1910s 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...

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"...

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...

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...

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...

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...

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...

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.

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

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...

Antique Arts & Crafts Hampshire pottery matt green cattail vase, circa 1910. Measures: 4" high, 6 1/2" diameter. Excellent condition, some light mark...

Large Awaji Hu form vase in deep green glaze, circa 1910. Inspired by an ancient Chinese bronze form with fantastic taotie mask handles. Measures: 13 1/2" ...

Rookwood Vase, Monumental tapered shape in a Vellum glaze with a beautiful wild rose design, executed by Fred Rothenbusch in 1914, No.1653. Bottom Di...

Elegant thrown porcelain vase with an expansive and vibrant aquamarine crystalline glaze on a sand colored base by master French ceramist Taxile Doat, from the University City Porcelain...

Antique Awaji pottery vase in Gu form with green glaze and brass over weaving, circa 1910. Measure: 6" high, 3 1/4" diameter. Excellent condition.

Early unique Patrick Nordstrom, own workshop, pottery vase. Beautiful glaze in earthy colors, 1910s. Signed. Measures: 17.5 x 15 cm. In perfect condition.

Leon Volkmar established Durant Kilns in Bedford Village Westchester County New York in 1910. His experiments led to his version of an Egyptian Faie...