Vases

A Large And Rare Pair of ‘Neo-Grec’ Style Multipatinated Bronze Amphora Vases by Ferdinand Levillain and Ferdinand Barbedienne. Signed to the cast ‘F. Levillain Fecit 1880’ and ‘F. Barbedienne’. This large pair of multipatinated vases are of amphora form modelled in the ‘Neo-Grec’ style with trumpet shaped necks and scrolling handles terminating in masks; the vases are raised on circular spreading bases put down on plinths. Each vase is finely ornamented with laurel leaves and garlands to the neck, the main body with a superb banded frieze cast in low relief depicting the Centauromachy. In the Centauromachy, the Lapiths battle with the Centaurs at the wedding feast of Pirithous. An enduring classical theme linked with the idea of culture versus nature, the Centauromachy was widely depicted in ancient Greece from the Southern Metopes of the Parthenon Freieze to the Temple of Apollo Epikourious at Bassai, it also appears as a subject on numerous Attic vases such as the Ilioupersis krater. A popular theme for artists from the Renaissance onwards it was depicted by amongst others, Michelangelo, Piero di Cosimo, Luca Signorelli, Sebastiano Ricci...

A pair of bronze Empire style classical urns, circa 1820 on square bases with double handles on each. Grecian Classical subject around the body with a wide rim superb classical design.

A very good quality 19th century Japanese Imari vase or lamp. Having classical Imari colors of oranges and blues, depicting flowers, motifs, and inset panels of children playing and ...

A fine pair of empire gilt and patinated bronze ewers in the manner of Claude Galle. French, Circa 1820.

A pair of gilt-bronze mounted Incarnat Turquin marble vases in the manner of Pierre Gouthière. Each vase is mounted with finely cast gilt bronze fema...

A Fine Pair of Bronze Urns or Vases and Covers After a Design Believed to Have Been Made By the French Animalier Auguste Nicolas Cain c.1870 The urns each on a shaped black marble s...

A fine gilt bronze and Champlevé Enamel Garniture Set comprising a pair of candelabra and a brûle-parfum and cover. French, circa 1890. The brûle -parfum or censor with a domed champlevé enamel lid above a gilt bronze pierced guilloche border with ram's head mounts supported by a baluster column flanked by seated putti finely cast with musical instruments on a circular base. The candelabra en suite having a pair of of putti figures supporting candlearms with circular champlevé enamel drip trays and sconces. Champlevé enamelling, is similar to cloisonné in that the enamel is applied to discrete cells separated by metal. However, in champlevé, cells or troughs are cast into or cut away from the metal base, leaving a raised metal line between the cells which forms the outline of a design. The cells are then filled with molten or powdered glass and fired. Height of central vase: 25 cm Width of central vase: 15 cm...

A large fine quality late 19th century (Meiji period 1868-1912) Japanese bronze vase. Having wonderful raised jeweled decoration depicting a merchant showing his wares. Measures: 58 ...

Made by the JINGFA Beijing Cloisonné Factory in China, 1970s. The vase itself is bronze with a rubbed brass finish and the bodies of the pieces are covered in the most exceptional Cl...

Top condition and pure elegance Art Nouveau vase. For the collectors of museum quality and condition Art Nouveau ceramics. This stunning Art Nouveau vase is decorated with the mos...

A very impressive Japanese bronze and cloisonne enamel vase having raised decoration depicting a carp in the river, with a deer under a tree.

Hand-decorated with gold, enamel, and jewels! White and blue opal glass, each vase is raised on circular flat foot which is shaped in multiple gilded circles, finely applied red jewe...

Meet our Antique Miniature Bronze Champleve Vases – tiny time travelers from the late 1800s! Crafted by skilled hands, these petite wonders tell tales of a bygone era. Picture them g...

Fantastic mid-century design vase by ''Edelstein'', Bavaria. Vases with this kind of shape at the rim are commonly known as fish-mouth vases. Minimalistic, balanced shape with an ult...

21st Century hand carved clear crystal and golden bronze potiche. This potiche is finely chiseled lost wax castings and hand ground crystal. On request to customer can modificate the...

A Meiji period bronze hanging flower vase, in the form of a junk with a high prow and shaped stern, with a central well and three hanging chains.

19th Century, Pair of Italian Lacquered Bronze Vases Pair of vases in bronze lacquered with fake porphyry with applications in chiseled and gilded bronze, Rome, late nineteenth cent...

