Vases on Sale

Beautiful vintage Murano hand blown gold flecks Italian art glass flower vase. The piece is profusely covered in gold leaf, with ribbed design. Made with very thick glass. Created in...

Beautiful, large and rare Murano hand blown green, controlled bubbles and gold flecks Italian art glass pulled glass sculptural flower vase. Att...

Made by the JINGFA Beijing Cloisonné Factory in China, 1970s. The vase itself is bronze with a rubbed brass finish and the bodies of the pieces are covered in the most exceptional Cl...

Beautiful, early antique Venetian hand blown amethyst pink and gold flecks Italian art glass fish stem flower vase. Created in the manner of the Salvi...

A charming vintage Venetian vase with a nicely blown ruffle edge to its top and extra blown decoration on its collar. Two elegant swan handles and blown 24-karat gold inclusion throu...

Gorgeous large, vintage Murano hand blown black over white and gold flecks Italian art glass sculptural flower vase. The piece is signed "Murano" and by the artist, but cannot make o...

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. This collection is made by beautiful p...

The heart collection is the result of the extravagant creativity of two innovative designers, who are inspired especially by the human body. This collection is made by 4 beautiful...

Special collection of Love's inspirated hearts.

A fine pair of Art Nouveau bronze vases decorated with vines and leaves. In perfect condition with a beautiful patina. Early 20th Century Dimensions: 10" High x 5 1/4" Diameter Thi...

Gilt bronze Ewer Pitcher 19th century gilt bronze Renaissance Revival Heavy and solid Decorative and impressive Good antique condition.     

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 Eu-rope, 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...

A palatial french ormolu-mounted Sevres Porcelain hand-painted vase and cover, circa 1838. This monumental Sevres porcelain vase stands 56" high, and is beautifully hand-painted with classical scenes of lovers and cupids, in teal / turquoise blue ground porcelain. Made with very fine quality figural bronze handle, the vase turns to a full 360 degree angle and is mounted on a solid bronze base with fine detail. Painted with beautiful flowers throughout the entire vase, leading up to the cover, which is adorned with an acorn bronze...

A pair of fine glazed blue porcelain gilt bronze-mounted table lamps, France, early 20th century. Porcelain vase raised on beautifully elaborate bronze base. Both porcelain vases are...

Pair of East Asian Cast Bronze Vases in very good vintage condition. Measures 9.75" tall.

Patinated bronze vase by GAB. Sweden, Circa 1930th-40th. Marked by manufacturer.

Pair Of Carl Deffner Hammered Copper & Cast Bronze Vases, Germany circa 1900, good vintage condition showing little signs of wear,.

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....

Amazing Antique fine quality Japanese 19th century bronze vase, circa 1860 with exquisite decorations of raised bronze crafted dragons and birds and many other original meiji decorat...

A large and interesting late 19th century gilt bronze and Italian Capodimonte porcelain vase and pedestal. The vase with many different figures playing and holding instruments and weapons, centred around a flame, the top painted with vines, leaves and berries, the handles with swan heads. The pedestal with a central Bacchanalian frieze with swags of birds, flowers and bows above cherubs dancing and playing. Capodimonte porcelain was established in Naples, Italy in 1743. Famous for delicate capodimonte figurines...

Beautiful antique, early Murano hand blown blue and silver flecks Italian art glass fan shaped footed vase. Attributed to the Fratelli Toso company, with a similar vase pictured in t...

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...

Beautiful vintage Murano hand blown red, white and gold flecks Italian art glass pulled feather rose bowl flower vase. It has heavy gold leaf on the open red sections. Created in an ...

Very Large bronze polychrome enameled floor vases in Arabic style, made from bronze with rich color ornamental geometric and floral patterns. Very he...

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...

This collection is a work of art that make a statement in modern décor and in the modern cultural art world. It can be used as a vase containing flowers, or as a beautiful centerpiec...

Beautiful vintage Murano hand blown pink stripes and gold flecks Italian art glass double opening flower vase. Documented to designer Ercole Barovier, for Barovier e Toso. The vase h...

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...

Handmade vase in bronze.

