Ceramics

Lovely piggy bank with inscription aiming to collect money for the society for children’s footwear. This union was established in 1889 and was still active ...

Assortment of 4 dishes with braided rim Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: 14 x 10 in (35.5 x 25.5 cm); 12.2 x 8.39 in (31 x 21.3 cm); 10.4 x 9.65 in (26.5 x 24.5 cm); 10.8 x 9.61 in (27.5 x 24.4 cm). Weight: 4.4 lb (1.998 kg) State of conservation: some chips due to use on the edges and on the parts in relief. The four different dishes have a foot with a low lip from which extends a wide, flat, slanted rim resembling a basket weave. The small handles are painted green: they resemble wickerwork in the two oval dishes and take the form of a sinuous branch in the round ones. The third fire decoration is inspired by the naturalistic floral botanical patterns on the ceramics produced by the Hannong family in Strasbourg. Here the pattern is defined by the rapidity and subtlety of the brushstrokes and the result is particularly tasteful, characterized by compositional intelligence and pictorial expertise. A main corolla, either a wild or garden rose, is set slightly off center in each well. From this extends a thin stem holding a small secondary bud and there are small field florets dotting the composition to lend volume to the delicate bunch of flowers. On the brim, small polychrome flowers add color to the weave, accompanied by lanceolate leaves of a very intense green. There exist few and very rare examples for comparison with this morphology: a round plate - entirely consistent with those in question - has been dated to around 1775 (S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, tav. 200). Two other dishes with a basket rim, but with parallel striped brim decoration, were exhibited in the 1995 exhibition on Lodi ceramics; the attribution to the Lombard town near Milan is therefore almost exclusively derived from the decoration called "alla rosa contornata" or "alla vecchia Lodi" and constitutes one of the most popular decorations during the eighteenth century. (M. L. Gelmini, in Maioliche lodigiane del '700 (cat. mostra Lodi), Milano 1995, pp. 31 p. 162-163 nn. 181-182). 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...

Excellent Viennese Art Nouveau Item Modelled by Ferdinand Doblinger (1872-1935), circa 1910. Manufactured by 'Wiener Kunstkeramische Werkstätte...

Michael Powolny Art Nouveau centrepiece with three cherubs - most lovely ceramics item! Modelled by Michael Powolny (1871 - 1954), circa 1907. Hallmarked: Manufactured by Wiener Keramik (Vienna Ceramics) (WK / hallmarked). Material is ceramics (multicolored painted / glossy finish). Model 113 (model number is impressed / bottom glazed) Monogram of "Michael Powolny (MP)" is impressed, too. Made 1912. ________________________________________________________________________________ Subject: Most lovely three naked male cherub's figurines holding a round plate attached to their heads / the mentioned plate is blue painted at bottom side / the surface of tiered round socle is partially moss green shaded. ________________________________________________________________________________ Height: 21.0 cm (= 8.66 inches) Diameter of platter: 24.5 cm (= 9.64 inches) ________________________________________________________________________________ Bibliography: Waltraud Neuwirth, Markenlexikon für Kunstgewerbe (3), Wiener Keramik / Modelle 1906-13; pages 100-101 Elisabeth Frottier, "Michael Powolny, Keramik und Glas aus Wien 1900-1950", Vienna 1990, page 200, List of Work (= Werkverzeichnis) number W 113 (WV 61), Model 113 ________________________________________________________________________________ Experts of Fine Arts assess Michael Powolny's work nowadays as result of activity of one the most important ceramics sculptors / designers of Austrian Art Nouveau. Most of Powolny's successors were strongly under his sway since Powolny had left 'large steps' in Viennese Art of Ceramics. Excellent condition. ____________________________________________________________________________________ About Michael Powolny (Sculptor). As both a designer and a teacher, the Austrian ceramicist and glassware designer Michael Powolny was an important figure in the development of modernist aesthetics in Vienna at the turn of the 20th century. His romantic sculptural pottery figures embrace the lush, dynamic stylings of Gustav Klimt and other progressive artists, while his functional pieces — such as glass bowls and vases — employ the simple linear and geometric ornamentation that marked the work of Josef Hoffmann and other members of the Wiener Werkstätte Community of designers and craftsmen. Powolny received classical training in ceramics from his father, a potter, and at the Vienna School of Applied Arts, but later joined in the modernizing movement in the Austrian arts at the close of the 19th century. In 1897, Klimt, Hoffman, Koloman Moser and other artists and architects founded the Vienna Secession, a group that fought for freedom of expression against the city’s tradition-bound arts establishment. Powolny’s work reflects the changing times. He used classical figures in his ceramics — female nudes, cherubs — yet would dress them in modern ornament such as garlands of abstract, geometric flowers. Pieces from Powolny’s ceramics company were sold through the Wiener Werkstätte (Viennese Workshops) founded by Hoffmann and Moser, and Hoffman later hired Powolny to create ceramic ornamentation for his architectural masterpiece, the Palais Stoclet in Brussels. Powolny would go on to design glassware that combines elegant, tapering forms with precise linear decoration. His most influential work may have come as a professor at the School of Applied Arts, where he taught both Lucie Rie, the great Austrian-British modernist ceramicist, and the American potter Viktor Schreckengost, creator of the “Jazz Bowl...