The enamel vases in this pair are of ‘garlic head’ form, each sitting on a four-leg, four scrolled foot wooden stand. The vases are of tripartite form. Each vase features a flared neck, an ovoid body, and a pinched stem, and each includes four gilt bronze (ormolu) medallions fashioned into reticulated cloud scroll patterns. Glimpsed through the reticulated medallions of each vase is a smaller, nestled vase, similarly decorated to the external shell. The body of each vase presents a rich blue enamel ground onto which cloisonné enamel motifs, bounded within gold enamel wire, are worked. The motifs are traditional, ranging from lotus scrolls and lotus flowers to ruyi heads, and are executed in a bold green, red, yellow, and pink palette. Upon the neck of each vase are mounted two gilt bronze elephant...

A matched pair of late 19th century Bohemian / German majolica porcelain urns. With a contrasting mix of Christian, mythological, grotesque and neoclassical elements, they exemplify the highly decorative, "art for art's sake" ideology of the Aesthetic Movement (1860-1900). Colorful and engaging, the style was a direct and confrontational answer to the rise of mass-produced and industrial culture. With impressed marks "R.H. 35" on their bases, the urns were most probably manufactured by Reinhold...

Empire pair of tall gilt bronze ornamental vases, Medicis-shaped model richly decorated with finely chiseled palms, laurels crowns, gadroons and women masks patterns. Early 19th cent...

A very good quality Meiji period (1868-1912) Japanese patinated bronze vase, depicting two seated dogs below a Bamboo plant.

A lovely Sèvres -style porcelain and ormolu vase on a burgundy red background, the front is hand-painted with a mythological scene of Venus whilst the back of the vase is elaborately...

Golden Bronze Coupe by Rick Owens 2007 Dimensions: L 20 x W 20 cm Materials: Bronze Weight: 3 kg The gold edition is an exclusivity of Galerie Philia Rick Owens is a Californ...

Gilt bronze Ewer Pitcher 19th century gilt bronze Renaissance Revival Heavy and solid Decorative and impressive Good antique condition.     

Vase designed and produced by GAB, Guldsmedsaktiebolaget, Sweden, 1930s. Stamped with makers mark. Made in cast bronze.

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. This collection is made by beautiful p...

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. This collection is made by 4 beautiful...

Solid bronze vase by Guldaktiebolaget, most likely designed by Jacob Ängman. Swedish grace / Art Deco, 1920/30s. Normal patina, signs of age and w...

Contemporary bronze vase - Evase by Rick Owens 2007 Dimensions: L 20 x W 20 x H 18 cm Materials: Bronze Weight: 4.2 kg Available in Black, Gold and Nitrate finish. Rick Owe...

Special collection of Love's inspirated hearts.

A pair of gilt bronze and champlevé enamel vases Constructed from solid fire-gilded bronze, the miniature decorative vases supported on square plinths rising from paw feet, the co...

Rare vase by Just Andersen, patinated bronze with conical body and tapered neck engraved with stylized foliage. Design no. B73. Stamped with monogram and design no. Denmark, 1930s. Ib Just Andersen (1884-1943) Danish sculptor and silversmith, started his own workshop in 1918. He is best known for his Scandinavian neoclassical...

Ceramic vase BOB cod. CP005 handcrafted in 24-karat gold outside and white glazed inside measurers: Height 107.0 cm. diameter 30.0 cm.

21st century hand carved amber crystal and golden bronze bowl. This bowl is finely chiseled lost wax castings and hand-grounded crystal. The golden bronze rhinoceros on the base was...

Large lidded vase with a gadrooned wall with acanthus leaves and pine node. Marbre griotte and gilt bronze.

Beautiful pair of Chinese porcelain vases. On a blue background of stylized clouds, two cartouches display a design of pairs of swallows flying among flowering branches. The reverse ...

21st century hand carved clear crystal and golden bronze centrepiece. This Centrepiece has got the porcelain base with pure gold decorations and hand-grounded crystal. On request to...

Made in Italy, 1970s. This wonderful vase / bottle is made in pink encased Murano glass with gold leaf. It is a vintage piece, therefore it might show slight traces of use, but it c...

Made in Italy, 1946. By Flavio Poli for Seguso, "Corrosi" series, model 12502. It is made in blown glass and features gold fleck inclusion. The external part has corroded texture. Th...

