Glazed Decorative Baskets

A beautiful French oval white and gold pierced Paris Porcelain compote basket tazza bowl in the Empire style, circa late 19th century, France...

Jim & Shirl Parmentier Sculptural Ceramic Basket, 20th Century.

Minton Majolica basket which features pond lily leaves and flowers tied together with lily stems which form the handle. Four flower bud feet. Co...

Beautiful large bowl with the Florenz decor, designed and produced by Bay Keramik in 1955.. Matte glaze in black, white and yellow,

A beautiful oblong white and gold pierced 'Paris Porcelain' style porcelain compote basket bowl with lion paw feet in the Empire style, circa...

Beautiful large vase / pitcher from the Congo range designed by Bodo Mans and produced by Bay Keramik in the late 1950s. Dark, almost black, matte glaze decorated with thick, glossy ...

From Tuscany a ceramic basket realized with a circular vase with polychrome geometric decorations on the body and a relief decoration handmade by applied flowers and scrolls as well as on the handle. A Mid-19th Century Italian ceramic warmer, a circular basket...

HORIZON - Mid Century studio pottery basket / bowl / vase with white glazed handle and interior - hand made - featuring incised and white glazed leaves to the exterior of the bowl - ...

This pair of elegant oval-shaped pearlware baskets and stands were made by Thomas Fell & Co**, St Peter’s Pottery, Newcastle upon Tyne, circa 1830. The baskets were made to hold brea...

From Tuscany a ceramic basket realized with a circular vase with polychrome geometric decorations on the body and a relief decoration handmade by applied flowers and scrolls as well as on the handle. A Mid-19th Century Italian ceramic warmer, a circular basket...

Decorated and perforated ceramic basket realized with a circular vase with polychrome geometric decorations on the body and a relief decoration on the edge handmade by multiple shells and small fishes, as well as on the handle. Two ornamental shell-shaped spouts on the larger edge. In good age related condition, with signs of use, small breaks of some fish tails and minor chips on the edge of the vase. Handmade and hand painted in Italy, Tuscan origin, mid-20th century. A perfect Italian artwork...

Wonderful Fajance lidded box / canister and vase from the Baca line by Nils Thorsson for Royal Copenhagen, circa 1960s. The stunning green and black glazed stoneware pieces with geom...

Beautiful quality and stylish antique jardiniere. This rare and marvelous design Arts & Crafts jardinière is beautifully decorated with organic yet symmetrical Jugendstil motifs. In...

A handcrafted plant pot holder by the Zaccagnini pottery. This lovely piece is styled as a cylinder of plain white columns under a plain edge, sporting two highly detailed bunches of...

Wonderful Art Nouveau large ceramic handled bowl or basket by German artist/designer Wilhelm Süß for Karlsruhe Majolika (Majolica) circa 1910. He was one of their top designers at th...

Two pairs of maiolica baskets Antonio Ferretti Manufacture Lodi, circa 1770-1790 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: A) Height 3.54 x 6.69 x 9.84 in (9 x 17 x 25 cm); B) Height 3.93 x 7.48 x 11.02 in (10 x 19 x 28 cm). Total weight 4.85 lb (2.200 kg) State of conservation: A) One of the smaller baskets has some areas of restoration, the other slight chipping from use; B) One of the larger baskets is intact and the other shows a clearly glued break. The mold with which the baskets were forged simulates a wicker weave. The two larger works have high, vertical walls, with branch-shaped handles penetrating the weave. The painted decorations, small polychrome flowers applied only externally, highlight the points where the weaves intersect. The decision to leave the center of the basket devoid of decoration is highly unusual, but given the size and complexity of the shape, as well as the quality of the enamel, it is possible to hypothesize that it represents a precise choice in manufacturing or for a particular client. The two smaller baskets have small, twisted handles and, on the outside, reproduce more decisively the characteristic wicker weave, obtained through thin molded lines. The interior exhibits a rich, typical decoration of naturalistic flowers: a bunch centered around a main flower and secondary stems accompanied by small “semis”. The exterior of these works is also adorned with small little flowers where the weaves intersect. The size and morphological characteristics of the baskets confirm their attribution to the Lodi factory of Antonio Ferretti between 1770 and 1790, during its most successful period; by this point his original reworking of the "Strasbourg" decoration, known as "old Lodi", had achieved great fame even outside Italy. This decorative choice represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and which Antonio Ferretti introduced in Italy. This production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family had started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano had started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano had started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, could commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables...

Roger Capron Bowl, Glazed Earthenware Made in France, c. 1960 Glazed earthenware, signature to underside ‘Capron Vallauris M82’.

Longwy, France. Equinoxe basket in glazed ceramics. Abstract polychrome decoration on black background. Mid-20th century. Measures: 24 x 23 cm. In excellent condition. Stamped.

Red white Yugen stonewares No 4 bowl by Yusuke´ Y. Offhause One of a Kind, the work is in two parts. Dimensions: D 24 x W 24 x H 8.8 cm. Materials: polished stoneware, polished po...

La Che pot by Sebastian Herkner Materials: 100% fique fibers from Furcraea leaves from Furcraea leaves. Technique: Hand-woven in Colombia. Dimensions: diameter 45 cm x width 24 ...