Circa 1878-1915
The Marriage of Ceramics to Architecture & Furniture
Individual tiles are for sale.
If you have an interest in a specific tile and wish a price, just email us.
Most of the tiles are from the Art Nouveau Era and represent the largest private collection of Zsolnay tiles in North America.
Tile # 261. Huge unmarked tile {13.25 x 12"} made as cabinet inset, circa 1900-1914. Excellent condition. Now framed in new blackened oak Secession style frame. We know of only one other example in existence. This piece was on loan to an Exhibition of Hungarian Art in Kyoto and Tokyo Japan in 1995 {see ex. catalogue p. 121) {cslnn}Price on Request.
Tile # 36. 4" square. Unmarked and circa 1900-1914. A beautiful and vibrant green Eosin decorated flower against a purple metallic glaze. Pictured in Waltraud Neuwirth's book Blühender Jugendstil Book 1 on page 30. This decor was first used by the Zsolnay Factory at The Hungarian House of Venice, 1909 in the decoration of the Hungarian Pavilion for the Venice Biennial. It was designed by Géza Nikelszky. Normal glaze wear. {clnn}This tile has been sold.
Tile # 1. Our first example depicts a snail traveling through grass. The gold eosin leaves contrast against a background of blue green eosin glaze. The snail is colored with a different glaze for an additional contrast. Size is 6" square. The marking on the reverse indicate a factory formula for glaze production. No factory mark. Minor surface wear specks. Framed in a contemporary blackened oak Secession style frame. We know of no other example of this decor. Made between 1900 and 1914. {llnn} Price on Request.
Tile 42. Impressed Zsolnay Pecs on the reverse. Organic designs are common for Zsolnay tiles and this one with its beautiful red flower and Eosin highlighted leaves is a fine example. The leaf appears to be an Elephant Ear leaf. Circa 1885-1914. The size is app. 6" x 6". {hlnn}This tile has been sold.
Tile # 13. Impressed Zsolnay V. Pecs; normal edge wear. Circa 1885-1914. Very much in the style of William Morris & English Aesthetic. The backside of a sunflower executed in very precise eosine glazes. {llnn}This tile has been sold.
Tile # 45. Very Aesthetic in the English Arts and Crafts Movement Style. A sunflower faces forward with mustard yellow glaze and bright metallic Green Eosin leaves and stems against a strong red background. Impressed Zsolnay Pecs on reverse. Size: app. 6" x 6". Much edge chipping (one major). Circa 1880-1900. Marked on the back with factory name. Paper label on the front corner which says: "1148-2361". {hlnn}This tile has been sold.
Tile # 34. No factory mark. 3" square. Excellent condition. Framed in a new blackened oak Secession style frame. A jewel from between 1899-1914. {hhln}This tile has been sold.
Tile # 2. This tile looks so modern with blue silver metallic forms "flying" through the air. Again this tile lists a formula on the back side for glaze information. 6" square. No Factory mark. Very minor wear. Framed in a contemporary blackened oak Secession style frame. We know of no other example in existence. Excellent example of Central European Abstract Symbolism. Made between 1900 and 1914. {llnn} Price on Request.
Tile # 3. This tile represents an unusual color combination for Zsolnay: the brown and tan background with stylized brilliant green and gold Eosin flowers and leaves. Your eye is drawn to the green glazes. No factory mark. Very minor surface wear. We know of no other example in existence. Size: app. 6" x 6". {alnn} Price on Request.
Tile # 4. This tile seems a bit thicker than most of the other tiles in our collection. The information on the side states: "Fond 2341.Wolhen fond 1.803 1/2 1.244 D. 1/98.5/99". Who knows what that means? The factory mark on the reverse covers fully half the size of the tile. Tile size: 6 1/2" square. made between 1900 and 1914. Impressed steeple mark; very minor surface wear. Important example of Central European Abstract Symbolism. {llnn} Price on Request.
