London - Vases and Vessels

A shapely late 19th C. Japanese Terracotta Vessel. Heavily patinated with traces of paint & old repair to rim.

Swedish heavy glass vase with swirling decoration. Circa 1970. H 20cm x W 15cm x D 15cm

An exceptional large 18th C. terracotta vessel from northern Portugal. Originally used for the storage of oil/wine. Heavily patinated & heavily textured.

A fine pair of early 19th Century bronze & ormolu campana shape Urns of unusual small proportions retaining original gilding, having beaded tops, & scroll decorated band above carryi...

A large antique Chinese polychrome ginger jar. C.1920 Handpainted in a rare colourway with beautiful enameled blue ground and with pink and green foliate detail. Presented in excelle...

A beautiful, large early 19th C. Paper covered Japanese terracotta vessel.   Originally used in a teahouse for the storage & transportation of tea leaves. Heavily patinated due to i...

Set of two blue vases by Floris Meydam and Siem van de Marel is the designer at Leerdam glass works, The Netherlands. Tall art vase with over flowing c...

A large early 18th C. black terracotta vessel from the Trás-os-Montes region of north east Portugal. Originally used for the storage of oil/wine. Heavily patinated with ripply text...

Violante Lodolo D'Oria, Variegated Aqua Blue Rosetta Vessel, 2024, glazed stoneware, multiple glazes, W41cm x H25cm New stunning piece created by ceramic artist Violante Lodolo d' ...

'Sakura TFO24017' is a unique sculptural glass vase covered in an organic adornment of glass shards by the Dutch artist, Maarten Vrolijk. The piece is flame polished to soften the ed...

A large heavily textured volcanic vase with black, white and brown glaze and markings. Wide necked vessel with a bellied form. Made from black textured s...

Italian glass 'Scavo' Vase by Alfredo Barbini, Murano (circa 1970s). This is the largest piece of the four and is cylindrical in shape. Scavo glass indicates that the glass went thro...

A large 1970s mottled red and grey ceramic glazed vase. The bulbous body of an intense mottled red with a wonderful shimmering glaze narrows towards the neck where the colour turns...

William Hutton. An Arts and Crafts pewter jug with four bullseye Ruskin jewels inset into the lid, with a back stop when opened, and geometric decoration to the main body with a flar...

Mid-century decorative tall vase by Albert Thiry (circa 1960s). A gentle creamy-white glaze encompasses the exterior of the tall vase (it could also be used as an umbrella holder) to...

An attractive limited edition perfume bottle, the fluted pillars are decorated with palm patterns inspired by Rene Lalique’s Jaffa vase circa 1931. ...

Made in Paris circa 1830 by Odiot, this spectacular 1st quality, French Antique, silver centrepiece jardinière and plateau, has an oval bowl beautifully detailed with fluting, floral...

1960s Danish handblown purple and clear glass round tapering vase. The base is solid clear glass contrasting with the purple above. No manufacturer's stamp or inscription is presen...

Globe Pottery. Tunis design. A large Aesthetic Movement blue and white jug.

Designer Sarah Murphy focuses on recycling materials and a form of paper pulp to create sculptural vessels and lights. Drawn to playful shapes and vibrant c...

A very Fine Pair of Japanese Two Handled Vases Meji Period C1890 Very Decorative

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...

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

Vintage ceramic vase (or pencil holder if you prefer) by Raymonde Leduc (circa 1970s). Sandstone coloured small vessel with plant motifs inlaid on all four sides. In good overall con...

A Mid-Century ceramic bottle / vase by Alexandre Kostanda (circa 1960s). This stunning asymmetric earthenware vessel presents a misty appearance with earth tones in brown, beige and ...

Greek Black Glaze Kantharos Circa Early 4th Century B.C. Terracotta With old label reading ‘No. 133’ Height: 8.8 cm This 4th Century B.C. kan...

Per Lütken for Holmegaard Heart-shaped vase from the 'Menuet' series, designed 1957, this example from 1961 Clear grey-blue tinted blown glass Underside engraved 'PL 1961 Holmeg...

A small Italian Murano hexagonal turquoise encased in clear glass vase. A beautiful decorative piece perfect for a glass display case or shelf where the light can shine through it to...

An attractive early 20th Century cameo pillow glass vase etched and enamelled with flowering poppies in a deep green and yellow landscape. Signed Daum Nancy and with the Cross of Lor...

This Turkish terracotta jar exudes timeless authenticity with its smooth surface, twin handles, and striking glazed rim. Handcrafted in Anatolia, it reflects the skilled traditions o...

A stunning late 19th Century French cameo glass banjo shaped vase decorated with a vibrant dragonfly hovering over a lilypad covered lake with excellent deep orange and yellow colour...

This fabulous glass vase was made by Daum in Nancy, France in the 1970s. It looks very much like a piece of sculpture - no surprise given it's designer was César Baldaccini! Titled...

A large heavily textured volcanic vase with black, white and brown glaze and markings. Wide necked vessel with a bellied form. Made from black textured s...

*** Summer Sale *** A large sculptural ceramic vessel by British potter Alan Wallwork (1931 to 2016). The vessel has a grooved crescent form in neutra...

