Fire Mark

There are some minor natural fire marks, as to be expected in keeping with age.

At each step of the process, the materials used are natural and come from the potter’s surroundings; the clay and grog dug from the earth, mineral pigments for painting . The primiti...

At each step of the process, the materials used are natural and come from the potter’s surroundings; the clay and grog dug from the earth, mineral pigments for painting . The primiti...

At each step of the process, the materials used are natural and come from the potter’s surroundings; the clay and grog dug from the earth, mineral pigments for painting . The primiti...

At each step of the process, the materials used are natural and come from the potter’s surroundings; the clay and grog dug from the earth, mineral pigments for painting . The primiti...

There are some natural fire marks in keeping with age. The chased decoration is very sharp.

A small white reserve on the lower body contains a blue seal mark. The underside shows the circular foot with a red interior and visible firing marks.

The menu holders have some natural fire marks in keeping with age. Full hallmarks struck to the surface of each holder have wear in keeping with age and location.

Vertical streaks of vivid red and pink run through the figure and the background, evoking a sense of heat, energy, and emotional tension — the “hidden fire” suggested by the title. T...

This tureen has some natural fire marks. The decoration is very crisp and sharp.

Measuring 13 inches in height and 9 inches in diameter, this vase showcases the timeless appeal of brown drip glaze, a technique that creates rich, layered textures and deep, warm hu...

Many of his pieces show silvery fire-marks like swirling mists left by the wood fire.

The red pottery of buff terracotta color, with areas of gray and black scorch marks from the firing process. The pottery beautifully burnished.

The rest of the jar of natural fired pottery with attractive scorch marks. The vessel sits on a flat base and has a wide opening with a dramatic everted rim.

Some with an unglazed foot ring and others with firing spur marks on the underside. Each spoon decorated in under glaze cobalt blue paintings in a variety of floral motifs.

Designed by Giorgio Salimbeni in 1983 and produced at the Salimbeni company headquarters with manual workmanship by skilled artisan artists with a high thickness plate suitable for s...

Venetian crystal blown glass with iridescent surface designed like a torch of fire. Barovier made his mark on the company, the glass-works industry and history.

Modder Owning The Damage On Her Way Up Ceramic Sculpture by Françoise Jeffrey Dimensions: Ø 29 x H 12 cm Materials: stoneware piece with mysterious marks left after firing, adding to...

Venetian crystal blown glass with iridescent surface designed like a torch of fire. Barovier made his mark on the company, the glass-works industry and history.

As commonly found on antique Orchies Majolica, several plates show original factory grinding to the surface, the foot rim and underside, carried out during production to remove exces...

Born from the red clay of Oaxaca and hand-molded in the Manos que Ven workshop, this piece embodies the living beauty of artisanal tradition: a vessel with organic shapes and a playf...

The exterior remains unglazed, revealing the warm tones of the fired clay and subtle marks left by the potter’s wheel, adding to its authentic rustic charm.

Sizes: • Left bowl: 7.67in / 19.5cm diameter • Top bowl: 5.9in / 15cm diameter • Bottom bowl: 7.87in / 20cm diameter Period: 19th century Origin: Granada, Spain Material: Tin-glazed ...

There is a minor glaze flaw or imperfection along the outer rim; such imperfections were common on vases and lamps of this type, as they were mass-produced and often touched one anot...

Condition: Minor pinhole fritting and small glaze flakes, with one small area of old touch-in. Visible spur stack marks from firing. Unglazed foot with age wear and light surface dep...

The bowl shows typical characteristics of traditional handmade pottery including natural variations in glaze, brushwork irregularities and small marks from firing. Minor wear along t...

The salamander motif was the personal emblem of King Francis I, historically symbolizing the ability to withstand and conquer fire. Makers mark to underside: FF. Circa 1870-1890.

Monograms of this kind were added at Canton to special order, the initials sent out with the commission and painted by the enamellers before firing, and they mark the jar as a privat...

The reverse shows classic kiln support marks from firing, further supporting an antique, workshop-made origin.

The polychrome palette, requiring additional kiln firings for its enamels, marks these as more ambitious productions than the familiar blue and white.

The back panel retains the typical André Mailfert salamander fire stamp, a branded mark associated with his workshop and found on many of his period-style furniture pieces.

