Art Nouveau Vases

A lovely turn-of-the-century Austrian Art Nouveau vase with an iridescent glaze and naturalistic form. Vase is unsigned, but have several nu...

Jugendstil ceramic vase bronze mounted is an original decorative object realized in the early 20th century. Original ceramic vase with cream and cobalt blue glaze. All around colorf...

Centerplaces, WMF, German Page 346 WMF book (Art Nouveau Domestic Metalwork from Wurttembergische Metallwaren Fabrik) ox: Oxidized. The impresse decoration is blackened with a sol...

Antique art nouveau hand-decorated porcelain vase by artist Astrid Ewerlöf (1876-1927) for Rörstrand. Manufactured in 1915. Intricate and delicately hand-painted deep blue floral and...

Vase, Johann Loetz Witwe, experimental decoration, ca. 1907 This object is an absolute peculiarity in the production range of the Johann Loetz Witwe glassworks. At first glance, the...

Model #3622. Created by Eduard Stellmacher after design by Fritz Eichmann Riessner, Stellmacher and Kessel (RSt&K), consistently marked pieces with the...

Glazed ceramic vase, Italy, early 20th century. Signed Faenza Di Napoli.

A beautifully sculpted pair of French vases by listed artist Auguste Moreau (1834-1917), each depicting a figure fishing, and each individually signed. The boy figure is casting a ne...

Uranium glass has become a collector’s item over the years The uranium was added for the fluorescent effect it created. It soon became incredibly popular and started to be manufactu...

Lalique France: Courchevel model vase in transparent and frosted glass Model created in the 1965s by Marc Lalique, signed Lalique France Very good condition Height 20.5cm Diameter...

Jugendstil vase, Vienna, around 1909 Polished and stove enameled.

French Art Nouveau ceramic vase, Denbac (1909-1952) produced in Vierzon, circa 1920s. Signed. Beautiful polychrome glaze. Measures: 23 cm. x 12 cm. In perfect condition.

Weller Art Deco Pottery Peach Vase Beautiful hand-painted ceramic vase from the 1930's in peach color with an ivory flower motif. Wonderful ad...

Vase Sign: Muller Fres Luneville acid worked Muller Feres The heart of the company was formed by five brothers (Henri, Desire, Eugene, Pierre, Victor) from a glass making family who ...

Pair of vases ceramic barbotine, decorated with flowers and leaves. ORIGIN France PERIOD 1930s MODEL Pair of vases with decorative figures of flowers and leaves MATERIALS Molded,...

A D'Argental Cameo Glass Vase, c1925 Additional information: Date : Circa 1920 Origin : Saint-Lous-Les-Bitche, Lorraine, France Bowl Features : The shouldered form tapering to the c...

An attractive late 19th Century French cameo glass vase decorated with deep red and burgundy flowers against a variegating yellow field. Exhibiting excellent detail and colour, signe...

A Bronze Vase, chiseled and partially gilt bronze en relief decorated with grasshoppers and wheat axes. The best of French Art Nouveau, Christofle et Cie...

Lötz Art Nouveau vase in frosted mouth-blown art glass with purple flowers in relief. Approx. 1900. Measures: 27 x 11.5 cm. In excellent condition.

Antique Sgraffito vase / pot by Josef Ekberg for Gustafsberg., circa 1911. Beautiful large piece made at his studio in the Gustavsberg Porcelain Factory, Sweden. Blue flower decorat...

This delicate and finely crafted pair of PZH Gouda “Violetta” vases dates back to 1899, as marked by the B date code on their bases. Created by the renowned Plateelbakkerij Zuid-Holl...

Beautiful Art Nouveau period gilt bronze flower by the French sculptor, Charles Raphaël Peyre (1872-1949) measuring 19 inches tall with its original removeable metal liner. Signed.

Model #2011 Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an opti...

Model #2059 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 Royal Dux cup crafted in porcelain biscuit. The biscuit is partially enameled, and highlighted with polychrome accents. The cup features two nymphs climbing a shell on waves. O...

A set - two vases and matching bowl - of French art glass pate de verre with pewter and glass paste stones. The vases are made of purple or violet pate de verre mounted in floral sha...

A beautiful antique ceramic vase handcrafted by Alphonse Cytère known for developing this metallic finish. Typical Art Nouveau style. This model with...

