Hand-Painted Vases

A charming vase by the storied English firm of Coalport. This sweetie features 2 handles, and an interesting hand painted scene with river, mountains, flora fauna accented with white...

Fantastic mid-century design vase by ''Edelstein'', Bavaria. Vases with this kind of shape at the rim are commonly known as fish-mouth vases. Minimalistic, balanced shape with an ult...

477 Handcrafted stoneware blossoming moon vase by Helen Prior. A delicate handcrafted vase, organic in shape with a torn clay opening in natural speckled stoneware clay. Part of the...

Hand Crafted Promise Golden Stoneware vase with 22kt Gold Detail A delicate hand-crafted vase, organic in shape with a torn clay opening in natural unglazed speckled stoneware clay...

Beautiful pair of Chinese porcelain vases. On a blue background of stylized clouds, two cartouches display a design of pairs of swallows flying among flowering branches. The reverse ...

Pair of large Japanese Porcelain Cone Shape Vases with Imari decoration Important mounts in ormolu and gilded metal, the base decorated with a laurel wreath, the upper part of falling leaves and a frieze of knotted ribbon. The mounts signed Gagneau, 115 R. Lafayette. Circa 1860 With their original aluminium bulb cover and original gilding Vase it self Height 47 cm The Gagneau Company is one of the most famous lighting factories in Paris in the nine-teenth century, established in 1800 at 25 rue d'Enghien in Paris and later at 115 rue de Lafayette. She has participated in many exhibitions throughout this century. She began in 1819 with the Exposition des Produits de l'Industrie and later participated in the Universal Exhibitions where she was part of the jury in the category of art bronzes (class 25) at the Universal Exhibition in Paris in 1889. "Imari" was simply the trans-shipment port for Arita wares, from where they went to the for-eign trading outposts at Nagasaki. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, after kaolin was discovered in 1616. A popular legend attributes the discovery to an immigrant Korean potter, Yi Sam-Pyeong (1579–1655), although most historians consider this doubtful. After the discovery, some kilns began to produce revised Korean-style blue and white porcelains, known as Early Imari, or "Shoki-Imari". In the mid-17th century, there were also many Chinese refugees in northern Kyushu due to the turmoil in China, and it is said that one of them brought the overglaze enamel coloring technique to Arita. Thus Shoki-Imari developed into Ko-Kutani, Imari, and later Kakiemon, which are sometimes taken as a wider group of Imari wares. Ko-Kutani was produced around 1650 for both export and domestic market.Kutani Ware is characterized by vivid green, blue, purple, yellow and red colors in bold designs of landscapes and nature. Blue and white porcelain pieces continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are ac-cordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon-style Imari, which was produced for about 50 years around 1700. Kakiemon was characterized by crisp lines, and bright blue, red and green designs of dramatically stylized floral and bird scenes. Imari achieved its technical and aes-thetic peak in the Kakiemon style, and it dominated the European market. Blue and white Kakiemon is called Ai-Kakiemon. The Kakiemon style transformed into Kinrande in the 18th century, using underglaze blue and overglaze red and gold enamels, and later additional colors. Imari began to be exported to Europe when the Chinese kilns at Jingdezhen were damaged in the political chaos and the new Qing dynasty government halted trade in 1656–1684. Ex-ports to Europe were made through the Dutch East India Company, and in Europe the des-ignation "Imari porcelain" connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China resumed export to Europe, since Imari was not able to compete against Chinese products due to high labor costs. By that time, however, both Imari and Kakiemon styles were already so popular among Eu-ropeans that the Chinese export porcelain copied both, a type known as Chinese Imari. At the same time, European kilns, such as Meissen and English potteries such as Johnson Bros. and (Royal) Crown Derby, also imitated the Imari and Kakiemon styles. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe.Thus, in the western world today, two kinds of true Japanese Imari can...

Pair (2) Magnificent French Sevrés floor vases with gilt bronze. Highly decorative French vases in the Sevrés manner. Magnificent and lush flower painting on a bulbous form flanked...

