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Click here to subscribeJapanese Meiji cloisonne vase with a tall, thin, shouldered form. Decorated with a purple iris and a crane standing in water against a blue ground. The details of the water and clouds are subtly depicted with wireless cloisonne. This beautifully executed work is reminiscent of pieces by Adachi Kinjiro.Height: 9 1/4 in x diameter: 3 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Bamboo Still Life," depicting a vase of bamboo shoots. Silver gelatin print. Signed along the lower right.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 18 3/8 in x width: 13 3/4 in. Matted; height: 23 1/2 in x width: 18 3/4 in.
Ruth Thorne-Thomsen (American, b. 1943). Black and white pinhole photograph composite titled "Views from the Shoreline: Two Faces Make a Vase" depicting rocks in the shape of two heads in profile facing each other over a similarly rocky landscape.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 6 in x width: 5 in. Framed; height 14 3/4 in x width: 11 3/4 in.
Warren MacKenzie (American, 1924-2018). Studio ceramic pottery vase. Stoneware with a yellow matte glaze. Marked along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 7 in x diameter: 7 in.
Warren MacKenzie (American, 1924-2018). Studio ceramic pottery vase. Stoneware with a white glaze with brown speckles. Decorated with MacKenzie's iconic finger marks along the sides. Marked along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 11 1/2 in x diameter: 7 1/2 in.
Warren MacKenzie (American, 1924-2018). Studio ceramic pottery tri-color vase. Stoneware with three different colored glazes in white, yellow, and brown. The artist's original price tag is adhered along the side.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 13 3/4 in x diameter: 7 1/2 in.
Soliflower vase. Murano, second half of the 20th century.Blown opaline Murano glass.Provenance: Private collection, Spain between 1970-1990.Measurements: 29 cm (height); 6 cm (largest diameter).A tall, slender soliflower vase, with a wavy mouth, designed to resemble the corolla of a flower. It has a white surface with fine gold-gilt mottled decoration.The high value of Murano glass is explained by the artisanal and secret process of its makers. Made on the Italian island of Murano, this glass has special properties and offers colours and shapes unlike any other glass. The history of Murano glass manufacturing dates back to the 8th century. By the 12th century Venice had become extremely popular for its fine glass. To keep the glass-making business unique and profitable, a law was passed in 1271 stating that no foreign glass could be imported for manufacture and no foreign glass workers could be hired. However, in the 13th century all glassmaking furnaces were moved by law from Venice to Murano, because the fires in them posed a great risk to the wooden structures of Venice. In combination, these two laws ensure that Murano glass is still unique today; created by artists and craftsmen from a small group of islands in Italy. The secrets of glass making have been passed down from father to son and from master to apprentice.
Soliflower vase. Murano, second half of the 20th century.Blown Murano glass.Provenance: Private collection, Spain between 1970-1990.Measurements: 19.5 cm (height); 7 cm (largest diameter).The high value of Murano glass is explained by the artisanal and secret process of its manufacturers. Made on the Italian island of Murano, this glass has special properties and offers colours and shapes unlike any other glass. The history of Murano glass manufacturing dates back to the 8th century. By the 12th century Venice had become extremely popular for its fine glass. To keep the glass-making business unique and profitable, a law was passed in 1271 stating that no foreign glass could be imported for manufacture and no foreign glass workers could be hired. However, in the 13th century all glassmaking furnaces were moved by law from Venice to Murano, because the fires in them posed a great risk to the wooden structures of Venice. In combination, these two laws ensure that Murano glass is still unique today; created by artists and craftsmen from a small group of islands in Italy. The secrets of glass making have been passed down from father to son and from master to apprentice.
Vase. Murano, second half of the 20th century.Blown Murano glass.Provenance: Private collection, Spain between 1970-1990.Measurements: 26 cm (height); 7.5 cm (largest diameter).This slender vase is entirely made of hand blown Murano glass. The whole piece, with the exception of the white base, has a delicate rough decoration in the form of helicoidal cells in blue. The mouth is defined by a wavy profile.The high value of Murano glass is explained by the artisanal and secret process of its makers. Made on the Italian island of Murano, this glass has special properties and offers colours and shapes unlike any other glass. The history of Murano glass manufacturing dates back to the 8th century. By the 12th century Venice had become extremely popular for its fine glass. To keep the glass-making business unique and profitable, a law was passed in 1271 stating that no foreign glass could be imported for manufacture and no foreign glass workers could be hired. However, in the 13th century all glassmaking furnaces were moved by law from Venice to Murano, because the fires in them posed a great risk to the wooden structures of Venice. In combination, these two laws ensure that Murano glass is still unique today; created by artists and craftsmen from a small group of islands in Italy. The secrets of glass making have been passed down from father to son and from master to apprentice.
