Villeroy & Boch: Looks Like a Fortune, Priced Like a Find

A Kovels Antique Trader reader asked, “Can you identify my vase from the photos?” Short answer? Yes, I can. It’s antique, stylish, and has classical charm—but it won’t fund your retirement. Here’s what you have and what it’s worth.

 

By Kele Johnson

Villeroy & Boch small Jasperware vase.

 

Your small vase appears to be a Villeroy & Boch Jasperware piece from the mid-to-late 19th century. The style is known for combining relief decorations and applied figures with a classical or mythical theme.

This vase has a cream-colored stoneware base and a classical Greek-style figure in a contrasting cream tone. It is reminiscent of the biscuit porcelain appliques of Parian-style ceramics, which imitate the look of marble. The applied leaves and other accents feature a platinum luster glaze designed to mimic the look of pewter or silver.

Villeroy & Boch is one of Europe’s oldest ceramic manufacturers, renowned for its fine porcelain and stoneware. It began in 1748 when François Boch and his sons started producing ceramics. In 1836, the company merged with the rival firm of Nicolas Villeroy to form Villeroy & Boch. Their Mettlach factory in Germany became famous in the 19th century for producing high-quality stoneware, including elaborately decorated steins, vases, and tableware. While they are often associated with Mettlach ware, not all their products fall under that category. Villeroy & Boch produced a wide range of relief-decorated ceramics, Jasperware-inspired pieces, and metal-accented stoneware throughout the Victorian and Art Nouveau periods. They have remained in business for over 275 years—an impressive feat.

Villeroy & Boch used an applied mark rather than incised mark.

Villeroy & Boch marks were often applied rather than incised, especially on stoneware and Mettlach pieces. The marks frequently appear in a raised, molded cartouche, part of the manufacturing process in which a separate piece of clay or slip was added before firing. This gives them a slightly dimensional, embossed look rather than the sharper, deeper effect of an incised mark.

This technique was common in 19th-century stoneware production, especially for companies like Villeroy & Boch, where molded decorations and relief work were key elements of their designs. The ceramic mark on the bottom of the base indicates a manufacturing period roughly between 1852 and 1872. A search of eBay, WorthPoint, and other auction sites shows this piece in good condition to be selling for between $65.00 and $100.00.

 

You may also like:

This Decoy’s Markings May Not Indicate Its True Origins

A reader looks for more information about his inherited duck decoy from Dr. Anthony Cavo.
Q: I’m looking to find more information on this duck decoy. My father left it to me when he passed.
A: Your decoy bears the name A.E. Crowel. But we caution you not to jump to any conclusions about the piece’s origins. A. Elmer Crowell (1862-1952) of East Harwich, Mass., was one of history’s greatest decoy makers and bird carvers. Crowell acquired his understanding of bird anatomy and plumage patterns during a lifetime observing and hunting Cape Cod’s abundant indigenous and migratory bird populations. As a master carver, Crowell’s work is in great demand by collectors and museums. Last year, one of his preening black duck decoys (c. 1905), featuring chip- and relief-carving on its crossed wings, sold for $480,000 at Guyette & Deeter Auctions.
Crowell’s early decoys were not stamped; to identify these works, you must be able to recognize his carving and painting techniques. In ensuing years, he used an oval burned-in stamp; an oval rubber stamp with a touch of modem advertising: “A.E. Crowell, Maker, High Class Decoys of every description, East Harwich, Mass.” (used on mantel birds); a paper label; and a rectangular steel stamp which indented the wooden base with: “AE. Crowell, Maker, East Harwich, Mass.” He did not mark some of his miniatures. On others, he penciled the species name on the base or signed it in ink: “AE. Crowell, Cape Cod.”
Crowell was a true artist and his work reflected that. It’s difficult to determine the quality of the decoy through your photographs, and the identification on the bottom of the decoy doesn’t correspond with what we know of Crowell’s marks. We encourage you to contact Guyette & Deeter or the Shelburne Museum in Shelburne, Vermont, for more help determining its origins.
Our guest appraiser is Dr. Anthony Cavo, a certified appraiser of art and antiques and a contributing editor to Kovels Antique Trader. Cavo is also the author of Love Immortal: Antique Photographs and Stories of Dogs and Their People.
You may also like:
Pristine Tonka Truck Retains its Nostalgic Wonder
Family Discovers Their Beautiful Norwegian Box Dates Back to 1844
Carving Out a Decoy Tradition

