Ceramic Bowls and Baskets

Pair Mid Century Cerulean Blue Brutalist Bowls by Lee Rosen for Design Technics. Overall excellent vintage condition with age appropriate wear. No chips, cracks, or repairs. Each M...

Pair of porcelain mini ashtrays by Hermès Made in france Good condition

Beautiful hand-painted Viking ship decorative plate circa 1970's made in Greece.

1960s Robert Maxwell Decorative Plate Stoneware Pottery Craft Santa Monica, California 8.75 diameter x 1 diameter Preowned Unrestored Vintage Condition. Small nick in one corner. Re...

Höganäs, elongated two-part ceramic dish in an organic shape. Beautiful glaze in shades of green. Mid-20th century. Signed KL. In perfect condition. Dimensions: L 34.0 x W 18.0 ...

This amazing Japanese porcelain dish. Painted in underglaze blue as well as with polychrome enamels. This is most probably part of the Kakiemon family. Central a flower basket with p...

This compact little vase is unusual in shape and glaze alike, and uniquely charming its intentionally casual aesthetic.

Jean Lurçat (1892-1966) French painter, ceramicist and tapestry creator Signed back : Dessin J.Lurçat, Sant Vicens - circa 1950. Thick white & black enamel plate Diameter 21 cm

Small English chinoiserie plate. William IV Staffordshire plate with charming brightly hued oriental themed scene of figures with parasol,, hamper a...

This lovely unusual designed dish from the early 17th century. Pictured are shells or shellfish on blue (ocean) and white (beach) ground. Additional information: Material: Porcelai...

A tall diamond-shaped ceramic ashtray with a Mardi Gras theme motif. This ashtray would be fabulous displayed on a coffee table or nightstand. It is glazed in cream, and features raised text around the edge of the dish in gold which says, "12th Annual Convention New Orleans July 1982" The center of the ashtray features a mardi gras theme in black and gold. Marked on the side in black: Creation of James B. Beam Distilling Co. Genuine Regal China...

Gambone bowl, ceramic, blue stripes, signed. Small stoneware bowl with contrasting light and dark blue glaze and burnt umber bullseye decoration. Signed "Gambone Italy" on underside....

A great dish dating to most probably the second half of the 17th century, delicate painting and shape. Very interesting small size. We have found a similar Japanese dishes in the sh...

A great dish dating to most probably the second half of the 17th century, delicate painting and shape. Very interesting. With landscape scene with trees, birds, rocks and flowers. W...

Decorative leaf pottery bowl by Stig Lindberg, Sweden, circa 1950, Faience. Very good condition. An artistic jack-of-all-trades, Stig Lindberg was accomplished in Industrial design...

Royal Copenhagen stoneware dish with stylized birds by Jørgen Mogensen, Denmark, 1975-1979 Design by Jørgen Mogensen and manufactured by Royal Copenhagen The dish is signed with ...

A rare Dutch Majolica plate with a decoration of a tulip. Northern Netherlands, probably made in the city of Rotterdam. Made 1620 - 1640 Dutch majo...

Stunning Example of a Hand Painted Decorative Porcelain Tray, Platter or Cabinet piece of rectangular outline, late Nineteenth Century, made by Royal Epiag Czechoslovakia...

Authentic Genuine Real Antiques Capodimonte Extra Large Centerpiece with Flowers Italian Porcelain . This fantastic centerpiece with hand-painted colorful flowers represents a classi...

Striking stoneware platter by Berndt Friberg, with a checkered decor in aquamarine, blue and purple. Heavy quality. Berndt Friberg was a Swedish ceramicist, renowned for his stone...

In 1942, two years before becoming the founding potter at the School for American craftsmen at Dartmouth College in 1944 and four years before joining the famed ceramic program at Alfred University, Linn...

Green and blue glazed ceramic bowl with metallic highlights by Gisèle Buthod Garçon. Raku fired. Artist monogram under the base. Circa 1980-1990. H : 4.3’ x 6.7’ inches.

Hand-Painted Ceramic Wall Plate with Floral Motif - Bassano, Italy, 1970s This stunning hand-painted ceramic wall plate from Bassano, Italy, is a beautiful example of traditional It...

1970's Rorstrand Bertil Lundgren Art Pottery Bowl. Handmade in Sweden by Rorstrand. Rorstrand is the second oldest brand of ceramics in Europe and can be found in homes across Swed...