An exceptional frosted glass salver with raised deep opalescent design of a beautiful mermaid in a swirling watery landscape, the three large bubbles around her protruding from the underside to act as feet, signed R Lalique Sirène Catalogue Number: 376 Signature Identification: “R. Lalique France” moulded in relief Date Introduced: 1920 Dimensions: 36 cm Diameter Felix Marcilhac Catalogue Raisonné Page 290 Additional information: Diameter: 36 cm Condition: Excellent Original Condition circa: 1920 Materials: Frosted and Opalescent Glass Book Ref: R.Lalique – Catalogue Raisonné by Felix Marcilhac About: 1860 Birth of René Lalique René Lalique was born in Aÿ-en-Champagne in the Marne region of France. Some years later, the Lalique family moved to Paris but continued to spend holidays in Aÿ. René remained deeply attached to his birthplace throughout his life. 1885 The first Parisian workshop Following the death of his father, René became an apprentice to craftsman and jeweller Louis...

A wonderful early 20th Century Art Deco glass vase etched with vibrant red orchids against a deep orange background interspersed with deep burgundy reefs exhibiting excellent colour ...

A good size, chunky, early 19th C. primitive dug-out planter. Beautiful colour/wear. Most likely originally used as a trough - now perfect as a planter. - We offer free shipping ...

Cosmos extends the exploration into manually anodised aluminium pieces. Building on the success of Grow-UP planters for MCQ in 2021, the collection showcases abstract anodising dye p...

'Bubblewrap Radiant' is a handblown and sculpted vase created from glass by the British artist, Allister Malcolm. Playful yet elegant, Malcolm has formed oversized bubbles on the ex...

Cosmos extends the exploration into manually anodised aluminium pieces. Building on the success of Grow-UP planters for MCQ in 2021, the collection showcases abstract anodising dye p...

Heavy hand made striped art glass handkerchief vase, in a beautiful green on green colourway. The vase has a lovely folded organic shape. It is in very good condition. Measuring diam...

This 20th-century Mediterranean storage pot is a fine representation of vintage clay pottery, historically used for storing grains or other essentials. Handcrafted using traditional...

Vintage Italian ceramic vase in Rimini Blu with geometric motif by Aldo Londi for Bitossi (circa 1960s). Rimini Blu was devised by Aldo Londi in 1959 and quickly became the company's...

'Peachy II' is a unique ceramic sculptural vessel by the British artist, Jo Taylor. Taylor’s inspiration comes from highly decorative architectural features such as ornate plaster c...

Decorative pillar design black-enamel and green crackle-glazed Primavera pitcher/vase by C.A.B. (Céramique d’art de Bordeaux) for Printemps (circa 19...

This stunning Meiji period vase is a wonderful example of the quality of craftsmanship during the late 19th century Japanese Meiji period. The Meiji era was famed for being the perio...

A Pair of Royal Worcester Porcelain Vases, signed by William Ricketts  with date codes for 1924 and puce printed marks. They feature bottle shaped form with flared necks, painted wi...

These magnificent gilt bronze (ormolu) mounted malachite urns were created in c.1830 to a design by Ivan Ivanovich Galberg (Russian, 1782-1863). Galberg was an important figure, who ...

A late 19th century French oval cooper bowl, with riveted handles and iron foot.

Vintage French ceramic cachepôt by Roger Capron (circa 1960s). A luscious creamy white base with a top band in a repeating pattern in lovely blues; below that another with leaf motif...

Modern, industrial-style ceramic vase (1986) by Alessio Tasca (born 1929). Minimalist, abstract snail-shaped ceramic vase in charcoal-coloured glaze with bold line motif and subtly p...

Discover the allure of this vintage Anatolian terracotta storage vessel, a handcrafted Turkish clay jar that once stored grains and provisions in traditional Anatolian homes. Rich with historical significance, this rustic clay pot or vase adds character and authenticity to Mediterranean, farmhouse, and bohemian-inspired spaces. Perfect as a standalone decorative piece or for adding natural elegance to any interior, this large vintage terracotta jar complements contemporary aesthetics while preserving its heritage charm. An ideal choice for lovers of antique Turkish pottery...

A Taste of Exile is a reminder that we all come from a uterus; we are all embedded in nature and in the mystical cycle of life and death. The representation of this symbol strives to create a supportive coven, united by the loving and protective symbol of origin. Charlotte Colbert...

Hallmarked in Birmingham in 1899 by Walker & Hall, this attractive pair of Victorian, Antique Sterling Silver Vases, feature chased decoration to the bodies. Each vase measures 7"(18...

A very fine a superb scale Japanese Cloisonné vase, the light blue ground with flowers and floral details. In perfect condition.

Studio glass vase C. 1960. In very good vintage condition.

Classic red vase, hand blown in aerated glass – perfect with or without flowers. Also available in pale lemon and pale lilac.

This wonderful clock set displays many of the characteristics of the 18th century Rococo style. These include gracefulness, asymmetry, and the use of curved forms. The set, which includes a mantel clock and pair of vases, is crafted from gilt metal and is mounted with decorative porcelain plaques. The mantel clock features a gilt metal rectangular case with a break arch top. This is crowned by an urn, featuring a gilt metal stem and a pinky-red floral porcelain body, which is covered by a gilt metal lid and finial. The case is also topped by a gilt metal wreath...

William James Neatby (attributed). An Arts and Crafts Glasgow Style mahogany plant stand, with elongated uprights, circular caps and stylized floral pier...

"TuttiTappi (Surprise!)", 2022, porcelain found object, earthenware and 18k gold Measures: H 34 x 16 cm Real 18K gold has been applied through third firing on the internal sculpt...