Ceramics

A stylish Italian small rounded wall plaque hand decorated with a geometrical pattern by Ceramica D'Amore Vietri and dating from around 1950. The sma...

An amazing Memphis Milano tea set manufactured in Italy by Mas Italia. the red and white ceramic it's in perfect condition, the set has not been probably never used. The tea set by M...

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

Large Spanish handmade and painted white and green glazed terracotta "lebrillo" earthenware bowl in the style typical of Granada.   

An unusual Austrian art pottery sculptural figure of St Christopher carrying the Christ child across a river attributed to renowned Austrian sculptor, Ceramist, designer and teacher Michael Powolny (Austrian, 1871-1954) and probably dating between 1920 and 1930. The hand-crafted figure shows St Christopher with the Christ child on his shoulder and a wooden staff...

A stylish mid-century art pottery Denby handled jug hand painted with stylized floral designs by renowned English ceramist Glyn Colledge (British, 1922-2...

Ceramic table lamp by Olivia Cognet Materials: Ceramic Dimensions: around 40-50 cm tall Available in different sizes, finishes. A...

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...

Pair of Chinese plates with floral motifs from the Compagnie des Indes dating from the 18th century. It is decorated in the centre with a flower...

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...

Large late 19th century stoneware jardiniere, a Royal Doulton Isaac Walton Series Ware piece by Charles Noke (English, 1858-1683). This large jardiniere has three handles and is decorated with several detailed figures; characters based on the 17th century English author Isaac Walton's book The Complete...

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

Bruno Gambone large glazed ceramic horse sculpture with flattened hollow body, Italy, 1970s. This regal stoneware horse has an off-white matte gla...

A wonderful Minton bone china vase c.1850. Superbly painted round the body with studies of roses in the manner of Jessie Smith. Small ermine-device m...

Georges Jouve's Ceramic cup or vide-poches " La pomme " signed Jouve & apollon mark on back in deep enamel. White cracked enamel with a turquoise/green/pink apple Measures: 17 cm ...

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...

A pottery conical face vase by widely collected South African ceramicist Charmaine Haines, produced 2020. Charmaine Haines was born in 1963 in Gr...

Product Description: This sugar bowl and creamer belong to the popular series called Salix by Stig Lindberg and decorator Bibi Breger. The Salix serie dra...

Ceramic table lamp by Olivia Cognet Materials: Ceramic Dimensions: around 40-50 cm tall Available in different sizes, finishes...

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...

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...

Vintage Dutch hand painted ceramic set of salt and pepper in colourful figures. circa 1940.

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 ...

This Japanese porcelain vase is barrel shaped with a yolk handle. It is both finely and intricately hand painted. It pictures groups of scholars with scrolls dressed in elaborate brocade kimonos...

Georges Jouve's Ceramic cup or vide-poches "La Figue" signed with apollon mark Measures: 15 x 15 cm.

This striking sculpture is part of the Anatomica series by Vito Nesta, featuring decorative objects with simple and essential anatomical shapes characterized by bold, contrasting col...

This striking sculpture is part of the Anatomica series by Vito Nesta, featuring decorative objects with simple and essential anatomical shapes characterized by bold, contrasting col...

This striking sculpture is part of the Anatomica series by Vito Nesta, featuring decorative objects with simple and essential anatomical shapes characterized by bold, contrasting colors and modern flair. Made of Capodimonte porcelain with a glossy, white finish, this sculpture is shaped like a hand and features a lower section decorated with a beautiful vintage banquet...

Vintage original 1980s Nefertiti tea pot. Red is vintage color which is no longer production now. There is signature on bottom. Designed by Matteo Thun for Memphis Milano.

Midcentury modern vase with graphic dotted, organic, floral decor on white base. Decorative leaves in green, yellow, red colors. Manufactured in the late ...

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...

Very large squared ceramic plate, hand painted abstract decor in green, yellow, red and black Signed Guido Gambone and donkey Mark, circa 1950-1960 About Guido Gambone Guido Ga...

A beautiful antique Sèvres swan sauce boat in biscuit porcelain with gilded detail. This smaller scale sauce boat is a whimsical addition to the table ...

