Earthenware Decorative Objects

Large and impressive baluster ceramic vase by Faïencerie de GIEN, France, 1970s. Hand-painted majolica on earthenware. Stunning decor ! Height: 17.3"(44cm), Diameter : 9.9"(25cm). St...

Spectacular Majolica rose vase signed Delphin Massier, circa 1890. The Massier family are known for the quality of their unique enamels and paintings. ...

'Forget Me Not XI' is a unique porcelain sculptural vessel by the British artist, Amy Hughes. Hughes has worked and exhibited internationally, including a spell as Artist in Residen...

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...

This offer is for an antique figural tobacco jar featuring the Munich Child on a keg from Munich's famous Hofbrauhaus. The jar reads "Tabak" (german fo...

Rare Majolica carnation vase signed Jerome Massier, circa 1900. The Massier family are known for the quality of their unique enamels and paintings. They produced an incredible whole...

A green-glazed earthenware vase designed by Erik Mornils and produced by Nittsjö, Sweden, 1930s. Dimensions: 7.125” x 6.5” diameter  Diameter of opening: 3”

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...

Royal Copenhagen Tenera Vase is designed by Johanne Gerber for Denmark's Royal Copenhagen Pottery in 1960s. Features a beautiful stylized fruit pattern.

Decorate a shelf with this elegant antique Majolica box. Crafted in France circa 1950, the decorative and whimsical casket is decorated on all four sides in realistic high relief weave motifs. The removable lid features a bohemian figure lying on his side his feet up and holding his head. The colorful porcelain candy box...

Model #8190. Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an opt...

Early 20th century Italian majolica urn. This gorgeous Italian majolica or maiolica urn or jardiniere is hand decorated with serpents, dolphins an...

Classic early 1980s Italian Majolica ceramic dog statue figurine. Nice addition to your room or entry hall. Made of Majolica ceramic, hand painted. ...

This exquisite blue and white Delft five-piece garniture from mid-18th century Holland, circa 1760, is a masterpiece. The hand-painted panels on the front and back of each jar are de...

Decorate a shelf or console table with this elegant pair of antique Delft vases with cattle motifs. Crafted in Holland circa 1880, the round vases ...

Molded with light ribbing, the covers domed with inverted acorn knops, and painted with leaping stag in quatrefoil cartouche, alternating with bird on a fence with flowering tree nea...

An authentic 19th-Century Italian confit pot or jar. This pot is full of character, hand crafted and painted with two charming handles, known as 'ears.' These jars were used for stor...

Planter by Wilhelm Kåge – Swedish Grace, 1920s A decorative earthenware planter designed by Wilhelm Kåge (1889–1960) for Gustavsberg Porcelain Factory. Featuring a stylized floral...

Beautiful bust of man in earthenware by Philippe Conficcioni in the midcentury style. Signed. In good condition. Dimensions in cm ( H x L x l ) : 26 x 16 x 16 Secure shipping.

Pair of French Empire Style Gilt Metal Mounted Red Majolica Two Handle Vases, late 19th century, each of baluster form and stamped "Made in France" to underside. 14.5" H x 8.5" W x 7...

An outstanding statue of an Lizard made of glazed and hand-painted terracotta. Perfect, lifelike, and life-size representations of this loving creature, faithful, affectionate, and h...

With underglaze blue and red decoration.

A late 19th century French majolica glazed earthenware vase modeled as an open flower on a leafy stem, attributed to Orchies, Northern France, circa 1890-1900. A deep rusty-red fl...

Beautiful and rare small vintage blue vase, ear vase, made of glazed blue crackle earthenware with geometric pattern, design attributed to Aldo Londi for Bitossi, colour Rimini Blue,...

Rustic French Majolica Brown Hen Tureen circa 1950 signed Caugant.

19th Century French Majolica Egg shaped Vase Delphin Massier. Decorated with flowers a daisy ,a pansy and a wild rose. H / 4.3 inches. The Massier family are known for the quality of...

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

Doreen Middelboe for Aluminia/Royal Copenhagen, faience mermaid figure. 1970s. First factory quality. In excellent condition. Marked. Measuring: ...

Mid century tall Italian animal figurine Ceramic decorative Turkey Tureen with ladle Vitrine object Material: porcelain, ceramic, tin glazed earthenware...

Bertoncello by Roberto Rigon Large Modernist Ceramic Vase or Centerpiece A striking and rare Modernist ceramic piece by Roberto Rigon for Bertoncello. This sculptural work is compos...

Blue female nude form ‘Aphrodite’ by Jude Jelfs. Slab-built earthenware with vitreous slips and sgraffito. Glazed inside. Due to the handmade nature, subtle variations in form and f...

1950s-1960s French Provincial Pottery Jar, Côte d’Azur Artisan Workshop This French pottery jar from the 1950s-1960s, crafted in an artisan workshop on the Côte d'Azur, embodies the...