Tile # 5. The spirit of Autumn and a water reflecting quality about this tile. Size 6.5" square. Impressed (incomplete) steeple mark and ______Y. Minor edge chips. We know of no other example in existence. Circa 1900-1914. {llnn} Price on Request.
Tile # 6. Broad olive green leaves contrast against a green, blue and gold eosin background. 6" square. Turn of the Century. Pictured in Waltraud Neuwirth's book Blühender Jugendstil Book 1 on page 14. Unmarked and minor surface wear. Circa 1900-1914. {alnn}This tile has been sold.
Tile # 7. Very difficult to photograph. In the correct light is revealed a metallic damask of flowers and leaves. 6 1/2" square. Between 1900 and 1914. Impressed steeple mark and Zsolnay Pecs. One sizable edge chip and some small edge flakes. Very rare damascened foliage glaze finish. We know of no other in existence. {alnn} Price on Request.
Tile # 8. Impressed "Zsolnay V. Pecs" and hand written "2571". Highly stylized leaves and poppies. Circa 1896. Pictured in Waltraud Neuwirth's book Blühender Jugendstil Book 1 on page 30. Edge chipping and two scratches and minor glaze imperfections all showing normal age wear. This tile has been sold.
Tile # 9. These tiles because of the type of firing and glaze (Pyrogranite) could withstand use in exterior construction. Green and gold Eosin organic decorations against a marble background. Size: 6 1/2" square. Circa 1900 and 1914. (Loaned to The Rhode Island School of Design Museum for a 1997 exhibition on Ceramics) Impressed steeples and "Zsolnay Pecs" marks. Some very minor surface wear to this heavy weighted tile. Early example of Central European Abstract symbolism-a true museum example. {llnn} Price on Request.
Tile 10. We have three different firings of this tile. This one has a black background with highly metallic green / gold Eosin bellflowers. Circa 1885-1914. Size: app. 6" x 6". Pictured in Waltraud Neuwirth's book Blühender Jugendstil Book 1 on page 30. Impressed "Zsolnay V. Pecs". Normal wear. {hlnn} Price on Request.
Tile # 11. Quite a remarkable tile. An organic representation of nature but it goes beyond that and the more I look at it the more I see. Strong metallic eosin designs against a blue and green background. 5 1/2" X 6 1/4". Between 1905 and 1910.SOLD
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Tile # 12. In the world of tiles this is truly a masterpiece. A reflection in water of foliage and a spider web. Blue and gold eosin glaze. Size: 6 " square. Strongly Japanesque-Aesthetic in feeling. Like a John Lafarge nocturne watercolor {1885 Met NYC} Unmarked; scratch and normal wear. Circa 1890-1914; blacked oak contemporary Secession Style Frame. {elnn}Price on Request.
Tile Set # 14. Set of 6 unmarked worn and chipped tiles designed by Geza Nikelszky. Circa 1911 and made for the Water Court in the Hungarian Pavilion at the Turin Italy Exhibition. Each tile is 4" square. Sold only as a framed set. Folkloric Secession shepherds and deer. Shown at the Bard College Exhibition of 2002 and pictured in their catalogue. Nikelszky (1877-1966) Artist, Craftsman and Painter. He studied at the Budapest School of Applied Arts between 1892 and 1897 in the Department of Decorative Painting. He received a state scholarship to study in Munich between 1897 and 1898 with Simon Hollosy. In 1899 he became an artist at the Zsolnay Factory and stayed with the firm for 52 years. His specialty was decor designs for ornamental objects and architectural ceramics including tiles. Following nationalization of the factory by the Communists, he played an important role in the establishment of the Zsolnay Museum of the Janus Pannonius Museum in Pecs. In later life he published a personal history of his life at the Zsolnay Factory.{ennn}Price on Request.