Deep blue Vetro dei Dogi Murano glass vase with gold work, made in the 1980s Ø 17 cm Ø 13 cm h 23 cm

A truly rare and beautiful 1960’s vintage Italian Studio Del Campo Vintage bronze, glass and iridescent purple enamel spherical vase. The four future founders of Studio Del Campo b...

A vase by artist Karen Swami, 2021. A unique wheel thrown stoneware, smoked, fired, waxed and reworked with Japanese vegetal 'Urushi' lacquer and pure gold, in the Kintsugi techniqu...

A beautiful and rare Art Deco Bronze vase by SVM Handarbete, Sweden, 1930's. This vase has an exquisite patina with logo engraving to the base.

This Meji bronze amphora is a superb bronze vase decorated with the depiction of flowers and frogs and on the sides a phoenix. A Japanese vase of the Me...

Contemporary Bronze Swan neck vase by Rick Owens 2007 Dimensions: L 20 x W 20 x H 71 cm Materials: Bronze Weight: 4.5 kg Available in black finis...

A wonderful Japanese Meiji period (1868-1912) Bronze overlay vase. Having exquisite and amusing scenes in relief, patinated and overlay of a Dog of Foo, a Frog fishing in a Lotus lea...

The vases have a baluster shape and are richly decorated with foliage and acanthus. The foot is multiple and decorated, the shoulder has a band of peripheral foliage with mounted and...

Archaic Chinese bronze vase decorated with elephant heads, work probably from the middle of the 19th century, unfortunately pierced in two places. Measur...

Yasumi Nakajima II (1906-1988) Ikebana vase, circa 1960, Japan. Trumpet form, Tomoe model, with nice patinated brown-red (seido) bronze. Signed underneath. Dimensions: 26 cm H, 9 ...

Coppia di Vasi Impero in Bronzo con Anse a Cigno realizzati in Italia, inizio 1800, coppia di eleganti vasi da centro di gusto Impero, di forma circolare, su base squadrata, corpo im...

Pair of large Japanese Porcelain Cone Shape Vases with Imari decoration Important mounts in ormolu and gilded metal, the base decorated with a laurel wreath, the upper part of falling leaves and a frieze of knotted ribbon. The mounts signed Gagneau, 115 R. Lafayette. Circa 1860 With their original aluminium bulb cover and original gilding Vase it self Height 47 cm The Gagneau Company is one of the most famous lighting factories in Paris in the nine-teenth century, established in 1800 at 25 rue d'Enghien in Paris and later at 115 rue de Lafayette. She has participated in many exhibitions throughout this century. She began in 1819 with the Exposition des Produits de l'Industrie and later participated in the Universal Exhibitions where she was part of the jury in the category of art bronzes (class 25) at the Universal Exhibition in Paris in 1889. "Imari" was simply the trans-shipment port for Arita wares, from where they went to the for-eign trading outposts at Nagasaki. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, after kaolin was discovered in 1616. A popular legend attributes the discovery to an immigrant Korean potter, Yi Sam-Pyeong (1579–1655), although most historians consider this doubtful. After the discovery, some kilns began to produce revised Korean-style blue and white porcelains, known as Early Imari, or "Shoki-Imari". In the mid-17th century, there were also many Chinese refugees in northern Kyushu due to the turmoil in China, and it is said that one of them brought the overglaze enamel coloring technique to Arita. Thus Shoki-Imari developed into Ko-Kutani, Imari, and later Kakiemon, which are sometimes taken as a wider group of Imari wares. Ko-Kutani was produced around 1650 for both export and domestic market.Kutani Ware is characterized by vivid green, blue, purple, yellow and red colors in bold designs of landscapes and nature. Blue and white porcelain pieces continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are ac-cordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon-style Imari, which was produced for about 50 years around 1700. Kakiemon was characterized by crisp lines, and bright blue, red and green designs of dramatically stylized floral and bird scenes. Imari achieved its technical and aes-thetic peak in the Kakiemon style, and it dominated the European market. Blue and white Kakiemon is called Ai-Kakiemon. The Kakiemon style transformed into Kinrande in the 18th century, using underglaze blue and overglaze red and gold enamels, and later additional colors. Imari began to be exported to Europe when the Chinese kilns at Jingdezhen were damaged in the political chaos and the new Qing dynasty government halted trade in 1656–1684. Ex-ports to Europe were made through the Dutch East India Company, and in Europe the des-ignation "Imari porcelain" connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China resumed export to Eu-rope, since Imari was not able to compete against Chinese products due to high labor costs. By that time, however, both Imari and Kakiemon styles were already so popular among Eu-ropeans that the Chinese export porcelain copied both, a type known as Chinese Imari. At the same time, European kilns, such as Meissen and English potteries such as Johnson Bros. and (Royal) Crown Derby, also imitated the Imari and Kakiemon styles. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe.Thus, in the western world today, two kinds of true Japanese Imari can...