Exceptional Japanese contemporary exquisitely hand-painted decorative porcelain vase in blue, red and white on a stunningly shaped body, a signed masterpiece by highly acclaimed awar...

19th century monumental Sèvres pomp vase with bronze mounting France, around 1890 Two-piece with lid. Bronze mount with a square stand, lateral women's masks and a small cone crown....

This piece is Unique and made by hand The technique to create this piece involves layering colors and textures inspired by the earth process of formation of rocks and minerals. My ...

Japanese contemporary decorative porcelain vase, extremely intricately gilded and hand painted on a beautifully shaped ovoid fine porcelain in different shades of blue and pink to cr...

Extraordinary Japanese contemporary museum quality decorative porcelain vase, extremely intricately hand painted on an elegantly shaped porcelain body in blue, with extremely intrica...

From one of the world's re known porcelain factories of England: Royal Crown Derby. This vase features exquisite shape and modeling with vibrant turquoise accents and hand accented 2...

Hand-decorated with gold, enamel, and jewels! White and blue opal glass, each vase is raised on circular flat foot which is shaped in multiple gilded circles, finely applied red jewe...

A Marvelous Pair of French Dore Bronze Mounted Chinese Famille Rose Porcelain Covered Vases. Vases are a true marvel of antique artistry. As you admire the stunning matching pair, you will be captivated by the intricate details of the hand painted organic and naturalistic branches, flowers, and leaves that adorn the body of each vase. The unusual botanical elements in shades of green and translucent aqua create a mesmerizing effect that will transport you to a world of enchantment. But what truly sets these vases apart are the multicolored blossoms in shades of light blue, dark blue, orange, and yellow that add a vibrant and cheerful touch to the overall design. And as you continue to gaze, you will be spellbound by the delicately detailed hand painted pheasant...

A large pair mounted gilt bronze style Sevres porcelain vases. The decorations of these vases is magnificent the front is depicted mythological scenes and behind depicted scenes with...

A fine Pair of 19th century Japanese Imari Porcelain and French Gilt-Bronze Mounted Thirteen-Light Celadon Torchere Candelabra. The bottle-shaped Japonisme vases with a Royal red background, decorated with parcel-gilt and black soaring eagles in the hunt within a forestall scene. Each Vase fitted and surmounted with a French 19th century Louis XV Style 13-Light scrolled candelabrum and all raised on a circular pierced gilt-bronze plinth. circa: 1880. Imari Porcelain (????) is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe extensively from the port of Imari, Saga, between the second half of the 17th century and the first half of the 18th century. The Japanese as well as Europeans called them Imari. In Japanese, these porcelains are also known as Arita-yaki (???). Imari or Arita porcelain has been continously produced up through the present day. Characteristics Though there are many types of Imari, Westerners' conception of Imari in the popular sense is associated only with a type of Imari produced and exported in large quantity in mid-17th century. This type is called Kinrande. Kinrande Imari is colored porcelain with cobalt blue underglaze and red and gold overglaze. The color combination was not seen in China at that time. Traditional Ming dynasty color porcelain used dominantly red and green, probably due to scarcity of gold in China, whereas gold was abundant in Japan in those days. The subject matter of Imari is diverse, ranging from foliage and flowers to people, scenery and abstractions. Some Imari design structures such as kraak style were adopted from China, but most designs were uniquely Japanese owing to the rich Japanese tradition of paintings and costume design. The porcelain has a gritty texture on the bases, where it is not covered by glaze. There is also blue and white Imari. Kakiemon style Imari is another type of Imari, but it tends to be categorized separately in Europe. History "Imari" was simply the trans-shipment port for Arita wares. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, when kaolin was discovered in 1616 by the immigrant Korean potter, Yi Sam-pyeong (1579–1655). (He may also be known by the name, "Kanage Sambei".) Yi Sam-Pyeong, along with his extended family of 180 persons, left Korea on the offer of a privileged position in Japan. This decision was made after the occurrence of certain Japanese invasions of Korea. After Yi Sam-Pyeong's discovery, his kilns began to produce revised Korean-style blue and white porcelains, known as "Shoki-Imari". In the mid-17th century there were also a lot of Chinese refugees in Northern Kyushu due to the turmoil on Chinese continent, and it is said one of them brought coloring technique to Arita. Thus Shoki-Imari developed into Ko-KutaniImari. Ko-Kutani was produced around 1650 for both export and domestic market. Blue and white porcelain continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are accordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon style Imari, which was produced for about 50 years around 1700. Imari achieved its technical and aesthetic peak in Kakiemon style, and it dominated European market. Blue and white Kakiemon is called Ai-Kakiemon. Kakiemon style transformed into Kinrande in the 18th century. Kinrande used blue underglaze and red and gold overglaze, and later some other colors. Imari began to be exported to Europe because the Chinese kilns at Ching-te-Chen were damaged in the political chaos and the new Qing dynasty government stopped trade in 1656–1684. Exports to Europe were made through the Dutch East India Company, but the designation "Imari Porcelain" in Europe connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China began export to Europe again, since Imari was not able to compete against China due to high labor cost. By that time, however, both Imari and Kakiemon style were already so popular among Europeans, Chinese export porcelain copied both Imari and Kakiemon style, which is called Chinese Imari. At the same time, European kilns, such as Meisen also tried to copy Imari and Kakiemon. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe. Thus in western world today, two kinds of Imari can...