ZT 20. Detail of A Zsolnay Tile. Size: 6" square.Brilliant eosin glaze flowers trail across the tile like fireworks against a darker green eosin background. A series of these tiles on a wall must have been spectacular. Unmarked - Factory ink notations on the reverse with chemical formulas / Firing notation " D 4555". From the Rudolf Schmutz Collection of Vienna. ; very minor surface wear. Circa 1895-1914. Price on Request.
Tile # 21. Not meant to be inset into a wall, this plaque/tile has a hole in the back for wire and was to be hung. The size is 8 1/4" x 10 3/4". The form number is 7892 indicating 1906. An impressed "Acorn" mark denotes the artist Lajos Mack who studied at the Vienna Academy of Fine Art and from there was employed by the Zsolnay Factory between 1899 and 1916. He specialized in figural decorations, three dimensional statues, designed numerous decors and the Factory continued producing his designs even after WWI. Mack renewed his own plaster molds personally in the early 1930's. . There is a series of at least four different scenes in this same theme. The figures are raised with a dull colored glaze and framed in a raised highly metallic eosin glaze. Badly impressed Zsolnay Pecs mark. Normal wear to front and sizable chip to one back corner. {onnn}Price on Request.
Tile # 22. This Zsolnay tile has a very strict Secession spirit: organic but stiff. The tile was used on a poster for a Zsolnay exhibition a few years ago in Vienna. Factory mark on the reverse and it is 6 " square. Raised relief flower and foliage design against a highly metallic eosin background. SOLD
Tile # 23. A small tile : 4 " square with a wonderful glaze and decoration. Dull red flowers against a green eosin background. Between 1900 and 1914. Unmarked and in very fine condition; set into a custom make new blackened oak Secession style frame. {coln}Price on Request.
Tile # 24. Unmarked and with come normal wear, this 4" x 4" tile from a mosaic design. Circa 1911 by Geza Nikelszky for the Hungarian Pavilion of International Exhibition of Turin, Italy. Now set into a blackened oak new Secession style frame. {csln}THIS TILE HAS BEEN SOLD
Tile # 26. Unmarked relief with lady's nose repaired. Circa 1895-1914. This form is to be found in the Széchenyi Spa in Budapest. Pictured on the cover of a book of Architectural Zsolnay written by Tamás Mattyaszovsky-Zsolnay. Size: 6 1/4" x 3. Turn of the Century. This tile has been sold.
Tile # 27, 28. Unmarked framed pair of furniture insets. Circa 1896-1900. Millennia style designed by Erno Foerk for furniture in the Prime Minister's Office of the Hungarian Parliament. Sizable chips and wear to the top piece. Very fine miniatures from the Zsolnay Factory. {caln}Price on Request.
Tile # 29. This tile has quite a different glaze for Zsolnay: A weathered copper glaze. You get the feel of an ancient Roman design. The mouth is totally pierced and it could have been used in a fountain. Size: 6 1/2" square. Number 4341. c.1895.This tile has been sold.
Tile # 30. Printed mark of 5 steeples and Zsolnay Pecs; T.J.M. in Blue script. Circa 1878-1900. Natural over all glaze crackle and excellent condition in period wooden covered with very worn velvet frame. This 7" square piece was meant as a furniture inset as well as a framed work of art as it is slightly convex allowing for easier framing. Designed by Armin Klein or Keleman Kaldewey. Pictured in past historical catalogues of Zsolnay family furniture, specifically a sideboard in the Zsolnay Museum in Pecs. {hnnn}Price on Request.
Tile # 31. Pictured is extraordinary majolica glaze Zsolnay tile . 10" x 16" and 2 1/2" deep at the maximum. Flowers and vines in relief against a thick blue colored glaze. A high style Art Nouveau decoration that we expect could have been used in multiples to create a border. This example never used. c. 1895. Purchased in Budapest. {ALNN}Price on Request.