Assortment of 21 maiolica service elements Pasquale Rubati Factory Milan, 1780 circa a. Four large oval dishes or fish dishes 10.43 in x 21.25 in (26.5 c...

Italian, late 18th century watch holder with Father Time. The robed figure of Father Time is standing on a raised plinth with rocks and a koi fish or carp....

Chinese export Nanking pattern well and tree platter. This ovoid shaped porcelain is decorated with an underglaze blue. The double border is in...

An antique Staffordshire pearlware coffee pot and cover hand-painted in coloured enamels with floral designs. This elegant and lightly potted coff...

A rare, large English pearlware or Staffordshire pottery cradle. Decorated with an overall basketweave pattern and blue highlights, circa 1800. Measures: Length ca. 5 5/8 in...

A 19th century French bisque porcelain figurine of a couple seated and engaged in a conversation. The figurine is marked on back and ...

Antique Delft tin glaze charger, circa 1760-1780.   

Maiolica flower pot “a mezzaluna” with support feet decorated with little bunches of flowers Pasquale Rubati Factory Milan, circa 1770 5.5 in X ...

This very vintage textural and raised forms of this glazed ceramic vase is by the Hungarian artist named Zsolnay. It is a glorious combination of color of elegant sensual nude relief...

With covers and liners. Marked with under glaze blue shield mark.

Dish with karatuuri (melon) design Late 17th-early 18th century Porcelain decorated with cobalt blu underglaze and red fruits Diameter 15.2 cm Nabeshima ware was made at Okawachi near Arita in Kyushu under the authority of the Nabeshima clan. The feudal lords of Nabeshima were so proud of their technological skill, that throughout the Edo period (1615-1867) they gave porcelain (and swords) as presents to the lords of other provinces. Most of Nabeshima porcelain...

This is a pair of English creamware dishes from the 18th century, created around 1785. The plates display a lovely chinoiserie scene with women selecting accessories. The scene depic...

Crespina Faenza, last quarter of the 16th century Maiolica painted in two colors, light blue and yellow, on a thick, rich layer of white enamel. It measures 2.24 in (5.7 cm) in height, 6.10 in (15.5 cm) in diameter. lb 0.55 (kg 0.25) State of conservation: mimetic restoration. The small cup has a raised central “umbone”, a perforated brim and a shaped rim. It rests on a high jutting foot. The "crespina" shape, in some inventories is cited as "tacce de frute" (fruit cups). It was particularly appreciated in the Renaissance and has variants based on the formal types and the different sizes. The decoration, made according to the dictates of the “compendiario” style, used few standardized colors: blue and yellow on a thick white and shiny enamel, deliberately chosen as the colour which was most reminiscent of silver. This choice derived from a trend in creative design of the era: the shapes used in the molds were often taken from metal objects. An idea which would last throughout the Renaissance. The work shows, in the middle of the “umbone”, a winged putto stepping forward while playing a long thin trumpet. The depiction of the putto is fully representative of the repertoire of the Faenza workshops of the sixteenth century. Some specimens with this type of decoration have been published in a volume by Carmen Ravanelli Guidotti: there appears the whole productive repertoire of this fundamental moment of transition between the taste for the “istoriato” style and the great simplification of decoration in the “compendiario” period. This style, in its simplicity, however, saw its expression in a rather varied collection of decorative subjects, including old-fashioned busts...