HEINRICH HOFFMANN & HENRY G. SCHLEVOGT(Czech Republic, 1875-1939 / 1904-1984); Bohemia, circa 1940.Vase.Modelled glass with satin finish.Remains of the old labelling.Provenance: Private collection, Spain between 1970-1990.Measurements: 9 x 7 cm (diameter).Vase made of glass with an octagonal base with a modelled ornamentation with a satin finish. The piece has been decorated with figures of cherubs and flowers which are arranged around the outer perimeter of the work, in the form of a frieze. The piece is notable for the quality of the forms and the expressiveness of these little angels, whose various postures lend great dynamism to the composition.The names Hoffmann and Schlevogt are synonymous with Czech Art Deco glass. Colleagues and partners, they manufactured their own designs, as well as producing pieces created by other leading designers of the day. They were especially renowned for their moulded glass pieces, often evoking the appearance of hard stones such as jet or lapis lazuli.
RUDOLF WELS (Osek, 1882 - Auschwitz, 1944) for MOSER & SOHNE.Art Deco vase, "Animor" series. Czechoslovakia, ca. 1925.Carved purple glass, acid-etched and gilt-decorated.Signed on the side and bottom.Measurements: 12 cm (height); 15 cm (diameter).This vase was created by Rudolf Wels for Moser & Sohne, for their "Animor" series, around 1925.Rudolf Wels was a Czech architect active in West Bohemia and Prague. His work in glass design for the Moser company is particularly noteworthy. Wels was one of Czechoslovakia's most prominent interwar architects. He studied at the Vienna Academy with Friedrich Ohmann. In Vienna he also attended courses given by Adolf Loos, which had a crucial influence on his future creative activity. From the early 1920s, Rudolf Wels worked in Karlovy Vary, where, in the period 1921-1922, he worked for the famous glass manufacturer Moser, renovating existing buildings and designing new ones.The Moser glassworks was established in Karlsbad in 1857, in the north-eastern part of Bohemia, its founder was Ludwig Moser. In 1873 Ludwig Moser was awarded a prize for a glass at the International Exhibition in Vienna. This prize enabled Moser to enter the market with greater force and in 1893 he set up a factory in Meierhofen with the aim of creating glass from the very beginning of the production process. In this year, the factory had four hundred employees and was called Karlsbaderglasindustrie Gesellschaft Ludwig Moser & Söhne. Ludwig's sons (Gustav and Rudolf) start working for the company. After years of success in the 19th century at various international competitions, the company underwent several closures and transfers during the 20th century. Nevertheless, the company has always remained one of the most important glass companies in Bohemia. It is a brand with a century-long tradition in the production of high-quality, luxury glassware, having been an official supplier to several royal houses and palaces in Europe.
LOETZ. Czech Republic, ca. 1910.Art Nouveau vase.Unsigned.Vases of similar characteristics and decorations at www.loetz.com/decoraciones.Provenance: Private collection, Spain between 1970-1990.Measurements: 12,5 cm (height); 8 cm (diameter).Vase with a circular base, with a domed belly and a wavy mouth, designed to resemble the corolla of a flower. The entire surface of the vase is enamelled with fluid, organic forms typical of Art Nouveau glass (Jugendstil in Central Europe). The quality of the materials and the workmanship of the glass is habitual in the Loetz firm, especially in the use of iridescent glass, widely used in Central European modernism, characterised by its chromatism, which changes according to the angle of incidence of the light on its surface, and by its metallic appearance. This material, the result of intensive technical research carried out in the artistic glass workshops of the second half of the 19th century, is obtained by adding various metallic oxides to the base mass of glass.
