Earthenware Vases

A beautiful set of five blue and white Delft vases, this faience collection was hand-painted in Holland, circa 1900. The three bulbous vases are lidded, each with a finial depicting a rampant lion with a ball in its forepaws. Beneath the lion is a mottled background (on the front side only), with a foliate and floral margent. Each vase has the same scene painted on the front of the main body: a couple walking through a field surrounded by flowers. The opposite side has a floral rinceaux above a foliate branch. Painted in a similar fashion, the two concave vases are without lids. The side opposite from the cartouche of the couple has floral margents. All five vases have canted corners on the base. Inspired by Italian majolica, the faience produced in 16th century Holland...

Model #3516 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...

5484 Large Della Robbia Vase decorated in an Art Nouveay Design of Stylised Tulips below a scolloped neck by Charles Collis Light crazing with a little staining to the neck and a gla...

The virtuosic blending of color and texture shows how inventive decoration can triumph over nondescript form. Brightly colored drips of slurry clay cascade like melted wax down the t...

BOHEMIAN FLUX: A VASE, kuk Fachschule für Keramik und Verwandte Kunstgewerbe, Turn-Teplitz, c. 1905; the ceramic vase with a dark underglaze ground has a matte orange peel overglaze in ochre, apricot, lapis and celadon; the shape of the vase resembles a Japanese Saki bottle with the addition of four long and slender handles at the top third; incised before firing on the base in script lettering,“P.W.”, stamped before firing with the Fachschule mark and 73, and marked “G2.” in black ink; the vase measures: 13” high. Flux- continuous moving, a glazing method, fusion- the artist who produced this remarkable vase has presented a profoundly poetic and technical meditation on this subject. Moving way beyond the pursuit of creating only functional objects, the student ceramists at Fachschule Teplitz had ingrained in them the Europeans’ fascination for Japanese objects “from the floating world” and the design aesthetic known as Japonisme. Truly modern interpretations of Japonisme had begun to evolve into an internalizing of the aesthetic principles and a shift away from imitation of Japanese style applied to a Western format. This vase is noteworthy in that it illustrates this important Modernist shift in European ceramics. The elements of the saki bottle can be divided into three key components which taken as a whole create a rather feminine line. In keeping with this approach, the Fachschule student presents a slender bare neck, like décolletage, which flares ever slightly and then narrows to a high waist before voluptuously widening down and terminating gracefully to a round base. The ceramist gives special emphasis to pleasing proportions and the complementary relationship to the number 3; the measurement at the widest section of the vase equals the same distance from that point up to where the bottoms of the handles join to the body of the vase as well as the full arms’ length. Instead of inscribing the vase with Japanese calligraphy denoting a saki shop, the student takes a radically modern approach by attaching the vase with four handles. And yet, this act is every bit a form of written identification. The arms are the embodiment of the idea of flux in that they are a substance applied to a surface by the welding together to promote their union. The handles serve a new and surprising function. They are carriers of a concept. Fluidity- flux -can be created when an artist joins disparate elements into a harmonious whole. Flux is also a substance used to promote the fusion of minerals and metals and a term describing ceramic glazing. The presence of silica in glazes creates a glassy finish when fired at high temperatures. Matte glazes result from the presence of crystals under the surface and the balance between silica, flux and alumina in the glaze materials. By deliberately under-firing this vase and playing with a combination of additives forming the flux glaze, the end result appears matte and textured. The orange peel quality and alluring color palette are transformative. The effect evokes a waterfall or another continuous moving flow of water like a stream - in flux. So not only does this artist take a Meiji Period saki bottle and the aesthetic tenets of Japonisme as the formal and theoretical points of departure, the artist infuses the work with the symbolism of skill itself where artistic mastery as the embodiment of flux becomes the subject to ponder. As a fully realized and beautifully rendered piece, the vase attests to the artistic prowess of its creator. No longer a mere student working in the shadows of the teacher and no longer simply imitating or replicating past styles, this emerging artist shows the complete fluid transfer from student to master ceramist. Seen in this light, the vase represents a significant and pivotal achievement in Modern European ceramic ware. Fachschule für Keramik und Verwandte Kunstgewerbe (the Imperial School for Ceramics and Associated Applied Arts, 1875-1917) was a powerhouse of the ceramics industry. Located in the Turn-Teplitz region of Bohemia near the German border of what is today The Czech Republic, this was Europe’s largest pottery center in the first part of the 20th century. The school played an integral role in the center’s internationally regarded success as it provided the foundation of sourcing and training new talent for noted local manufacturers such as Amphora. It was at the Fachschule that master artists from these local ceramics houses enjoyed teaching and lecturing posts, and in true synergistic spirit, the big ceramics...