Crafted in Holland, circa 1950, the large faience potiche features hand painted medallions with Classic Dutch flower and foliage decor. The traditional blue and white jar is round in shape and has a cone lid embellished with dog figure at the top. The tall jar...

18th Century Italian Majolica Albarello Pharmacy Jar. Jar is in a cylindrical shape with flared rim and foot. Jar features blue and white pattern with the word "Charitas" in an oval ...

A hand-painted blue and white earthenware vase by Upsala Ekeby, Sweden, 1950s.

At the center of this lovely hand-painted blue and white Delft dish is a traditional chinoiserie view of a garden. We see an oversized peony, a willow tree...

Fabulous antique French Provincial faience Armorial snake handled bough pot vase with three Armorial shields depicting a Fleur-de-Lis, a Cross and a V shaped emblem topped by a large...

This blue and white English Delftware bottle, made circa 1750-1760, has a tall, narrow neck with a slightly flared rim on a distinctive globular body. The decoration is the word "BOY" framed by blue dashes. It is hand-painted in blue, done in a freehand, fluid style that includes typical irregularities in the paint. Historically, 18th-century English Delftware is known for its freehand, fluid decoration, characterized by minor irregularities that evoke an authentic folk art quality. The rustic and uneven glaze is also characteristic of this pottery. The bottle has a utilitarian feel, featuring four protruding lugs on the sides. Its modest yet charming form, rounded shape, and understated ornamentation reflect the everyday aesthetic of mid-18th-century Delftware production. Delftware jugs were often created for public houses, and "Boy" might reference part of a pub name, a local drinking song, or a common toast. Just as likely, given England's strong maritime traditions, this could refer to a sailor's drinking vessel. In naval and military slang, "Boy" was often used to refer to young sailors or recruits. This hand-painted inscription adds a personal touch, making this bottle a unique and engaging example of antique Delftware...

Small Majolica white rabbit pate tureen or box circa 1950 signed Caugant.

A Taste of Exile is a reminder that we all come from a uterus; we are all embedded in nature and in the mystical cycle of life and death. The representation of this symbol strives to create a supportive coven, united by the loving and protective symbol of origin. Charlotte Colbert...

Mid-Century French Ceramic Dish signed Robert Picault (Vallauris).

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 brown and green-glazed earthenware vase designed by Anna-Lisa Thomson and produced by Upsala Ekeby, Sweden, 1930s. Mark to body likely production-related.

Signed by Salvatore Melani - 1930 Dimension: 47 cm width 42 cm heigh Material: Plaster.

A very fine 18th century Dutch Delft pottery vase or jar. Of typical vasiform shape with medium and deep blue Chinoiserie landscape decoration, dot border to the top rim, and swag...

Produced in Bristol, England, circa 1760, this handpainted blue and white Delft charger is a visual delight. The center of the charger features a flower garden with songbirds seated ...

PAIR OF ENGLISH STAFFORDSHIRE DOGS 19th Century Earthenware English in molded, relief and gilded ceramics. Wear on the gold. Height: 38 cm. good conditions for the time

Mid-Century Modern French earthenware pitcher signed accolay, Beautiful ceramic pitcher decorated with geometrics decor. The use of a dark eart...

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...

Unique piece Signed: Bareff Guy Bareff's work over the last decade represents a renewed exploration of the visual vocabulary that characterized his powerful œuvre in the 1970’s. His...

This earthenware pitcher or vase, designed by Erik Mornils for Nittsjö Keramik in the 1930s, exhibits a rustic and traditional charm, characteristic of Scandinavian ceramics of that ...

Rozenburg earthenware vase, The Hague, The Netherlands, 1894 The depiction on the vase is a drapery in green with curved gold-yellow ribbons and floral de...

19th Century Large French Majolica Blackberries Square Cache Pot. Height / 9 inches. 11.5 by 9.3 inches.

An beige and orange-glazed earthenware vase produced by Upsala Ekeby, Sweden, c. 1930s. Overall Dimensions (inches): 6.5"H x 4.25"W x 4.25"D All items ship from High Point, North C...

French Majolica dog wall pocket signed Delphin Massier. Height / 7.3 inches. The Massier are known for the quality of their unique enamels and paintings. The Massier family produced ...

Austrian Majolica Lily Jardinière Julius Greiner & Sohn Bodenbach, circa 1900. Art Nouveau.

Inspired by vessels of antiquity, these vases features ornamentation that evokes friezes found on architecture of ancient Egypt. Crafted and finished by hand, the object has been wor...

This olive jar has remnants of the deep dark red paint as well as traces of blue. It’s great used as a sculpture in a room or outside in a garden setting. Measures:23 inches wide x 3...

A green and off-white glazed earthenware vase produced by Upsala Ekeby, Sweden, c. 1930s. Overall Dimensions (inches): 7.0"H x 5.5"W x 4.5"D All items ship from High Point, North C...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...