Vase - 40. 399 - Porcelain

VILLEROY & BOCH – IMPOSING GABINET VASE WITH LID, MODEL 399, BELGIUM

Manufacturer: Villeroy & Boch, per factory stamp reading
Origin: Belgium, according to country of manufacture indicator
Dating: First half of the 20th century, probably around 1910–1930
Object type: Decorative cabinet vase with matching lid
Model number: 399
Size indication: 40
Material: Glazed ceramic with multicolored decoration and gilded details
Decoration technique: Multicolored floral decoration with gilding
Dimensions: Height approximately 40–41 cm; maximum belly diameter about 20 cm
Construction: Two elements: body and matching lid
Auction estimate: 350–550 EUR

1. Character and typology of the object

Representative decorative vase of impressive amphora form, intended for interior display. The item consists of a body and a matching lid, crowned with a decorative knop. The elaborate shape, multicolored floral composition and gilded details give the piece a distinctly decorative character.

The body is characterized by a broad, full belly whose profile gently tapers toward the neck and lower part of the vessel. The upper part transitions into a narrower opening, and symmetrically arranged handles emphasize the architecture of the form. The combination of a rounded belly with a narrower neck and lid creates a harmonious, vertically organized silhouette.

The vase is not merely a simple ceramic container. Its proportions, handles, lid, and surface decoration are all subordinated to a representational function. It is the type of object intended to be a standalone element in a salon, office, or elegant living interior.

The preservation of the lid is important for the visual completeness of the whole object. The lid is an integral part of the composition, closing the form from above and completing the vase’s silhouette. In auction assessment, however, one must distinguish the visual fit of the two elements from documented evidence of their original, factory belonging to a single set.

2. Form, proportions and plastic handling

The most important construction element is the expansive, rounded belly. Its smooth profile provides a broad surface for floral decoration while giving the vessel a stable, full appearance. The transition from belly to neck is clear but without a sharp bend, keeping the silhouette cohesive.

The neck is relatively narrow compared to the widest part of the body. In its vicinity are two symmetrical, ergonomically shaped handles. These elements enrich the mass, creating a visual transition between body and lid. Their finish harmonizes with the gilded accents on other parts of the vessel.

The lid has a convex, domed profile and is topped with a decorative knop. Its shape is a natural continuation of the vase’s upper section, and the gilded detail at the summit draws attention and closes the vertical composition. The lid’s fit to the body is important for both aesthetics and the catalog description of completeness.

With a height of about 40–41 cm and a maximum belly diameter of around 20 cm, the piece possesses the character of a large decorative object. The vase makes a strong spatial presence, and the ornament remains legible even from a distance.

3. Ceramic material and glazed surface

The body is made of ceramic covered with an glaze of creamy, bone-white tone. The light background serves as the base for the multicolored ornament and gilded details, creating a strong contrast between the vessel’s surface and its decoration.

In the provided description the material is identified as terre de fer, also known in English as ironstone. These names refer to certain types of hard ceramic, yet the creamy color of the body or the surface finish alone are not sufficient to confirm composition. Without technical documentation or specialist testing, it is safer to describe the material as glazed decorative ceramic.

The glaze forms a smooth, light ground on which plant motifs are arranged. The color variations and gilded accents ensure the surface is not interpreted as uniform but as a decorative composition subordinated to the vessel’s shape.

A network of fine glaze cracks, called craquelure, is visible on the surface. This phenomenon can result from differing stresses between glaze and ceramic body. Its presence should be noted in the condition report but must not be treated as proof of age, origin, or authenticity.

4. Multicolored plant decoration

The most striking artistic feature of the vase is the floral-plant decoration laid over the pale body. The composition includes large stylized flowers and foliage, developed in contrasting colors. The motifs are adapted to the rounded belly, so the ornament emphasizes the vessel’s spatial character.