Signed: Alexandre / Belgium Vase green glazed terracotta decorated with Fish in relief Alexandre Gempfenstein (Alexandre de Wemmel) (Ukrainian Be...

Cylindrical vase, colorless glass with flaky yellow, orange-reddish, and violet powder inclusions, green and white enamel melts, with etched and colored enamel painted decoration fea...

Small lilac vase like an Amphora.

A stunning and monumental example of Kayserzinn pewter, an exceptional piece for the collector. This antique art nouveau Jugendstil pewter tankard is stamped "Kayserzinn 4009" and wa...

Reuben Rising for Rörstrand. Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel ser...

A very fine quality Art Nouveau Austrian or Bohemian opalescent art glass egg shaped vase with shaped and pinched flower shaped opening attributed to Kralik or possibly Loetz and dat...

This elegant sgraffito vase by Josef Ekberg was made for Gustavsberg in 1922 and remains a beautiful example of early Swedish ceramic artistry. The vase features a soft turquoise gla...

A stunning Art Nouveau era art glass vase produced in Austria or Bohemia. Possibly by Loetz. The vase or cache pot is sculpted bronze decorated with foliage legs and great owl form h...

Tall Early Gallé Fire-Polished Cameo Glass Solifleur Vase, circa 1900 Signed: In Japonism script “gallé” Height: 12.4 inches (31.5 cm) Tall vase with pe...

This exquisite vase belongs to Loetz's prestigious Papillon collection and is identified as the 7724 form. Renowned for its captivating color palette, this piece showcases a striking...

Large painted Art Nouveau bronze vase from the early 1900s, fine Italian manufacture. The vase has a round base with four thick, sinuous feet, reminiscent of those on old stoves...

Attributed to Lucien Levy Dhurmer for Clement Massier. Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling....

Vase Sign: Le Verre Francais acid worked Le Verre cameo glass was a separate line of art glass designed by Charles Schneider. Its production was made at the same time as the Schneid...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Algot Eriksson & Waldemar Lindström for Rörstrand. Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. Whi...

Baluster-shaped vase, on a round base set off by a nodus, widening in a trumpet shape and narrowing to a drawn-in rim, colorless glass with flaky yellow, orange-reddish, and violet p...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Beautiful, antique, early Venetian / Murano hand blown pink, blue and gold flecks Italian art glass flower vase. Created in the manner of the Salviati and Fratelli Toso companies. Th...

Vase Orivit Signs: Orivit In 1905, WMF acquired a majority stake in the company that manufactures Orivit AG under the name "Orivit". Country: Germany Materials: silver plated ...

