Japonisme Cutted Crystal Vase Attributed to Maison Baccarat with Ormolu Mount

Jardinière Médicis vase shape in copper with gold lacquered decoration on a burgundy background of a Japanese landscape with a volcano and an eagle ...

Théodore DECK (1823-1891) A polychromatic enamelled earthenware soliflore and quadrangular shape vase with Sino-Japanese inspiration design of flowers and geometrical friezes all around. Impressed uppercase mark "TH.DECK" under the base. Circa 1875 Born in Guebwiller in Alsace, Théodore Deck trained as a ceramist in his home region, then in Germany. He went into partnership with his brother, Xavier Deck, to create his own factory in Paris in 1858. At the Exhibition of Industrial Arts in 1864, he presented pieces covered with transparent enamels that were not cracked, and then made his first attempts at reliefs under transparent enamels. He developed a bright turquoise color, famously renowned as "Bleu Deck". It is this nuance that we find on the salamander represented on this vase. In 1887 he published a treatise entitled "La Faïence", in which he explained some of his discoveries. That same year, he became director of the Manufacture de Sèvres. Theodore Deck (1823-1891) is a French ceramist born in Guebwiller in Alsace. He is passionate about chemistry and the physical sciences. In 1841, he joined the master stove maker Hügelin father as an apprentice in Strasbourg. In two years, he learned of the methods inherited from the 16th century, such as the encrustation of colored pastes in the style of Saint-Porchaire. This apprenticeship did not prevent him from spending his free time draw-ing or modeling clay in the studio of sculptor André Friederich. Escaping military service, he made a tour of Germany as is the tradition with fellow Alsatian stove-makers. The quality of his work allows him to obtain important orders in Austria for the castles of the provinces and the imperial palaces, in particular for the palace of Schönbrunn. He continues his journey in Hungary to Pest, to Prague, then, going north through Dresden, Leipzig, Berlin and Hamburg. On the strength of his apprenticeship, he arrived in Paris in 1847. Recommended by Hügelin, he went to the stove factory of the Bavarian potter Vogt, located rue de la Roquette. The Revolution of 1848 interrupts production and Deck decides to return to his hometown. His family then advised him to set up a small terracotta workshop: he made a few busts, statuettes, vases, lamps and copies of famous antiques there. Aware that this situation would not allow him to provide for himself properly, he returned to Paris in 1851 where he was employed by the widow Dumas, daughter of the earthenware maker Vogt for whom he had worked. Hired as a foreman, he supplied the drawings and models to the workers, while working the land himself. The following year, he made the decision to settle not far from his former employer at 20, rue de la Fontaine-au-Roi, probably using his ovens. His brother, Xavier Deck, joins him. It was officially in 1858 that the Deck brothers created their business and settled in Paris at 46, boulevard Saint-Jacques. Initially, the brothers only carry out coatings for stoves. But the business is going so well that barely a year after their installation, they want to diversify their production and engage in ceramics for the cladding of buildings as well as in shaped parts. Deck is interested in politics. In 1870, he opted for French nationality and was elect-ed deputy mayor in the 15th arrondissement of Paris. In 1861, at the Salon des arts et industries de Paris, which was held on the Champs-Élysées, Théodore Deck exhibited his works for the first time: these were pieces with an inlay decoration called “Henri II” and others. pieces covered with turquoise blue enamel or decoration in the style of Iznik ceramics.If he wins a silver medal, reviews are mixed, however. The following year, on the occasion of the Universal Exhibition of 1862 in London, he won over English customers. He surprised by presenting, like the previous year, his Alhambra Vase...

A Daum Art Deco smoky glass 'Peacock Feather' vase, circa 1925, Engraved Daum Nançy, France with cross of Lorraine With mottled and polished flashing, deeply acid-etched. Daum is ...

"Parrots" A Daum Nançy France Art Deco Acid-etched Glass Vase, circa 1930 Large Cameo and overlaid glass vase, decorated with parrots. Etched to foot rim DAUM NANCY FRANCE with Cross...

A Daum Nançy Art Deco acid-etched deep green glass vase, circa 1930 Rare and important vase «aux biches» in thick glass tinted green with decoration in relief with acid Signed «Dau...

“Wheat ears and poppies" DAUM Nancy Vase A "Wheat ears and poppies" multilayer glass vase by Daum - Nancy With an etched and polychromatic enameled decor with gold highlights on an...

A Gorgeous and extremely rare French Japonisme ormolu-mounted turtle footed Baccarat crystal vase designed with a gilt turtle design, Baccarat stamp on bottom. The quality and craftsmanship of this piece is second to none. Baccarat crystal is known to be the best crystal in the world and this piece appropriately demonstrates that. The crystal vase is seated on four beautifully cast and hand-chiseled ormolu turtles, representing the Japanese artistic movement in France at the time, known as 'Japonisme'. The body of the vase is a gorgeously hand painted with raised gold and enamel decoration of a turtle and various other decorations, making it seem as though the turtle is swimming in a lake. Underneath the turtle are painted rocks and mosses, while above the turtle are cherry trees, dropping their fruit into the water. On the reverse of the main panel are two turtles swimming...

Very fine and rare 19 century French Baccarat attributed engraved crystal vase with with gilded silver mounts.    

Belle Époque Baccarat (Attributed) four-leaf clover ormolu mounted vase, with typical gilt 'chipped ice' crystal mounted in a continuous frame of clo...

Art Nouveau Baccarat crystal vase with ormolu base French, c. 1905 Height 32cm, diameter 14cm This stunning Baccarat glass vase is accompanied by an intriguing ormolu base. The crys...

A magnificent museum quality French 19th century hand-diamond cut crystal and ormolu-mounted Baccarat centerpiece/surtout de table in the Louis XVI style. This is truly an exemplary piece. The crystal center bowl is all hand-diamond cut with illustrious detail. Two different patterns are found on the bowl, which includes a gorgeous octagonal raised crystal design adjacent to a fluted convex crystal design. Details are not skimped on the upper rim of the bowl, with a beautiful cut-crystal scalloped motif. The center bowl is mounted on a beautiful doré bronze square plinth with an embossed drape-like pattern flowing off either end of the plinth. On either end of the center bowl are two marvelously cast and embossed doré bronze love...

'Pendule Fleur d'Hélianthe' - A Rare 'Japonisme' Cut-Crystal Glass, Gilt and Patinated Bronze Clock by Baccarat, Paris. Stamped 'Baccarat', The clock movement signed 'Planchon à P...