Russian white porcelain vase manufactured in the 1950s by the Lomonosov Porcelain Factory (founded in 1744). Soft shaped organic Mid-Century Modern vase decorated by hand with large mineral...

475-G handcrafted stoneware budding vase by Helen Prior A delicate handcrafted Vase, organic in shape with a torn clay opening in natural sp...

A pair of tall vibrant Italian vases with beautiful covers and unique finials with multi color roses. This pair also features traditional gilt striped bases. Artist signed and with s...

477 Handcrafted stoneware blossoming moon vase by Helen Prior. A delicate handcrafted vase, organic in shape with a torn clay opening in natur...

Extraordinary museum quality contemporary Japanese decorative porcelain vase, extremely intricately gilded and hand-painted in stunning shades of red and green on a stunningly shaped...

Bring a touch of vintage charm to your living space by bringing home this remarkable pair of opaline glass vases! These translucent drop-sh...

A Large & Important French 19th C. Louis XVI Style Sevres Porcelain Ormolu Mounted Jardiniere. This magnificent piece is of a baluster form wi...

Exquisite large contemporary Japanese porcelain decorative vase, intricately hand-painted in underglaze blue, gold and white, a master...

Riessner, Stellmacher & Kessel - Imperial Amphora - Art Nouveau buttressed ceramic vase with embossed sunflowers, painted leaves and applied 'jewels' - signed on the base - Austria -...

Extraordinary highly collectible museum quality Japanese contemporary decorative porcelain vase, extremely intricately hand-painted in stunning cream, orange-salmon pink and black, a...

Exquisite Japanese contemporary decorative porcelain vase, intricately hand painted in gold on a stunningly shaped ovoid body in black to create a transparent surface, a signed maste...

Contemporary Glazed Stoneware & Kintsugi Vessel, entitled 'She, Of Unknown Origin', by Los Angeles-based artist and curator Jenny Hata Blumenfield. Mirroring halves of matte peacock-blue with a glossy midnight-blue rim surround the form of a classical urn, as if one vase has split in two, creating a double...

Contemporary Japanese dimpled decorative porcelain vase, a stunning piece gilded and hand painted by highly acclaimed porcelain artist of Japan’s Imari-Arita region. The artist is th...

The overall size of this large piece with its mouth blown artistic shape, gorgeous green color and the hand painted all over 24 karat gilding really all adds up to one fantastic piece. While it may only be a little over 10 inches tall it's wider body adds to the overall wow factor. We have had similar shapes by Moser but in much smaller scale and dimensions. This vase is in beautiful antique condition. This piece will serve well as hallway or dining table centerpiece...

Set/2 Ceramic vases Cervera, White and Gold, Lusitanus Home Collection, by Lusitanus Home. This beautiful set includes two waterproof ceramic vases, perfect to be displayed togeth...

