Earthenware Decorative Bowls

A wonderfully designed and gorgeously glazed large earthenware bowl by ceramics masters husband and wife artists Vivika and Otto Heino. Quite heavy and solid .The couple were best kn...

French Faience Tureen attributed to Desvres Circa 1900. Inspired by Rouen maunufacture. Signed St Gilles Croix de vie.

A Wedgwood Fairyland lustre bowl designed by Daisy Makeig-Jones ca. 1925 and decorated with the 'Blue Willow' pattern. The ‘Blue Willow’ pattern is timeless, inspired by 18th-century Chinese blue and white porcelains and appearing on English transferwares since the early 19th century. Thomas Minton is credited with creating the standard pattern as we know it today circa 1780; from there, all the major English potteries, and some American ones, began producing ‘Blue Willow’ transferwares...

Vintage 20th century Native Tarahumara Mexican / Southwestern olla / water pot. Made of red clay / terracotta by the indigenous tribal Indians, it features a round, saucer-like form ...

Model #5 Eduard Stellmacher and Co, Porzellanfabrik und Kunstkeramische Industriewerke Driven to establish a new company that produced luxury porcelain and ceramic items based on h...

Famed California Mid-Century Modern artist Beatrice Wood signed bowl featuring a unique pink lava glaze and piercing blue crackle glass in the cente...

A very realistic rendering of a tower of fruit, this pair of creamware topiaries was produced in Italy during the mid-1900s. Creamware is a type of...

Model #2 Eduard Stellmacher and Co, Porzellanfabrik und Kunstkeramische Industriewerke Driven to establish a new company that produced luxury porcelain and ceramic items based on his own aesthetic aspirations, Stellmacher left Amphora when the workshop was at its most prosperous, in 1904. Together with entrepreneur Karl Frank, who provided the financial backing, he founded Ed. Stellmacher & Co. in Turn-Teplitz in 1905. From the outset, Stellmacher worked hard to achieve a major position among other high-end ceramic art producers. He believed the success of the company would depend on his products of “appropriate methods and unerring quality, perfect from both the technical and artistic sides”. Stellmacher based his first collection on artistically progressive products, pieces he believed would be in high demand. The greater part of the designs were either large vases complemented with sculptures of fantastic dragons or natural animals. With this series, Stellmacher continued the themes he had created for Amphora from 1899-1902, however, his naturalistic renderings of animals was even more elaborately precise. He developed a special ceramic material called refined earthenware, which minimized the shrinkage that was common during firing and allowed for greater preservation of details in the original models. Unfortunately, by 1905, contrary to Stellmacher’s plans, there was little to no demand for objects of this type. Very few pieces exist today as very few were originally produced. Even after redirecting the company to produce commercial goods Stellmacher still could not ward off the company’s demise. By 1910 the Stellmacher & Co. fell into bankruptcy and was liquidated. Art Nouveau Dragon...

Bowl White Arkan all in earthenware with 24k crackeled gold plated, white and blue finish. Also available on request in Arkan White Bowl.

Wilhelm Kåge (1889-1960) for Gustavsberg. Hand-painted faience bowl shaped like a seashell. 1920s / 30s. Measures: 24 x 11 cm. In excellent condition. Stamped.

French Mid-Century Vallauris ashtray / bowl in unglazed fat lava ceramic. Beautiful fat lava ceramic flower shaped bowl in white and brown ceramic with turquoise green, orange and ye...

Antique glazed Hispano-Moresque earthenware dish yellow Islamic bowl. Early 20th century Moorish terracotta bowl with bright yellow glaze. Glazed Mauresque Spanish Talavera pottery bowl ware. Hispano-Moresque earthenware dish Majolica in polychrome Moorish floral pattern. Islamic pottery vessel hand painted in splashes of colors in green, saffron yellow and teal floral decoration, very modern and abstract naïf composition. Tin-glazed Persian style earthenware with a lustre glaze, made in Spain...

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

A very fine antique English creamware teabowl bat printed with scenes to two sides and attributed to Wedgwood and dating from around 1770. The teabowl is lightly potted standing raised on a narrow round foot rim with a simple raised round bowl shaped body. The teabowl is decorated to sides with black printed designs, one portraying a resting seated shepherd within a landscape with his dog and sheep...

A wonderfully made and colored heavy bowl by Mexican born ceramic master Raul Coronel who played an important role in the American (he became a naturalized citizen) / California design movement of the 1950s-1970s alongside Peter Voulkos, Beatrice Wood, Gertrud & Otto Natzler, Otto & Vivika Heino, to name but a few. This bowl features a deep oceanic green crackle glass...

A large 19th century French earthenware Tian bowl with a wonderful green glaze. These were used as mixing bowls in the south of France near the Spanish borde...

This antique Historism centerpiece / pedestal bowl is made of polychrom glazed majolica and features four cartouches decorated with high relief knight helmets and dragons. The manufa...

Made circa 1820, this lovely mochaware bowl features a horizontal band of three-color cable decoration mixing light brown, black, and white slip on gray ground. The earth tones creat...