Pristine Tonka Truck Retains its Nostalgic Wonder

Q: Hi Dr. Cavo, I have had this Tonka dump truck since I was a youngster. I so enjoy it that we display it prominently in our dining room cabinet. Could you tell me anything about Tonka? While I doubt I would ever sell it, I am curious about its value. Thank you!
A: Okay, now we’re talking. I’m not sure what it is about trucks that speak to so many of us. Even if we’ve never driven one, countless numbers of us are drawn to these Mid-century steel wonders. Is it the shape, the color, the durable construction (Tonka trucks from this era were made from 20-gauge automotive steel), or the simple nostalgia they evoke?
The Mound Metalcraft company was founded in 1946 in Mound, Minnesota, and originally made garden tools. In 1955, they changed their name to Tonka Toys Inc. in honor of Lake Minnetonka. The words “Tanka” and “Tonka” are Dakota Sioux words meaning “Big” and “Great.” A variety of logos were used on their trucks. The red, blue, and yellow logo on your truck was used from 1947 to 1957 and was designed by a Mound, Minnesota, resident named Erling Eklof. The waves on your truck’s logo symbolize Lake Minnetonka, and the seagulls represent the company’s three founders: Lynn Baker, Avery Crounse, and Alvin Tesch.
In 1958, the seagulls were removed from the logo, and the colors changed to red, white, and grey. In 1963, the colors changed again to red and gold. In 1978, the oval logo was eliminated altogether, and the toys bore only the company name, “Tonka.” Hasbro acquired Tonka in 1991, and in 2001, Tonka Toys was inducted into the National Toy Hall of Fame.
I have seen these in poor condition sell for $150 or more. Your truck appears to be in pristine condition. Given the condition and the one-owner provenance, your truck could easily sell for $450 to $550. If, by chance, you had the original box, the price would be in the $650 to $700 range. However, if there is someone in your family who would cherish this truck, consider sending it their way when you’re ready.
Our guest appraiser is Dr. Anthony Cavo, a certified appraiser of art and antiques and a contributing editor to Kovels Antique Trader. Cavo is also the author of Love Immortal: Antique Photographs and Stories of Dogs and Their People.
Do you have a question for Collector’s Gallery? Send your questions and photos via e-mail to ATNews@aimmedia.com. Please include as much pertinent information about your item as possible, including size, condition, history, and anything else that might help identify and value your item.

Family Discovers Their Beautiful Norwegian Box Dates Back to 1844

Norwegian chest/box/casket 1888This decorative Norwegian folk art box is known as a “skrin.

Q: This is a Norwegian box we have had in our family for a long time. All we really know is a story about my great-great-grandmother, who had her baby clothes in it when she emigrated from Norway with her family. Her maiden name was Lillesand; there is a town in Norway by that name. When she emigrated, she did not speak English, so perhaps the immigration agent just gave them that last name because that was the town they were from. The initials on the chest are unknown also. They could be HMDH 1844 or AMDA 1844?  The box is 13 1/2 inches long, 8 inches wide, and 6 1/2 inches tall. The top of the bow, which extends over the body of the box, measures 14 inches long. Can you provide us with any information about this family keepsake? Thank you! 

A: I opened this email and just smiled. I have a weakness for wooden boxes and chests. This box, however, pushes all my box buttons. This box is a skrin, which in Norwegian translates to “casket,” but not in the modern sense of the word. The word “casket” was originally used to describe a decorative box, smaller than a chest, used for important documents. According to the Oxford English Dictionary, a casket, in early America, was a box for jewels.   

Norwegian chest/box/casket 1888 interior

This skrin is representative of classic Norwegian folk art typical of the Viksdalen region of Norway. Regarding the initials, I’m fairly certain they are not “HMD.” I believe they are “AMD” for the following reasons: the top of the first letter is closed – not something you would see in the letter “H” but more so because we see the date as “A 1844” where the “A” could stand for “anno,” which in Latin means “in the year” or the “A” could stand for “år,” which in Norwegian means “year.” 

The hinges are secured by rivets, which may cause confusion because we tend to think of rivets as a modern fastening method. Rivets have been used for thousands of years, especially in the Western world after 1830. The case, or body of the box, reveals wonderful hand-forged nails and dovetail construction. The dovetails have thin pins, which we see in cased pieces made before the mid-19th century; the scribe line is still visible. The decoration is in exceptional condition for a piece this age.  

1888 Norwegian box with hinges

Considering the beautiful hand-painted decorations, the construction, and the family provenance, I would value it in the $900 to $1,200 range and possibly more at a well-advertised, well-attended auction. 