LOUIS DAMON (1860-1947)Compoter with plate. Paris, ca. 1905.Signed Damon 20 bd. Malesherbes Paris on the back of the compote dish.Provenance: Private collection, Spain between 1970-1990.Measurements: 9.5 cm (height); 13 cm (diameter) compote dish. 20 cm (plate diameter).Compote dish with plate, Art Nouveau period, in translucent blown glass, hand-fired enamelled with vegetal decorations and gilt borders.Louis Damon became the owner of the shop "Au Vase Etrusque" at 20 rue Malesherbes in Paris in 1887 at the age of 27. Greatly creative, he had a decoration workshop and made his own models for resale. In 1889, the Daum brothers entrusted him with the finishing of the Berluze vases with long handles. He worked on them in his workshop, finely engraving them with a cameo or intaglio wheel with plant motifs that he drew himself in an Art Nouveau style. He also distributed a range of glassware in Vallerysthal, Portieux and Baccarat. Rewarded in 1900 during the 1900 Universal Exhibition with a silver medal, he joined forces with his brother-in-law Delente. He then signed Damon and Delente/Au Vase Etrusque. In the 1920s, the shop moved to 4 avenue Pierre 1er de Serbia in Paris. It became Etablissements Damon with workshops located at 13 rue Verniquet in Paris, producing household appliances and artistic stained glass windows. Louis Damon's creations between 1889 and 1905 bear the signature LDamon, LDamon/Parus or DAMON/PARIS, sometimes followed by the address 20, bdMalesherbes.
Art Nouveau style vase, ca.1940.In multilayered glass, acid-etched.Provenance: Private collection, Spain between 1970-1990.Measurements: 29,5 x 11 x 11 cm.Vase with a slender body whose design is inspired by Art Nouveau, made in acid-etched glass and worked in multilayer combining yellow and orange tones on white with a representation of sensual flowers.
DAUM FRÈRES. Nancy, France, ca.1930.Large Art Deco vase.Blown glass and gold inclusions.Signed "Daum Nancy, France" and cross of Lorraine.Provenance: Private collection, Spain between 1970-1990.Measurements: 44.5 cm (height) x 18.5 cm (largest diameter).This large vase is made of blown glass in various shades of mottled blue and is decorated with gold inclusions in the form of sequins. It has a slender design with a circular base supported by a flared body and a hemispherical bowl. It is an Art Deco piece characterised by clean, refined forms.The Daum manufacture was founded at the end of the 19th century by Augustin Daum (1853-1909) from a small family glassworks in Nancy. He was joined by his brother Antonin (1864-1931), and the Daum workshops soon became a meeting place and training ground for many young artists, who gave impetus to the Art Nouveau style in Nancy. At first they made ordinary glass, but in 1891 they decided to open a decorative workshop and to embark on artistic production, probably as a result of the success of Émile Gallé (1846-1904) at the 1889 Exhibition. During the First World War, the factory closed, but resumed production after the war, adapting to the change in aesthetics and leaving behind the modernism of its first period. During the Art Nouveau period, most of Daum's pieces were made of acid-etched cameo glass, but with the new Art Deco style, new techniques and decorative styles were investigated.
Possibly by WILHELM KRALIK & SOHNE, Bohemia, ca.1910.Art Nouveau vase, ca.1910.Blown glass, hand-enamelled. Gilt metal mouthpiece.Provenance: Private collection, Spain between 1970-1990.Measurements: 25 x 18 x 18 cm.Art Nouveau blown glass vase. The attractive iridescence in shades of silver, emerald and amber are the result of technical and formal solutions characteristic of the Bohemian house of Wilhelm Kralik and Sohne. The neck and neckband are decorated with gilt metal appliqués, the openwork of which is typically modernist in design.The firm Wilhelm Kralik & Sohne was founded in 1881, and focused on the production of iridescent art glass and applied wires, as well as a series of pieces inspired by those of Loetz. They also produced glass with an outer layer of silver. Kralik is especially known for its main productions: "Martelle", iridescent pieces combining white and pink glass and veins of other colours randomly distributed on the surface; and a set of pieces made in white and silver glass, with irregular textures. The factory closed during World War II.
ERCOLE BAROVIER for BAROVIER & TOSO. Murano, Italy ca. 1945.Blown glass vase.Hand signed with burin "barovier & toso, Murano" on the back of the base.Provenance: Private collection, Spain between 1970-1990.Measurements: 35 cm (height); 15,5 cm (diameter).Vase in translucent blown glass, decorated with leaves in relief on the sides.Ercole Barovier was born in Murano, Italy, and also died there. He joined the family business as a partner in 1919 and in 1926 was appointed artistic director. He was more than just a businessman; he was an entrepreneur and artistic visionary. He invented the technique of "non-fusing thermal colouring" and from the late 1920s until his retirement in 1972, he personally designed every major glass object produced by the company, a portfolio that numbered more than 25,000 designs. Ercole Barovier's lights, glass and designs can be found in major museum collections around the world.Barovier & Toso was formed in 1936 with the merger of two glass factories: Vetreria Artistica Barovier and Ferro Toso. The company was first known as Ferro Toso Vetrerie Artistiche Riunite SA until 1942 and then as Barovier & Toso. Chief designer Ercole Barovier created many well-known designs, including Crepuscolo , Brillantati , Zebrati , Acanto and, of course, the popular fluted Cordonato d'Oro design, usually made in red glass with gold leaf inclusions. The company still exists today.
