Robert Finn Porcelain Iris Cutout Vase

Robert Bonfils (1886-1972) for manufacture National Sèvres. Art Deco porcelain vase decorated with polychrome enamel of a tiger hunt, gold threads. Signatu...

This exceptional ceramic Art Nouveau vase was created by the esteemed Austrian potter Robert Hanke circa 1900. It features a cylindrical body with a cinch...

Tall Majolica iris vase Massier unsigned of the end of 19th century. Art Nouveau period.

Pair of Porcelain Vases with Gilt Painted Irises, 20th Century Italy

Large French Majolica Iris Vase Massier, circa 1880.

Pair of large cone vases in enameled glass and gilding decorated with iris by François Théodore LEGRAS. They soo there in very good condition. Dimensions Height 30cm Diameter at the...

On the significant heritage from Archibald Knox in particular this very tactile and organically crafted pewter vase from German Keyserzinn tics all the right boxes. It was designed b...

Loetz Rubin Matte Iris - 1898 (aka: rubin metall) Registered Model: PM I-7875 Ruby ground; metallic-bronze iridescent finish (iris) with purple highlights. Measures: Height 7.75 inches Width 4.25 inches Condition: Excellent AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back return if the items are not as described. In 1836, Johann Eisner established a glassworks in the Southern Bohemian town of Klostermühle, today part of the Czech Republic and called Klášterský Mlýn. His heirs sold the glassworks to Martin Schmid in 1849, and two years later Schmid sold it to Frank Gerstner, attorney-at-law, and his wife Susanne. Susanne was the widow (‘Witwe’ in German) of Johann Loetz, a glassmaker about whom we know very little. Gerstner transferred sole ownership to Susanne shortly before his death in 1855, and she successfully led and expanded the company during the subsequent 20 years, manufacturing mainly crystal, overlay and painted glass. In 1879, Susanne transferred the company – now called ‘Johann Loetz Witwe’ – to Maximilian von Spaun, the son of her daughter Karoline. One year later, von Spaun hired Eduard Prochaska and the two of them modernized the factory and introduced new, patented techniques and processes. The Historicist Period The first fruits of this collaboration were exciting innovations in Historicism glass, including Intarsia and Octopus glass and the very popular marbled (‘marmorisierte’) glass which imitated semi-precious stones like red chalcedony, onyx and malachite. Success at exhibitions in Brussels, Munich and Vienna were crowned by awards at the Paris World’s Exposition in 1889. In 1897, von Spaun first saw Tiffany Favrile glass exhibited in Bohemia and Vienna, and this convinced him that the art nouveau style was also the way to go for Loetz Witwe. The next eight years were to be the most artistically significant and profitable period in the entire history of the company. The Art Nouveau Period – the Glory Years Loetz Paris-Expo1900Loetz Paris-Expo1900The glassworks created large numbers of its own new designs of iridescent, trailing art nouveau glass, sometimes in collaboration with well-known artists and designers like Marie Kirschner and Franz Hofstötter (aka Franz Hofstätter). The zenith of Loetz art nouveau glass was epitomized by the so-called Phänomen series of designs, much of it designed by Hofstötter, which won a Grand Prix (alongside Tiffany, Gallé, Daum and Lobmeyr) at the Paris World’s Exposition in 1900. The company’s success during this period had two prime drivers – the technical expertise of Prochaska and the business acumen of von Spaun. Loetz Witwe created many of its own designs, and also supplied glass commissioned by major customers like E. Bakolowits (Vienna) and Max Emanuel...

1982 studio vase, of glass with polycrom decorations, by Danish glass-maker Finn Lynggaard (1930-2011). Lynggaard studied painting and ceramics at the Royal College of Arts in Copenhagen, graduating in 1955. He shifted first from painting to ceramics, authoring a book on Raku technique, then to glass-making in 1970, and became becoming known as the father of Danish studio glass. In 1985 he and his wife glass artist Tchai Munch...

"Juventute" vase white porcelain with glossy glaze, designed by KPM workshop in 1890.