55 results for "theodore deck"

Théodore Deck (1823-1891), ceramic vase, signed, circa 1870.

An exceptional large-scale polychrome glazed earthenware jardinière by Théodore Deck, France, circa 1875. Decorated with flowering branches, birds and butterflies on a nuanced yello...

Théodore deck (1823-1891) Impressive Enameled Faïence Vase, circa 1875 Large baluster shape vase with eggplant enameled background Rich hand-painted polychrome decor of two birds re...

French Majolica Japonisme vase, attributed to Theodore Deck  France, Late 19th Century  This exquisite late 19th-century French Majolica vase, attributed to the renowned ceramist Th...

Théodore Deck (1823-1891) A 19th French Japonisme Cache-Pot, circa 1875 A Polychrome Enameled Faience Round-Shaped Cachepot and Jardinière Hand-painted design in the Japonisme Aesthe...

This large turquoise pot holder in glazed earthenware was made by the reknowned ceramist Théodore Deck at the end of the 19th century. Its beautiful bl...

Extraordinary table lamp by Theodore Deck. Porcelain with signature T and mark. Sold with the lampshade and electrical system. Perfect original conditions.

Turquoise Glazed Faience and Gilt Bronze Desk Inkwell by Théodore Deck (1823–1891), circa 1870 Rare desk inkwell signed TH. DECK, crafted in faience with the celebrated turquoise gl...

Large Majolica Basket Bichon Dog Wall Pocket signed TD Theodore Deck dated 1887.

A Rare Pair of 19th Century French Ormolu Mounted Signed Theodore Deck Faience Porcelain Vases Mounted to Lamps. The porcelain bodies have a flattened, circular form with a slightly ...

Théodore Deck (1823-1891) An important Japonisme vase by Théodore Deck, combining richly developed glazes with sculptural elephant-head bronze mounts. This large enameled ceramic va...

Gilded bronze and turquoise enameled earthenware inkstand by Theodore Deck from the Napoleon III period, 19th century. Inkwell by Theodore Deck, from the Napoleon III period, 19th c...

Pair of antique (19th century) green glazed ceramic vases mounted on gilt bronze Chinoiserie style stands and designed as oil lamps, later electrified, and attributed to Theodore Dec...

An unusual Pair of Iznik or Islamic Style Porcelain Vases Mounted as Lamps with French Ormolu mounts attributed to Theodore Deck, Paris, circa 1880 The pair is formed as bulbous porc...

These beautiful table lamps have been attributed to Joseph-Théodore Deck, one of the most important ceramicists of the 19th century. Deck was the director of a prestigious faience workshop which was based in France. He was well known for his high-quality ceramic wares, which were often designed in Islamic and Chinese styles. The lamps are designed in a Persian manner. Each lamp is fitted with a gilt bronze (ormolu) light fixture which holds two bulbs. The lamps' bodies are crafted from faience (tin-glazed earthenware) and feature cylindrical necks and bulbous lower bodies. These bodies are decorated with stylised flowers, leafy vines, and Persian script...

Théodore Deck (1823-1891) Gourd shape vase with a spherical body and straight neck Polychrome glazed earthenware designed on both sides with a bird, butterflies, a bee, and flowers o...

A large and impressive Theodore Deck Earthenware bottle form vase in the Islamic/Iznik Taste, Impressed "TD" 1870 on the bottom. The narrow circular neck is decorated with dark blue,...

This large dish, fashioned by the great ceramist Théodore Deck and painted by Eugène Gluck, was created in 1866. Entirely decorative, our piece presents a scene worthy of a paintin...

An exceptional example of Théodore Deck’s most iconic work, glazed in his turquoise bleu Deck and conceived in the Chinese manner. An applied lion-mask with a suspended ring enhances...

Pair of Blue Glaze ceramic table lamps, with bronze base and stem, made by Theodore Deck (1823-1891). Signed HT DECK, MADE IN FRANCE, F...

