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Our hand carved decorative vases are individual works of art. Each one is unique in design, color and texture, and is hand carved by a skilled artist. These woodart pieces will be sure to catch the eye as soon as you walk in the room.
Our handcarved vases are one of a kind sculptures. Each is different and these vases are about 14"in height, and 9 to 10" in diameter at the widest point. The unique characteristics of each vase are due to the fact that they are carved and turned from the root of the tree. Voids in the root structure provide a special look to each individual piece. more
Our handcarved vases are one of a kind sculptures. Each is different and these vases are 10" in height, and 6" in diameter at the widest point. The unique characteristics of each vase are due to the fact that they are carved and turned from the root of the tree. Voids in the root structure provide a special look to each individual piece. more
MORE INFORMATION ABOUT HAND CARVED VASES AT WOLVERINEWOODART.COM
These handmade wood vases are turned on a lathe, but because a tree root is used as the wood blank, voids and hollows appear during the carving and shaping process. This gives each vase a truly unique look and character. Like our decorative boxes, the vases are each different and are one-of-a-kind pieces.
Shown below are some photos of hand carved vases from our "Idea Gallery". Click on the smaller photos to view larger, more detailed photos.
Greek Vases
The Greeks developed by far the most sophisticated tradition of early pottery, and Greek vases survive in greater numbers than any other ceramic group of comparable age.
During the period of greatest distinction, from about 550 to 480 BC, the potters of Athens and the surrounding district of Attica are the most accomplished in the Greek world. It is they who perfect the decorative style known as black-figure and then introduce the subsequent red-figure technique. Crucial to the success of both is the discovery of the Attic potters, in the 6th century, that an attractive warm colour can be given to the undecorated surface of a pot by the addition of red ochre to the clay.
In the mid-6th century the vase painters decorate the surface of the pots with figurative scenes from mythology in black silhouette. This is done by painting on a mixture of iron-rich clay and potash before the vase is fired. In this black-figure style, detail is achieved by incising lines within the silhouette to allow the reddish clay to show through.
The painters become extremely proficient in this technique, but pale details on solid black figures are the reverse of any normal drawing convention. The fashion rapidly changes after about 530 BC, when the black is first used for the opposite purpose - to form the background against which the figures will stand out in the natural color of the vase. This is the red-figure style.
The red-figure style is a much more realistic convention. Many of the most popular scenes on vases involve mythical heroes or reveling satyrs. Such figures, to a Greek audience, seem natural if naked. The reddish-brown color of the pottery is appropriate to Mediterranean skin, and a few linear additions to the figure provide convincing modeling for the limbs or for the suggestion of a thin garment.
Greek vases are essentially practical objects. They are made in more than a dozen standard shapes, each with a specific purpose - for storing wine or olive oil or precious unguents, for heating or cooling liquids, for pouring and drinking. Their makers are essentially craftsmen, and the potters and vase painters do not have the same prestige as painters or sculptors. But it is significant that by the 6th century it is normal for the potter to be named on the vase (with an inscription in black letters).
The customary classification of Greek painted vases is in five divisions:
1. The earliest style, heretofore described, known as Doric, etc., of which the type is the representation of animals and flowers, usually in friezes or bands on cream-colored or gray pottery.
2. Vases of red lustrous pottery on which the figures are painted in black
3. Vases of the same pottery on which the backgrounds are black, the figures being in the red or yellow of the pottery.
4. Vases of the same general style with the last, decorated in florid style, with arabesque and other ornamentations, often introducing Eros (Cupid), and sometimes gilding.
5. Vases with white surfaces, painted with figures, sometimes in outline, sometimes in several colors.
Besides these styles, others were occasionally used. Vases ornamented by flutings with moulded reliefs decorated in black only in opaque white on black in pale-yellow and brown with white on black vases in the forms of animals, birds, human heads in short, an innumerable variety were produced. The five principal styles, however, were vastly more common than any other. The red color varies to a yellowish shade. Both were artificially produced, heightening by an earth or pigment the natural color of the clay. The black was applied as a thick paint, sometimes burning to a greenish shade, and occasionally to a metallic iridescence. The details in subjects painted in black--features, muscles, lines of dress, feathers, etc.--were incised through the paint. White was used for female faces, and on parts of armor and dress, and maroon was sparingly employed in parts of the designs. The vases were usually painted black, leaving open spaces of the red on which the paintings were placed.
The union of the two colors in pottery, black and red, fully satisfied the Greek lover of the beautiful, and these are the colors of much of the best Greek pottery, in no way relieved as to general effect by the slight use of dull maroon and white. Rare specimens have figures in white on black grounds, and some have polychrome decorations.
Roman Vases
The Portland Vase is a first century BC Roman cameo glass vase, which served as an inspiration to many glass and porcelain makers from about the beginning of the 18th Century onwards.
Legend has it that it was discovered by Fabrizio Lazzaro in the sepulchre of the Emperor Alexander Severus, at Monte del Grano near Rome, and excavated some time around 1582.
The first possible historical reference to the vase is in a 1601 letter from the French scholar Nicolas Claude Fabri de Peiresc to the painter Peter Paul Rubens, where it is recorded as in the collection of Cardinal Francesco Maria Del Monte in Italy. It then passed to the Barberini family collection (which also included sculptures such as the Barberini Faun and Barberini Apollo) where it remained for some two hundred years, being one of the treasures of Maffeo Berberini, later Pope Urban VIII (1623-1644).
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