CHARLES SCHNEIDER (Château-Thierry, France, 1881- Épinay-sur-Seine, France, 1953) for LE VERRE FRANÇAIS.Large Art Deco vase "Colliers", ca.1927, Chardes Collection.Acid-etched glass.Signed Charder (contraction of Charles Schneider) and Le Verre Français on the base.Similar works are published in the book "Charles Schneider: Le verre français-Charder Schneider", by Marie-Christine Joulin and Gerold Maier, p. 162.Provenance: Private collection, Spain between 1970-1990.Measurements: 46.5 cm (height) x 15 cm (diameter).The Colliers collection proposed by Charles Schneider for Le Verre Français is characterised by its ornamental sense and technical experimentation in the treatment of glass, a typically Art Nouveau aspect. This vase stands on a circular base and has a slender belly that is wider at the base. It has a pink marbled base decorated with acid-etched geometric forms.Ernest (1877-1937) and Charles Schneider (1881-1953) founded a small glassworks in Epinay-sur-Seine, France, in 1911. Charles Schneider, a graduate of the École des Beaux-Arts in Paris and gifted with unusual artistic skills, together with his brother, succeeded in making his production the most important art glassworks in France between 1926 and 1930. His pieces were always hand-blown, which meant that each glass in the same series would never be identical to another. At the same time, the range of hot and cold decoration processes was always applied with virtuoso mastery. Charles Schneider meticulously studied the temperature and chemical compositions to obtain an extremely extensive palette of colours, some of them never seen before and of unprecedented strength in the art of glass. The so-called Tango, for example, an explosive orange, was to become the most innovative. Known as Verreries Schneider, the firm realised two production lines. The first, under the brand name Le Verre Français, includes pieces decorated with the acid-etched cameo technique, with generally two colours of glass superimposed and a stylised floral decoration, shiny on a matt background. The second line, under the emblematic Schneider brand, is made up of pieces in shorter series, sometimes unique, offering smooth and shiny glassware, with more elaborate and personal decorative techniques. In any case, the success of this firm was undoubtedly due to the creative frenzy, enthusiasm, talent and genius of one man, Charles Schneider.
ÉMILE GALLÉ (Nancy, France, 1846 - 1904).Art Nouveau vase, ca.1900.In multilayered glass in shades of pink, acid-etched with green plant motifs.Signed on the side.Provenance: Private collection, Spain between 1970-1990.Size: 30 x 16 x 16 cm.Émile Gallé began his career working for his father, who owned a glass and ceramics factory, producing designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he travelled around Italy, England and Germany, taking an interest in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return he settled in Meisenthal, where his family's glass furnaces were located, in order to fully learn the craft of glassmaking. He also travelled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory and soon achieved great international success, winning prizes at International Exhibitions and selling works to important collections and museums. Today, works by Emile Gallé can be seen in the Hermitage Museum in St Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.