A pair of late 19th century ormolu-mounted faience Persian-blue vases by Theodore Deck, mounted as oil lamps. As in traditional Persian design, the lamps are bottle-shaped, with a wi...

Théodore Deck (1823-1891) Exceptional Pair of Japonisme Faience Vases France, circa 1875 An exceptional museum quality and very rare pair of enamelled faience vases by Théodore Deck ...

"Judith" by Théodore DECK (1823-1891) and Albert ANKER (1831-1910) Important and rare polychromatic enamelled earthenware pannel Titled "Judith" Signed in the decor "Anker". Tripar...

An exceptional pair of French and Asian collaboration 19th century teal blue fire glazed porcelain and ormolu lamps attributed to Theodore Deck. Each lamp is raised by an elegant squ...

Pair of Art Deco French Aqua Blue Plates Edmond Lachenal. 7.8 inches diameter. Edmond Lachenal ( 1855 – 1948) was a French potter. He was a key figure in the French art pottery movem...

Enameled ceramic chandelier with flared border underlined by a frieze of stylized foliage, decorated on the body with Arabic characters on a light blue background, alternating with t...

"Courtly Love" by Théodore Deck (1823-1891) Rare pair of figurines representing two lovers in the Middle Ages Polychrome glazed ceramic Each stamped "Th.Deck" on the underside Fran...

This beautiful baluster-shaped vase features the vivid hypnotic Egyptian blue (which some call "turquoise", although it's not) Raoul Lachenal is most renowned for. Drop-shaped white...

These beautiful table lamps are by Théodore deck, one of the most important ceramicists of the 19th Century, and Gagneau Frères, a leading bronzier. Deck was the director of a prestigious faience workshop which was based in France. He was well known for his high-quality ceramic wares, which were often designed in Islamic and Chinese styles. The lamps are designed in a Persian manner. Each lamp is fitted with a gilt bronze light fixture, signed Gagneau Frères. The lamps' bodies are crafted from faience (tin-glazed earthenware) and feature cylindrical necks and bulbous lower bodies. These bodies are decorated with stylized flowers, leafy vines, and Persian script...

Superb and extremely rare Daum # Nancy vase designed after a drawing by Edmond Lachenal, France late 1800s. Signed, etched and gilt "Daum # Nancy, d'après E. Lachenal". Decorations o...

A fine pair of French Belle Époque figural gilt-bronze two-light wall-lights, after Gustave Joseph Chéret (French, 1838-1894) signed: Joseph Chéret, 25 and Stamped: Soleau-Paris. The...

EDMOND LACHENAL (1855-1948) One of France’s most influential ceramists, Edmond Lachenal contributed significantly to the development of Art Nouveau. His poor beginnings in Paris le...

A rare and absolutely delightful Art Nouveau Parisian cafe counter! circa 1910 Imagine walking the streets of Paris at the peak of its golden age in the early 20th century, surround...

Large French Aqua Blue Platter Edmond Lachenal circa 1930. Edmond Lachenal ( 1855 – 1948) was a French potter. He was a key figure in the French art pottery movement, and his works a...

A fine pair of French Belle Époque figural gilt-bronze two-light wall-lights, after Gustave Joseph Chéret (French, 1838-1894) signed: Joseph Chéret, 25 and Stamped: Soleau-Paris. The...

An elegant French centerpiece from the Napoleon III period, crafted during the late 19th century, circa 1870–1890. This refined decorative object exemplifies the eclectic taste and l...

Bring vibrant color and sculptural character to a kitchen, dining room, wine cellar, or country house interior with this exceptional antique barbotine rooster vase. Crafted in France...

This beautiful baluster-shaped vase features the vivid hypnotic Egyptian blue (which some call "turquoise", although it's not) Raoul Lachenal is most renowned for. Drop-shaped white...

The finest examples of vases produced in collaboration between Edmond Lachenal and Emile Decoeur date from 1901-1904. This vase, with the word “original” marked on its underside, ind...

Untitled (Young woman seen from the back) Sanguine crayon, charcola and watercolor on paper, c. 1910 Signed with the estate stamp, Lugt 5169 lower left corner Provenance: Estate of ...