Centerpiece light blue maiolica shell Ferniani factory, early period: 1693-1776 Faenza, 1700 circa 5.5 in x 14.72 in x 13.77 in (14 cm x 37.4 cm X cm 35) lb 4.40 (kg 2) State of con...

Earthenware bat pedestal dish, Coclé Culture, Panama Earthenware dish on a low pedestal foot; the dish face is painted black, red and purple on a cream ground, each half of the bi...

A Wiener Keramik Werkstätte centerpiece in black and off white. The piece by the wiener Keramische likely dates to circa 1910 or so. It is stamped WKW on the base and marked Austria ...

Maiolica flower pot “a mezzaluna” decorated with garlands of flowers Pasquale Rubati Factory Milan, circa 1770 Measures: 4.7 in x 5 in x 8.8 in ...

WHY WE LOVE IT: One of our absolute favorites! A pair of 18th-century creamware flower holders complete with stands and covers made in England by Neale & Co. was one of the finest 18...

Ming dynasty celadon glazed charger having fluted interior with plain well center.

A timeless, Classic French 18th century provincial pottery / ceramic urn or pitcher with beautiful, natural time worn patina and a stunning form featuring three dramatic handles and ...

Early unique Patrick Nordstrom, own workshop, pottery vase. Beautiful glaze in earthy colors, 1910s. Signed. Measures: 17.5 x 15 cm. In perfect condition.

Kai Nielsen From the series '"Grape Harvesting" B&G, 1919 Stoneware figure Perfect Condition Measures: H 11 cm.

This is a rare and complete antique tiled mural plaque from Portugal, dating to the mid-1700s. It is an astounding 13 feet long and most recently ca...

Very rare set of five Chinese porcelain tiles, 18th century Decorated with flowers and arabesques, two with inscriptions on the back.   

The Chinese Export porcelain dish in the famille rose palette is painted on the border with meandering vines and flowers which surrounds a central panel decorated with vases and pots of flowers...

Qianlong period talismanic antique Chinese porcelain plate Chinese, 18th Century Height 4cm, diameter 21cm Made during the 18th century in Qianlong period China, this fine porcelain plate was made for the export market, in particular the Islamic world, and comes in the form of a talismanic plate with Arabic inscriptions. The centre is decorated with a magic square...

Kai Nielsen From the series '"Baccus Harvest" B&G, 1919 Stoneware figure Perfect condition.

18th century glazed ceramic fragments arranged on an iron framed panel.

Large aluminia Christmas plate 1910 in faience. In a very good condition. Measures: 30 cm. in diameter.

Maiolica flower pot “a mezzaluna” decorated with tulip Pasquale Rubati Factory Milan, circa 1770. Measures: 4.7 in x 4.7 in x 8.6 in 12 cm x 12...

Chelsea porcelain reticulated circular dishes, Gold anchor period, circa 1760. The Chelsea porcelain dishes with circular lattice rims and a simple gilt band are beautifully paint...

Kai Nielsen From the series '"Grape Harvesting" B&G, 1919 Stoneware digure Perfect condition.

A very attractive group of four 18th century Chinese export porcelain botanical plates apparently made for the French market, circa 1775. Each plate having a scalloped rim banded wit...

Chinese Export pseudo-tobacco-leaf pattern platter, circa 1770.

18th century polychrome earthenware shoe slippery A Dutch earthenware shoe slippery, dated circa 1750, The Netherlands in beautiful polychrome colors, blue, purple, orange, green, ...

Extraordinary example of painting and modeling in 18th century Chinese export porcelain. Commissioned to commemorate a marriage in a Georgi...

WHY WE LOVE THEM: They're majestic! We are pleased to offer this pair of large antique Luneville lions made in France circa 1800. These exceptional lio...

Beautiful pair of 18th century Chinese Export porcelain platters clobbered in shades lime green, emerald green, cobalt blue, iron red with gilt highlights.

Mid to late 1700's pair of sizable and polychrome painted Dutch chargers. Even if you were to spent every day of the rest of your life searching, you would not find another pair of these rare Dutch chargers. These chargers are extra rare, because: 1. They ARE a pair. 2. There is a lot of yellow in them and that was always the most difficult color to master/create. On the back of one of them you can see a beautiful, 19th century restauration with a large amount of metal staples. Somewhere around 1900 these wonderful antiques were put in a metal wall brackets for safe and easy wall mounting. As you can see in our images, there is much wear and there are several damages and that is why we have priced this rare, colorful and highly decorative pair of antique chargers...