An impressive early 20th Century American iridescent glass vase of slender form with green hearts shining through an attractive golden iridescence, signed L C Tiffany Favrile and numbered to base. ADDITIONAL INFORMATION Height: 23 cm Condition: Very Good Condition Circa: 1905 Materials: Iridescent Coloured Glass SKU: 6667 ABOUT Louis Comfort Tiffany Louis Comfort Tiffany (February 18, 1848 – January 17, 1933) was an American artist and designer who worked in the decorative arts and is best known for his work in stained glass. He is the American artist most associated with the Art Nouveau and Aesthetic movements. Tiffany was affiliated with a prestigious collaborative of designers known as the Associated Artists, which included Lockwood de Forest, Candace Wheeler, and Samuel Colman. Tiffany designed stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewellery, enamels and metalwork. Early Life He was born in New York City, New York, the son of Charles Lewis Tiffany, founder of Tiffany and Company; and Harriet Olivia Avery Young. He attended school at Pennsylvania Military Academy in West Chester, Pennsylvania, and Eagleswood Military Academy in Perth Amboy, New Jersey. His first artistic training was as a painter, studying under George Inness in Eagleswood, New Jersey and Samuel Colman in Irvington, New York. He also studied at the National Academy of Design in New York City in 1866-67 and with salon painter Leon-Adolphe-Auguste Belly in 1868-69. Belly’s landscape paintings had a great influence on Tiffany. Career Louis started out as a painter, but became interested in glassmaking from about 1875 and worked at several glasshouses in Brooklyn between then and 1878. In 1879, he joined with Candace Wheeler, Samuel Colman and Lockwood de Forest to form Louis Comfort Tiffany and Associated American Artists. The business was short-lived, lasting only four years. The group made designs for wallpaper, furniture, and textiles. He later opened his own glass factory in Corona, New York, determined to provide designs that improved the quality of contemporary glass. Tiffany’s leadership and talent, as well as his father’s money and connections, led this business to thrive. In 1881 Tiffany did the interior design of the Mark Twain House in Hartford, Connecticut, which still remains, but the new firm’s most notable work came in 1882 when President Chester Alan Arthur refused to move into the White House until it had been redecorated. He commissioned Tiffany, who had begun to make a name for himself in New York society for the firm’s interior design work, to redo the state rooms, which Arthur found charmless. He worked on the East Room, the Blue Room, the Red Room, the State Dining Room and the Entrance Hall, refurnishing, repainting in decorative patterns, installing newly designed mantelpieces, changing to wallpaper with dense patterns and, of course, adding Tiffany glass to gaslight fixtures, windows and adding an opalescent floor-to-ceiling glass screen in the Entrance Hall. The Tiffany screen and other Victorian additions were all removed in the Roosevelt renovations of 1902, which restored the White House interiors to Federal style in keeping with its architecture. A desire to concentrate on art in glass led to the breakup of the firm in 1885 when Tiffany chose to establish his own glassmaking firm that same year. The first Tiffany Glass Company was incorporated December 1, 1885 and in 1902 became known as the Tiffany Studios. In the beginning of his career, he used cheap jelly jars and bottles because they had the mineral impurities that finer glass lacked. When he was unable to convince fine glassmakers to leave the impurities in, he began making his own glass. Tiffany used opalescent glass in a variety of colors and textures to create a unique style of stained glass. He developed the “copper foil” technique, which, by edging each piece of cut glass in copper foil and soldering the whole together to create his windows and lamps, made possible a level of detail previously unknown. This can be contrasted with the method of painting in enamels or glass paint on colorless glass, and then setting the glass pieces in lead channels, that had been the dominant method of creating stained glass for hundreds of years in Europe. (The First Presbyterian Church building of 1905 in Pittsburgh, Pennsylvania is unique in that it uses Tiffany windows that partially make use of painted glass.) Use of the colored glass itself to create stained glass pictures was motivated by the ideals of the Arts and Crafts movement and its leader William Morris in England. Fellow artists and glassmakers Oliver Kimberly and Frank Duffner, founders of the Duffner and Kimberly Company and John La Farge were Tiffany’s chief competitors in this new American style of stained glass. Tiffany, Duffner and Kimberly, along with La Farge, had learned their craft at the same glasshouses in Brooklyn in the late 1870s. In 1889 at the Paris Exposition, he is said to have been “Overwhelmed” by the glass work of Émile Gallé, French Art Nouveau artisan. He also met artist Alphonse Mucha. In 1893, Tiffany built a new factory called the Stourbridge Glass Company, later called Tiffany Glass Furnaces, which was located in Corona, Queens, New York, hiring the Englishman Arthur J. Nash to oversee it. In 1893, his company also introduced the term Favrilein conjunction with his first production of blown glass at his new glass factory. Some early examples of his lamps were exhibited in the 1893 World’s Fair in Chicago. At the Exposition Universelle (1900) in Paris, he won a gold medal with his stained glass windows The Four Seasons He trademarked Favrile (from the old French word for handmade) on November 13, 1894. He later used this word to apply to all of his glass, enamel and pottery. His first commercially produced lamps date from around 1895. Much of his company’s production was in making stained glass windows and Tiffany lamps, but his company designed a complete range of interior decorations. At its peak, his factory employed more than 300 artisans. Recent scholarship led by Rutgers professor Martin Eidelberg suggests that a team of talented single women designers – sometimes referred to as the “Tiffany Girls” – led by Clara Driscoll played a big role in designing many of the floral patterns on the famous Tiffany...

Large ceramic floor vase by ceramic artist Harald Folmer Gross (1888-1961) for Knabstrup Ceramics - Gross worked for Knabstrup from 1941 to 1945. Light cream yellow base with hand-pa...

Dramatic multi color decor, cobalt and orange, in hand blown splatter glass vase in the Art Deco style. This design for vases is often called 'Pique ...

Original intricately hand-painted vase by Moser Glassworks from ca. 1910-1920. Designed by renowned Karlovy Vary based designer Ludwig Moser it features a...

