London - Vases and Vessels

A complete writing desk set in the Coalbrookdale style with lavishly encrusted flowers, consisting of a tray, an inkwell with inner liner and double cover, a pen holder, and a blot h...

Diminutive midcentury Italian ceramic bottle by Bruno Gambone (circa 1970s). Elegantly cylindrical with a two-toned glaze, one glossy black, the...

Hallmarked in London in 1901 by Mappin & Webb, this handsome pair of Antique, Edwardian, Sterling Silver Vases, are plain in design, and of larger than usual size. Each vase measures...

An Antique solid Silver Epergne Centrepiece with a large oval central basket supporting a tall trumpet shaped vase on top of an impressive concave shaped stand. The central stand has...

Midcentury ceramic vase, circa 1960s by Jacques Pouchain (1925-2005). This milk-pitcher-shaped vase in Pouchain's signature cloudy glaze style is stylish, characterful and substantia...

Decorative elongated ceramic flower vase (circa 1960s). This mid-century flower vase is cylindrical in shape and stylishly glazed with a sheen in a d...

A very unusual and Murano blue and turquoise glass vase. The original round foil sticker is visible on one side marked: Murano Made In Italy. A beautiful decorative piece perfect for a glass display case or shelf where the light can shine through it to emphasise the beautiful and almost luminous two-tone coloured glass. The vase is made in the Sommerso (submerged) style with darker royal blue glass submerged inside lighter turquoise clear glass...

A Mid-Century ceramic bottle / vase by Alexandre Kostanda (circa 1960s). This stunning asymmetric earthenware vessel presents a misty appearance with earth tones in brown, beige and ...

A C.1920s black Catalan terracotta cosi pot from the village of Quart. Originally used for the storage of wine &/or olive oil. Nicely patinated du...

Pair Of Showa Period Japanese Lacquered Woven Bamboo Ikebana Vases, Japan, C.1950 The word Ikebana translates as the Japanese art of flower arrang...

A large green glazed Hurlingham pottery vase stamped and numbered underneath. Cream glazed on the inside. Some marks to the green glaze which should be visible in the photos, otherwi...

Turkey and France, circa 1890 and later An unusual group of three Iznik jugs with typical polychromatic floral sprays of tulips, rosettes, carnations and saz leaves. One from the Fr...

A silvered bronze vase with a frieze of prancing horses, bears incised monogram of French foundry Valsuani. Signed M Divani. Marcello Valsuani emigrated from Italy to France and wor...

This handcrafted vintage grain storage pot is a beautiful example of Anatolian terracotta artistry, offering a glimpse into traditional craftsmanship and rural heritage. Originally c...

An exciting clear, frosted and opalescent Art Deco glass vase with raised lozenge pattern interspersed with flowering branches heightened with light staining, signed to base R Laliqu...

William James Neatby (attributed). An Arts and Crafts Glasgow Style mahogany plant stand, with elongated uprights, circular caps and stylized floral pier...

Super decorative glazed vase, intricate monochromatic surface pattern. Italy 1950s H 30cm x D 20cm

Mid-century French ceramic apothecary jar by Albert Thiry (circa 1960s). A delightful piece with Thiry's signature style, chalk-white base with ...

French ceramic duck flower vase (1994) by Albert Thiry. A creamy-white glaze contrasts with a delicate green which progresses in intensity on the piece's ...

