Ceramic Vases

Introducing a very rare and adorable Arts and Craft Yellow Flower Vase in Irregular Shape by Hilma Persson Hjelm, Sweden. It embodies the essence of...

5474 A Large and Early William Moorcroft Footed Vase decorated in the Pomegranate design on a Scarce Caledon Green Ground. Typical Crazing and a minute nick to the footrim Circa 1912...

A gorgeous Arts & Crafts period large glazed art pottery vase with floral decoration By Rookwood Pottery USA, 1919 Glazed ceramic in a beautiful light blue color. Measures: 4.75"...

Rosenthal hand painted red roses antique vase. Outstanding artwork on the roses on this large Rosenthal antique vase. Floral Vase hand-painted, numbered & signed. With this vase yo...

Møller & Bøgely, Denmark. Danish Art Nouveau ceramic vase in the style of Bindesbøll. Glaze in blue and green tones. Approximately 1918. Marked. Perfect condition. Dimensions: Heig...

Tall French stoneware ewer by Gilbert Metenier (Gannat), France, 1920s. Tall and spectacular ewer. Great effect! Measures: Height 43.8 cm, 17.2 in., width 17.5 cm, 6.9 in., depth 16....

Pair of very rare vases / jugs by wellknown manufacturer Amphora, which can be used on both sides, made around 1915 in Czech Republic. The extraordinary pair is of the same size an...

This stunning vase from, Ohio, around 1901, a Rookwood Pottery Arts and Crafts vase in matte very moss blue-green hue. Matte glazed and incised, designated as form number 935E, was c...

One of the most influential french ceramists, Edmond Lachenal contributed significantly to the development of Art Nouveau. His poor beginnings in Paris led to an apprenticeship at ag...

Very impressive jug from the Art Deco period, made around 1915 by the Amphora company from the Czech Republic. The object can be viewed from several sides. On the main display page ...

Pair of very rare vases / jugs by wellknown manufacturer Amphora, which can be used on both sides, made around 1915 in Czech Republic. The extraordinary pair is of the same size bu...

Van Briggle 1915 Vintage Arts And Crafts Pottery Mulberry Ceramic Vase 767 Massive and stunning vase with swirling leaves and flowers. Superior mold with great color and glaze. Excel...

Roseville Early Velmoss Trial Glaze 1916 Vintage Art Pottery Ceramic Vase 135-10 Very rare trial glaze vase with high glaze blue/purple leaves and a green background. Shows well with...

Art Deco sgraffito ceramic vase by Josef Ekberg for Gustavsberg. Layers consist of pale blue ground and a signature mid blue garland of leaves decoration Signed Ekberg and dated 191...

Antique Awaji pottery Art Nouveau form vase with four willowy handles emanating from a squared shoulder in deep green glaze, circa 1910. Measures: 14 1/2" high, 7 1/2" diameter. Dri...

Striking Art Deco sgraffito ceramic vase by Josef Ekberg for Gustavsberg. Layers consist of pale blue ground and mid blue palm leaf decoration Signed Ekberg and dated 1911 Height 8 inch, Width 5.5 inch A unique example of Ekberg's craftsmanship In especially good condition. Area of the lightest of crazing, typical of Ekberg sgraffito...

Rookwood 1911 Arts And Crafts Pottery Scenic Vellum Vase 951 Rothenbusch Tall and stunning Rookwood Pottery scenic vellum vase decorated with trees surrounding a lake, beneath a pink...

Newcomb College 1913 Arts and Crafts Pottery Cherokee Rose Blue Bowl Irvine Nicely decorated bowl with a wonderful Cherokee rose design by Sadie Irvine in 1913. Superior artwork wi...

Grueby 1918 Arts and Crafts Pottery Matte Green Yellow Buds Two Color Vase Wonderful organic matte green glaze with hand tooled broad leaves and yellow buds. Shows well with a profes...

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 1912 Art Pottery Decorated Green Vellum Scenic Brown Vase 1663D Asbury Rare and stunning green vellum hand painted vase with a scenic landscape by Lenore Asbury in 1912. W...

“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...

“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...

Theodor Hermann Schmuz-Baudiss for Konigliche Porzellan-Manufaktur. This monumental vase features a winter landscape at the edge of a forest. A stunning example of this artist's work.

A Wedgwood Lustre Butterfly vase designed by Daisy Makeig-Jones circa 1915 as part of her revolutionary Ordinary Lustres line at the manufactory. This Wedgwood lustreware vase is a ...

Stunning and rare set of early 20th Century Vases by the Swedish designer Alf Wallander for Rörstrand. As with many of Alf Wallanders ceramic pieces these vases have a art nouveau in...

Pair of vases attributed to Robert Hanke for Royal Wettina Austria. Good conditions. Thank you.