Glazed red and white faience. Another example, presented at the Salon de la Société Nationale des Beaux-Arts, in 1898, and numbered 4060, was shown with three other vases: Hercules ...

Our magnificent centerpiece bowl in terracotta by Gustave-Joseph Chéret (1838-1894) is fashioned as a Venetian gondola with Roman goddess seated at the bow and cherubs clinging to ga...

A enchanting & intimate 19th century Swiss pastel portrait painting of a beautiful young girl, circa 1870, attributed to the celebrated Swiss artist Albert Anker (1831-1910). The pai...

Miss Taylor Drypoint, c. 1900 Signed in pencil lower left (see photo) Small edition, about 10 Very rich impression, full of burr Condition: Excellent Image size: 21-1/4 x 13-1/4" She...

Glazed and stamped free-form ceramic mirror. Thick curved frame with rounded angles, decorated with scarified and stamped patterns under a shiny orange glaze; Signed " Juliette Dere...

Add a touch of timeless elegance to your décor with this vintage Regency-style stacked brass planter by Theodore Alexander. Featuring a striking tiered design and rich patina, this p...

This striking antique French wall sculpture depicts a mallard duck in mid-flight, modeled in high relief with wings raised and neck fully extended. Crafted in France circa 1900, the ...

Watercolor lithograph presenting the portrait of Madame Chéruit, by the artist Paul César Helleu Madame Chéruit was one of the first women to run a fashion house in Paris at the beginning of the 20th century, Place Vendôme. Her taste and refinement were recognized internationally, and she dressed many clients, including our artist's wife, Paul-César Helleu; this one has represented Mme Chéruet on many occasions Paul César Helleu (1859-1927) is a French painter and engraver; he entered the Ecole des Beaux-Arts in Paris in 1876, in the studio of Jean-Léon Gérôme, but more attracted by outdoor painting, he became the friend of Claude Monet, Giovanni Boldini, among others. From his very important career, we note his beginnings with the ceramist Theodore Deck, for whom he created decorations for dishes; his many portraits of Parisian High Society, elegant women; his exhibitions of non-standard paintings at the Salon des Artistes with Les Grandes Eaux du Bassin de Latone; the decoration of the starry vault...

Tea at the Ritz, New York Colored chalk, 1912 Signed with the estate stamp verso. (see photo) Authenticated by the artist's daughter, Mme Paulette Johnston. Image size: 10 5/8 x 10 1...

This dish, inspired by the bellas of the Italian Renaissance, bears witness to the fruitful collaboration that began in 1882 between the ceramist Théodore Deck and the young artist Paul Helleu, before the latter became the fashionable portraitist of feminine elegance. 1. Paul Helleu In 1913 Robert de Montesquiou wrote in his book devoted to the painter: "Helleu was born in Vannes in 1859, of a Breton father and a Parisian mother". He hardly knew his father, who died when he was three years old, and was brought up entirely by his mother, who sent him to continue his studies at the Lycée Chaptal in Paris in 1873. The discovery of Edouard Manet's Chemin de Fer at the 1874 Salon is reported to be at the origin of his artistic vocation. He worked against his mother's wishes in the studio of the painter Gérôme, also frequented by the painters Giovanni Boldini, Jean-Louis Forain and Antonio de La Gandara...

On offer on this occasion is one of the most stunning and rare, outdoor dining set you could hope to find. Outstanding design is exhibited throughout. The beautiful set is statement ...

An antique Victorian walnut serpentine credenza, richly decorated with ormolu mounts and geometric parquetry marquetry, executed in the Louis XVI style. The bronze mounts are by Mais...

This Pair of Ornamental Porcelain Dishes Was Crafted by the Company Balleroy & Cie in Limoges and Decorated by Joseph Albert Ponsin, Likely in 1876 Both dishes bear the mark of ...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

Bust of a Young girl crowned with lilies by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Terracotta bust Signed on the back " A. Carrier Belleuse " Raised on a blue-glazed earthenware...