LOUIS COMFORT TIFFANY (United States, 1848 - 1933).Art Nouveau vase "Lilies", ca. 1910.Signed "L.C.T. 889A" on the base.Another vase with similar characteristics is referenced in the book "The Art Of Louis Comfort Tiffany", p. 187.Provenance: Private collection, Spain between 1970-1990.Measurements: 15 cm (height) x 10 cm (diameter).Louis Comfort Tiffany was the American artist and industrial designer most associated with the Art Nouveau movement. He was a painter, interior decorator, designer of stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewellery and metalwork. On this occasion we present the "Lilies" vase, an elegant piece with a circular belly and prominent shoulders whose surface has been decorated with a subtle foliate motif typical of Art Nouveau.Louis attended Eagleswood Military Academy in Perth Amboy, New Jersey. His early artistic training was as a painter, studying with George Inness and Samuel Coleman in New York City and with Leon Bailly in Paris. In about 1875 he became interested in glassmaking and worked in various glassworks in Brooklyn. In 1879 he partnered with Samuel Colman and Lockwood de Forest to form Louis Comfort Tiffany and Associated American Artist. Tiffany's leadership and talent, along with his father's connections and financial resources, made the business a success. Tiffany's desire to concentrate on glass as an artistic element led to the dissolution of the company in 1885, when he chose to establish his own glass-making firm. The first Tiffany Glass Company was incorporated on 1 December 1885, and in 1900 it became known as Tiffany Studios. In his factory he used opaque glass in a variety of colours and textures to create a unique style of stained glass, which contrasted with the method of transparent painted or enamelled glass that had been the dominant methods of stained glass making for hundreds of years in Europe. The use of coloured glass for stained glass was motivated by the ideals of the Arts and Crafts movement and its leader William Morris in England. Artist and glassmaker John La Farge was Tiffany's main competitor in this new American style of stained glass. Both had learned their craft in the same Brooking glassworks in the late 1870s. In 1893 Tiffany built a new factory, called Tiffany Glass Furnaces, located in Corona Queens, New York. That same year his new company introduced the term favrile in conjunction with its first production of blown glass. Early examples of his lamps were exhibited at the Chicago World's Fair in 1893, and he registered the term favrile on 13 November 1894. He then extended the use of this term to his entire production of glass, enamel and ceramics. The first commercially produced lamps date from around 1895. Much of his company's production was the manufacture of stained glass for windows and the creation of lamps, although his company designed a complete range of decorative objects for interiors. At its peak, his factory employed more than 300 craftsmen. Tiffany used all his skills in the design of his own house in Oyster Bay, New York, Long Island, which had 84 rooms and was completed in 1904. It was later donated to his foundation for art students, along with 243,000 m² of land, but was destroyed by fire in 1957. Tiffany maintained a close relationship with the family-owned Tiffany Company. Many of the products he produced were sold there. After his father's death in 1902 he became Artistic Director of Tiffany & Co. Tiffany Studios remained in business until 1928.
DAUM FRÈRES, France. Art Nouveau, ca. 1910.Blown glass vase.Signature D. F. almost erased on top.Provenance: Private collection, Spain between 1970-1990.Measurements: 36.5 cm (height); 15 cm (diameter).An Art Nouveau blown glass vase in conical form with a smooth circular mouth, yellow in colour with brown mottled decoration.The Daum manufacture was founded at the end of the 19th century by Augustin Daum (1853-1909) from a small family glassworks in Nancy. He was joined by his brother Antonin (1864-1931), and the Daum workshops soon became a meeting place and training ground for many young artists, who gave impetus to the Art Nouveau style in Nancy. At first they made ordinary glass, but in 1891 they decided to open a decorative workshop and to embark on artistic production, probably as a result of the success of Émile Gallé (1846-1904) at the 1889 Exhibition. Eventually, Daum had a factory with more than three hundred employees and a wide range of artistic production. During the First World War, the factory closed, but resumed production after the war, adapting to the change in aesthetics and leaving behind the modernism of its first period. During the Art Nouveau period, most of Daum's pieces were made of acid-etched cameo glass, but with the new Art Deco style, new techniques and decorative styles were investigated.
Art Nouveau vase; Austria, ca.1910.Blown glass, with carrageenan decoration. Possibly belonging to the house of Loetz.Unsigned.Provenance: Private collection, Spain between 1970-1990.Measurements: 12 x 16 x 16 cm.Blown glass vase with bulbous belly, decorated with mauve drips around the mouth, on a pink background. Due to the type of glass, we can relate this vase to the Austrian manufacturer Loetz, founded in 1840 and a pioneer in the use of new techniques and materials, following the line of experimentation typical of the glass artists of the second half of the 19th century. The firm took part in the Paris International Exhibition of 1889, where its pieces were unanimously acclaimed by the critics.