A delicate lightweight hand-crafted vase, organic in shape with a torn clay opening in natural unglazed speckled stoneware clay. Adorned with a stylized exuberant peacock decoration, mixed with abstracted scales- hanging jewel-like around the vase, stylizing the peacock feather shape. The decoration is created using mishima- a process of cutting and pressing motifs into clay creating fine channels for inlaying color. The pattern is also embellished with handpainted white slip and 22k gold. Helen Prior’s work is entirely hand-crafted and hand decorated. Each is a work of art. While ensuring consistency, they are never identical. Measures: 10" Diameter x 8.5" Tall Glazed Interior Unglazed Exterior 24k gold detail Watertight. Hand Wash Recommended Intended uses: Ornamental Made in the Hudson Valley NY Made to order if out of stock - Please expect a 3-4 week lead time. Helen Prior’s ceramics and textiles unite the leaves and wildflowers of the Hudson Valley with stylized flowers and patterns from her historical archives. By cutting fine lines and pressing found objects into clay, she creates intricate botanical patterns. Helen is originally from the UK, her studio is in Kingston NY.

A 19th French century pair of Lacquered Bamboos Japonisme vases. An amazing pair of tall cylindrical bamboo vases decorated in Japanese Gold and Sil-ver Hiramaki-E Lacquer with Pavilions in The Mist and Weaving Figures, Flown Over by a Pair of Cranes. Enclosed in a Sino-Japanese Inspiration Golden and Brown Patina Bronze Mount Featuring Elephant Heads, Partially Openwork Branches and Salamanders Forming Side Handles. Circa 1870 Attributed to Édouard Lièvre (1828-1886) and Ferdinand Barbedienne (1810-1892) Édouard Lièvre (1828-1886) is one of the most talented and prolific designer and industrialist of the 19th Century, his repertoire is sometimes Sino-Japanese or Neo-Renaissance, whether in furniture or works of art, we can note in particular the parade bed of Valtesse de La Bigne, furniture commissioned by the painter Édouard Detaille or even Sarah Bernhardt, and the famous works in collaboration with Maison Christofle or those in gilded bronze and cloisonné enamel edited by Ferdinand Barbedienne, presented at the Universal Exhibitions in 1878, 1889 and 1900. He was both a draftsman, painter, illustrator, engraver, ornamentalist and cabinetmaker, first trained in the studio of the painter Thomas Couture, Lièvre was then fully immersed in the world of decoration, creation and ornamentation and provides designs for manufacturers and merchant-publishers. Often assisted by his brother Justin, he first produced works of art for his own apartment, seeking out the finest craftsmen to execute his designs for bronzes, ceramics, fabrics and luxury furniture from great virtuosity and great taste. He then collaborated with the cabinet-maker Paul Sormani, as well as haberdasher merchants such as the Escalier de Cristal, bronziers such as Maison Marnyhac and especially Ferdinand Barbedienne as on our vases with bronze mounts characteristics of Edouard Lièvre's work. Born in 1810, died in Paris in 1892, Ferdinand Barbedienne, the most important caster of bronze pieces of art during the second half of the 19th Century, created and directed in Par-is one of the major artistic foundries of his time. Barbedienne specialized in classical reproductions, whose models were exposed in famous European museums. Their illustrated catalogues included many diverse objects such as busts, ornemental sculpture (clocks, candelabras, cups) sometimes even life-sized and bronzes for furniture. Apart from his own produc-tion, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he, himself honored by contemporary critics. At the London exhibition in 1851 Barbedienne’s firm won two « Council medals ». At the 1855 Universal Exhibition, he won a medal of honor. The success of Barbedienne’s firm brought him many official commissions, such in about 1860, as Barbedienne supplied bronzes for furniture for the Pompeian Villa of Prince Napoléon-Joseph, located avenue Montaigne in Paris. At the London Universal Exhibition of 1862 Barbedienne won medals in three different categories: Furniture, Silversmith work and Artistic bronzes. Barbedienne was made an officer of the Légion d’Honneur in 1867 and Commander in 1878 when he was compared with « a prince of industry and the king of bronze casting ». His glory did not decline with the passage of the time for at the Universal Exhibition of 1889 the critics thanked Barbedienne for the example he set for other bronze-casters by the perfection of his bronzes. “Japonisme” in the second half of the 19th century, was a craze for everything that came from Japan or imitated its style. The word was first coined in a series of articles published by Philippe Burty, from May 1872 to February 1873, in the French magazine “la Renaissance Littéraire et Artistique”. Far from the Academic sphere, artists seeking for new ways of expression, appropriated this discovery. Manet and the impressionists led the way to half a century of enthusiasm for Japanese art, and largely contributed to the esthetical revolution Europe experienced between 1860 and the beginning of the twentieth century. From 1862, The World’s Fairs provoked massive arrivals of fans, kimonos, lacquers, bronzes, silks, prints and books that launched the real era of Japonisme. With those exhibitions, the demand was boosted, the number of merchants and collectors was multiplied, and artists became passionate about this new esthetic. For them, its “primitivism” was probably its most important quality: artists were fond of the Japanese art’s capacity to be close to nature and to reconcile art and society by representing, with a lot of care, the most trivial objects. In painting, Edouard Manet, Mary Cassatt, Degas, Van Gogh, Gauguin were among those who were deeply inspired by Japanese art, affected by the lack of perspective and shadow, the flat areas of strong color, the compositional freedom in placing the subject off-center, with mostly low diagonal axes to the background. The Japanese iris, peonies, bamboos, kimonos, calligraphy, fish, butterflies and other insects, the blackbirds, cranes and wading birds, the cats, tigers, and dragons were endless sources of inspiration, appropriation, and reinterpretation for European artists. The occidental productions were combining styles and artistic conceptions instead of copying Japanese art slavishly. That is what brings to light the comparison between the artworks of Kitagawa Utamaro and Degas, of Katsushika Hokusai and Van Gogh The World’s Fairs of 1851 and 1862 in London, those of 1867, 1878, 1889 and 1900 in Paris, of 1873 in Vienna and of 1904 in Saint Louis presented a number of “Japanese-Chinese” installations with earthenware, bronzes, screens and paintings and attracted the largest amounts of visitors In Vienna, the “Japanese village...

