Decorative Bowls

Handcrafted totem 001 by Lovebuch Dimensions: Ø 28 x H 20 cm Materials: Sandstone, handcrafted piece. Katia works with wood and clay, these raw, powerfully expressive materials are shaped to create a poetry of objects that inhabit our daily lives. Sculptural ceramics...

A rare large decorative French deep wall charger by R. Rizzi for Faiences de Longwy de Luneville. Decorated in a crackle glaze of vibrant colors and gilt and enameled with a peacock ...

Jean bOGGIO, suite of 4 covered pots on the theme of the circus, Edition Les Héritiers France.

Hakou D tray by Mason Edition Dimensions: 60 × 26 × 9 cm Materials: glass and iron Colours: transparent, fume or light pink glass + black metal base All the poetry, delicacy an...

Lovely amber colored Art Deco glass jardiniere or glass bowl from the period around 1920 in Austria. Showing a fantastic yellow/brown color tone, this very decorative glass item impr...

Antique Meissen braided and gilded rose du Berry porcelain. Hand-painted and gilded leaves. Mid-18th century. Measures: 12.8" x 9.25"x 2.5" In excellent condition and Stamped.

An edition of 150 unique bowls, the Concrete Series by UMÉ Studio expresses the tension between heavy concrete and its delicate edge generated by hand pouring. While one assumes conc...

Distinguished Royal Copenhagen white porcelain antique taza with gilded decoration A striking centrepiece from Royal Copenhagen circa 1890 Stamped and numbered 8530 Measures: hei...

Pair of Hakou B Trays by Mason Editions Dimensions: 36 × 30 × 11 cm Materials: Glass and iron Colours: transparent, fume or light pink glass + black metal base All the poetry, ...

Pink Hakou D tray by Mason Edition. Dimensions: 60 × 26 × 9 cm Materials: Glass and iron Colours: Transparent, fume or light pink glass + black metal base. All the poetry, deli...

Handcrafted 016 coupe by Lovebuch Dimensions: Ø 27 x H 17 cm Materials: Sandstone, Handcrafted piece Katia works with wood and clay, these raw, powerfully expressive materials are shaped to create a poetry of objects that inhabit our daily lives. Sculptural ceramics...

Trullo is a table container with conical lid, inspired by the architecture of the typical houses of Alberobello in Apulia. Fabio Novembre continues the creative path influenced by th...

Handcrafted hilla 001 by Lovebuch Dimensions: Ø 23 x H 36 cm Materials: Sandstone, handcrafted piece Katia works with wood and clay, these raw, powerfully expressive materials are shaped to create a poetry of objects that inhabit our daily lives. Sculptural ceramics...

Long Island crystal flacon, hand-sculpted contemporary crystal Decorative vase Hand-sculpted in crystal Measures: W 8, H 19, D 8 cm. The Reflections Copenhagen Boudoir collecti...

3 levels squared candle holder in grey Bardiglio marble and brass, made in collaboration with Annick L Petersen. Each piece is in a way unique ...

Brook bowl/vase by Studio Laf Dimensions: W: 13 cm Height: 14 cm R: 12 cm Materials: Brass, marble. Brook, which has two functions as flowerpot and appetizer bowl...

Set of 11 val St Saint Lambert glass berry bowls in danse de flore clear gilt 11 Val St Saint Lambert cut glass berry bowls in Danse De Flore clear. Be...

3 levels squared candle holder in white Carrara, grey Bardiglio and black Marquina marble and brass, made in collaboration with Annick L Petersen....

An exquisitely decorated and wonderfully executed ceramic Mingei glazed plate/ low bowl by Japanese National Treasure and Mashiko pottery master Tatsuzo Shimaoka. This work displays his famous Jomon Zogan rope inlay design, hand-painted decoration, and has his impressed "Ta" signature on the base. Shimaoka, who started as an apprentice to famed Japanese potter Shoji Hamada in 1946 before opening his pottery studio, has exhibited worldwide including in North America, Asia, and Europe. In 1996 he was bestowed the title of Japanese Living Treasure...

Boch Frères La Louvière Ceramic Centerpiece, Belgium, early 20th century. Wonderful and large ceramic centerpiece by Boch Frères from La Lou...

Article: Murano glass bowl, ashtray element by Barovier and Toso Origin: Murano, Italy Decade: 1970s This original vintage glass bowl element, ash tray was ...