FRANTISEK PAZOUREK (Czechoslovakia, 1905-1997), for SCHLEVOGT. Bohemia, ca. 1940.Vase "Grape Harvest", Art Deco period, in malachite moulded glass, green.Provenance: Private collection, Spain between 1970-1990.Measurements: 22 cm (height); 11.5 cm (largest diameter).American-born Curt Schlevogt established his own company focusing on the export of pearls from Jablonec in 1928. In the following years, however, his company also became heavily involved in the production of artistic glassware (tiny applied glass objects made by moulding or blowing). This was probably caused by his son, Henry Günther Schlevogt, who was extensively involved in the introduction of this type of production at the Jablonec export company A. Sachs & Co. as its representative in the USA.At the 1934 spring fair in Leipzig, the Schlevogt company presented its moulded glass collection under the brand name "Ingrid". The collection was opened and gradually received new patterns. The most artistically impressive ones were the result of the company's collaboration with prominent artists such as Ladislav P?enosil, Zden?k Juna, František Pazourek, Artur Pleva, M. Petrucci, E. Rottenberg and many others. The company gained fame and favour among glass lovers mainly for its fashionable glass materials, jade, turquoise jade and lapis lazuli, of which a significant part of the collection was moulded at the Josef Riedl glassworks in Polubný.A supreme example of the artistic efforts of the Schlevogt company was its "ArtisticCrystallery - Ingrid" catalogue, which included figurative sculptures awarded the Grand Prix at the 1937 World Exhibition in Paris. Among the conventional Art Nouveau and Rococo models, functionalist designs or, eventually, variations on Art Deco and Bruno Mauder's designs (vases, jugs) predominated.
Jugendstil vase. Austria, ca. 1915.Iridescent blown glass.Provenance: Private collection, Spain between 1970-1990.Measurements: 24.5 cm (height); 10 cm (diameter).In this vase we see one of the main characteristics of Art Nouveau glass (Jugendstil in Central Europe): the integration into the design of the metal mount, in this case a caryatid, which is not a simple ornament but an essential part of the structure. The body of the vase is made of iridescent glass, widely used in Central European modernism, characterised by its chromatism, which changes according to the angle of incidence of light on its surface, and by its metallic appearance. This material, the result of intensive technical research carried out in the artistic glass workshops of the second half of the 19th century, is obtained by adding various metallic oxides to the base mass of glass. It has a design in the form of curved curtains that fall to create flowing, graceful forms.
DAUM; France, ca.1910.Art Nouveau vase.Green moulded glass, acid-etched with vegetal elements. Bronze foot and mouthpiece.Signed on the reverse.Provenance: Private collection, Spain between 1970-1990.Measurements: 15 cm (height) x 8 cm (diameter).The Daum manufacture was founded at the end of the 19th century by Augustin Daum (1853-1909) from a small family glassworks in Nancy. He was joined by his brother Antonin (1864-1931), and the Daum workshops soon became a meeting place and training ground for many young artists, who gave impetus to the Art Nouveau style in Nancy. At first they made ordinary glass, but in 1891 they decided to open a decorative workshop and to embark on artistic production, probably as a result of the success of Émile Gallé (1846-1904) at the 1889 Exhibition. Eventually, Daum had a factory with more than three hundred employees and a wide range of artistic production. During the First World War, the factory closed, but resumed production after the war, adapting to the change in aesthetics and leaving behind the modernism of its first period. During the Art Nouveau period, most of Daum's pieces were made of acid-etched cameo glass, but with the new Art Deco style, new techniques and decorative styles were investigated.
Vase. MURANO VETRO ARTISTICO, ca.1950.Blown glass, decorated with silver leaf and murrine technique.Provenance: Private collection, Spain between 1970-1990.Measurements: 20 x 14 x 11 cm.Murano vase, in blown glass, worked with the murrina technique to obtain a variety of chromatic shades that do not mix. Murrina has its roots in the craftsmanship of Roman times; after falling into disuse over the centuries, it was only rediscovered and made fashionable in the second half of the 19th century, with Murano glassworks being one of the most important contributors to its revival. Murano's reputation as a glass-making centre was born when the Republic of Venice, fearing fires and the destruction of the city's wooden buildings, ordered the glassmakers to move their foundries to Murano in 1291. Murano glass is still associated with Venetian glass.
VAL SAINT LAMBERT. Belgium ca. 1950.Moulded glass vase.Signed on the reverse of the base.Provenance: Private collection, Spain between 1970-1990.Measurements: 18 x 20,5 x 16,5 cm.Vase in translucent moulded glass with an organic-inspired design: undulating shapes run around the mouth, giving the body the shape of a tulip.Val Saint Lambert is a glass company whose head office is located in the former abbey of Seraing, in the province of Liège, Belgium. The company has been in operation since 1826, Val St. Lambert is the official supplier of King Albert II of Belgium. It is characterised by a quality production due to the clarity of its glass. In 1825, Jean-François Deneef moved to Val Saint-Lambert with the intention of creating a glass factory whose quality would surpass that of the neighbouring Baccarat. Val Saint Lambert was founded by the chemist M. Kemlin, who had previously been employed at Vonêche in the Ardennes. It soon won several medals for the clarity of its crystal pieces. Val Saint Lambert is known for its art nouveau and art deco style pieces.
