Earthenware Bowls and Baskets

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...

A beautiful Art Deco earthenware bowl with amazing glaze. Made by Upsala Ekeby in Sweden, 1930s. Fair condition, a small chip to the top rim (pictured). Upsala Ekeby was one of Swe...

Product description: The Zaalberg company saw its light on the first of May in 1918 in Zoeterwoude just to the south of Leiden. The family company, older than 100 years, is still ope...

A beautiful lidded stoneware bowl with amazing glaze. Made by Birger Åström (1931-2020) in his studio in Örnsköldsvik, Sweden, 1960s. Excellent conditio...

Product description: This delicate bowl with small foot is beautiful both in form and color. The dark red oxblood color contrasted with broken white (even light pistachio) is very pleasing to the eye. The bowl is lightweight (less than 200...

Display your fruit or other perishables in this colorful antique Majolica dish. Created in Provence, France crafted, circa 1920, the decorative p...

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...

Very cool 19/20C Delft Porcelain plate, monochrome. Marked at base. Additional information: Material: Porcelain Type: Plates Region of Origin: Holland Period: 19th century, 20th cen...

Robert Arneson Footed Bowl 1960 c. circa 1960 glazed earthenware, incised 'ARNESON' on underside Diameter 8.50" 3" high

19th century French porcelain Allegorical charger. Stunning 19th century French hand decorated, artist-signed allegorical porcelain charger. This b...

Chinese Qingbai lobed foliate-rim bowl, Song Dynasty, porcelain shallow bowl resting upon tapered footed base. Peony flower decoration incised upon interior of bowl. Known colloquial...

A large majolica sculptural centerpiece bowl by Fortunata of Tuscany, Italy with applied lobster and sea life. 20 ¾ inches wide by 18 inches deep by 6 ⅝ inches tall

Product description: This is a beautiful flared bowl with sea-like patina by Otto Zeegers. Otto and his wife Margreet made ceramics sinds 1972, Otto was responsible for the form, the...

Product description: This is a beautiful bowl with green / beige patina by Otto Zeegers. Otto and his wife Margreet made ceramics sinds 1972, Otto was responsible for the form, the p...

Antique blue and white pearlware footed bowl with pebbled "terra tersia" band and white rope-twist handles. England, circa 1800. Dimensions: 8" handle to handle x 3.63" H; 6.75" dia...

This Ming-dynasty (1368-1644) plate is attributed to the kilns of Yunnan province, painted in cobalt underglaze with a chrysanthemum blossom and sweeping brushstrokes. Dated to the 1...

Mid-Century Modern handcrafted glazed oxblood red and shades of brown pottery earthenware round vessel or bowl. Inside marked Houston 75. One-of-a-kind pottery great for display. A-...

The Snäcka (seashell in Swedish) table lamp, designed by Anna-Lisa Thomson for Upsala-Ekeby in the 1940s, is a stunning example of Swedish mid-century ceramic artistry. Made of earth...

Stig Lindberg for Gustavsberg Studio. Bowl with leaf-shaped handle in earthenware. Hand-painted with motifs of schools of fish and more. Polychrome glaze. 1940s. In excellent condi...

Platter by Hans Hedberg, made in faience. Smooth, organic form with striking oxblood glaze on a grey background.

A beautiful faience bowl with amazing geometric pattern. Designed by Stig Lindberg in Gustavsberg Studio, Sweden, 1950s. Good condition (there is a small mark in the glaze shown in ...

This dynamic pair of vintage studio pottery bowls is a striking representation of Postmodern design, utilizing bold geometry and intense color blocking. Each conical bowl stands on a...

Emile Gallé (1846-1904), French glass artist and designer, Nancy, France. Large pierced faience bowl. Hand-decorated with bird motifs. Approximately 1880. Marked. In perfect conditio...

A small decorative bowl designed by Alfred Johansson for Höganäs Keramik. Very unique design with light yellow glaze and splashes of brown colors. Other notable designers from the ...

Product Description: Berndt Friberg was one of the most influential ceramists in midcentury Sweden, his works are still popular world-wide and are known for their elegance and beati...

Gustave Reynaud earthenware vessel Vallauris, France, circa 1960's Organic composition and neutral palette Signature floral motif This petite vessel b...

A rare and beautifully matched pair of ceramic vessels by Ugo Zaccagnini, crafted in the Etruscan Revival style and finished with a lustrous copper glaze and verdigris undertones. Th...

Contemporary handmade Italian work of art, a bowl in the shape of a crown in majolica by Ceramica Gatti, a long tradition studio and famous designer Ettore Sottsass' favorite. This A...

Nils Thorsson for Royal Copenhagen. Rare bowl in glazed faience decorated with butterflies. 1970s. Measures: 14 x 8 cm. In excellent condition. Stampe...