U shape candle holder with pod in grey Bardiglio marble and brass, made in collaboration with Annick L Petersen. Each piece is in a way unique (every marble block is different in ...

A Rare 19th Century Meissen Porcelain ‘Schneeballen’ (Snowball) Covered Bowl and Underplate with Encrusted Flowers, Vines, Leaves, and Birds. This piece is very rare and extremely hi...

French mid-century Vallauris ashtray / bowl in multicolor glazed ceramic. Beautiful fat lava glazed ceramic ashtray in yellow, amber, white and brown colors. Manufactured by Vallaur...

An early 20th century French white marble and pestle. The pestle has a wood handle and a stone base. Pestle measures 12"height x 3"diameter.

Poole Epca Lancaster Silver Plate Lidded Regency Style Soup Tureen serving bowl. raised on ornate feet, ornate twin handles, lid with spoon cut out, original stamp, very nice vintage...

A fine antique topographical porcelain waste bowl. By Doccia porcelain manufactory circa 1820. With painted enamel topographical scenes, ...

Fine davis & galt sterling silver centerpiece bowl art nouveau. Centerpiece bowl in Rose Davis & Galt Sterling silver pierced in Art Nouveau style. # 1186 L. Retailed by Spaulding...

Reidi Bowl by Studio Lel Dimensions: D25x W25 x H8 cm Materials: Serpentine, resin, marble The Reidi Collection takes its name from the Persian word for the poppy flower - marry...

Stunning small jewel of a bowl in those fabulous glazed tones of turquoise, cerulean, oxblood and lime. This small and unique dish was commissioned and sold by Raymor. Made in Italy,...

A stylish Modernist midcentury Italian art pottery bowl designed by Franco Bucci for Labortorio Pesaro. The rounded handcrafted stonewa...

Arles bowl II by Studio Lel Dimensions: D 30.5 x H 7.6 cm Materials: Onyx, marble. Also available in different dimension. These are handmade from semiprecious stone and marble...

Serving Tray, Lusitanus Home Collection, Handcrafted in Portugal - Europe by Lusitanus Home. A sublime serving tray, Oshu was design to uplift layback moments. A serving tray upho...

Three colorful graduated inlaid shell 'Dots Obsession' pattern concave trays Attributed to the workshops of Maitland-Smith Retailed by Shawana Storey, San Francisco Three lar...

Fruit holder centrepiece consisting of a base in naturally split Ardesia stone from the Fontanabuona Valley with a wax finish and a mouth-blown glass fruit holder. The bleached beech wood spacers allow you to tilt the fruit bowl in multiple directions. Design by Roberto Dagnino...

Create a sculptural arrangement of organic shapes, combining style statement and functionality with these Italian vintage earthenware Art pieces: a group of 4 Mid-Century Modern different ceramics is available, 3 vases and a bowl/catch-all, by Bertoncello and designer Roberto Rigon, showing inspiration from Barbara Hepworth and Henry Moore work. This particular postmodern sculpture bowl is quite innovative in its aerodynamic shape for the period and particularly in the mid-20th-century ceramic sector, glazed in a beige terracotta...

Gorgeous set of four Mid-Century Modern enamel on copper plates, circa 1960s. The plates are in very good condition and measure 5.75" in diamet...

Large ceramic bowl with beige sand colored glaze with brown speckles and decorative dripping noses. It's most likely by a Danish or Scandinavian ceramist. Unfortunately the cerami...