As an aside, the name Lillesand is not used as a surname in Norway. Many, not all, Norwegian names have a patronymic origin and end in “sen/son” or “datter/dotter,” as in son or daughter. Hence, the name Hansen means son of Hans and Karlsdotter, the daughter of Karl. Almost all sources say that name changes by immigration officials are a myth. However, many years ago, I had a neighbor who emigrated to the U.S. from Italy. His surname was Pharoh. When I asked, he told me his actual family name was Ferro, but it was written as Pharoh at Ellis Island.

So much for myths. 

Our guest appraiser is Dr. Anthony Cavo, a certified appraiser of art and antiques and a contributing editor to Kovels Antique Trader. Cavo is also the author of Love Immortal: Antique Photographs and Stories of Dogs and Their People.

Collector’s Gallery: Mark Comes with a Mob Connection

By Elizabeth Burroughs-Heineman
AA Vantine Mark
A reader uncovers a porcelain mark tied to A. A. Vantine Co., once owned by mobster Arnold Rothstein—aka ‘The Brain’ and ‘The Fixer’—the inspiration for Gatsby himself. It turns out identifying porcelain marks is easier than fixing the World Series, but not by much!
Q: Could you please help me identify this mark? I’ve searched online but have had no luck. Thank you.
A: This mark was used by A.A. Vantine & Co., an import company that was in business in New York from about 1869 to 1951. They specialized in Asian imports, which is why the mark features the flags of Japan and Imperial (before 1911) China underneath the Turkish star and crescent. We haven’t found a specific date for this mark, but we have seen approximations of about 1910 to 1920.
When Japan opened to trade with the U.S. in 1853, it started a fashion for Japanese products in America. Ashley Abraham Vantine was one of many traders whose companies imported Japanese goods. He opened a shop in New York in the 1860s and had offices in Japan. The company also sold Chinese goods and gradually expanded to a general “Oriental” scope, selling Turkish, Russian, Indian, and Middle Eastern products as well.
By about 1916, Vantine’s New York location was called “The Oriental Store.” Most of the products were clothing, accessories, and home decorations. Elbert Hubbard, the founder of Roycroft, was a fan and praised the store in his magazine, The Philistine. Today, porcelain pieces from A.A. Vantine sell for about $30 to $50.
Arnold RothsteinArnold Rothstein
One of the most memorable aspects of A.A. Vantine & Co. is a brief time, 1926 to 1928, when it was owned by mobster Arnold Rothstein, also known as “The Brain” and “The Fixer,” an inspiration for the title character of F. Scott Fitzgerald’s The Great Gatsby. He is rumored to have been one of the conspirators who threw the 1919 World Series. He grew his wealth and influence by selling alcohol during Prohibition.
Seeing the potential in illegal drug sales, he bought Vantines in 1926 as a front for smuggling. The company was a familiar, well-established one, so customs officials did not thoroughly search their shipments. This came to an end when he was killed in 1928, possibly over a gambling debt. What happened to Vantines after that is not certain, but the company was closed by 1951.
You may also like:
Spatterware vs. Spongeware
Lovely Mystery Tray Identified
Decoding Spode: Spode Mark Explained

Carlton Rocket Bubble Gum 1-Cent Dispenser

Q: I recently paid $10 for this gumball machine at a yard sale. I don’t know anything about it other than I like the way it looks. Can you tell me what I bought and if I got a good deal? Thanks! A: Congratulations. You found a very fun example of Space Age design, part […]

Spatterware vs. Spongeware

Spatterware and spongeware pottery are often grouped together, with the names used interchangeably. While they look similar, with color applied in patches of tiny dots instead of brush strokes, they are different. Spatterware was made by spattering paint with a brush or stick or blowing it through a tube, and spongeware features paint dabbed onto […]