Large hand turned 1960's studio ceramic plant pot with over sized handles is created on the turning wheel by highly technical skilled Dutch ceramist ...

Salad Bowl or Beautiful Decor Piece.Signed M.G on the Bottom as Pictured.White Interior with Abstract Brown Detailing. Dimensions. 13 Diameter; 6 H

Porcelain dish with underglaze blue. Scene of a lovely Ox or Cow in a landscape. Ming dynasty, Tianqi or Chongzhen period (1621-1644) Additional information: Material: Porcelain & ...

Bold and striking, this unique low bowl or plate depicts a form of Triton that is part man, part horse and part fish -- known as an ichthyocentaur -- who is cavorting in the sea with a dolphin and starfish, with rows of waves below and around him. The artist was Roger Mequinion, who produced an entirely unique series of ceramic pieces with thick layers of glaze that he sandblasted to create a layered, three-dimensional design. Here, the outer glaze is a deep blue color, but the sandblasting reveals layers of light blue and white underneath. Mequinion was the first sculptor to work for René Lalique, and helped the master develop a sandblasting technique for his early glass...

A unique aquatic-themed stoneware bowl by noted American painter/ceramicist/architect Henry Varnum Poor. The bowl features a motif of an Atlantic sturgeon...

Studio Pottery Mid-Century Modern plate by Theo and Susan Harlander of Brooklin Pottery, Brooklin, Ontario. This bowl was designed with a whimsical cu...

Beautiful still life hand painted decorative plate, made in Italy signed, circa 1960s well done piece stamped Italy in the back. Can be hang on the wall.

20th century, stoneware bowl by Brent Bennett.

A beautiful faience bowl with amazing geometric pattern. Designed by Stig Lindberg in Gustavsberg Studio, Sweden, 1950s. Excellent condition. Signed with the Gustavsberg studio hand...

6 and a half inch round dish ashtray with cork bottom, and makers markings.

Ceramic bowl by famous Belgian ceramic artist Perignem. This bowl is made as a wedding anniversary present. Has some great detailed colors of brown, blue and red.

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...

Enhance your collection with this stunning 19th century English Antique Porcelain set. Featuring delicate floral prints, this 2 piece set include...

Jean Picart Le Doux Plate. Signed and numbered 7/150. Very decorative. circa 1960, France. Jean Picart Le Doux (1902-1982) Son of the painter Charles Picart le Doux, the self-tau...

Dated to the Republic period (1912-1949), this bowl is beautifully decorated with a rich, persimmon-orange glaze accented by gilt brushwork. Wrapped around the center of the bowl are...

Large vintage red and white porcelain bowl catchall encased in pewter. Floral design with gold accents hand painted in Hong Kong on a white po...

High Quality Porcelain Famille Rose Plate on blue ground. With a scene of a flower basket and flowers. Quality 19C French Samson Porcelain after 18C Yongzheng/Qianlong Period example...

A bowl by Capodimonte in ivory white porcelain divided in three sections with gold edges. Marked with sticker Visconti and the crowned N. Perfect for different snacks or jewelry. No...

A beautiful large antique Kangxi (1662-1722) dish decorated in the centre with a brightly-coloured scene of a different kind of flowers, rocks and a butterfly. The rim is decorated w...