An impressive early 20th Century American iridescent glass vase of slender form with green hearts shining through an attractive golden iridescence, signed L C Tiffany Favrile and numbered to base. ADDITIONAL INFORMATION Height: 23 cm Condition: Very Good Condition Circa: 1905 Materials: Iridescent Coloured Glass SKU: 6667 ABOUT Louis Comfort Tiffany Louis Comfort Tiffany (February 18, 1848 – January 17, 1933) was an American artist and designer who worked in the decorative arts and is best known for his work in stained glass. He is the American artist most associated with the Art Nouveau and Aesthetic movements. Tiffany was affiliated with a prestigious collaborative of designers known as the Associated Artists, which included Lockwood de Forest, Candace Wheeler, and Samuel Colman. Tiffany designed stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewellery, enamels and metalwork. Early Life He was born in New York City, New York, the son of Charles Lewis Tiffany, founder of Tiffany and Company; and Harriet Olivia Avery Young. He attended school at Pennsylvania Military Academy in West Chester, Pennsylvania, and Eagleswood Military Academy in Perth Amboy, New Jersey. His first artistic training was as a painter, studying under George Inness in Eagleswood, New Jersey and Samuel Colman in Irvington, New York. He also studied at the National Academy of Design in New York City in 1866-67 and with salon painter Leon-Adolphe-Auguste Belly in 1868-69. Belly’s landscape paintings had a great influence on Tiffany. Career Louis started out as a painter, but became interested in glassmaking from about 1875 and worked at several glasshouses in Brooklyn between then and 1878. In 1879, he joined with Candace Wheeler, Samuel Colman and Lockwood de Forest to form Louis Comfort Tiffany and Associated American Artists. The business was short-lived, lasting only four years. The group made designs for wallpaper, furniture, and textiles. He later opened his own glass factory in Corona, New York, determined to provide designs that improved the quality of contemporary glass. Tiffany’s leadership and talent, as well as his father’s money and connections, led this business to thrive. In 1881 Tiffany did the interior design of the Mark Twain House in Hartford, Connecticut, which still remains, but the new firm’s most notable work came in 1882 when President Chester Alan Arthur refused to move into the White House until it had been redecorated. He commissioned Tiffany, who had begun to make a name for himself in New York society for the firm’s interior design work, to redo the state rooms, which Arthur found charmless. He worked on the East Room, the Blue Room, the Red Room, the State Dining Room and the Entrance Hall, refurnishing, repainting in decorative patterns, installing newly designed mantelpieces, changing to wallpaper with dense patterns and, of course, adding Tiffany glass to gaslight fixtures, windows and adding an opalescent floor-to-ceiling glass screen in the Entrance Hall. The Tiffany screen and other Victorian additions were all removed in the Roosevelt renovations of 1902, which restored the White House interiors to Federal style in keeping with its architecture. A desire to concentrate on art in glass led to the breakup of the firm in 1885 when Tiffany chose to establish his own glassmaking firm that same year. The first Tiffany Glass Company was incorporated December 1, 1885 and in 1902 became known as the Tiffany Studios. In the beginning of his career, he used cheap jelly jars and bottles because they had the mineral impurities that finer glass lacked. When he was unable to convince fine glassmakers to leave the impurities in, he began making his own glass. Tiffany used opalescent glass in a variety of colors and textures to create a unique style of stained glass. He developed the “copper foil” technique, which, by edging each piece of cut glass in copper foil and soldering the whole together to create his windows and lamps, made possible a level of detail previously unknown. This can be contrasted with the method of painting in enamels or glass paint on colorless glass, and then setting the glass pieces in lead channels, that had been the dominant method of creating stained glass for hundreds of years in Europe. (The First Presbyterian Church building of 1905 in Pittsburgh, Pennsylvania is unique in that it uses Tiffany windows that partially make use of painted glass.) Use of the colored glass itself to create stained glass pictures was motivated by the ideals of the Arts and Crafts movement and its leader William Morris in England. Fellow artists and glassmakers Oliver Kimberly and Frank Duffner, founders of the Duffner and Kimberly Company and John La Farge were Tiffany’s chief competitors in this new American style of stained glass. Tiffany, Duffner and Kimberly, along with La Farge, had learned their craft at the same glasshouses in Brooklyn in the late 1870s. In 1889 at the Paris Exposition, he is said to have been “Overwhelmed” by the glass work of Émile Gallé, French Art Nouveau artisan. He also met artist Alphonse Mucha. In 1893, Tiffany built a new factory called the Stourbridge Glass Company, later called Tiffany Glass Furnaces, which was located in Corona, Queens, New York, hiring the Englishman Arthur J. Nash to oversee it. In 1893, his company also introduced the term Favrilein conjunction with his first production of blown glass at his new glass factory. Some early examples of his lamps were exhibited in the 1893 World’s Fair in Chicago. At the Exposition Universelle (1900) in Paris, he won a gold medal with his stained glass windows The Four Seasons He trademarked Favrile (from the old French word for handmade) on November 13, 1894. He later used this word to apply to all of his glass, enamel and pottery. His first commercially produced lamps date from around 1895. Much of his company’s production was in making stained glass windows and Tiffany lamps, but his company designed a complete range of interior decorations. At its peak, his factory employed more than 300 artisans. Recent scholarship led by Rutgers professor Martin Eidelberg suggests that a team of talented single women designers – sometimes referred to as the “Tiffany Girls” – led by Clara Driscoll played a big role in designing many of the floral patterns on the famous Tiffany...