Tile # 33. This is the largest Zsolnay pictorial tile we have ever seen, 25¾" X 19¾" and believe it to be the only one in existence. Although there is one sizable corner over painted and a 14" crack, this piece remains a unique museum example. Circa 1900-1914 showing a late use of the Japanesque Aesthetic with Ringtail pheasants and dogwood possibly designed by artist Lajos Mack who specialized in exotic birds among other things. New chalked and blackened oak Secession style frame now holds this tile. Note: The dark repair line was greatly overpainted and that overpainting has been removed to reveal a very thin and much less noticeable glaze crack; also the contemporary wire frame has been removed. The signature scratched of Ronai on the back of the tile was discovered when the wire was removed. {hlnnn}Price on Request.
Tile # 35. No factory mark. 2" x 6". Normal wear. Mottled olive glaze with eosin gold ground. Folkloric-Secession relief of potted flower. Circa 1910-1914. This tile has been sold.
Tile # 37. 3" square in size and unmarked. A real jewel of a tile. The ground is a peacock metallic color with metallic gold decor. Probably a series of different tiles with this theme were used together. This tile has been sold.
Tile 39. Unmarked, 4" square. Circa 1899-1914. 5 edge chips; one sizable and normal glaze wear. Silver/blue stems and star like flowers wave against a mocha ground. Written in pencil on the back: "661½(4.641.2.661½) Hattenbraün". This tile has been sold.
Tile 40. This tile is about 4" square. Unmarked and made about 1905. We have seen this decor on vases from the Zsolnay factory. A very high style design reflecting a Nabis influence in decor. Written on the back in ink and pencil: " Blume 99 / Nile 2195 / Platt Brown / Pond 98½" / R T / Eos. Bl. roth Hill 20 / D 4962" This information written on the back of many of the tiles in this collection were written at the factory and have to deal with glaze formulas, form numbers and decor numbers and they relate to information in the Zsolnay Factory record books. Pictured in Waltraud Neuwirth's book Blühender Jugendstil Book 1 on page 14. This tile has been sold.
Tile # 41. Impressed Zsolnay Pecs on reverse. 6" x 6" square. Edge chips {one sizable} and normal glaze wear. Circa 1885-1914. Multi hued metallic eosine bellflower foliage on maroon ground. English Aesthetic feeling. {hnnn}Price on Request.
Tile # 43. No factory marks. Few very minor edge flakes and glaze firing imperfection to one corner. Circa 1905-1914. Very important example of Central European Symbolist Abstraction {reminiscent of Frantisek Kupka} We know of no other example.Size: app. 6" x 6". {llnn}Price on Request.
Tile # 44. Impressed Zsolnay Pecs Factory mark. Much edge chipping. Circa 1885-1914. Old paper label with numerals fixed to the front corner. Again a variation of a design in other tiles in this for sale. The white flowers contrast very beautiful against the dark background. Brilliant Green Eosin leaves add to the overall luxuriouness of this tile. Date about 1900. Size: app. 6" x 6". Unmarked. {hnnn}Price on Request.
Tile # 46. Impressed Zsolnay Pecs on reverse. 6" x 6". Edge chipping and one corner loss. Remnant of paper label on one corner. Circa 1880-1914. This Aesthetic / Secession tile gives the impression of having been part of a larger picture. Marked on the back with pencil notations relating for form book designs. Price on Request.
Tile # 47. Impressed Zsolnay Pecs on reverse. 6" x 6". Few very minor edge flakes and normal glaze wear. Circa 1880-1900. High Japanesque / Aesthetic decor. This tile has been sold.
Tile # 48. Impressed 5 steeple Zsolnay on reverse. 8" x 17". Classical female mask with headdress in high relief. Edge chipping and paint splatters. This Renaissance Revival architectural element dates between 1875-1895 and is green majolica glazed celadon. {clnn}Price on Request.
