Brazil Modernist Pottery

Primitive terracotta water jar from Central Mexico, Early 20th Century

- Handbuilt brown jar - Made of clay collected from the potter's surroundings. - Made in the Moroccan Rif mountains by the potter Aïcha. Approximate mea...

- Handbuilt terracotta big side table, stool for bedroom or living room - made of clay collected from the potter's surroundings. - made in the Moroccan Rif mountains by the potter Ho...

A Wedgwood rosso antico coffee pot made ca. 1810. The pot's red body is accentuated by black basalt details in the Egyptian Revival style. Developed by Josiah Wedgwood in the 1760s, rosso antico famously exhibits the Egyptian Revival style that became popular in the early 19th century during Napoleon...

This charming set of three French Provincial stoneware pottery water jugs dates back to the 19th century and showcases a stunning time-worn patina. Each jug is uniquely crafted, refl...

A Neoclassical red transferware tile made by Spode 1806-1810, with the ‘Refreshments for Phliasian Horseman’ pattern. Sir William Hamilton’s Collection of Etruscan, Greek and Roman antiquities, first published in 1766 by Pierre d’Hancarville, was a landmark publication in English design. It intended to disseminate the Antique style through its engravings of Attic pottery. The catalog’s faithful reproductions of Classical vases led British potteries, including Spode, to adapt or even copy the ancient art for modern life. These Spode Greek pattern tiles reflect the major influence of Hamilton’s catalog on English Neoclassicism. The central scene was taken directly from the catalog. This tile can be dated to a narrow window of production in the Spode factory, 1806-1810. During that time, Spode used a technique known as the “Pluck and Dust” method to print in red transfer designs onto creamware. Using this method, source prints were transferred overglaze using tissue imprinted with a very faint rendition of the design outlined in sticky oil. The decorator applied the tissue to the object then carefully “plucked” or pulled it away, leaving the sticky oil design behind. Then, a finely-ground enamel color was “dusted” onto the surface, sticking to any areas that had the oil. A final firing at a low temperature in the enamel kiln made the pattern permanent. The Pluck and Dust technique improved upon bat-printing and enabled larger designers to be transferred. It was short-lived, however, as under-glaze transfer printing soon took over as the preferred method for producing transferwares. Dimensions: 5 in. x 5 in. x 1/4 in. Condition: Excellent. Slight chip to the upper left corner measuring approximately 0.9 cm. in length. Provenance: The Collection of Nancy and Andrew Ramage Jonathan Horne...

This antique French Provincial water jug in light yellow is a beautiful example of timeless craftsmanship. With its charming time-worn patina, this jug embodies the rustic elegance t...

Antique terracotta clay bowl. Subtle imperfections, symbolizing its age, usage & beauty of natural decay.

Lovely pot bellied glazed earthenware walnut oil jug with triple handles and spout is from the Périgord region in the Dordogne, France The jug was used to hold and transport walnut...

- Dimensions: 3" top diameter x 3" bottom diameter x 2.75" high x 4" width with handle - A beautiful example of mochaware pottery in a rare palette, this mug dates to the early nine...

This elegant antique jar was hand-crafted in Spain circa 1760; round in shape with narrow base and neck, the vessel features a rolled rim at the top accented with a mustard color gla...

A rosso antico teapot made by Wedgwood ca. 1810. The pot's red body is accentuated by black basalt details in the Egyptian Revival style. This ros...