The pieces follow the Narcissus Vases in Rosa Perlino and Rosso Levanto shown at David Gill Gallery in November 2017 and are made from these two traditional...

Italian glass 'Scavo' Vase by Alfredo Barbini, Murano (circa 1970s). This is the largest piece of the four and is cylindrical in shape. Scavo glass indicates that the glass went thro...

A Tessellated marble Tazza urn in Italian Emporador Marble. The undulating edge on the dish with brass banded soccle support.

A large late 18th C. black terracotta vessel from the Trás-os-Montes region of north east Portugal. Originally used for the storage of oil/wine. Heavily patinated with ripply textu...

A captivating contemporary limited edition glass scent bottle, featuring a floral-inspired body adorned with petal motifs. The stopper is elegantly crafted in the form of two butterf...

A C.1920s black Catalan terracotta cosi pot from the village of Quart. Originally used for the storage of wine &/or olive oil. Nicely patinated du...

A small ceramic vessel by renowned British potter Waistel Cooper (1913-2009). The organic shape is decorated with handmade vertical - and occasional lateral - sgraffito lines - in n...

A heavily patinatetd 18th C. black terracotta vessel from northern Portugal. Originally used for the storage of oil/wine.

Quiet and restrained, this lidded vessel by Jason Wason carries the trace of the maker’s hand. Incised lines cross the surface like handwriting, offering a tactile contrast to the sm...

This is an extremely rare set of lidded sauce tureens made by Coalport in circa 1820. The tureens are decorated in the "Marquess of Anglesey" pattern. These sauce tureens would have formed part of a large dessert service. They were used for the sauce to be served on ice cream or a cooked sweet dish, and the lids have holes for the sauce ladles. Coalport was one of the leading potters in 19th and 20th century, coming out with many innovative designs. The pottery emerged around the year 1800 in Shropshire, right on the edge of Staffordshire and near other great makers such as Spode, Minton, Davenport and many others. They went on to become a major potter in the 19th century and brought out many iconic designs. The Welsh Nantgarw factory first created the heavily gilded service for the Marquess of Anglesey, with beautifully painted flowers. Later the Swansea factory made additions to or copies of this service, and circa 1820 Coalport...

À pretty amethyst coloured inverted dimple vase English c.1930’s

A striking early 20th Century Art Deco glass vase the top etched with deep burgundy hanging flowers and a warm orange honey comb pattern rising from the bottom against a vibrant yell...

Russian kovsch in silver gilt, cloisonne enamel and silver pearl Russian, 20th Century Height 7cm, width 12cm, depth 7cm This kovsch is a meticulously crafted piece, made by marryin...

Mediterranea moon jar, Hand-Painted Majolica with full-fire reduction firing, 40 cm diameter. Unique piece. Availble in the following diam. sizes: 40cm / 30cm / 25cm Bottega Vigno...

A fine and important gilt ground porcelain vase by the Gardner Factory Russian, c. 1830 Height 43cm, width 21cm, depth 15cm This fine antique v...

The pieces follow the Narcissus vases in Rosa Perlino and Rosso Levanto shown at David Gill Gallery in November 2017 and are made from these two traditional...

This exquisite pink porcelain clock set is made in the Louis XVI style and comprises of two vases flanking a central clock. The porcelain clock dial is delicately painted and bears a...

This is a charming frill vase made by the Chelsea Porcelain factory in about 1760. The vase is in the Rococo style and it speaks for itself why this style of vase is called a "frill" vase. This vase has undergone restorations (although it still holds water perfectly) and is therefore offered As Found (A/F) at a reduced price. Chelsea was one of the very early adopters of porcelain in the British china industry. Founded in 1744 the Chelsea pottery was for about 40 years the leading maker of fine chinaware, excelling in their sense of style, perfection and constant innovation and inspiring many following generations of china makers. The company was started by French silversmith Nicholas Sprimont and you can see the influence of the French style of silverware...