The base exhibits rich firing coloration and oxidation marks from decades of use and natural aging.

Dimensions: Height: 21.5 cm (8.5 in) Diameter: 20 cm (7.9 in) Condition: Good antique condition with age-related wear, firing imperfections, minor surface marks and expected manufac...

Period: Mid-20th century Medium: Stoneware with flambe reduction glaze Dimensions: H 57 cm, W 29 cm, D 15 cm (each) Condition: Good overall; glaze consistent with intended flambe fir...

No chips or cracks observed. Minor firing and glazing marks are inherent to the artist’s production process and consistent with the nature of the medium.

Natural kiln marks and subtle firing variations enhance the vessel’s tactile, handmade character.

The surface displays minor marks, firing irregularities and variations inherent to its hand-built construction.

Despite the technical challenges of the process, each vase is handcrafted in a single piece, with no parts assembled or glued post-firing. The deBlona mark is stamped directly into t...

Despite the technical challenges of the process, each vase is handcrafted in a single piece, with no parts assembled or glued post-firing. The deBlona mark is stamped directly into t...

Despite the technical challenges of the process, each vase is handcrafted in a single piece, with no parts assembled or glued post-firing. The deBlona mark is stamped directly into t...

The green copper-based glaze is especially characteristic of traditional Puglian ceramics, prized for its luminous depth and organic surface movement. Subtle firing variations, glaze...

Key Features : Type: Decorative vase/pitcher Origin: France Period: Circa 1950–1960 Material: Ceramic/glazed stoneware Colors: Creamy white, brown, ochre, black Decoration: Hand-pain...

The glaze pools naturally around the shoulder and foot, with areas of wear, kiln marks, and firing imperfections consistent with age and traditional hand production.

The tin-glazed surface has a soft sheen typical of fine Delftware, and the underside shows rough marks where the vase was pried from the kiln floor after firing, an authentic detail ...

A thick sheet is torch-cut and stretched into angular planes, each edge alive with the marks of fire and hand. Its verdigris finish deepens the play of shadow and texture, giving the...

What elevates this group beyond a purely decorative Windsor set is the documented British military and institutional history visible on the undersides of the seats. One chair bears a...

The seat bears deep cuts, scars, and abrasions, suggesting it was repeatedly used as a working surface over decades — likely as a chopping block for food preparation or for cutting k...

The blue glaze shows subtle vertical flow marks from firing; the surface is entirely smooth and vitrified.

The surface is untouched, with the natural oxidation, hammer marks, and fire-scale that only time produces. The legs are mortised and riveted by hand.

Books 1, 2, 3, 5, 6, and 7 are unopened in the original plastic, in an as new condition. Cloth to 'Goblet of Fire' with some very light marks, the front hinge is starting but firm.

Richard Ginori 1735 Black Stone scented candle, the body is made of pure porcelain and depicts a face concealed by the phrase LIGHT MY FIRE / Made in Italy Original mark on the base ...

The Kósmos collection by deBlona is a series of vases that, despite their aesthetic essentiality, encapsulate all the complexity of ceramics: this is why, even though taking into acc...

The Kósmos collection by deBlona is a series of vases that, despite their aesthetic essentiality, encapsulate all the complexity of ceramics: this is why, even though taking into acc...

Interiors are cleanly enameled, with legible “Hermès Paris” and country marks. Precision firing yields consistent curvature and a round profile that resists warping; the finish stand...

Naturalistically painted with fired KPM mark on the bottom.

With their rounded bottoms making for easy stirring of contents, these containers were most probably used for food preparation, with handles for hanging over a cooking fire. They sho...

The Kósmos collection by deBlona is a series of vases that, despite their aesthetic essentiality, encapsulate all the complexity of ceramics: this is why, even though taking into acc...

The Kósmos collection by deBlona is a series of vases that, despite their aesthetic essentiality, encapsulate all the complexity of ceramics: this is why, even though taking into acc...

The dark textures and tones visible on the surface are created through a traditional burning technique. These fire-shaped marks make each piece unique; preserving the natural essence...

Its refined cylindrical body is balanced by an elongated spout and a striking double loop handle, a playful yet architectural feature that nods to both form and function. Handcrafte...