Late Baroque pottery jug made and decorated with high temperature glazes over a white slip of tin. These motifs are combined with enameled decorations in relief obtained mold. The typology of the piece combines Italian jug with handle ovoid belly and vertical bow, with the peak jug typically Spanish, characterized by the outgoing peak of the mouth. Decorations reveal the oriental influence, with large floral bouquets arranged asymmetrically and complex landscapes with architecture and palm trees, which remove some figures, such as totally Western. The reasons appear pincelados in manganese black, and colored with ocher, blue, green and red, mainly enamels. Aragon ceramic least a century old will be characterized by a strong own, combined with the influences of personality Talavera and Catalonia. You will have three main centers: Teruel, Muel and Villafeliche, the first two with tradition since the 16th century, and the third created in the late 17th century. The Villafeliche will generally be very popular ceramics...

Set of three Chinese export plates with floral decoration. Three 18th century Chinese exprort plates.

17th C. Spanish Hispano Moresque Copper Lustre Ceramic Bowl / Charger.

Chinese export porcelain service spectacularly decorated with a smart coral scale ground with panels of puce flowers. The service com...

Pair of Savona platters, the serpentine floral borders around the classical scenes. Tower mark on reverse; two hanging holes.

Graceful pair of porcelain Oriental lamps hand-painted with garden scenes in rich orange and green color tones on a cream background. The main ...

A particularly large brassero (coal heater) glazed in cream green and blue. Rare to have lid survive in good condition.

Canton Famille rose 9.6 inch plate, ca. 1840, enameled with seven figures, the four males forming a band, one playing the erhu, one playing symbols, one playing the dizi (bamboo flute...

SOLD INDIVIDUALLY: A collection of antique stoneware dipping baskets once used by plating factories to contain tarnished metal articles as they were submerged in acids in order to be...

Early Arista y cuenca tile made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575.

Germany Frechen Circa 1620 – 1640 Bellarmine or Bartmann jug with a coat of arms. A salt-glazed and iron-engobed bellarmine with a narrow neck, spherica...

A fine antique Islamic pottery fragment. Perfect for the Kunstkammer or curio cabinet. Mounted on a wooden plinth. Bearing stickers to...

Polychrome lobed dish with horseman. Delft, 1690-1700. Dimensions: diameter 33,8 cm / 13 in. The lobed dish is composed of twenty-seven double lobes and is painted in polychrome with a central motif of a horseman. The border is decorated with a continuous frieze of simplified flowers and tulips. The horseman is standing on a green ground between two trees. This type of decoration harks back to maiolica plates...

A Chinese export porcelain shipwreck soup dish from the Hatcher Porcelain Cargoes, made in the early to mid-18th century. This Chinese porcelain soup dish was created specifically for export to the European market. It was used for soup or broth courses, which had become a dinner staple in Northern Europe following the influence of French table customs. This piece features an underglaze blue floral decoration, here comprising chrysanthemums, peonies, and a pomegranate. The floral sprigs appear to grow from a rock formation, partly obscured by the marine incrustations. On the border of the dish, three arrangements of lotuses balance the composition. The swiftness of the painter’s hand is evident in the strokes forming leaves and petals, as well as in the bleeding of some of the lighter cobalt washes coloring the flowers. Dimensions: 9 in. Dm x 1 1/4 in. H (22.9 cm Dm x 3.2 cm H) Condition: Salvaged condition. A few hairlines extending from the rim to the center, the longest about 6cm. We do not recommend cleaning or restoration, as the current condition speaks to an important stage in this object’s life. Provenance: Collection Mrs Marianne L. Dreesmann-van der Spek, Laren, inv. no J002; Collection Mrs Hetti T.G. von der Gablentz-Blanche Koelensmid, Amsterdam; Amsterdam, Christie's, The Hatcher Porcelain Cargoes, before 1987. Christie’s Amsterdam, Fine and Important Late Ming and Transitional Porcelain...

Maiolica flower pot “a mezzaluna” Pasquale Rubati Factory Milan, 1770 Circa They measure: height 6.2 in x 8.66 x 5.31 (15,8 cm x 22 x 13,5) Weigh...