Arts and Craft Yellow Flower Vase in Irregular Shape by Hilma Persson Hjelm

A Scandinavian Modern decorative pewter vase made in Sweden 1938, by unknown artist. Brushed matte surface. Stamped Svenskt Tenn, L8, Handarbete. Horizontal ribbons with relief effec...

Swedish ceramic vase by Isak Isaksson, narrow necked and unique stoneware, from his own workshop. Fantastic crystal glaze in green and grey shades, signed Isak Unik. In very good con...

Swedish Arts & Crafts hand carved oak mirror. The entire wooden frame have a marvelous smiling monkey (baboon) in the middle holding two birds (maybe crows) in his hand. The glass a...

Scandinavian Modern vase "Kulvas" (bulletvase) in brass produced for Skultuna, Sweden by Pierre Forsell. Stamped 1807. Pierre Forsell (1925-2004) was a trained silversmith. During t...

2 Mid-Century Modern White Vases "Pungo" by Stig Lindberg, made in Gustavsberg. The "Pungo" vases are part of an exclusive series with limited produc...

A vase. Produced and designed by Claes Thell, in the Artist's studio, in Höganäs, Sweden. Stoneware. Glazed in different brown colors. Signed Thell. Exh...

Teco Pottery Arts & Crafts vase with Four buttressed handles created circa 1903-1910. This piece is designed by W.B. Mundie for Teco Pottery. The vase is...

Roseville Tourist Creamware 1916 Arts And Crafts Pottery Flaring Rim Flower Vase Rare and superior scenic vase with clean design and great color. Excellent condition. No chips, crack...

Rookwood 1925 Vintage Arts And Crafts Pottery Ceramic Flower Vase 977 (Hurley) Tall and rare carved vellum hand painted vase with a beautiful water lilies in water design by Edward Hurley...

Rookwood Vase, Monumental tapered shape in a Vellum glaze with a beautiful wild rose design, executed by Fred Rothenbusch in 1914, No.1653. Bottom Di...

“A Robineau vase is a true work of art, unique in conception and perfect in execution, for every piece that left this studio was a labor of love.” – Ethel Brand Wise, The American Magazine of Art, 1929 Adelaide Alsop Robineau was a pioneer in American studio ceramics and excelled as an innovator in pottery both technically and aesthetically. As a young woman of high society in the late Victorian era, she gained early accolades as a skilled watercolorist and china painter and taught for a time at St. Mary’s Hall in Minnesota. In 1899, she married Samuel E. Robineau, a French gentleman and collector of Chinese ceramics. He was deeply intrigued by her talent and steadfastly supported and encouraged her throughout her career. The couple collaborated to produce a popular and influential monthly journal together, Keramic Studio, and went on to build a studio on their property in Syracuse, New York, which they named Four Winds. Robineau would also go on to teach for many years at Syracuse University while creating her own work and raising three children. Early in her career, she studied at Alfred University under Charles Binns, who is widely considered to be the progenitor of contemporary studio ceramics in America. His program established a shift in the craft of ceramics as an academic pursuit, rather than one of apprenticeship. Pottery throwers and the artists who decorated the wares traditionally inhabited separate roles in ceramic manufacture, a practice common in Europe. Binns’ philosophy merged the two, such that the potter had total agency of the final product. This marked a historic divergence in the creation of art pottery – one that Adelaide Robineau...

“A Robineau vase is a true work of art, unique in conception and perfect in execution, for every piece that left this studio was a labor of love.” – Ethel Brand Wise, The American Magazine of Art, 1929 Adelaide Alsop Robineau was a pioneer in American studio ceramics and excelled as an innovator in pottery both technically and aesthetically. As a young woman of high society in the late Victorian era, she gained early accolades as a skilled watercolorist and china painter and taught for a time at St. Mary’s Hall in Minnesota. In 1899, she married Samuel E. Robineau, a French gentleman and collector of Chinese ceramics. He was deeply intrigued by her talent and steadfastly supported and encouraged her throughout her career. The couple collaborated to produce a popular and influential monthly journal together, Keramic Studio, and went on to build a studio on their property in Syracuse, New York, which they named Four Winds. Robineau would also go on to teach for many years at Syracuse University while creating her own work and raising three children. Early in her career, she studied at Alfred University under Charles Binns, who is widely considered to be the progenitor of contemporary studio ceramics in America. His program established a shift in the craft of ceramics as an academic pursuit, rather than one of apprenticeship. Pottery throwers and the artists who decorated the wares traditionally inhabited separate roles in ceramic manufacture, a practice common in Europe. Binns’ philosophy merged the two, such that the potter had total agency of the final product. This marked a historic divergence in the creation of art pottery – one that Adelaide Robineau...