The palette ranges from reds, carmine, purples, pinks, ochres, turquoise to greens. Warm flower hues contrast with cooler plant parts, creating a decoration with strong visual impact. The creamy background softens the color combinations and maintains legibility of individual motifs.

Stylized flowers are the main focal point, while leaves and plant elements complete the composition and guide the eye along the body. The ornament serves not only a filling function; it is an integral part of the design, working with the belly’s profile to emphasize its volume.

The decoration references European decorative ceramics tradition, where botanical motifs adorned both utilitarian wares and pieces for representational interiors. In this case, the vase’s scale, rich color palette and gilded finishes reinforce its cabinet‑style character.

However, without workshop documentation, one should not attribute the decoration to a specific technique with certainty. It cannot be decided solely from appearance whether the pattern was transferred and then hand-colored, or if another combination of decorative techniques was used. Therefore the proper catalog designation remains multicolored plant decoration on a glazed surface.

5. Gilding and finishing details

Gilded accents play an important role in the overall decorative handling of the vase. They highlight selected edges and structural elements, including parts of the handles, rims, and lid knop. The metallic sheen contrasts with the creamy background and the vivid colors of the floral decoration.

The gilding organizes the visual form, emphasizing its most important points. On the lid it accentuates the crown; on the body it strengthens the division between the different parts of the mass. This way the floral ornament and the metallic finish do not compete with each other but form a cohesive whole.

The appearance of gilding may depend on the specific material used, method of application, firing temperature, and later use. Without material analysis it is not possible to precisely determine its composition or confirm that 24-carat gold was used. In the auction description it is appropriate to use terms like “gilded details” or “gilding.”

When assessing condition, attention should be paid to the continuity of gilding, possible wear, losses and differences in luster. These details can affect the final valuation because the condition of the decorative finish influences the visual reception of the entire piece.

6. Factory marks and identification

On the bottom of the piece there is a round stamp, the numbers 399 and 40, and a hand-cut mark resembling the letter T or F. According to the stamp reading, the visible fragment of the name ends with “EROY,” and the lower part of the mark reads a designation referring to Belgium, read as “BELGIQUE” or “MADE IN BELGIUM.”

The reading of the mark has been presented as the basis for attributing the vase to Villeroy & Boch. In the auction documentation, one should distinguish the visible fragment from the full confirmation of the exact variant of the mark and the production establishment. The fragment of the inscription can be a useful identifying clue, but a full attribution requires the graphic arrangement of the entire mark to match the documented producer’s mark.

Number 399 is the marking found on the bottom of the vessel. It may serve as the model, mold, or pattern number, but without factory catalogs its original meaning cannot be definitively determined.

The marking 40 is a second numeric piece of information. It may refer to a form or size variant, but its interpretation as a formal size designation requires manufacturer documentation. Dimensions should be given separately based on actual measurement.

The hand-cut mark resembling a T or F could be a workshop symbol. However, there are not enough grounds to assign it to a particular mold-maker, painter, or quality-control inspector without additional sources.

The combination of the mark and numerical indicators constitutes an important part of the item’s documentation. In the catalog entry these should be noted precisely, avoiding ascribing meanings to individual marks that are not supported by preserved source materials.

7. Historical context of the producer

The history of Villeroy & Boch belongs to the most important chapters of European ceramic production. The Boch family’s activity dates back to 1748, when François Boch and his sons began producing ceramics in Lorraine. Nicolas Villeroy developed his ceramic business from the late 18th century. In 1836 the enterprises of both families merged to form Villeroy & Boch.

The company advanced industrial production, refined ceramic technologies and expanded its range for international markets. In the 19th century innovations in materials and the development of decoration reproduction techniques were important, enabling the manufacture of large ceramic series with high surface detailing.

It is also important to distinguish the history of Villeroy & Boch from the history of the Belgian manufactory Boch Frères Keramis in La Louvière. The Keramis facility was established in 1841 by Jean-François Boch and developed as a Belgian ceramic factory historically linked to the Boch family. This is a separate plant’s history and should not be automatically equated with the place of manufacture for every piece bearing the Villeroy & Boch name.

