Ceramics

A rare ceramic juicing pitcher in the shape of a lemon. Glazed in yellow, the exterior of this pitcher is textured to mimic the skin of a lemon. The lid ...

Ceramic pitcher of the factory Kéraluc Quimper of the Sixties in the shape of stylized bird with floral and geometrical reasons on the whole of ceramics. Very decorative object and o...

Vintage glass in very good condition. The vase looks like it has just been taken out of the box. No jags, defects etc. Only one unique piece. Murano glass.

The designs on this French faience group is typical of pottery made in Rouen. Early 20th century French hand-painted Faience Terrine from Rouen. Marking on the bottom: "Rouen Fait...

A good quality stylish Danish Royal Copenhagen Aluminia Faience glazed bowl in the Baca design with fish by renowned Scandinavian ceramic artist and designer Nils Johan Thorvald Thor...

ROYAL COPENHAGEN - Ellen Malmer/designer - Nils Thorsson/shape designer - Mid Century Modern - Baca series - Aluminia faience vase number 635/3121 - signed on the base ROYAL COPENHAG...

Dish or cup of the Fifties of the French ceramist Roland Brice coming from the workshops of Biot. Free-form bowl in white earthenware with a painted decor...

A very unsual midcentury handcrafted stoneware sculpture of a nude with fruit sat in an arbor attributed to renowned artist and writer Quentin Bell (Briti...

A stylish Art Deco yellow, brown and green ceramic biscuit box hand-crafted and painted in Faenza, signed on the bottom. The biscuit box has the d...

Beautifully painted and impressive scale Staffordshire group of a hunter riding back from the hunt with his quarry, a stag draped over the horse. The overall white glaze, except for ...

A large vintage serving platter featuring the Wild Turkey, Native American brown and white transfer-ware pattern by the celebrated English pot...

A superb 19th-Century English Staffordshire prancing zebra figurine. This charming zebra is hand painted with fine details and would be perfect for disp...

A very fine quality early Victorian bullet shaped salt glazed teapot with pewter mounted cover by James Dudson and dating from around 1850. This exce...

A very unusual midcentury handcrafted stoneware sculpture of a girl playing cymbals attributed to renowned artist and writer Quentin Bell (British, 1910-1...

Tennis-themed Lemonade Jug. A rare "Denby" pottery tennis themed lemonade jug. The tennis ceramic has an applied panel decorated, in relief, with two crossed lawn tennis rackets, three balls and a lawn tennis net...

This rare and remarkable "Head of a Potter" in the pebbly Sung glaze by Jais Nielsen is both strong and subtle, an evocative and beautiful capturing of a young man's visage, no doubt...

Product Description: This popular series called Salix, designed by Stig Lindberg for Gustavsberg, draws attention due to the delicate lines drawn on the pure white and transparent b...

A large and impressive slip decorated and painted studio pottery vase by renowned Scottish ceramic artist Judith Gilmour (British, 1937-2003) dating fro...

German ceramic kettle from the famous manufacturer Assbrock Keramik Majolika handmade with a pattern of multi-colored flowers and leaves, painted in pin...

Designer: Britt Louise Sundell Series: Santos Product Description: The Santos-series has been designed by Britt Louise Sundell for Gustavsberg. The artist is most famous for her...

Outstanding 1960s Aldo Londi for Bitossi ceramic catchall or cigar ashtray. Imported and distributed in the United States by Raymor of New York. Featuring a large-scale low centerpiece bowl...

Little curly girl in a blue spotted dress, her hands on her hips and looking at a ball in front of her. On a beige, round flat base. Designer: GERMAINE BOURET (1907 - 1953) Dra...

Very rare Goldscheider Vienna Ceramic Figurine of the 1930s: Representation of a young lady in a brown, Japanese silk coat over light, baggy trousers, hai...

An Austrian ceramic serving platter decorated in the center with a transferware trout eating a shrimp. A gilt edge and lime green border are decorated with a gilt repeating motif. The artist's signature on the lower right reads “RK Boek”, marked Austrian Decor...

Sculpture of Mother Mermaid 1930 Lenci Italian Design with child Abele Jacobi.

Turkish antique water pot with green glaze and original white paint. 1900 Dimensions 16 inches (41 cms) high 11 inches (28 cms) diameter.      

Ceramic vase by Roger Capron, France, 1960s Signed "Capron Vallauris B22".

Ceramic Harlequin figurine. Not signed. Probably produced in Germany at the turn of the 1970s and 1980s. XX century. The figurine is in perfect cond...

A large and impressive West-German mid-century art pottery vase with abstract designs by Scheurich Keramik dating from around 1960. The tall bulbous vase stands on an unglazed round ...

An Arts & Crafts Minton tile in the Kingfisher pattern, designed by Christopher Dresser, ca. 1870. Arts & Crafts designer Christopher Dresser’s works were true to the movement’s c...

Traditional rustic ceramic vase. Manufactured in France, circa 1940. In original condition, with minor wear consistent with age and use, preserving a beautiful patina.