Antique Arts and Crafts Hampshire Pottery curdled matt peacock blue vase with handles, circa 1910's. Form number 120. Clear, in mold signature. ...

Japanese Awaji pottery vase with split bamboo weaving. Bottle form vase with flaring mouth in bright, warm yellow glaze with incised bamboo motif glazed in green. 12" high, 7" diamet...

A brown-glazed ceramic vase designed by Alf Wallander and produced by Rörstrand, Sweden, 1910s.

Royal Daulton signed MB for Mary Butter. Arts & Crafts flowing floral blue vase.

Belgium Art Pottery. A tall ceramic Arts and Crafts vase decorated with five flamingoes set in mottled green and blue glaze.

This pair of porcelain vases were custom order and uniquely studio painted as described on the base: "Decorated specially for Mrs. AA Carroll by Dizewiecki of the Pickard Studios, Ravenswood Chicago 1912". The rare hexagonal shape is decorated in a Japonsque motif in vibrant polychrome enamels all highlighted in gold. Standing almost 12" tall, these are perfect as mantel (fireplace) vases, on a sideboard and of course filled with your favorite flowers! "The Pickard China...

Pair of Jerome Massier Fils Majolica figural vases which feature a hen and a rooster, stood in front of a vase. The vase has leaves and wheat around the sides. Colouration: brown, ye...

5158 Wedgwood Fairyland Lustre Vase by Daisy Makeig Jones decorated with “Imps on a Bridge” design in the Flame colourway Circa 1920 Measures: 26.5cm high.

Paul Dachsel was the son-in-law of Alfred Stellmacher, the founder of Amphora Pottery company in Turn-Teplitz, then in Austria. Very little is known or was written about Dachsel. He ...

Stunning flower vase, ceramic, made in the Art Nouveau period around 1910 in Belgium. This beautiful unusual vase is designed with an exquisite running glaze, and three vertical st...

Antique Arts & Crafts art pottery vase by Weller Pottery features pink and white floral design on graduated sea foam green to blue ground, artist and maker signed as photographed, ci...

the ovoid pot with short neck above a tapering body adorned with carved relief decoration depicting parrots

This antique miniature vase from Meissen is a remarkable example of fine porcelain craftsmanship. Crafted from pristine white porcelain, it f...

5399 Pilkington's Royal Lancastrian Lustre Globe and Shaft Vase decorated with Maidens with Rose Garlands by Richard Joyce 31cm high, 16cm wide circa 1914.

Antique Gouda Soliflor Stem Vase - Art Nouveau Elegance from the Netherlands This soliflor stem vase, crafted from hand-painted, matte-glazed ceramic, is an example of ceramic art f...