A beautiful stoneware bowl with amazing glaze. Made by Tyra Lundgren. Executed during the artist's time spent at Sèvres, between 1934-1939. Excellent condition. Impressed with artist's name and maker's marks. Tyra Lundgren (1897-1979) was one of the most multifaceted artists and modernists of the twentieth century. She was a painter, drawer, sculptor, ceramist, glass- and textile designer, as well as an author and an art critic. She was the first woman who designed glass for Paolo Venini at Murano in Venice and she also served as the artistic leader at Arabia in Helsinki at a time when men tended to hold those kinds of positions. Tyra Lundgren grew up in Djursholm, near Stockholm. Her parents were John Petter Lundgren, professor at Veterinärinstitutet (institute of veterinary sciences) in Stockholm, and Edith Lundgren née Åberg, who was a housewife and raised their six children. The bourgeois home also comprised a nanny and a female cook. The family were very socially active, travelled often, and enjoyed the outdoor lifestyle. Tyra Lundgren’s schooling began at Djursholm coeducational school, where her teachers included Natanael and Elsa Beskow and Alice Tegnér. Her school friends included Greta Knutson-Tzara, Stellan Mörner, and Ingrid Rydbeck-Zuhr. Tyra Lundgren knew from the time she was five years old that she wanted to be an artist. She first became aware of the profession through Axel Fahlcrantz, who rented a studio on the plot of land where she lived with her family. In 1913 she began to attend Högre konstindustriella skolan (HKS, now known as Konstfack, college of arts, crafts and design) where she studied decorative art as well as handicrafts in various forms until 1917. One of her fellow students and friends there was Estrid Ericson, who later founded Svenskt Tenn AB in 1924. Whilst attending HKS Tyra Lundgren also took painting lessons at the Althin school of painting. In 1917 she was accepted as a candidate at the Royal Swedish Academy of Fine Arts where, apart from breaks during which she undertook studies abroad, she remained until 1922. She spent a couple of months taking lessons from Anton Hanak in Vienna and from 1920–1923 she was a student of André Lhote in Paris. Tyra Lundgren was primarily active in four countries: Sweden, Finland, France, and Italy. She spent much of her professional life travelling and considered herself to be a European. Greece and Mexico also formed important centres in her artistic life, as did the USA. She had an extensive social network which included focal individuals within twentieth century-European and American artistic and cultural circles. Tyra Lundgren’s main artistic motifs were birds, fish, and people which she depicted through different techniques and materials. Her artistic expression involved a variety of different directions and styles. She was a pioneer of the 1920s Swedish Grace style, the name of which had been coined by the art critic Morton Shand at the Stockholm Exhibition of 1930. This was a Swedish Art Deco style, characterised by elegance and traditional art which contrasted with the current artistic ideals of functionalism. Tyra Lundgren made her debut at a group exhibition held at Kungliga Akademien för de fria konsterna in 1921. She went on to show her work at various exhibitions throughout the 1920s. After that period she only very rarely exhibited her paintings. Tyra Lundgren’s painted output can be divided into different periods or stylistic directions. The first of these, and the most extensive, was her post-Cubist period which began in 1920 on her arrival in Paris. Her paintings from this time and right up to the mid-1930s typically comprise portraits, self-portraits, live-model painting, still-lifes, interiors, and landscapes in the Cubist style. Many of the great number of self-portraits she painted were produced in the New Objective style, displaying broad variation in terms of clothes, poses and techniques. Two of these – Huvud med vit duk and Självporträtt both from 1921 – can be seen at Moderna Museet in Stockholm, although the majority of these works are at Gotlands Museum. Tyra Lundgren’s second artistic period comprises the years of 1927 to 1929 and is characterised by the New Objective style inspired by medieval techniques and materials (Giotto, Piero della Francesca). Her motifs were still-lifes and landscapes. At this point she was living in Rome and was close to the circle involved in the Valori plastici: rivista d’arte art journal. This period saw a breakthrough in her development as a painter. From the 1950s through the 1970s her work can almost be described as belonging to the Concrete style. Using light pastel colours her paintings sought light in a sometimes non-figurative expression, but often depicting abstract bird-shapes or other nature-inspired imagery. Her paintings from this period are outsized and display powerful colours, in yellows, reds, and blues. Tyra Lundgren maintained a constant production of drawings, both in terms of individual artworks and sketches for patterns and designs. She also produced the illustrations for her book Fagert i Fide. Årstiderna på en gammal gotlandsgård, published in 1961. During her early years she also produced advertising illustrations. She spent the final years of her life primarily working with lithographs which were printed at Galleri Prisma and depicted images of doves, swallows, magpies and crows. Tyra Lundgren is meanwhile best known for her work as a ceramist and in this sphere she was one of Sweden’s leading exponents. She worked in the porcelain industry as a designer and as an artisan and ceramic sculptor. Her first job was at St Eriks Lervarufabrik in Uppsala from 1922–1924, she then worked at Arabia from 1924–1937, and at Rörstrand and Lidköping Porslinsfabrik. She was the artistic leader at Arabia ahead of the 1930 Stockholm Exhibition and she exhibited her work at the World’s Fairs. During the 1934–1938 period she was connected to the Manufacture nationale de Sèvres porcelain factory in Paris. Tyra Lundgren was a pioneer when it came to giving ceramic art a public space in Sweden. She produced around 20 outsized reliefs in stoneware, so-called monumental reliefs. One of these is Märkeskvinnor, from 1947, for the former girls’ school at Bohusgatan in Stockholm. From the 1940s onwards Tyra Lundgren produced sculptural objects in Chamotte clay and stoneware, with various glazings. Her small birds are well-known and popular with many. When her ceramic efforts became too much for her during the 1970s she then produced models for sculptures in bronze. There are six of these in various places around the globe, including Solfågel in Almedalen, Visby. Tyra Lundgren began to work as a glassware designer at Moser in Karlsbad in 1922 where she designed new table services and modernised older ones. She also worked freelance for Riihimäki factory in Finland during the 1924–1929 period. From 1934 to 1938 she was employed by Kosta glass factory where she mainly designed thick-walled bowls and vases, engraved with classical motifs. She was introduced to the glassmaker Paolo Venini at Murano during the Triennale di Milano of 1936 and they began a collaboration that lasted into the 1950s. As part of this collaboration Tyra Lundgren became the first woman to design glassware and, in conjunction with the glassblower Arturo Biasutto, she developed new techniques of glass production. Her motifs at this point were birds, fish, snail-shaped designs and leaf-patterned bowls using traditional techniques as well as in new designs. It was during this time that she created the so-called tissue-shaped bowls and it remains unclear as to who specifically came up with the design but Tyra Lundgren claimed it was of her making. Tyra Lundgren was active as textile designer for Licium (now HV Licium), the sacred textiles...