# 297-298. Sold as a pair. Blue stamped 5 steeple Zsolnay Pecs T.J.M. in script mark for 1878-1890. Period brass framed Renaissance Revival tile plaques. Each tile is 10.25" x 8.75" in size. Each tile is 10.25" x 8.75" in size. Decoration by Armin Klein or Keleman Kaldewey. One tile is perfect and the other has 2" old repair break to the lower left corner {dog}, both have fine gilt tracery. {hrln}These tiles have been sold.
Tile # 56. Impressed 5 steeple Zsolnay Pecs. 6.5" square. One edge side curved wiht finish glaze. Minor edge flaking and normal glaze wear. Circa 1900-1914. This is the third example in inventory we have of this paticular low relief decor of Central European Abstract Symbolism - and again a museum example. {hlnn}Price on Request.
Tile # 57. Impressed Zsolnay Pecs on reverse. Few very minor flakes to this 6" square majolica glazed tile. Circa 1899-1914. Low Relief. This tile has been sold.
# 58. Printed 5 steeple Zsolnay Pecs in dotted circle. Normal slight wear - this 7" diameter ground marble glaze study was probably made as a furniture or wainscoating inset and dates 1893-1915. This tile has been sold.
# 59, 60, 61, 62, 63. Impressed Zsolnay Pecs, 5 steeple and T.J.M. date this 5 piece Magyar-Isnik decor. Was made as a mirror or window frame and dates 1878-1900. Sizable edge chipping to one piece and minor chips to the other four. Obviously 3 pieces are missing to complete the frame. Two corner tiles and three rectanglular tiles. The corner tiles are 3.5" x 3.5" and the rectangular tiles are 3.25" x 11.5". {caln}Price on Request.
ZT 64. A Ceramic stove application (also used on furniture) decoration. Size: 4" tall. {cnn}Price on Request
A glaze study: very marbeled eosin glaze of blue, gold and gree colors. Size: 14.5" X 21". Unmarked. rnnn.SOLD
ZT 67. Unmarked. 7.5" x 8.5". Remarkable Eosine glaze study on very thin clay; was possibly a furniture inset or factory showroom example. One corner has glazed over sizable chip from original production, otherwise perfect. Very old gilt brass hanger is attached to the back and appears to be original to the circa date.This tile has been sold.
The Zsolnay factory became a leader in industrial ceramics production throughout the Austro-Hungarian Empire. By 1898, 23% of ceramics production within the Monarchy was produced at the Zsolnay Factory in Pecs and within a short period, Zsolnay became the largest producer of ceramics within the Empire. There was nothing that the factory could not produce in ceramics and with the advent of the invention by Zsolnay of frost resistant Pyrogranite, by the end of the 1880's architects through the Empire now had a new construction material with which to implement their Secession designs. The Architectural Ceramics Departments along with electro-porcelain branches of the factory had the highest financial production value for the factory. Ornamental wares produced in the Faience Departments always operated at a loss. Tiles because of their unique application, crossed over into both the Architectural and "Artistic" Faience Departments: usually made of Pyrogranite, yet artistically decorated and glazed by Faience Department artists. Pyrogranite was created by the Zsolnay Factory to act as a moulded stoneware. The Factory started using the name in 1893. To be used mostly for architectural purposes and it had non-freezing properties. It could be made from fine grain or course grain quartz, refractory clay and ground chamotte. It could be produced with either an unglazed or salt glazed surface, could be colored, would accept a majolica glaze, gres {artistic}glazes or eosin decoration. The tiles are usually very dense and were first fired between 1200 to 1300 degrees. After decoration, a second firing {or more} completed the process. The invention of the Eosin glazes by Zsolnay opened yet another door to extraordinary glaze decorations. With these successes the link between the Zsolnay factory and Hungarian architects such as Odon Lechner, Imre Steindl and Bela Lajta was assured. It was the design by Lechner of the Museum of Applied Arts with the Zsolnay factory ornamentation that embodied the spirit of the Millennia festivities in 1896.