A giving joy beautiful French Fayence Floor Vase fantastic Art Nouveau pattern - Impressing Colours Manufacturer unknown - marked Design Period 1915 - 1925 Country of Manufacture : France H / height: 46 cm ~ Gew. / weight: 4550 grs DM / diameter max: 28 cm ~ DM oben / diameter inner rim: 19.8 cm .... an ode to Southern France A Legend of Provence by Adelaide Anne Procter (30 October 1825 – 2 February 1864) The lights extinguished, by the hearth I leant, Half weary with a listless discontent. The flickering giant-shadows, gathering near, Closed round me with a dim and silent fear. All dull, all dark; save when the leaping flame, Glancing, lit up a Picture's ancient frame. Above the hearth it hung. Perhaps the night, My foolish tremors, or the gleaming light, Lent power to that Portrait dark and quaint, — A Portrait such as Rembrandt loved to paint, — The likeness of a Nun. I seemed to trace A world of sorrow in the patient face, In the thin hands folded across her breast: — Its own and the room's shadow hid the rest. I gazed and dreamed, and the dull embers stirred, Till an old legend that I once had heard Came back to me; linked to the mystic gloom Of that dark Picture in the ghostly room. In the far south, where clustering vines are hung; Where first the old chivalric lays were sung; Where earliest smiled that gracious child of France, Angel and knight and fairy, called Romance, I stood one day. The warm blue June was spread Upon the earth; blue summer overhead, Without a cloud to fleck its radiant glare, Without a breath to stir its sultry air. All still, all silent, save the sobbing rush Of rippling waves, that lapsed in silver hush Upon the beach; where, glittering towards the strand The purple Mediterranean kissed the land. All still, all peaceful; when a convent chime Broke on the mid-day silence for a time, Then trembling into quiet, seemed to cease, In deeper silence and more utter peace. So as I turned to gaze, where gleaming white, Half hid by shadowy trees from passers' sight, The Convent lay, one who had dwelt for long In that fair home of ancient tale and song, Who knew the story of each cave and hill, And every haunting fancy lingering still Within the land, spake thus to me, and told The Convent's treasured Legend, quaint and old: — Long years ago, a dense and flowering wood, Still more concealed where the white convent stood, Borne on its perfumed wings the title came: " Our Lady of the Hawthorns " is its name. Then did that bell, which still rings out to-day, Bid all the country rise, or eat, or pray. Before that convent shrine, the haughty knight Passed the lone vigil of his perilous fight; For humbler cottage strife or village brawl, The Abbess listened, prayed, and settled all. Young hearts that came, weighed down by love or wrong, Left her kind presence comforted and strong. Each passing pilgrim, and each beggar's right Was food, and rest, and shelter for the night. But, more than this, the Nuns could well impart The deepest mysteries of the healing art; Their store of herbs and simples was renowned, And held in wondering faith for miles around. Thus strife, love, sorrow, good and evil fate, Found help and blessing at the convent gate. Of all the nuns, no heart was half so light, No eyelids veiling glances half as bright, No step that glided with such noiseless feet, No face that looked so tender or so sweet, No voice that rose in choir so pure, so clear, No heart to all the others half so dear, So surely touched by others' pain or woe, (Guessing the grief her young life could not know,) No soul in childlike faith so undefiled, As Sister Angela's, the " Convent Child. " For thus they loved to call her. She had known No home, no love, no kindred, save their own. An orphan, to their tender nursing given, Child, plaything, pupil, now the Bride of Heaven And she it was who trimmed the lamp's red light That swung before the altar, day and night; Her hands it was whose patient skill could trace The finest broidery, weave the costliest lace; But most of all, her first and dearest care, The office she would never miss or share, Was every day to weave fresh garlands sweet, To place before the shrine at Mary's feet. Nature is bounteous in that region fair, For even winter has her blossoms there. Thus Angela loved to count each feast the best, By telling with what flowers the shrine was dressed. In pomp supreme the countless Roses passed, Battalion on battalion thronging fast, Each with a different banner, flaming bright, Damask, or striped, or crimson, pink, or white, Until they bowed before a newborn queen, And the pure virgin Lily rose serene. Though Angela always thought the Mother blest Must love the time of her own hawthorn best, Each evening through the years, with equal care, She placed her flowers; then kneeling down in prayer, As their faint perfume rose before the shrine, So rose her thoughts, as pure and as divine. She knelt until the shades grew dim without, Till one by one the altar lights...

Paul Dachsel was the son-in-law of Alfred Stellmacher, the founder of Amphora Pottery company in Turn-Teplitz, then in Austria. Very little is known or was written about Dachsel. He ...

Antique 20th century Japanese hand painted ceramic pottery vase. Embellished with gold gilt accents and raised enamel figural and tree decorations. Signed.

A rare Bretby Art Nouveau high fired ‘flambe’ glazed art pottery vase by Henry Tooth & Co and dating from 1900-1910. This exquisite simple shaped bulbous vase stands on a narrow roun...

Vase, table lamp, in porcelain. It has been made in Japan, circa 1910. The decorative pattern are flowers and Birds.The period is caracteristic by the detailed drawing, and the soft ...

PIERRE-ADRIEN DALPAYRAT (1844-1910) After working nearly half his life as an itinerant faience painter and directing production for commercial porcelain manufacturers, Dalpayrat’s ey...

Small and early Danish Pottery vase with subtle Art Nouveau/Jug end styling and shape. It set with a floral ornament in pewter. Designed by Michael Andersen & Son in Denmark between ...

A large and unusual Howsons Art Nouveau red flambe art pottery vase designed by Edward Wilks and dated 1912. The tall ceramic vase stands raised on a narrow round foot with a wider r...

PIERRE-ADRIEN DALPAYRAT (1844-1910) After working nearly half his life as an itinerant faience painter and directing production for commercial porcelain manufacturers, Dalpayrat’s ey...

Popular during the late 19th and early 20th centuries, Art Nouveau was a style of decorative arts and architecture that incorporated movement inspired by natural items such as plants and flowers. This pair of large gros relief barbotine vases were hand painted in France at the end of the Art Nouveau period, circa 1910. Although the vases have identical forms (reminiscent of Classic Greek Amphora vases...

A stylish Doulton Lambeth art deco twin handled paneled vase by renowned artist William Rowe and dating from around 1918. The stoneware vase is of tall bu...

Brush McCoy Blended Majolica 1914 Art Pottery Greek Key Jardiniere Pedestal 2220 Large and striking jardiniere and pedestal with Greek key design and great colors. Excellent conditio...

5394 Richard Joyce for Pilkington’s Royal Lancastrian A Lustre Vase decorated with Fish in High relief Chip to an extremity and several light scratches 19cm high, 13cm wide circ...

Brown ceramic vase made by Sevrès. Signed Sevrès France and M.N.F. France, circa 1910.