Extraordinary figurative piece of ceramics that represents a nude woman with really wonderful volumes and fantastic strokes reflecting the great skill and talent of the artist, hithe...

A very stylish and attractive pair English Hornsea Studio Craft mid-century ceramic vases decorated in the Westminster pattern probably designed by John Clappison and dating from around 1960-62. The vases have a trumpet shaped body with an incised linear pattern decorated in red on a cream colored ground. Based on the Gothic architecture of London’s Westminster...

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...

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...

Unique hand painted vase box for candies. Very good original vintage condition. Only one unique piece. Hand painted in 1960s in Belgium.  

Excellent art ceramic figurine from the 1930s: Young lady with bob hairstyle standing upright, torso turned to the left and supporting both arms on the hips, in a short blue kimono with a floral pattern and high heels. Behind her between the legs is seated a harlequin doll...

A ceramic vase in the Art Deco style with a figure of a Harlequin Very good condition Measures: height: 20cm width: 12cm diameter of the vase: 8cm.

A fine antique Chinese porcelain figure of Immortal decorated in sancai glazes dating from 19th century. The figure stands raised on a six-sided pedestal...

This porcelain plate from Doulton Burslem is decorated with s design from Doulton's "Spanish Ware" range. In this case a hand painted bough of raspberries, foliage and flowers has been done, using a very soft palette, and outlined in gold on a graduated fawn ground. This type of ware was developed by John...

A ceramic jug with oriental decorations manufactured in Engladn in late 19th century. It's in perfect conditions.

A lovely yellow bowl designed by Pia Rönndahl at Rörstrand in the 1980s. The bowl is 7 cm (2.8") high and about 14,5 cm (5.8") in diameter and in excellent condition except from some...

A good quality stylish Danish Royal Copenhagen Aluminia Faience glazed bowl in the Baca design with fish by renowned Scandinavian ceramic artis...

Maiolica flower pot “a mezzaluna” decorated with trompe l’oeil Pasquale Rubati Factory Milan, 1770 circa It measures: 4.7 in (cm 12) X 5 in (...

An early modernist earthenware vase. Designed by Vicke Lindstrand, for Upsala-Ekeby, Sweden, 1940s. Upsala-Ekeby AB was a porcelain, tile, brick, and glass company founded in 1886...

Very Rare Goldscheider Vienna ceramic Figurine of the 1930s: Standing blond lady with cap and coat, showing great resemblance to Marlene Dietrich, with setter. On a cream-colored r...

A stylish English studio pottery teapot and cover decorated in green ash glazes by renowned potter Mike Dodd (British, b. 1943) and dating from t...

Painted ceramic, very good original vintage condition. No damages or cracks. Beautiful and unique decorative sculpture. Gray Poodle Dog Sculpture ...

Royal Doulton Series Ware Golf bowl. Royal Doulton bowl with polychrome golf scene designed by Charles Crombie. The bottom of the bowl with Royal Doul...

This Butter dish is made of ceramic. It is in the style of Majolica. Made in Portugal in the 1970s. It is made of white and yellow ceramic. Its decoration are yellow bananas sculpted...

A beautiful large 19th century Meissen porcelain figure depicting a standing maiden in period dress with elaborate floral decoration raising her apron. her corset and borders made fr...

Wonderful ceramic vase and bowl set by Carl-Harry Stålhane for Rörstrand. Sweden, 1950's Other ceramicists of the period include Berndt Friberg, Axel Salto, Arne Bang, Gunnar Nylu...

Jean Baptist Stahl Pate-sur-Pate/ Phanolith neoclassical charger of the argo Germany, circa 1899 An exceptional large pâte-sur-pâte/ phanolith Neoclassical charger/plaque depicting...

Very original set of 2 earthenware breakfast cups in the "George Sand" set. It's named this way because inspired by the famous set created by the French ...

Large handmade vintage Turkish floor vase. Hand-carved stylized floral incisions filled with light and dark blue glaze on the warm white base creating an abundance of different types...

A fine Art Deco Swiss Langenthal porcelain model of a lying rabbit designed by Edouard Marcel Sandoz and made in 1948. The porcelain rabbit is ha...