J. & L. LOBMEYR - mid century fine quality Patrician form vase - featuring a hand painted and enameled orange and yellow 'parrot tulip' - gilt rim - unsigned (likely Lobmeyr as this ...

Beautifully preserved pair of Hollywood Regency vases hand painted with 22k Gold produced by the Imperial Glass Company circa 1965. Imperial Glass produced the most iconic mid century glassware...

Beautifully gilt and hand painted Royal Crown Derby pair Imari pattern porcelain decorative urns/vases with gilt twin side handles. Each urn features an exterior 22k gold and handpai...

Petite pair of Renaissance style gilded and enameled glass vases - hand painted with scrolling acanthus leaves and flowers with banded borders to the top edges (resembling stained gl...

19th century gilt bronze mounted hand painted and crafted porcelain pair decorative covered urn / vase. Each urn features decorated figural design with bronze side handles with Greek mythological scenes. Each one in great antique. Minor wear consistent with age. Undersigned with blue beehive mark...

A beautiful authentic designer art glass vase by designers' MacKenzie-Childs, circa 1980s, New York. A rare hand-painted piece with gold polka dots around ruffled center/top, with blue and orange...

Contemporary Japanese decorative porcelain vase, extremely intricately gilded and hand painted on a beautifully shaped ovoid fine porcelain in different shades of blue and pink to cr...

Contemporary Japanese porcelain vase, hand painted showcasing a dramatic dragon set against a dimpled black background, a signed piece from the signature dragon collection by highly ...

Extraordinary contemporary Japanese museum-quality decorative porcelain vase, stunningly hand painted in blue, green and orange on a gracefully shaped ...

Introducing a captivating pair of antique Art Nouveau porcelain amphoras, a true testament to the elegance and charm of the early 20th century. C...