A very decorative and impressive fine quality pair of Japanese Imari porcelain chargers. Each with classical motif decoration, scenes depicting pagoda buildings with terraces over lo...

This colorful porcelain bowl dates to the mid-19th century and was originally used as a serving dish for ritual offerings, placed before a home altar and piled high with fruit, baked goods, and other foods. The dish has a shallow cartouche-shaped body and a short footed base decorated with crashing waves. Decorated in the famille rose style, the dish is painted with overglaze enamels with a scene of three mythical figures surrounded by cloud-like ribbons. The scene is bordered by butterflies and flowers symbolizing the four seasons - peonies for spring, lotus for summer, chrysanthemums for autumn, and plum blossoms for winter. The exterior is painted with ripe peaches, symbols of longevity, and bats carrying interlocking golden coins...

1970s Fabulous modernist optical art green plate USA. Made USA. Measures: 14.25 diameter x 1.75 tall Original Vintage Condition. See images provided.  

Face Plate of 2 Profiles Facing Ceramic, signed on backside has original wire on back for hanging dimensions: 10" dia 1.25" high

Fantastic and rare piece of very high quality. Dark cobalt blue colors. 'Shop' type mark to base within a double ring. Pictures in natural light have been added. The exterior is dec...

Striking, large “Veckla” bowl by Stig Lindberg. Rare model with the characteristic, smoothly folded design. Made in carrara stoneware.

Large beautiful postmodern porcelain "Atlantis" bowl by Rolf Sinnemark for Rorstrand, Sweden. The black glazed bowl is decorated on the exterior and interior with depictions of obeli...

Wilhelm Kåge for Gustavsberg. Rare Argenta Art Deco bowl in glazed ceramics decorated with fish in the silver inlay, Sweden, 1940s. Measures: 18.5 x 4 cm. Stamped Gustavsberg, Kåge...

Three small ceramic bowls, reclaimed from a mid-19th Century shipwreck off the coast of Indonesia. Defying time, these plates were preserved at the bottom of the sea until the late...

Beautiful and rare stoneware vase designed by Gertrud Lönegren. This studio piece was created at Rorstrand in Sweden between 1936-1941. Exquisite glaze. Excellent condition. Impressed 'Rörstrand...

A small decorative white ceramic bowl. A gorgeous piece with faux bois feel. This piece is created from ceramic and glazed in white. Made to look like a woven wicker basket, this pie...

Alexandre Kostanda (1921-2007) for Vallauris, France. Unique ceramic bowl with earth-toned glaze. From the 1960s/70s. Stamped. In perfect condition. Dimensions: L 30.0 cm x D 10 cm ...

Ingrid Atterberg (1920-2008) for Upsala Ekeby, Sweden. Low ceramic bowl with an abstract design. Glazed in blue and sand-colored tones. From the 1960s. Stamped. In perfect conditio...

A large stoneware glazed bowl in a rare leaf form by British studio potter John Ward (1938-2023) circa last quarter of the 20th century. The impressive, oversized bowl features a dis...