Beautiful vintage Murano hand blown gold flecks Italian art glass ribbed surface pitcher / vase. Documented to designer Ercole Barovier, for the Barovier e Toso Company. The piece ha...

Beautiful vintage Murano hand blown opalescent white, controlled bubbles and gold flecks Italian art glass flower vase. Documented to designer Ercole Barovier, for the Barovier e Tos...

Beautiful and large, vintage Murano hand blown opalescent pink and gold flecks with diamond quilted surface Italian art glass basket, flower vase. The piece is rather large, and has ...

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...

Gorgeous, large vintage Murano hand blown gold flecks with red bands Italian art glass flower vase. Documented to designer Archimede Seguso. The piece is hand signed "Archimede Segus...

Secondo Fuoco is an investigation into slags, a reflection on the multiple souls of matter: its mineral origin, re-obtained by smelting processes and its...

Beautiful antique Murano hand blown Sommerso clear white bubbles and gold flecks Italian art glass mini vase / vide poche. Documented to the Venini company, and created by master des...

Beautiful vintage Murano hand blown amethyst purple and gold flecks Italian art glass pitcher shape flower vase. Documented to designer Alfredo Barbini, with original intact "Venetia...

PAIR OF MUGS WITH PRESENTER French, in bronze from the beginning of the 20th century. relief decoration with plant motifs, fantastic animals and masks. Usage signs. Dec. Heigh...

Pair of 19th Century French Napoleon III Period Bronze & Brass Urns represent the mastery of metal sculpture exhibited by the French during this wonderful era and are of a nice size ...

Pair of French red ceramic Art Deco vases or urns with dark red glaze and bronze decorations. Paul Milet (1870-1950) son of Optat Milet. France 1920.

Beautiful and large, vintage Murano hand blown opalescent pink and gold flecks Italian art glass pitcher / flower vase. The piece has a diamond quilted design, creating a unique patt...

Japanese vase with birds and flowers design Meiji period relief decoration late 19th century Japanese origin piece in perfect condition pa...

Bronze vase designed by Paavo Tynell for Taito Oy, Finland , Circa 1940th. Marked AB Taito OY 13.

Gorgeous, large Murano handblown opalescent "Chalcedony" surface Italian art glass vase with large flowers and vines motif. The vase is signed underneath. Looks like "Fabio", but I c...

Mid-Century, vintage 'Opalino' Murano glass pen holder with an embossed gold plated rim attributed to Cenedese, circa 1950-1970. Wonderful tran...

Exquisite contemporary Japanese decorative porcelain vase, hand-painted in green, red and gold, a signed masterpiece in his signature series by highly respected award-winning Japanes...

PAIR OF FRENCH MUGS Bronze 20th Century French, in bronze from the beginning of the 20th century. decorated with plant motifs, fantastic animals and m...

Pair of Vases in Bronze and Red Marble, France 19th Century H: 27 good conditions Never restored

Beautiful vintage Murano hand blown Sommerso green, gold flecks and controlled bubbles Italian art glass flower vase with iridescent surface. Attributed to the Barovier e Toso compan...

Meissen porcelain snakes handle vase. 1st quality. Cobalt and gold painting. Small chip on the socket.

A large pair of antique Japanese bronze vases with carp fishes, Meiji period. The bottle vases have carp in swirls of water, with some ver...

Standing 28 inches tall this lidded ceramic vase is crowned by a half moon shape multi colored iridescent (one side black) bronze handle on a hand crafted bronze mount. The vase rest...

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...

Vase and candleholder Moro woman in handcrafted Sicilian ceramic, hand-painted. Golden Heads and gold finishes are covered with pure liquid gold. Also available in Moro man.

Secondo Fuoco is an investigation into slags, a reflection on the multiple souls of matter: its mineral origin, re-obtained by smelting processes and its...

Exceptional large gilded contemporary Japanese decorative porcelain three-piece raised lidded jar, hand painted in red and blue with generous gold details, depicting scalopped panels...

Dramatic large Chinese cloisonné vase featuring a flower vase decoration on one side and a gourd on the back. The decoration stands out against a black ground with cloud patterns cov...