A superb pair of antique English Staffordshire zebra figurines, circa 1920. These charming zebras are hand painted with fine details and would be p...

Fabulous Italian hand painted figural bowl and tray by Fidia. These big eyed girls are in the style of Fantoni. Bound in leather on the back these are gre...

Head bust face statue from Belgium by Guiseppe Carli, (1915-1987) ceramic. Signed. Please don't hesitate to get in touch with any further questions. ...

Germany, circa 1820. Ceramic hanging platter from Kellinghusen. Ø 22 x D 6 cm

A rare Meissen Marcolini Porcelain Chinoiserie incense burner vase and cover, made for the Chinese market, circa 1800, blue cross swords and star mark, Pressnummer 58 A Museum Quality Piece. Painted in the sought after famille rose palette with sprigs of indianische Blumen and enriched in gilding, the simulated pierced body supported by four feet painted with stylized dragons, the pierced cover with a Buddhist lion finial. 10" high x 6" wide x 6" deep The shape of this piece, which appears to be unrecorded in the literature, is inspired by similar Chinese porcelain censers from the Qing Dynasty, Kangxi Period (1654-1722). An example in the Palace Museum, Beijing, is illustrated by Li Yi-hua in Qing Porcelain of Kangxi, Yongzheng and Qianlong Periods from the Palace Museum Collection, Hong Kong, 1989, pl. 65. Another in the British Museum, London (museum no. PDF, A.812) is catalogued as a perfume-holder. These porcelain examples are in turn inspired by ancient Chinese bronzes from both the Shang (1600-1046 BC) and the Zhou (1046-246 BCE) dynasties, an example of which was sold anonymously by Christie's New York, 22 March 2019, lot 1601. This chain of inspiration tracking backwards from the 19th century to antiquity provides a clear example of how ceramics, and indeed other mediums, are able to influence and motivate the works of later generations. For a Meissen porcelain snuff...

Very Rare Art Déco Goldscheider Ceramics Figurine around 1930: Young dancer in a sleeveless top reminiscent of a bathing suit and wide trousers, a sailor hat on the short black curls, looking to the right and taking a step forward with her right leg, leaning her upper body slightly backwards, her hands relaxed in her trouser pockets. The figure is supported on the left leg, below the featured leg, by a model sailing ship...

Chelsea and Other English Porcelain Pottery and Enamel in the Irwin Untermyer Collection by Yvonne Hackenbroch. Published in London for The Metropolitan Museum of History and Art by ...

Stunning Art Deco ceramic vase by Saint Clement, France with white crackle glaze finish and floral decor near the bottom, circa 1930s. The crackle clear glaze was a popular techniq...

A pair of Meiji period Satsuma earthenware vases, each with applied elephant-mask handles, painted in overglaze pastel enamels and gilt with a continuous central frieze of sages and ...

J. Macintyre & Co. Ginger Stout beer bottle. A good example of a J. McIntyre & Co. of North Berwick Ginger Beer glazed stone ware bottle. The front of the...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Inno...

A lovely yellow vase designed by Pia Rönndahl at Rörstrand in the 1980s. The vase is 17.5 cm high and in excellent condition except from some minor marks. It is marked as on photo an...

beautiful and decorative tiles in red, black and white glazed ceramic with fish subject and still life. Very good condition.

Wonderfully made and designed Japanese tea cup. Great texture and color. Likely midcentury Showa period but could be older. Fine craftsmanship. ...

Article: Ceramic vase object set of 2 Design: Heiner Balzar Producer: Steuler, Germany Decade: 1970s This original vin...

Rare Goldscheider Vienna Art Déco Art Ceramic Group of the late 1930s: Little blond girl with curly hair in a white and blue checked summer dress with red edges holding a fox terrie...

Collection of unusual antique Victorian Staffordshire dogs having five unusual miniature King Charles spaniels. Dimensions H x W x D in...

Colourful glazed ceramic centerpiece bowl by Vi.Bi. Torino made in the early 1960. This ceramic piece features beautiful pastel Italian colors, and Vi.B...