Lovely Mystery Tray Identified

A reader received this tray as a gift nearly 50 years ago.
Q: Hi, Folks at Kovels Antique Trader,
I have a piece of ceramic/pottery that appears to be hand-painted with roses and has quite a bit of gold leaf. I’ve been unable to identify the mark on the back and was wondering if you could help. Attached is a picture of the mark and a picture of the piece. There are no other marks. The piece is 10 1/4 inches by 8 inches. Any help you could provide would be greatly appreciated. Thank you!
Nippon mark
A: We’re not surprised you had difficulty identifying this mark. It is an old and vague mark usually identified as Nippon. However, if you search for Nippon backstamps, this one will not pop up.
The mark on your beautiful tray is a Japanese porcelain mark, specifically that of the Nippon Toki Kaisha (Noritake Company). Nippon Toki Kaisha is translated as “Japan Pottery Company.” The cherry blossom included in the mark was a common motif used by various Japanese porcelain manufacturers during the early 20th century; it symbolizes beauty and the transient nature of life.
This particular mark with the words “Hand Painted” and the cherry blossom indicates porcelain made for export, primarily to the United States, during the early 20th century. Before 1921, the word “Nippon” (the Japanese word for Japan) was common; after 1921, the word “Japan” or “Made in Japan” was required on items meant for export to the U.S.
When I first learned about Nippon and Noritake, it seemed they were one and then two separate companies until I did some research. The following timeline may help untangle the mystery.
In 1876, the Morimura Gumi company began producing pottery. In 1891, it was renamed Morimura Brothers. This company became the Nippon Toki Kaisha company in 1904, and a new factory was built in Noritake, which created Nippon Toki wares. Most of their early products carried one of the many “Nippon” back stamps, which indicated the country of origin on products meant for the Western market. The best examples of these exports were seen between 1891 and 1921, carrying the “Nippon-era” backstamp.
Your tray, an early 20th-century example of Japanese workmanship, could sell for $60 to $75.
Our guest appraiser is Dr. Anthony Cavo, a certified appraiser of art and antiques and a contributing editor to Kovels Antique Trader. Cavo is also the author of Love Immortal: Antique Photographs and Stories of Dogs and Their People.
Do you have a question for Collector’s Gallery? Send your questions and photos via e-mail to ATNews@aimmedia.com. Please include as much pertinent information about your item as possible, including size, condition, history, and anything else that might help identify and value your item.

Smoking Hot Gypsy Lamp is Quite Unique

Q: Hi Dr. Cavo: We are looking for an appraisal for a Gypsy woman smoking stand, light and lamp. This item has been in the family for many years, and we believe it to be between 80-100 years old, bought in Chicago. It is 42 1/2 inches tall, rests on a brass, bronze-looking pedestal, and weighs 22 pounds. All parts are original and in working order.

Thank you for your time.  -Dave

Gypsy Ashtray

A: Hi Dave: Your smoking stand is quite unique. I have seen this particular figure as a table-top piece as well as in the form of a stand like yours; however, it is rarely as complete as yours. The tray or the original beaded shade is often missing or replaced. The tray and the beautifully beaded, colorful shade are original to the piece. Some may consider the slag glass lamp in the base to be a bit excessive, but it adds splendidly to the overall appeal of this piece.
The figure holds a tray for ashes, which can be removed for cleaning. She is flanked by a pot for holding matches and a basket of sorts for cigars or cigarettes.
These figural pieces were made in Germany and Austria c. 1900-1920. I believe, based on the weight provided, that yours is spelter (white metal); as a bronze piece, this size would be much heavier. It is possible that the figure is bronze (the arms appear to have a bronze patina) while the base is spelter – which it seems to be. You can determine this by testing it with a magnet, which will stick to white metal but generally not to bronze. Whether or not a magnet sticks to it or not, it’s still very attractive.
The figure is cold painted, a technique using colorful enamel paints that was quite popular during the early 20th century, especially on bronze or spelter pieces originating in Austria.
This is the type of thing I would have bought, and my mother, who dealt in high-end art and antiques, would have said, “You need your head examined. ” She might have been correct because I am crazy about this piece. It is a style, however, that you either love or find ridiculous.
The table-top version of this piece (no stand, no lights) sells in the $250- $300 range. Yours has so much more to offer and is in such original, complete condition that I would appraise it at $450-$500 if it is spelter and up to $800 if it is bronze.
Our guest appraiser is Dr. Anthony Cavo, a certified appraiser of art and antiques and a contributing editor to Kovels Antique Trader. Cavo is also the author of Love Immortal: Antique Photographs and Stories of Dogs and Their People.
Do you have a question for Collector’s Gallery? Send your questions and photos via e-mail to ATNews@aimmedia.com. Please include as much pertinent information about your item as possible, including size, condition, history, and anything else that might help identify and value your item.

Collector’s Gallery: Aldo Londi Ashtray

This Aldo Londi ashtray is a desirable Mid-century collectible found in parents’ belongings. Q: Hi, Dr. Cavo. Can you tell me if this is an antique? I found it in my parents’ belongings. Thank you. Lori A: Hi Lori, Your Mid-century ashtray was made by Aldo Londi, a ceramist for the firm of Bitossi in […]

Skip to toolbar