" Within the success of the new Magyar style in architecture and design, the Zsolnay Factory in local town Pecs contributed significantly with the production of beautiful ceramic tiles. The ceramic tiles and decorative pottery produced in the Zsolnay Factory, known for their elegant colors and glossy hues, were widely used in not only architectural but also applied arts as a material representing the Hungarian Art Nouveau. In particular, at international exhibitions held in various parts of Europe around 1900, Hungarian pavilions featuring the Zsolnay Factory's ceramics with their outstanding artistic quality as the main exhibits sent a shock wave among the art world." {Sept.1995: 'Panorama: Architecture and Applied Arts in Hungary 1896-1916' Hideo Tomiyama, Director-The National Museum of Modern Art, Kyoto and Hiroshi Ueki, Director-The National Museum of Modern art, Tokyo}
Tile production at the factory represents one of the finest chapters for the Zsolnay family. The creation of functional art is uniquely brought together in a 6" square of pottery.
This link will take you to archive photos of tile production at the Zsolnay Factory
"Zsolnay Ceramics Collecting a Culture" with price guide: "This beautifully illustrated guide to Zsolnay ceramics featuring over 400 color photographs covers the three main periods of Zsolnay production, including 1868 to 1897-Folklorism, Historicism &Victorian Eclecticism; 1897 to 1920-Art Nouveau (Secession in Central European terms) and Art Deco (Second Secession); 1920 to the present-Modernism. An entire chapter; fully illustrated is also dedicated to Zsolnay marks to help collectors identity their pieces." This book is 191 pages and is a large format hard cover. The over 400 color photos detail Zsolnay by size, form number, date of production and current market value. Price: $49.95 + shipping.
To order this book please send a check or money order {$49.95 + $12.25 shipping Priority Mail including insurance}for a total of $62.20 to: The Drawing Room , 152 Spring Street, Newport, RI 02840 {Email us for information about postage charges for shipping outside of the continental United States}
Enter Here To View Historical Photographs of the Zsolnay Factory
WHERE TO VIEW ZSOLNAY ARCHITECTURAL TILES IN BUDAPEST:
Geological Institute (Odon Lechner) 1898-1899; The Church in Dezso Szilagyi Square ( Samu Pecz)1893-1896; The Kobanya Church ( Odon Lechner and Otto Tandor) 1896-1897; Matthias Church (Frigyes Schulek); Post Office Savings Bank, The National Archives, University of Technology, Budapest Zoo (cupola of the House of the Pachyderm), The Gellert Bath ( 1917); the new Town Hall of Budapest ( Imre Steindl) 1873; The quadrangles of the Parliament ( Imre Steindl) 1894-1895; College of Music, Electrical Works Museum, ArtGallery (Albert Schickendasnz) 1894-1895; Opera ( Miklos Ybl) 1884. And . . . of course, just walking the streets of Buda and Pest you never know when you will come across a Zsolnay tile or architectural element: As ceramics manufacturer for the Empire, Zsolnay left his mark everywhere.
"Zsolnay: Collecting a Culture"
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Ceramic Hussar figures from the Paris Exhibition of 1900.
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The Zsolnay Tile Museum represents the private collection of Federico Santi and John Gacher, owners of The Zsolnay Store of Newport, Rhode Island. Prices for the tiles in this collection quoted upon request either via email or by writing to The Drawing Room Antiques, 152-154 Spring Street, Newport, Rhode Island 02840 {USA} 1-401-841-5060 The Partnership of Gacher and Santi has been in business for over 30 years. We have been located in Newport since 1985.
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If you have an interest in selling Zsolnay or are a collector and wish to know more about a particular Zsolnay item, just email us or give us a call and we would be glad to be of assistance.
If you have a question about any of the items in this gallery please drop us a line or Email us. Email us at: drawrm@hotmail.com. Our gallery The Drawing Room Antiques is located at 152-154 Spring Street, Newport, Rhode Island 02840 and our phone number there is 1-401-841-5060 / cell 1-401-261-3980.
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