In the 1920s and 1930s European ceramic design evolved within several parallel currents, from decorative forms rooted in Art Nouveau to more restrained Art Deco. The producer’s history confirms that in the 1920s and 1930s Art Deco and modernist approaches to form played a significant role in European production. This, however, does not in itself prove the precise dating of this piece.

8. Stylistic analysis

The vase combines a classical amphora shape with rich plant decoration and gilded details. The form itself recalls the tradition of representational decorative vessels where symmetry, a clearly defined belly, and a lid feature are important.

The plant decoration evokes the aesthetics of the late 19th and early 20th centuries, when floral motifs occupied a central place in applied arts. The organic shapes of flowers and leaves contrast with the vessel’s structured form, giving the ceramic surface dynamism while keeping the mass stable and symmetric.

The intense color palette, the mix of warm reds and purples with cool turquoise, and the gilding give the decoration a strong visual character. It is not a subtle ornament but a bold surface treatment intended to be conspicuous in a room.

As for a precise stylistic direction, caution is advised. Without confirmed dating, a model catalog entry, or decoration documentation, one cannot definitively classify the vase as a prime example of Art Nouveau or Art Deco. The most accurate description is European decorative ceramics in amphora form, with multicolored floral decoration and gilded accents.

9. Condition and completeness

The vase retains the body and matching lid, together forming a complete, sealed composition. The lid with the knop is important for the item’s aesthetics, as it completes the silhouette and crowns the overall design.

Glaze crackle is visible on the surface. It should be noted in the documentation as a visible surface feature. It should not automatically be taken as proof of a century-long age or authenticity.

Before listing, it is advisable to check and describe any glaze cracks, body cracks, edge chips, decoration losses, repairs, glue seams, and the extent of gilding preservation. If no such defects are found, the description can be appropriately supplemented after direct inspection of the object. Without such inspection, one should not declare an unconditionally perfect or completely original condition.

Because of the glazed surface and gilded details, handle the item with care. Avoid abrasive cleaners or aggressive chemicals that could damage the decoration. Do not assume the vessel is watertight, especially if the glaze is cracked.

10. Collectible and display value

The most valuable aspects of the piece are its large size, elaborate silhouette, multicolored floral decoration, gilded details, and preserved lid. The combination of these features makes the vase a standalone decorative element without needing to pair it with other items.

The creamy background and saturated ornament colors provide a striking visual effect. The gilding adds light-reflective highlights, especially along the handles and lid. For display, even lighting is important to read both the form and the color of the decoration without excessive glare on the glaze.

For a potential buyer, the legibility of the bottom marks, the lid’s compatibility with the body, and detailed condition documentation will matter. Photos should show the entire vase from front and back, shots of the decoration, lid, handles, gilded details, and a clear underside image with the stamp and numbers visible.

11. Auction estimate

Proposed estimate: 350–550 EUR.

This range reflects the vase’s decorative character, substantial size, multicolored floral composition, gilded details, and preserved lid. The final market appeal also depends on confirmation of the maker and dating, glaze condition, decoration preservation, and any damage or repairs.

Attribution to Villeroy & Boch should be presented according to the stamp reading, with caution regarding the exact factory and production date. Do not base the valuation on unverified statements about a limited edition, 24-carat gold, or rarity of the model.

Catalog summary

A large decorative ceramic vase with a matching lid, amphora form, creamy background, multicolored floral-plant decoration and gilded details. The bottom bears a round stamp read as an attribution to Villeroy & Boch with reference to Belgium, along with the numbers 399 and 40 and a hand-cut mark. The object represents European decorative ceramics from the first half of the 20th century and is distinguished by its imposing proportions, rich coloration and preserved lid.

Auction estimate: 350–550 EUR.