Faience Soup Tureen Delft, circa 1930. Chinoiserie scene on the platter , handle with fish and lobster. Platter 17.5 by 13.3 inches. Height / 11.5 inches.

Large midcentury French Mosaic Ceramic Bowl Gerbino Vallauris. Diameter / 12 inches.

This rare large punch bowl beautifully marries two of the most sought-after patterns of early 19th-century English ceramics: The Medicine Man and The ...

French Faience Tureen attributed to Desvres Circa 1900. Inspired by Rouen manufacture. Signed Arromanches.

A masterful work by famed potters Otto and Gertrud Natzler. This round-shaped footed bowl was wheel thrown and formed by Gertrud and glazed by...

Established in 1853 by Miklós Zsolnay, Zsolnay began as a small business producing basic stoneware and earthenware. Ten years later Miklós’ son, Vilmos, joined the company and led it...

A lovely pot in faience designed by Stig Lindberg at Gustavsberg in the 1960s. The decor is painted by Karin Gustavsson who were one of the painters at Gustavsbergs factory. The pot ...

This delightful plate designed by Allan Ebeling for Bo Fajans, exudes both functionality and whimsy. Its french blue hue adorned with a delicate blue floral decor adds a touch of ele...

This exquisite 18th-century Dutch Delft or Samadet faience barber's bowl showcases a classic lobed shape with a notched rim, traditionally designed for shaving use. The piece is hand-painted in vibrant green with a central floral motif surrounded by delicate foliate designs, accentuated by a decorative border along the scalloped edge. The tin-glazed ceramic surface exhibits the characteristic craquelure and slight imperfections typical of early Delftware. Originally used in barbershops for lathering and rinsing during shaves, this historical faience bowl is now a highly collectible decorative object, perfect for display in a Delftware collection or as a charming accent in a period interior. A remarkable example of Dutch craftsmanship, this piece captures the elegance and functionality of antique Delftware.

A gorgeous vintage majolica glazed green reticulated basketweave bowl from Vallauris in the French Riviera region of France, circa 1940. Maker's mark on interior. Vallauris is consid...

This large antique "Tian" (Provencal term for serving bowl), was crafted in Provence, southern France circa 1880. Round in shape, the handmade terracotta bowl has a subtle green glaze on the inside with natural earthenware finish on the outside. Use this important dish as a centerpiece on a dining table filled with fruit or vegetable, or dress this jardiniere with a flower arrangement. The wide decorative vessel...

Product description: This item has been designed by Johanne Gerber and produced by the Danish firm Royal Copenhagen. The fajence method, consisting of adding tin-oxide to glace the ...

A French Majolica asparagus tray from the 19th century, with large cradle and wicker motifs. Created in France during the 19th century, this Majolica tray features large cradle with ...

Established in 1853 by Miklós Zsolnay, Zsolnay began as a small business producing basic stoneware and earthenware. Ten years later Miklós’ son, Vilmos, joined the company and led it...

We are pleased to offer this exceptionally large and rare mid-19th century English mochaware bowl. Each piece of mochaware is unique. Made in England ci...

This is an extremely rare majolica ceramic bowl by George Pull, dating back to around 1850, inspired by the works of Bernard Palissy from the 16th Century...

Minton Majolica Taza, molded as an inverted mushroom, the bowl interior glazed in orange, with three naturalistically modeled and glazed frogs around the stem,...

Unique antique Danish Art Nouveau Royal Copenhagen bowl from 1932. Stunning Asian inspired depictions of Japanese goldfish and slender underwater plants all hand-painted in fiery ora...

French mid-century Vallauris ashtray / bowl, Glazed Ceramic Beautiful fat lava glazed ceramic ashtray in dark blue and soft blue hues and white accents. Manufactured by Vallauris. France, 1950s. This cool ashtray was handcrafted in France at the Mid-20th century period. Its design in shades of blue and white fat lava ceramic on a cobalt blue background . It has four cigarrette or cigars holders. Highly decorative piece! This colorful piece will be the perfect gift for smokers. Also useful as jewelry bowl , decorative bowl or vide-poche. Overall Measures: 19 cm diameter x 9 cm height (7,48 in diameter x 3,54 in height). Vallauris Ceramic Round Bowl // Glazed Ceramic Fat Lava Bowl...

A timeless example of French country craftsmanship, this large antique French terracotta Tian bowl is a beautifully aged earthenware piece with a rich history. Originally used in Fre...

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...

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...

This antique 20th-century French terracotta Tian bowl is a remarkable piece of European pottery heritage, embodying the rustic charm of French provincial kitchens. Handcrafted using traditional pottery techniques, this earthenware vessel features a wide flared rim, gently sloped sides, and a weathered patina, showcasing its rich history of daily use. Once essential for mixing, kneading, and food preparation, this bowl now serves as a highly sought-after decorative and functional accent. The natural, warm terracotta hues and aged glaze remnants add an organic touch, making this bowl ideal for French country, farmhouse, and Mediterranean interiors. Whether styled as a fruit bowl, centerpiece, or part of a curated antique pottery collection, this piece brings timeless elegance and authenticity to any space. Key Features: Antique 19th-century French Tian bowl, handcrafted with traditional pottery techniques Classic flared rim and wide basin for practical and decorative use Rich earthy tones with natural patina and glaze remnants Historically functional, once used in French kitchens for food preparation Ideal for French country, rustic, Mediterranean, and farmhouse interiors Versatile styling: works as a decorative bowl, serving dish, or sculptural accent Styling & Usage: Display on a dining table, kitchen counter, or console for an authentic French country aesthetic Use as a fruit bowl, bread bowl, or serving dish for rustic gatherings Pair with other antique earthenware vessels...