Extraordinary contemporary Japanese hand painted decorative porcelain vase, an exclusive signature masterpiece in blue and red by highly acclaimed master porcelain artist of the Imar...

Pair of opaque trumpet-shaped opaline vases. Beautiful hand-painted floral patterns in a variety of colors and vibrant birds caring for the chicks and guarding their nest adorn this ...

Elegant contemporary Japanese porcelain decorative vase, beautifully hand painted in red, white and blue on a strikingly shaped body, ...

Exquisite Japanese contemporary decorative porcelain vase, elaborately and intricately hand-painted in blue and pink on a beautifully shaped piece to create a translucent surface. It...

Exceptional Japanese contemporary large decorative porcelain vase, intricately gilded and hand-painted in beautiful shades of blue and red on an elegantly shaped porcelain body, feat...

Pair of white opaline vases. Decorated with beautiful hand-painted flowers and butterflies. gilded around the base and the rim. This elegant pair was made in France from approximatel...

Pair of large translucent, trumpet-shaped, gilded, and painted turquoise opaline glass vases. These pair of opaline vases are decorated with gorgeous hand-painted parakeets and flowers on one side and butterflies and flowers on the other. The rim on top and bottom are gilded. This elegant pair was made in France from approximately 1850 to 1920. The pair is in perfect condition, with no chips or cracks detected. There is some gold lost due to age. We are selling this beautiful vases on different platforms; please check availability before purchasing. More photos may be provided if necessary. Storyteller: Once upon a time, there was a lovely couple who had recently relocated to their dream home in France. When organizing their attic, they discovered a pair of beautiful opaline glass vases that had been passed down from generation to generation. The vases were stunning, with intricate designs of parakeets and butterflies surrounded by flowers painted in the most beautiful blue colors. The vases had an antique enchantment that drew the two in, and their beauty captured them. They noticed something odd as they placed the vases on the coffee table. There had particular energy about them, almost as if they were alive. The vases radiated warmth and love, and the couple felt like they were being welcomed by an old, beloved friend. The couple couldn't help but sense a connection to the vases as they sat on the couch. These were more than just decorative items; they had a history of love and passion that had spanned generations. The vases served as a window into the couple's history, reminding them of the beauty and enchantment of love. As time passed, the pair would frequently sit by the vases, holding hands and telling stories about their own love journey. They'd talk about the highs and lows, and how their love had grown stronger with each passing day. They could feel the vases beaming back at them as they talked as if to say, "Love never dies." Years passed, and the couple grew old together, but their love remained constant. Throughout it all, the vases served as a continual reminder of love's undying strength. They were no longer just antiques; they were a symbol of the couple's personal love story, a memory of their shared journey. So the pair of blue opaline glass vases...

Stylized hand-painted, glazed and enameled ceramic vessel by Guido Andlovitz for Lavenia, Italy, 1930s.

Extraordinary Japanese contemporary museum quality decorative porcelain vase with an extraordinary story, stunningly hand painted in vivid yellow, red and blue on an exquisitely shap...

Pair of Sevres Patinated Metal Mounted Blue Celeste Type Roman Painted Ceramic Compotes. Very good antique condition. Intricate painting work. inside...

A large Sèvres style porcelain urn raised on a bronze plinth. France, circa 1880. Measures: Height 25" x width 11". CW5129.

Exquisite Japanese contemporary porcelain decorative vase, hand painted in vivid blue and red on an elegant bottle shape body, a signed piece by highly acclaimed Japanese master porc...

Presented here is a 19th-century French opaline glass jar with a milky white hue. Adorned with intricate gold barrel decorations. Everyone who appreciates antiques would be pleased to add this treasure to their collection. The dimensions are an outstanding 32 by 21 cm. Do not miss this opportunity to acquire a historically significant artifact that has been carefully kept. We are selling this beautiful art piece on different platforms; please check availability before purchasing. More photos may be provided if necessary. Storyteller: The brewery employees waited as the crate containing the ancient Opaline decanter...

Vase Stipple all in earthenware with gold paint.