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...

Earthenware Hungarian Pottery Hand Painted, circa 1900's Discover the timeless charm and artistry of this original hand-painted earthenware pottery, a treasured piece emanating fro...

5486 Large Pilkington’s Royal Lancastrian Lustre Vase with a superb firing, decorated with Bulls between a band of grapevines by Richard Joyce. 27cm high, 18cm wide Glaze frit to the...

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...

Around the body runs a wide horizontal frieze with stylized squirrels in different, dynamic poses, on a background of leaves and fir cones. This frieze is bordered by two black bands...

Earthenware Hungarian Pottery, circa 1900s Discover the enchanting charm of this antique Hungarian Folk Art pottery, a genuine earthenware treasure that promises to infuse your spac...

Earthenware Hungarian Pottery, circa 1900s This exquisite piece of European pottery, originating from Hungary, stands as a testament to the artistic mastery and cultural heritage o...

Earthenware Hungarian Pottery, circa 1900s Discover the elegance of history with this Antique Terracotta Enamel Vase from Hungary, dating back to the 1900s. Esteemed for its impres...

Earthenware Hungarian Pottery, circa 1900s This 19th-century glazed dark brown Hungarian pottery piece is a charming 10" high and 10" diameter antique, showcasing the timeless bea...

Earthenware Hungarian Pottery, circa 1900s Step back in time and embrace the enchanting rustic elegance of the early 20th century, a treasure from the rich cultural tapestry of Hun...

Earthenware Hungarian Pottery, circa 1900s This exquisite piece of early 20th century, this antique Hungarian pottery stands as a testament ...

Cermic vase signed M.G.A. decorated with lustre ORIGIN Albisola, Italy PERIOD First half of the twentieth century MARK M.G.A. Apprendista ceramista dall'età di dodici anni presso ...

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...

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...

GOLDEN GARDEN VASE, by Odette Chatrousse Heiligenstein and possibly Auguste (Claude) Theodore Heiligenstein (1891-1976) In 2015, Brigitte Patin, the granddaughter of Auguste and Ode...

Early 20th centuyr Art Déco blue glazed ceramic/earthenware vase by french designer Charles Catteau for belgian factory Boch Frères Keramis By: Charles Catteau, Boch Frères Keramis,...

Dutch eartheware vase by the Arnhemsche Fayencefabriek, 1920 Green glazed earthenware vase with linear decoration, design Klaas Vet, executed by the Arnhemsche Fayencefabriek for th...

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...

Artist/Designer: George P. Kendrick (American, 1850-1919); Grueby Faience Co. Additional Information: Vase is model #147. Marking(s); notes: signed, artist’s initials, 147 Country...

A twin-handled cylindrical biscuit barrel and cover decorated in the 'Eventide' pattern, in shades of ochre, rose, and petrol blue, impressed factory marks, signed in blue. Glazed ea...

Pair of black glazed ceramic vases with silver decoration, art deco These 2 vases bear the ODYV brand underneath, with the number 492 The ODYV brand is a collection of art deco obj...

Artist/Designer: Grueby Faience Co. Additional Information: Fine example of a two-color Grueby vase Marking(s); notes: marking(s) Country of origin; materials: USA; glazed earthen...

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...

Dutch Plateelbakkerij De Distel, Amsterdam by Bert Nienhuis, ca. 1905 A cream-colored earthenware vase with green and black sleek, geometric motifs and crackle by the Dutch Plateelbakkerij De Ditsel, Amsterdam (1895-1923), designed by Bert Nienhuis. Lambertus (Bert) Nienhuis (1873 - 1960) In 1895 he started working as a painter at the Amsterdam pottery...

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...

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...

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....

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...

Dutch Dordtsche Kunstpotterij D.K.P. Brown vase by De Bruin and van der Vet, ca 1905 An earthenware vase from D.K.P. (Dordtsche Kunstpotterij) Dordrecht 1903-1908. Design van Cornel...

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...

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

The foot is finished with a black stripe, above it runs a band of alternating black and brown squares, and above that, a brown stripe. The neck has a brown stripe at the bottom and a...

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 ...

Dutch Arnhemsche Fayencefabriek, N.V. earthenware vase, 1910-1915 Dutch Arnhemsche Fayencefabriek earthenware vase with 2 handles, (model number 42), blue glaze with polychrome line...

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 ...

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...

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...

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...

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...

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...

Dutch Arnhemsche Fayencefabriek, N.V. earthenware vase, ca. 1910 Dutch Arnhemsche Fayencefabriek earthenware vase, (model number 1008), brown glaze with linear floral decoration i...

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 ...

French Faience handled pot Henriot Quimper signed HR 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...

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...

LARGE Art deco earthenware vase by Saint Ghislain with geometric decoration Heigh: 14.76 inches Réf : Saint-Ghislain art déco : la faïence pendant l'ent...

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...

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...

This Schramberg Eva Zeisel Mondrian pattern Art Deco Bauhaus vase is a rare and highly collectible piece of ceramic art. This vase was created in the early 20th Century during the Art Deco period, which was characterized by bold geometric shapes, bright colors, and sleek, streamlined forms. The Bauhaus movement, which began around the same time, was a major influence on the Art Deco style and emphasized the integration of form and function in design. This Schramberg Eva Zeisel "Gobelin" Art Deco Bauhaus vase is crafted from high-quality majolica ceramic and features an extraordinary hand-painted Art Deco. Eva Zeisel was a renowned ceramic designer who was active during the Art Deco period, and her designs are highly sought after by collectors today. This Schramberg vase...

Austrian Majolica chicks & eggs basket circa 1900.

A stunning set of two wall-mounted flower holders in fine Lunéville faience. These two graceful vases are shaped like cones and adorned with characteristic flower bouquets commonly f...