A large octagonal green glazed earthenware vase with blue glazed squares, marked Austria and numbered 7143. These type of vases were made in the Vienna School of Applied Arts (Wiener...

These matching green pillar vases' bases are painted black and contain various geometric designs that work their way up the shaft of the vase, eventually becoming less concentrated....

French Majolica White Rose Vase Circa 1900. H / 6.5 inches.

Model #1049. 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 abou...

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 requires transparency. Clemen...

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 requires transparency. Clemen...

Model #4544. 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 ...

Model #4619 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...

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 requires transparency. Clemen...

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 ...

Attributed to Lucien Levy Dhurmer & Clement Massier. An encounter with Massier’s luster-glazed ceramics is an embarkation on an acid-colored trip, the sort of exploration which insp...

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 requires transparency. Clemen...

French Faience handled pot Henriot Quimper signed HR Circa 1900.

Large Faience Vase Art Nouveau Royal Dux Circa 1900. Chesnut bogues and leaves. Pink flowers. Height / 21.7 inches.     

By Delphin Massier for Clement Massier An encounter with Massier’s luster-glazed ceramics is an embarkation on an acid-colored trip, the sort of exploration which inspires deep refl...

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 requires transparency. Clemen...

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 requires transparency. Clemen...

Refined and highly decorated German Art Nouveau-handled vase Beautifully decorated with two worked handles and delicate cherry and leaf around 1900, earthenware Craqueleeure at the ...

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 requires transparency. Clemen...

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 requires transparency. Clemen...

This Minton vase is from their Secessionist ware range and is decorated with the pattern number 10. The pattern is outlined by tube lining then filled with majolica glazes, in this c...

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 requires transparency. Clemen...

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 factory was loc...

Austrian Majolica chicks & eggs basket circa 1900.

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 requires transparency. Clemen...

Model #4619 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...

Model #3787. 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...

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 requires transparency. Clemen...

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...

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 requires transparency. Clemen...

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 ...

Attributed to Lucien Levy Dhurmer for Clement Massier. Original Massier sticker on the back. An encounter with Massier’s luster-glazed ceramics is an embarkation on an acid-colored ...

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 requires transparency. Clemen...

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 requires transparency. Clemen...

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 requires transparency. Clemen...

Model #3771 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...

Model #4543 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...

Zsolnay introduced its patented shiny metallic glaze, known as eosin, in 1893. The small family ceramics workshop begun in Pecs, Hungary by Miklos Zsolnay in 1853 had evolved into a ...

Model #3771 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...

Large French Faience Vase Neo-Renaissance Circa 1900. H / 17.5 inches. Hairline.     

Rare Majolica Lily vase Jerome Massier, circa 1900. The Massier family are known for the quality of their unique enamels and paintings. They produced an ...

Zsolnay introduced its patented shiny metallic glaze, known as eosin, in 1893. The small family ceramics workshop begun in Pecs, Hungary by Miklos Zsolnay in 1853 had evolved into a ...

Model #3364 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...

Zsolnay introduced its patented shiny metallic glaze, known as eosin, in 1893. The small family ceramics workshop begun in Pecs, Hungary by Miklos Zsolnay in 1853 had evolved into a ...

Model #3257 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...

A yellow-glazed earthenware vase designed and produced in Sweden, c. 1900.

By Vinsce Wartha for Zsolnay Zsolnay introduced its patented shiny metallic glaze, known as eosin, in 1893. The small family ceramics workshop begun in Pecs, Hungary by Miklos Zsol...

Model #3356 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...

Model #3256 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...

Model #3367 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...

An unglazed terra-cotta earthenware vase designed and produced in Sweden, c. 1900.

Austrian ceramist Paul Dachsel designed this unusually shaped pitcher, made of hard earthenware and covered in a light green glaze. Its slim and elongated body gives the piece an ele...

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 ...