Early and rare Muller cameo glass vase, circ 1907-1914. Heavily applied cameo glass with wheel cut finish. Applied outside decoration. Red, brown and whit...

Lovely little Emile Galle multi layered cameo glass vase decorated with an aquatic scene around the bottom section of the vase with pond lilies and reeds. The tops section interestin...

Vase Sign: Muller Freres Luneville acid worked Muller Feres The heart of the company was formed by five brothers (Henri, Desire, Eugene, Pierre, Victor) from a glass making family wh...

Baluster-shaped vase body on a wide, round base, conical wall that widens upwards, on slightly sloping shoulders a short, narrow neck with a slightly flared mouth edge, colorless gla...

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 ...

Before describing the object under consideration, we must make an important clarification; the artifact, one of many that we will publish over time, is part of the museum collection of a historic Florentine crystal grinder that unfortunately closed recently. It is the Marcello Galgani & Sons company, whose completely manual and artisanal work has not withstood the disproportionate advance of mass-produced mechanical processes! Marcello Galgani began his craft as a grinder and restorer in 1960; as the years went by, Marcello mastered and became familiar with particular techniques and shapes, resulting in the production of objects that manage to retain the freshness of grinding and engraving, the warmth and softness of light, and the inimitable flavor of unique artifacts. After several years, his son Lorenzo, who grew up among crystals, also entered the business and immediately became passionate about this ancient craft with skill and ability. Stimulated by the aesthetic sense of the past, father and son, set up a workshop in which the shapes they researched and created themselves are mouth-blown by traditional Tuscan glassmakers in Empoli, then ground and engraved using ancient sixteenth-century techniques, with motifs born from the Galgani's inexhaustible imagination or culturally inspired by designs of objects seen and studied in Florentine museums (Uffizi, Galleria Palatina, Museo degli Argenti, etc.). Marcello and Lorenzo Galgani were also Masters in the difficult art of restoration, bringing rare and precious objects back to life. As mentioned the company recently closed and disposed of all its last production, and only Marcello's old private museum collection remained, which includes unique and special objects created over time, a collection that the craftsman made available to us for a planned sale. All of the objects were made entirely by hand with old grinding wheels, but there were mainly two tools that allowed the creation of masterpieces: the right hand and the left hand of the master craftsman. Ancient glassmaking techniques were used for all the ground and engraved products: first, the object was ground with an emery wheel fed continuously by a jet of abrasive sand and water, then re-polished with a very fine-grained sandstone wheel also fed with water; the engravings were done freehand using as many as 10-15 small stone wheels for each design (flowers, branches, animals, etc. ); then the object was polished and shined; we must make, at this point, an important clarification on these last two operations: towards the end of the 1960s acid crystal polishing was devised, the object was immersed and rotated in a solution of sulfuric acid, fluoridic acid and water and in a short time all the defects left by the previous processes were eliminated, it was a fast, industrial operation that allowed to lower costs considerably, with discrete but not excellent results. But for Galgani's products polishing is done with a cork bark wheel wet with water and pumice, to make the surfaces more transparent, and finally polishing was achieved with a felt wheel wet with a paste of water, iron oxide, and cerium oxide. This series of processes takes an average of two days of work( sometimes much longer) for each object, each engraving or grinding is the result of the creative inventiveness of the two artisans, inventiveness that transforms crystal into reality material of the highest aesthetic value and inestimable value. All the items in the entire collection have never been used; they were part of the exhibition. Large crystal vase with a black base; the decorations, purely Art Noveau, represent graceful butterflies and dragonflies in a peaceful lake landscape. The object is "one-of-a-kind" signed by the Master; it was created in Marcello Galgani's workshop in 1982 and made with the techniques (grinding, engraving, and polishing) we explained in the description; for the shape, the Master was inspired by a vase found in a painting, preserved in the Uffizi Gallery in Florence by the 16th-century painter Jacopo Ligozzi...

Bohemian Ceramic Vase Designed by Nikolaus Kannhäuser Manufactured by Amphora Riessner Stellmacher & Kessel, Turn-Teplitz circa 1898 "ivory porce...

Müller Freres glass vase with a flower motif. Art nouveau cameo technique. The vase is in excellent condition with no restorations. circa 191...

Attributed to Lucien Levy Dhurmer for Clement Massier. Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling....

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...