Model #13 Eduard Stellmacher and Co, Porzellanfabrik und Kunstkeramische Industriewerke Driven to establish a new company that produced luxury porcelain and ceramic items based on his own aesthetic aspirations, Stellmacher left Amphora when the workshop was at its most prosperous, in 1904. Together with entrepreneur Karl Frank, who provided the financial backing, he founded Ed. Stellmacher & Co. in Turn-Teplitz in 1905. From the outset, Stellmacher worked hard to achieve a major position among other high-end ceramic art producers. He believed the success of the company would depend on his products of “appropriate methods and unerring quality, perfect from both the technical and artistic sides”. Stellmacher based his first collection on artistically progressive products, pieces he believed would be in high demand. The greater part of the designs were either large vases complemented with sculptures of fantastic dragons or natural animals. With this series, Stellmacher continued the themes he had created for Amphora from 1899-1902, however, his naturalistic renderings of animals was even more elaborately precise. He developed a special ceramic material called refined earthenware, which minimized the shrinkage that was common during firing and allowed for greater preservation of details in the original models. Unfortunately, by 1905, contrary to Stellmacher’s plans, there was little to no demand for objects of this type. Very few pieces exist today as very few were originally produced. Even after redirecting the company to produce commercial goods Stellmacher still could not ward off the company’s demise. By 1910 the Stellmacher & Co. fell into bankruptcy and was liquidated. Art Nouveau Dragon...

Unique Danish Art Nouveau Royal Copenhagen bowl, circa 1940s. Stunning hand-painted naturalistic depictions of flowers, leaves and stems in dark brown, warm yellow and green colors o...

George Jones Majolica figural bowl with a mythological theme which features two Egyptian sphinxes seated on a mottled oval base supporting a bowl...

A 19th century petite French faience bowl adorned with a bird and bird nest barbotine décor. This French pottery features a green colored body, decorated with exquisite colorful flow...

This good sized bowl is a great example of the majolica wares produced in Italy throughout the 15th, 16th, 17, and 18th centuries. Humble and simple but highly decorative and enterta...

Unique midcentury decorative dish. Hand painted and etched decor, circa 1950s. Signed. A Classic example of the 1950s California Craft movement...

A lovely dish in faience designed by Stig Lindberg at Gustavsberg Studio, it´s 25.5 x 19,5 cm (10.2" x 7.8"). It´s in excellent condition. It is marked with the Stig Lindberg charact...

Majolica wall platter by Kerina, Monaco, ca.1960. Measure: diameter: 13.2" (33.6cm), depth: 1.8"(4.5cm). Signed "Kérina Monaco" on the back. Few slight traces of age. Very good condi...

Minton Majolica centrepiece bowl which features three pigeons perched on a leafy oak branch, supporting a large basketweave bowl on their fan tails. Bowl is decorated with oak leaves...

A majolica Lobster covered pâté tureen by George Jones, Stoke-on-Trent, England, circa 1870. A scarce and highly desirable piece with collectors, a Palissy style oval basketweave ...

Engraved Face Plate by Pablo Picasso for Madoura.

A Thomas-Victor Sergent nature plate in the style of Palissy, School of Paris, circa. 1875-79. An oval platter heaped with trompe l’oeil fish and crus...

Minton Majolica figural bowl which features two rabbits amongst foliage, supporting a leaf. Colouration: turquoise, green, white, are predominant...

Rare vintage majolica footed bowl is decorated with raised reliefs of cherubs playing in garden on both front and back sides of the bowl; two handles in shape of cherubs peeking fro...

Vintage pheasant tureen with tail ladle was made in Italy by Mancioli Company. The bowl with the lid on forms a shape of a pheasant; the ladle forms its tail. It is decorated in rus...

This elegant ceramic bowl was created by Edmond Lachenal for L’Escalier de Cristal around 1890. It bears his signature. A ceramist and painter, Edmond Lachenal is known for his past...

A large dish in faience designed by Stig Lindberg at Gustavsberg Studio, it´s 30 x 19,5 cm (12" x 7.8"). It´s in excellent condition except from a minor un-glazed spot from the produ...

This antique 18th Century Dutch Delft Chinoserie plate is a captivating piece of ceramic art that reflects the outstanding craftsmanship and cultural exchange of its time. Originatin...

Bottega Vignoli, Octopus bowl, 2023 Full-fire reduction earthenware faience 32cm diam. unique piece hand-painted Italian majolica. Bottega Vignoli is a ...