A bronze and cloisonne enamel square vase. Cloisonne bronze vase, Japan XIX, signature cartridge. Large quadrangular bronze vase, Japanese work from the 19th century, signed b...

A beautiful one-of-a-kind hand crafted vase by Viennese artist Carl Auböck V. Read the artists statement below. "The vase "luna futura" is the largest vessel I have yet created. Th...

For sale is a special vase made by Baccarat. Fine engraved elephant tooth shaped heavy glass in fitted in a heavy brass mounting.The slightly bent glass cylinder has been gilded with...

21st Century hand carved amber crystal and golden bronze potiche. This potiche is finely chiseled lost wax castings and hand ground crystal. On request to customer can modificate the...

Rare bronze vase attributed Evan Jensen made in Denmark in the 1930s. The vase is made by a unknown danish caster called Antika but is a typical Evan Jensen shaped vase and has typical Evan Jensen detail. The vase is in good condition with a beautiful original patina. Art Deco, short for the French Arts Décoratifs, and sometimes just called Deco, is a style of visual arts, architecture, and product design, that first appeared in France in the 1910s (just before World War I), and flourished in the United States and Europe during the 1920s and 1930s. Through styling and design of the exterior and interior of anything from large structures to small objects, including how people look (clothing, fashion and jewelry), Art Deco has influenced bridges, buildings (from skyscrapers to cinemas), ships, ocean liners, trains, cars, trucks, buses, furniture, and everyday objects like radios and vacuum cleaners. It got its name after the 1925 Exposition internationale des arts décoratifs et industriels modernes (International Exhibition of Modern Decorative and Industrial Arts) held in Paris. Art Deco combined modern styles with fine craftsmanship and rich materials. During its heyday, it represented luxury, glamour, exuberance, and faith in social and technological progress. From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the Vienna Secession; the bright colours of Fauvism and of the Ballets Russes; the updated craftsmanship of the furniture of the eras of Louis XVI and Louis Philippe I; and the exoticized styles of China, Japan, India, Persia, ancient Egypt and Maya art. It featured rare and expensive materials, such as ebony and ivory, and exquisite craftsmanship. The Empire State Building, Chrysler Building, and other skyscrapers of New York City built during the 1920s and 1930s are monuments to the style. In the 1930s, during the Great Depression, Art Deco became more subdued. New materials arrived, including chrome plating, stainless steel and plastic. A sleeker form of the style, called Streamline Moderne, appeared in the 1930s, featuring curving forms and smooth, polished surfaces. Art Deco is one of the first truly international styles, but its dominance ended with the beginning of World War II and the rise of the strictly functional and unadorned styles of modern architecture and the International Style of architecture that followed. This vase is the perfect detail for any interior from the modern Wabi Sabi style...

