Jugendstil Vases

Unmatched set of unique and antique Danish opaline glass vases. They are hand blown and handprinted with floral motifs. Both created at Fyns Glasværk (later bought by Holmegaard) in ...

By Wilhelm Schiller & Son. Austria Majolica vase. Early 1900 Impressed within a raised cartouche in the clay at bottom: WS&S / 7...

Exceptional set of two vases, so-called basket vases, made from 1910 - 20, by the famous Amphora factory in Bohemia. The vases have a round base and taper towards the top. They have...

Rare, decorative vase by Michael Andersen & Son (MA&S) with beautiful glaze in different colors (yellow, green, grey..) flows down the rounded shape. The upper part has decorativ...

Jugendstil vases by Carl Deffner, combination of brass and copper.

Small and early Danish Pottery vase with subtle Art Nouveau/Jugend styling and shape. Unusual caramel colored glazes. Designed by Michael Andersen...

Jugendstil/Art Nouveau silver plated chalice-shaped presentation trophy vase by german company Württembergische Metallwarenfabrik (WMF) By: Würt...

A very interesting German attributed jugendstil art pottery vase applied in relief with stylized trees and dating from around 1900. The vase stands on a narrow rounded unglazed foot ...

Jugendstil vase, Vienna, around 1909 Polished and stove enameled.

This is a large hand blown emerald green opaque glass vase with applied open work copper overlay decoration, which is likely to have been manufactured i...

Conch Shell Glass Vase Handmade by Johann Loetz Witwe Austria/Bohemia Jugendstil circa 1902 "Diaspora" Decoration The naturalistically depicted shell and snail vases...

Step into the elegance of the Art Nouveau era with this exquisite natural shape Despite its age, this vase remains in remarkable condition With its interesting size and captivating...

A fine Art Nouveau silver mounted art glass vase. Comprising a Loetz Phaenomen glass body in Candia coloration and an Art Nouveau hand hammered Martel...

Bohemian Ceramic Vase Manufactured by Amphora Riessner Stellmacher Kessel, Turn-Teplitz circa 1895 "ivory porcelain", ceramics, colorfully glaz...

Inkwell "Repos" (rest), Gustav Gurschner, probably Paris World Exhibition 1900 This bronze inkwell was created in the context of the 1900 ...

This Martelé iridescent blown glass vase by Wilhelm Kralik Sohne, Bohemia, represents a pinnacle of craftsmanship and artistic expression from the early 20th century. Known for their...

A small ornate Jugend Vase by danish manufacturer Michael Andersen & Son. Made in the first part of the 20th century. The vase is organically shaped with ...

Small vase with smooth walls and handles in shades of blue and brown. On the bottom stamped EL with crown (= Grand Duke Ernst Ludwig) as well as Großherzogliche Keramik Manufaktur Da...

Pair of W.M.F. silver plate jardinière with glass. Jugendstil style. Germany, circa 1900.

Step into the elegance of this artist engraved glass. Exceptional quality work. The artist thus far remains unidentified, but is of great talent. Possibly used existing glass to engr...

Alfonso Canciani (Italian-Austrian, 1863-1955) was a famous Italian-Austrian sculptor of the period of accession to the Viennese Secession. Son of a stonemason, after a realist period he managed to establish himself as a leading sculptor of the Viennese Secession. In fact, he worked in Vienna, where he had enrolled in 1886 at the Academy of Fine Arts, then at the Higher School of Sculpture and finally at the Special School, where he obtained the Rome prize for the sketch for Dante's Monument. He developed a notable business obtaining important prizes and numerous commissions. First among the sculptors of the Viennese capital, he was invited to join the Association of the Viennese Secession, of which Klimt was magna pars, after the exhibition of Dante's group in 1900 at the Secession exhibition, and obtained the most important Austrian artistic prize, the Kunstlerlpreis. This same work, presented in 1910 in Berlin, at the Great Art Exhibition, also received an important recognition here. He obtained the Rome prize in 1896, exhibited successfully in Munich and in 1899 at the III International Art Exhibition in Venice. In that period he made some statues of saints for the cathedral of Santo Stefano in Vienna, the monument to Wagner, the bust of Nietzsche for the University, the scepter and the gold chain of the University Rector, figures of Italian poets ( Petrarch, Boccaccio, Tasso, Ariosto). He submitted a sketch for the official monument to Empress Elizabeth, which was then built in Austrisn Gföhl and Pula. At the time of his accession to the Secession, he dedicated himself to decorating the facade of the Artaria house in Vienna in collaboration with the architect Max Fabiani. He later abandoned the symbolist decorativism of the Jugendstil for a more concentrated and vigorous style, approaching the Belgian sculptor Constantin Meunier for the theme of work, and preferring to exhibit at the Künstlerhaus. In Vienna, he was generous with advice and help with the Italians and in particular with his fellow citizens (such as the Brazzanese Luigi Visintin, then a university student). After the First World War, he returned to Italy and lived in Friuli, penalized by the fact that the Habsburg Empire had by now disappeared. Instead of large-scale public monuments, he then devoted himself to engraving medals (e.g. for Benedict XV and for the Italian mission in Vienna in 1919) and to designing funeral monuments (examples in Mali Lošinj and Trieste) and portrait busts (of Generals Carlo Caneva and Antonio Baldissera in Udine, sculptures of the War Memorial of Corno di Rosazzo). After all, he had already executed the Bab grave monument in the Döblinger cemetery in Vienna in 1909. He taught in Trieste from 1920 until 1935, at the local school of industrial art, where he had Marcello Mascherini...