Decorative faience bowl by Stig Lindberg, Sweden, circa 1950. In a shape of a leaf the bowl is produced by Gustavsbergs factory. An artistic jack-of-all-trades, Stig Lindberg was ac...

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...

James Tower (British 1918-1988) Footed Bowl, 1980 earthenware with green and white tin glaze 27.5cm diameter, 9cm high incised signature and date to underside Excellent condition, n...

Minton Secessionist No.8 chamber pot decorated with Art Nouveau style tree motifs. Glazed in blue, ochre and green with gray tube lining. Cream int...

Product Description: Berndt Friberg was one of the most influential ceramists in mid-century Sweden, his works are still popular world-wide and are known for their elegance and beat...

Italian contemporary post-modern Work of Art in the shape of a castle crown in majolica, exclusive design by Ceramica Gatti, an Art Studio of long tradition and Designer Ettore Sotts...

Decorative bowl by Stig Lindberg, Sweden, circa 1950. An artistic jack-of-all-trades, Stig Lindberg was accomplished in industrial design, textile design, painting, illustration, gl...

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...

Wonderful set of 4 unique pictured earthenware bowls made by Danish artist Jeppe Hagedorn-Olsen in his own studio in the 1960s. These rare pieces have a rectangular shape and are dat...

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

Vintage earthenware handcrafted lidded bowl in hues of brown for Preservatives, Sugar, Candy Bowl, made in America. Stamped at the base, Janice Wei...

English Majolica basket with mottled green basketweave, a cobalt blue handle, and lavender interior, ca. 1875, Measures: W 6 x H 4 x D 1.5 inches For 30 years we have been among th...

Decorative leaf shaped bowl by Stig Lindberg, Sweden, circa 1950, Faience. Very good condition. Yellow and white color. An artistic jack-of-all-trades, Stig Lindberg was accomplish...

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

Decorative willow flow blue bowl. This design featured pagodas, trees, and birds. Flow blue is a style popular in Regency England that gets its name fro...

A petite small clay roadside decorative touring bowl. This catchall or dish is short, and wide, and decorated with a malachite look green marbled design on the exterior. The inside is glazed in deep verdigris or turquoise. A lovely piece of earthenware, it is hand made and marked on the bottom with: Central City...

Large French Ceramic Serving Bowl, Signed Lacoste A beautifully handcrafted French earthenware serving bowl signed Lacoste. This large ceramic piece features a cream glaze with deco...

19th century French Jaspe bowl hand-painted with floral motive From the Savoie region of France.

Majolica dish hand made and hand-painted in Deruta, Italy, according to the original Renaissance painting technique. The dish is enriched by the presence of four metamorphic dolphin-...

Vibrant model V-33 triangular earthenware bowl by California, artist Fred Stodder. The piece is signed and is 17.5" long x 10.75" wide x 3.5" high with a bright low fire glaze of ora...

Contemporary handmade Italian post-modern Work of Art in the shape of a Fleur de Lys crown in majolica, exclusive design by Ceramica Gatti, a long tradition studio and famous designe...

17th Century Dutch Delft Lobbed Dish, with polychrome image of a swan surrounded by tulips and other flowers and leaves, with makers mark to the base.

This lively barbotine rainbow trout vessel fish was sculpted in Fives-Lille, France circa 1950 and exemplifies the naturalistic style of early 20th-century majolica. Shaped as a life...

Handmade fired clay decorative bowl with central eye motif and labyrinth pattern throughout. The rough textured surface and exterior of bowl is a wonderful and unique display of thi...

Bjørn Wiinblad for Nymølle, Denmark. Large round dish in faience. Motif from "A Midsummer Night's Dream". 1970s. Marked. In perfect condition with natural craquelure. Dimensions: Di...

Bjørn Wiinblad (1918-2006) for Nymølle, Denmark. Two large faience dishes with classic Wiinblad motifs in blue and brown. From the 1970s. Marked. In perfect condition. Small dish: D...

Nils Thorsson for Aluminia. "Marselis" faience bowl with a geometric pattern in beautiful oxblood glaze, mid-20th century. Measures: 19 x 4 cm. In very good condition. Stamped.    

Emile Gallé for St. Clement, Nancy. Antique art nouveau bowl in hand-painted faience with feet shaped like spruce cones. Approx. 1880. Measures: 32 x 26 x 12 cm. Damaged with lar...

Royal Copenhagen, faience bowl with a motif of a peacock in modernist style. 1970s. Model number: 168/2884. Marked. Perfect condition. Dimensions: D 22.5 cm x H 4.0 cm.

Handmade fired clay decorative bowl with rough textured surface. Abstract design with molded patterns in a two-tone glaze (earthy tones and turquoise accents) to bowl is a wonderful ...

Carl Harry Stålhane for Designhuset. Large bowl in earthenware with blue and light glaze. 1970s. In perfect condition. Signed. Dimensions: D 33.0 x H 8.5 cm.