A 19th French century pair of Lacquered Bamboos Japonisme vases. An amazing pair of tall cylindrical bamboo vases decorated in Japanese Gold and Sil-ver Hiramaki-E Lacquer with Pavilions in The Mist and Weaving Figures, Flown Over by a Pair of Cranes. Enclosed in a Sino-Japanese Inspiration Golden and Brown Patina Bronze Mount Featuring Elephant Heads, Partially Openwork Branches and Salamanders Forming Side Handles. Circa 1870 Attributed to Édouard Lièvre (1828-1886) and Ferdinand Barbedienne (1810-1892) Édouard Lièvre (1828-1886) is one of the most talented and prolific designer and industrialist of the 19th Century, his repertoire is sometimes Sino-Japanese or Neo-Renaissance, whether in furniture or works of art, we can note in particular the parade bed of Valtesse de La Bigne, furniture commissioned by the painter Édouard Detaille or even Sarah Bernhardt, and the famous works in collaboration with Maison Christofle or those in gilded bronze and cloisonné enamel edited by Ferdinand Barbedienne, presented at the Universal Exhibitions in 1878, 1889 and 1900. He was both a draftsman, painter, illustrator, engraver, ornamentalist and cabinetmaker, first trained in the studio of the painter Thomas Couture, Lièvre was then fully immersed in the world of decoration, creation and ornamentation and provides designs for manufacturers and merchant-publishers. Often assisted by his brother Justin, he first produced works of art for his own apartment, seeking out the finest craftsmen to execute his designs for bronzes, ceramics, fabrics and luxury furniture from great virtuosity and great taste. He then collaborated with the cabinet-maker Paul Sormani, as well as haberdasher merchants such as the Escalier de Cristal, bronziers such as Maison Marnyhac and especially Ferdinand Barbedienne as on our vases with bronze mounts characteristics of Edouard Lièvre's work. Born in 1810, died in Paris in 1892, Ferdinand Barbedienne, the most important caster of bronze pieces of art during the second half of the 19th Century, created and directed in Par-is one of the major artistic foundries of his time. Barbedienne specialized in classical reproductions, whose models were exposed in famous European museums. Their illustrated catalogues included many diverse objects such as busts, ornemental sculpture (clocks, candelabras, cups) sometimes even life-sized and bronzes for furniture. Apart from his own produc-tion, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he, himself honored by contemporary critics. At the London exhibition in 1851 Barbedienne’s firm won two « Council medals ». At the 1855 Universal Exhibition, he won a medal of honor. The success of Barbedienne’s firm brought him many official commissions, such in about 1860, as Barbedienne supplied bronzes for furniture for the Pompeian Villa of Prince Napoléon-Joseph, located avenue Montaigne in Paris. At the London Universal Exhibition of 1862 Barbedienne won medals in three different categories: Furniture, Silversmith work and Artistic bronzes. Barbedienne was made an officer of the Légion d’Honneur in 1867 and Commander in 1878 when he was compared with « a prince of industry and the king of bronze casting ». His glory did not decline with the passage of the time for at the Universal Exhibition of 1889 the critics thanked Barbedienne for the example he set for other bronze-casters by the perfection of his bronzes. “Japonisme” in the second half of the 19th century, was a craze for everything that came from Japan or imitated its style. The word was first coined in a series of articles published by Philippe Burty, from May 1872 to February 1873, in the French magazine “la Renaissance Littéraire et Artistique”. Far from the Academic sphere, artists seeking for new ways of expression, appropriated this discovery. Manet and the impressionists led the way to half a century of enthusiasm for Japanese art, and largely contributed to the esthetical revolution Europe experienced between 1860 and the beginning of the twentieth century. From 1862, The World’s Fairs provoked massive arrivals of fans, kimonos, lacquers, bronzes, silks, prints and books that launched the real era of Japonisme. With those exhibitions, the demand was boosted, the number of merchants and collectors was multiplied, and artists became passionate about this new esthetic. For them, its “primitivism” was probably its most important quality: artists were fond of the Japanese art’s capacity to be close to nature and to reconcile art and society by representing, with a lot of care, the most trivial objects. In painting, Edouard Manet, Mary Cassatt, Degas, Van Gogh, Gauguin were among those who were deeply inspired by Japanese art, affected by the lack of perspective and shadow, the flat areas of strong color, the compositional freedom in placing the subject off-center, with mostly low diagonal axes to the background. The Japanese iris, peonies, bamboos, kimonos, calligraphy, fish, butterflies and other insects, the blackbirds, cranes and wading birds, the cats, tigers, and dragons were endless sources of inspiration, appropriation, and reinterpretation for European artists. The occidental productions were combining styles and artistic conceptions instead of copying Japanese art slavishly. That is what brings to light the comparison between the artworks of Kitagawa Utamaro and Degas, of Katsushika Hokusai and Van Gogh The World’s Fairs of 1851 and 1862 in London, those of 1867, 1878, 1889 and 1900 in Paris, of 1873 in Vienna and of 1904 in Saint Louis presented a number of “Japanese-Chinese” installations with earthenware, bronzes, screens and paintings and attracted the largest amounts of visitors In Vienna, the “Japanese village...

21st Century hand carved clear crystal and golden bronze potiche. This potiche is finely chiseled lost wax castings and hand ground crystal. On request to customer can modificate the...