Acquareccia plate Patanazzi workshop Urbino, last quarter of the 16th century It measures diameter 17.12 in; foot diameter 11.53 in; height 1.88 in (43.5 cm; 29.3 cm; 4.8 cm). Weight State of conservation: wear and a few small minimal detachments of enamel, chipping on the raised areas, peeling of enamel at the brim on the back. This large, shallow basin is equipped with a wide and convex well. It is umbonate with a contoured center. The brim, short and flat, is enclosed in a double rounded and barely raised edge. The basin has a flat base without rims; it has a slightly concave center in correspondence to the well. The shape takes inspiration from the basins associated with the metal forged amphora pourers that traditionally adorned the credenza. These were used from the Middle Ages to wash hands during banquets. Two or three people washed their hands in the same basin and it was considered an honor to wash one’s hands with an illustrious person. The decoration is arranged in concentric bands with, in the center of the umbo, an unidentified shield on a blue background: an oval banded in gold with a blue head, a gold star and a field with a burning pitcher. Rings of faux pods separate the center from a series of grotesque motifs of small birds and masks. These go around the basin and are, in fact, faithfully repeated on the brim. The main decoration develops inside the flounce of the basin, which sees alternating symmetrical figures of winged harpies and chimeras. The ornamentation, outlined in orange, green and blue, stands out against the white enamel background. This decorative style, defined since the Renaissance as “grottesche” or “raffaellesche”, refers to the decorations introduced after the discovery of the paintings of the Domus Aurea towards the end of the fifteenth century. The discovery of Nero's palace, buried inside Colle Oppio by damnatio memoriae, occurred by chance when a young Roman, in 1480, fell into a large crack which had opened in the ground on the hill, thus finding himself in a cave with walls covered with painted figures. The great artists present in the papal city, including Pinturicchio, Ghirlandaio, Raffaello, immediately visited these caves. The decorations found there soon became a decorative subject of immense success: the term grotesque , with the meaning of “unusual,” “caricatured,” or “monstrous,” was later commented by Vasari in 1550 as “una spezie di pittura licenziose e ridicole molto”( “a very licentious and ridiculous kind of painting”). The decorations “a grottesche” also widely circulated in ceramic factories, through the use of engravings, variously interpreted according to the creativity of the artists or the requests of the client. Our basin is reflected in similar artifacts produced at the end of the sixteenth century by the factories of the Urbino district. See the series of basins preserved in the main French museums, among which the closest in morphology is that of the Campana collection of the Louvre (Inv. OA1496); this however has a more complex figure decoration, while the decoration of our specimen is sober and with a watercolor style. The style, sure in its execution, approaches decorative results still close to the works produced around the middle of the sixteenth century by the Fontana workshop. The decoration is closely linked to their taste, which later finds its natural outlet, through the work of Antonio, also in the Patanazzi workshop. Studies show the contiguity between the two workshops due to the kinship and collaboration between the masters Orazio Fontana and Antonio Patanazzi, both trained in the workshop of Guido Fontana il Durantino. It is therefore almost natural that their works, often created according to similar typologies and under the aegis of the same commissions, are not always easily distinguishable, so much so that the presence of historiated or “grottesche” works by Orazio is documented and preserved in Antonio Patanazzi's workshop. Given that the studies have always emphasized the collaboration between several hands in the context of the shops, it is known that the most ancient “grottesche” works thus far known, can be dated from 1560, when the Fontana shop created the so-called Servizio Spagnolo (Spanish Service) and how, from that moment on, this ornamentation became one of the most requested by high-ranking clients. We remember the works created for the Granduchi di Toscana, when Flaminio Fontana along with his uncle Orazio supplied ceramics to Florence, and, later, other commissions of considerable importance: those for the service of the Duchi d’Este or for the Messina Farmacia of Roccavaldina, associated with the Patanazzi workshop when, now after 1580, Antonio Patanazzi began to sign his own work. Thus, in our basin, the presence of masks hanging from garlands, a theme of more ancient memory, is associated in the work with more advanced stylistic motifs, such as the hatching of the chimeras and harpies. These are found here on the front with the wings painted in two ornate ways. In addition, the theme of the birds on the edge completes the decoration along the thin brim and can be seen as representing an early style typical of the Urbino district during a period of activity and collaboration between the two workshops. Later, a more “doll-like” decorative choice, typical of the end of the century and the beginning of the seventeenth century, characterized the period of the Patanazzi workshop under the direction of Francesco. Bibliography: Philippe Morel, Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento, in: Marcello Fagiolo, (a cura di), Roma e...

A good pair English Staffordshire pottery figures portraying a Seated man and woman with a Basket containing flowers dating from around 1...

A large vintage serving platter featuring the harvest fruit brown and white transfer-ware pattern by the celebrated English pottery firm, John...

Important ceramic pichet attribued to Jean Rivier, Vallauris France 1960. Beautiful creamy white and brown enamelling. Elegant shape and very nice dimensions.

Large unique ceramic dish, Art Nouveau. Design Julia Kabel for Kähler approx. 1910 - 1920. Glaze with polychrome, decorated with birds and foliage. Go...

Antique Japanese parcel-gilt porcelain dish Japanese, late 19th century Measures: Height 7.5cm, diameter 37cm This fine porcelain dish is a superb piece Satsuma ware from the Me...

Masonic / Sportsman Golf Tankard. A white glazed ceramic tankard with golf scene and Masonic emblem. The golf scene shows an inebriated golfer lent ag...

This is an exceptionally large English mid-19th century Victorian Ironstone Platter decorated in a beautifully detailed Japanese Imari pattern. The enameling is sharp with deep coloration and the overlaid gold is in very good original condition. The platter is marked "Stone China" on the reverse. The platter is in very good overall condition with normal patination and very minimal losses to the painted decoration. There is a bit of wear to the underside of the rim which does not detract from the value of the platter. Platers of this size are very uncommon and desirable. This piece could be installed as a work of art or even fitted with a custom table base...

A rare, probably unique, tall grotesque figural ewer by Robert Wallace Martin for the Martin Brothers dated 1880. The ewer is very tall and modelled as a fanciful animal seated...