplitz, Bohemia. The piece has an organic squash-like form and features Dachsel's distinctive ribbed mouth design at the top. The body of the vase is flanked by two delicate arched arms with reticulated detail. This ivory porcelain vase has a blush colored body with gilt accents at the foot and handles. The front and back piece have been hand-painted with a floral motif in a Japanese style and feature the images of gilt accented purple orchids with long green leaves. The ribbed mouth is finished in a matte green that echoes the color of the foliage and also has gilt highlights. An example of this shape with similar decoration can be seen on page 66 of Richard L. Scott's 'Ceramics From The House Of Amphora 1890-1915. The vase is in excellent condition with no chips, cracks or repairs. As an antique item, the piece shows appropriate signs of age consisting of wear to the gilded decoration. The vase stands just over 6" tall and is 2" as measured from the furthest points of the mouth. The foot is just over 2" in diameter and bears the RStK burnt in mark reading "RStK TURN Teplitz...

Primitive Antique Vase from Royal Copenhagen with Hand-Decorated Underglazed Pattern Vase No. 2315-36 in porcelain with Art Nouveau-style floral decoration. Made by Royal Copenhagen...

Beautiful, antique, early Venetian / Murano hand blown pink, blue and gold flecks Italian art glass flower vase. Created in the manner of the Salviati and Fratelli Toso companies. Th...

Art Nouveau Opaline glass Handmade and Hand Painted pair of vases, France, 1920s Handmade and hand-glazed in brilliant colored Iris flowers details. Made in France Art Nouveau p...

Presenting a gorgeous Nippon Art Nouveau style butterfly vase. Fully marked on base for having been made and hand decorated in Japanese Macau. This h...

Loetz Candia Silberiris Glass Vase with Silver Overlay Circa 1900 Height: 5.2 inches (13.0 cm) Diameter: 3 Inches (7.5 cm) Condition: Glass vas...

A striking early 20th-century iridescent art glass vase, attributed to Loetz, the renowned Bohemian glassworks known for its highly distinctive surface treatments and forms. Though u...

Attributed to Lucien Levy Dhurmer for Clement Massier. Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling....

Rare early pair of Loetz Bohemian Glass Vases in a graceful Tulip Motif made by Johann Loetz Witwe in the 1880s. Green and rich red color with silver and blue iridescent highlights s...

Signed Lucien Levy-Dhurmer. An encounter with Massier’s luster-glazed ceramics is an embarkation on an acid-colored trip, the sort of exploration which inspires deep reflection and...

Large ceramic floor vase by ceramic artist Harald Folmer Gross (1888-1961) for Knabstrup Ceramics - Gross worked for Knabstrup from 1941 to 1945. Light cream yellow base with hand-pa...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Before describing the object under consideration, we must make an important clarification; the artifact, one of many that we will publish over time, is part of the museum collection of a historic Florentine crystal grinder that unfortunately closed recently. It is the Marcello Galgani & Sons company, whose completely manual and artisanal work has not withstood the disproportionate advance of mass-produced mechanical processes! Marcello Galgani began his craft as a grinder and restorer in 1960; as the years went by, Marcello mastered and became familiar with particular techniques and shapes, resulting in the production of objects that manage to retain the freshness of grinding and engraving, the warmth and softness of light, and the inimitable flavor of unique artifacts. After several years, his son Lorenzo, who grew up among crystals, also entered the business and immediately became passionate about this ancient craft with skill and ability. Stimulated by the aesthetic sense of the past, father and son, set up a workshop in which the shapes they researched and created themselves are mouth-blown by traditional Tuscan glassmakers in Empoli, then ground and engraved using ancient sixteenth-century techniques, with motifs born from the Galgani's inexhaustible imagination or culturally inspired by designs of objects seen and studied in Florentine museums (Uffizi, Galleria Palatina, Museo degli Argenti, etc.). Marcello and Lorenzo Galgani were also Masters in the difficult art of restoration, bringing rare and precious objects back to life. As mentioned the company recently closed and disposed of all its last production, and only Marcello's old private museum collection remained, which includes unique and special objects created over time, a collection that the craftsman made available to us for a planned sale. All of the objects were made entirely by hand with old grinding wheels, but there were mainly two tools that allowed the creation of masterpieces: the right hand and the left hand of the master craftsman. Ancient glassmaking techniques were used for all the ground and engraved products: first, the object was ground with an emery wheel fed continuously by a jet of abrasive sand and water, then re-polished with a very fine-grained sandstone wheel also fed with water; the engravings were done freehand using as many as 10-15 small stone wheels for each design (flowers, branches, animals, etc. ); then the object was polished and shined; we must make, at this point, an important clarification on these last two operations: towards the end of the 1960s acid crystal polishing was devised, the object was immersed and rotated in a solution of sulfuric acid, fluoridic acid and water and in a short time all the defects left by the previous processes were eliminated, it was a fast, industrial operation that allowed to lower costs considerably, with discrete but not excellent results. But for Galgani's products polishing is done with a cork bark wheel wet with water and pumice, to make the surfaces more transparent, and finally polishing was achieved with a felt wheel wet with a paste of water, iron oxide, and cerium oxide. This series of processes takes an average of two days of work( sometimes much longer) for each object, each engraving or grinding is the result of the creative inventiveness of the two artisans, inventiveness that transforms crystal into reality material of the highest aesthetic value and inestimable value. All the items in the entire collection have never been used; they were part of the exhibition. Large crystal vase with a black base; the decorations, purely Art Noveau, represent graceful butterflies and dragonflies in a peaceful lake landscape. The object is "one-of-a-kind" signed by the Master; it was created in Marcello Galgani's workshop in 1982 and made with the techniques (grinding, engraving, and polishing) we explained in the description; for the shape, the Master was inspired by a vase found in a painting, preserved in the Uffizi Gallery in Florence by the 16th-century painter Jacopo Ligozzi...

Vase Sign: Muller Fres Luneville acid worked Muller Feres The heart of the company was formed by five brothers (Henri, Desire, Eugene, Pierre, Victor) from a glass making family who ...

Well-decorated slip pot with cherries and birds, a good size with a diameter of 32, the glaze is very colorful.

19th century pair of French Majolica pink flowers jardinières. Sand background.

Sculptural pitcher designed by Charles Théodore Perron (1862-1934). The beautiful antique art nouveau pewter jug pitcher. Made in France around the 1900 by the sculptor Charles Théodore Perron (1862-1934). Crafted in solid pewter and decorated with a reclined naked lady similar to a mermaid, a mask and art nouveau organic motifs, all in high relief. The pitcher is in perfect condition without any damages or repairs. The neck is the face of what looks like a captain of a ship. Period: Art Nouveau, Circa 1900. Material: Pewter Weight: 6 Pounds (2.73 Kg). Measurements: 241 mm by 179 mm by 153 mm (9.5 x 7 x 6 Inches). Hallmarks Stamped with the maker's mark and signed, "CH PERRON". Charles Théodore Perron He was a French sculptor that born in Paris in 1862. He was the pupil of Falguière, Roy Lequel and Louis-Auguste Hiolin...

Terracotta vase. France, early 20th century.

The beautiful set by Esdeve - Sarreguemines features a lovely pink French Majolica dresser mantel clock and a matching pair of pink floral garniture vases. It features an Art Nouveau...