This exquisite jardinière was manufactured by the celebrated English company Minton, who are famous for their ceramics. It was designed by Baron Carlo Marochetti (1805-1867), an Italian-born sculptor who worked in London in the latter part of his career. His most famous work is the bronze sculpture of Richard the Lionheart...

Set of flower holders, handmade brass cylinder-shaped made of different sizes in diameter and heights. Handmade brass cylinder-shaped made of different s...

A black terracotta vessel from northern Portugal. Originally used for the storage of oil/wine. Heavily patinated & heavily textured. Historic chipping to the rim.

A black 18th C. terracotta vessel from northern Portugal. Originally used for the storage of oil/wine. Heavily patinated with ripply texture. Historic damage/chipping to the rim.

An extremely rare wave edge vase on a round foot with superb continuous landscape painting of a river scene with ruins and two figures, rich gilding on the upper edge, ball and foot....

This strikingly modern ancient Greek mug is a sleek and elegant example of Attic black-glaze pottery at its height. Developing in Athens in the 8th cent...

Margaret Gilmour, attributed. A Scottish School Arts and Crafts brass planter with flaring top and hand-formed detail depicting a Galleon stood on Gi...

This exquisite work of art was created circa 1836-1840 in France by the acclaimed French gold and silversmith, Jean-Valentin Morel. Using only the finest of materials and with exceptional attention to detail, this magnificent piece is without doubt one of the finest creations within the field of decorative arts in the 19th century. The body of the cup has been crafted from the pinky-red and orange gemstone, agate, and fitted with gold and silver-gilt mounts, which have, in some places, been jewelled and enamelled. Morel specialized in high quality hard stone cups...

A rare and beautiful ‘Grasshopper’ vase by Baccarat, made in France and designed for the Exposition Universelle (World’s Fair) in Paris in 1878. The...

This exquisite three-piece alabaster clock garniture consists of a central clock with two flanking vases. The central clock is designed to resemble the shape of a neo-Gothic cathedra...

A fine pair of George III Ormolu-mounted Derbyshire alabaster urns, circa 1780. Each with a glazed oval plaque, one containing a silhouette, the other w...

A magnificent early 20th Century Art Nouveau cameo glass vase etched and enamelled with flowering Datura in a vibrant landscape. The design heightened with gilded design on the surfa...

A small Italian Murano hexagonal turquoise encased in clear glass vase. A beautiful decorative piece perfect for a glass display case or shelf where the light can shine through it to...

1950s mid century modern Swedish stoneware glazed jug vase designed by pottery master Gunnar Nylund for Rörstrand. The vase is elegant with a slim and tall neck and handle with vert...

A good size, chunky, early 19th C. primitive dug-out planter. Beautiful colour/wear. Most likely originally used as a trough - now perfect as a planter. - We offer free shipping ...

Slashed Crumpled Form No 60 is a unique ceramic sculptural vessel by the British artist Nicholas Arroyave-Portela, made from white St.Thomas ...

Mid-20th century ceramic vessel in neutral tones, by British artist Bernard Rooke. The vessel has a trapezoidal shape decorated with hieroglyphics front and back, and glazed to the ...

Margaret Gilmour attributed in the style of Talwin Morris. An Arts & Crafts Glasgow school brass planter with embossed kissing love birds.   

A large Brutalist brass and aluminium vase with twin handles by David Marshall Spain, 1970s

This is a stunning and very rare pair of vases made by Coalport in around 1845. The vases have rich gilding in the Persian Revival style, combined with very English floral reserves of freely painted flower bouquets on a puce ground. Incorporated into the gilding on the back of the vases is a very English swan...

This exquisite black-glaze kantharos, or wine cup, is a wonderful example of the refined simplicity that characterises the artistic achievements of the Ancient Greeks. Its upper sect...

A large heavily textured volcanic vase with black, white and brown glaze and markings. Wide necked vessel with a bellied form. Made from black textured s...