TROIKA POTTERY CUBE SHAPED VASE,by Jane Fitzgerald, circa 1978-83, with geometric textured designs on a blue, brown and beige ground, signed 'TROIKA' and with monogram to base, 8.5cm highCondition report: Condition generally good, with light manufacturing flaws including crazing and frit to interior. Wear to base. Additional images now available.
TROIKA POTTERY CUBE SHAPED VASE,by Linda Hazel, circa early 1970s, with geometric textured designs on a blue ground, signed 'TROIKA CORNWALL ENGLAND' and with monogram to base, 8.5cm highCondition report: Condition generally good, with light manufacturing flaws. Sticker residue to interior. Wear to base. Additional images now available.
TROIKA POTTERY CUBE SHAPED VASE,by Annette Walters, circa late 1960s/early 1970s, with geometric textured designs on a brown, beige and blue ground, signed 'TROIKA ' and with monogram to base, 8.5cm highCondition report: Condition generally good, with light manufacturing flaws including crazing to interior. Wear to base. Additional images now available.
TROIKA POTTERY WHEEL SHAPED VASE,by Alison Brigden, circa 1977-83, with geometric textured designs on a blue, brown and beige ground, signed 'TROIKA CORNWALL' and with monogram to base, 19.7cm highCondition report: Condition generally good, with light manufacturing flaws. Wear to base. Additional images now available.
TROIKA POTTERY WHEEL SHAPED VASE,by Simone Kilburn, circa 1975-77, with geometric textured designs on a brown and blue ground, signed 'TROIKA' and with monogram to base, 11.9cm highCondition report: Condition generally good, with light manufacturing flaws. Possible very minor nick to inside rim, though possibly a flaw. Wear to base. Additional images now available.
TROIKA POTTERY COFFIN SHAPED VASE,by Annette Walters, circa late 1960s/early 1970, with geometric textured designs on a brown, beige and dark green ground, signed 'TROIKA' and with monogram to base, 17.6cm highCondition report: Condition generally good, with light manufacturing flaws. Wear to base. Additional images now available.
TROIKA POTTERY COFFIN SHAPED VASE,by Annette Walters, circa late 1960s/early 1970, with geometric textured designs on a beige and blue ground, signed 'TROIKA' and with monogram to base, 17.7cm highCondition report: Condition generally good, with light manufacturing flaws. Wear to base. Additional images now available.
MOORCROFT 'POMEGRANATE AND GRAPES' PATTERN VASE,of waisted cylindrical form, tube-lined with fruits on a mottled blue ground, impressed marks and signature in green, 37cm highCondition report: Condition fair. Two restorations to rim. Crazing throughout. Stable hairline to base. Will require a light clean throughout. Additional images now available.
Stefano della Bella (1610-1664)Le Vase de MediciEtching, 1656, a very good delicate impression on laid paper with watermark of grapes, sheet 315 x 274 mm (12 1/4 x 10 3/4 in), trimmed to or just within the platemark, upper right corner with repair to old tear, minor handling creases (unframed)Literature:De Vesme 832 ii/ii
COLLECTION OF SILVER CUTLERY,comprising two sets of six pastry forks, a set of dessert forks, two sets of six silver handled knives, two sets of six teaspoons and a silver handled carving knife, these cased, along with further loose silver of various grades including a small toast rack, pair of patented servers, vase and strainer, weighable silver approx 695g
A Chinese blue and white porcelain octagonal dish, Qianlong period, the centre decorated with mother and child in a garden, willow tree and birds, 18 x 26.7cm, a Chinese celadon twin handled vase, circa 1900, height 13cm, a celadon plate, diameter 18.5cm, blue and white vase, height 18cm and a blue and white export dish, 19th century, diameter 15.5cm.
A Chinese blue and white porcelain baluster vase, circa 1800, the trellis ground with river scenes, height 14cm.Condition report: Being overly critical, there are two cm sized hairline cracks to the inside of the neck. Two very small firing flaws (3mm in size) one to the top and one to the bottom of the vase.
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