A stunning Canadian studio pottery miniature bowl decorated in yellow glazes with an associated pottery stand by Lane Gordon Thorlaksson (Canadian, 1937-2009) dated 1976. Lane Gordon Thorlaksson was born in 1937 in Winnipeg, Manitoba and moved to Vancouver as a child. In his twenties, he represented Canada in the 1959 Chicago Pan-American Games, running alongside Henry 'Harry' Winston Jerome in both the 100 yard and 220-yard dash. Following this, he attended San Jose University of California and in 1966 received a BFA in Ceramics. Working with clay was Thorlaksson’s passion. He was fascinated with Asian ceramics, in particular the Song dynasty Chinese pot forms and glazes. In 1985, the Mayor of Vancouver, Mike Harcourt, visited China on a goodwill mission for the twinning of Vancouver with Guangzhou China. As gifts, he took with him several of Thorlaksson’s ceramics and presented them to Cao Yun-ping, Secretary-General of the People's Municipal Government of Guangzhou. The pieces were well received and local Chinese potters were interested to learn about his glazing techniques. In 1987, Thorlaksson was invited to visit China’s Guangzhou University to exhibit more of his work. He was aided in this exchange by Joanne Mah, the Director of Intercultural Training and Educational Consultants (ITEC), who had worked with the Harcourt exchange. In 1988, she and her husband sponsored a pre-gallery showing of Thorlaksson’s ceramics at the ITEC’s Hong Kong office, prior to an exhibition at Alvin Gallery in Hong Kong. Thorlaksson was celebrated and introduced to academics and the media, including the head of ceramics at the Guangzhou Institute of Fine Arts. Local Chinese potters were eager to learn about his firing techniques, which used multiple firings to create special glaze characteristics. They were also intrigued to understand how he designed his own stands as an integrated part of his presentation. Unlike Asian potters who used wooden stands, Thorlaksson produced his stands in clay, matching each stand in aesthetic and tone to its pot. This two-part process elevated his pieces to sculpture. He believed that ceramics should be viewed as fine art and not craft. He was inspired by the female form and was quoted as saying 'Most potters make pots; I make parts of people'. The bowl is of wide squat rounded form with a fold over rim and is decorated in pale yellow glazes over a brown ground and stands on a narrow round unglazed foot. The design is probably based and inspired by a Chinese brush washer...

This fine majolica centerpiece is made and hand-painted in Deruta, Italy. The Bowl recalls the ancient structure of the Greek cups that were used to mix wate...

A very fine antique Murano Venetian Revival art glass pedestal bowl by renowned Italian glass maker Antonio Salviati (Italian, 1816 – 1890) probably d...

Our oval pedestal bowl is great for holding fruit, plants, decorative objects, faux succulents and specially everyone's attention. You can have it on display on a kitchen counter or ...

Completely handmade porcelain bowl with a hands-free naturalistic painted Easter bunny figure with black spots in country style. The bunny is sitting in t...

A stunning large scalloped shaped off-white onyx bowl with a raw edge. This one of a kind decorative bowl is meticulously hand-carved from a single pie...

Beautiful vintage Murano hand blown dark pink and white ribbons Italian art glass decorative scalloped rim bowl / vide-poche. Attributed to the Fratelli Toso company. Created with pi...

Hand thrown porcelain bowl in silky matte white and celadon colored glaze with petal rim in light pink Marked with workshop mark and dated 1994 (stamp), Germany.   

A whimsical hand painted porcelain charger. The center with an assortment of poker cards with a green background, 18" diameter. One of a kind well painted decoration.

Boldly and energetically painted, this Art Deco bowl depicts two nude male figures -- Jacob and the angel -- wrestling during the night, as related in the book of Genesis. Jacob refu...

A very unusual and stunning English Art Nouveau large silver fruit bowl by renowned silversmiths Elkington & Co and made in Sheffield in 1909. The heavily made bowl is of deep round ...

Beautiful hand turned "Paquime Pottery" decorative bowl by Ana Trillo for Mata Ortiz, circa 2000s. The piece has exquisite detail and design with a bird catching a fish in the center...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style 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 later introduced by Antonio Ferretti to Italy. The 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 started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano 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, was able to 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, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

Set of 6 Flight, Barr & Barr Worcester hand painted porcelain soup bowls circa 1813-19. Red armorial lion to center with a pink rose pattern to edge. Gilt band to the center and g...

Carl Aubo¨ck Model #3548 polished brass bowl. Designed in the 1950s, this incredibly refined and sculptural Viennese bowl is executed in polished b...

Bowl Onda Bronzed all in blown glass in bronzed finish, with bronze casted inside the bowl, glass with local oxides and bronze components to create unique effects. Hand-crafted ...

Brilliantly glazed in rich, bold hues -- ocean blue, canary yellow, deep pink, and charcoal -- this unique, large bowl depicts a shipbuilding scene in Brittany, designed by George Re...

Article: Murano glass vase element by Barovier and Toso Origin: Murano, Italy Decade: 1970s This original vintage glass vase element was produced in the 197...

Lovely amber colored Art Deco glass jardiniere or glass bowl from the period around 1920 in Austria. Showing a fantastic yellow/brown color tone, this very decorative glass item impr...

Fantastic cement amoeba bowl by Swiss architect Willy Guhl for Eternit. Bright red base and grey top. Very unusual design with beautiful patina. Good vintage condition. Wear as shown.