Ceramics

Black basalt, with rope handle and encaustic decoration of lines & anthemion, in imitation of early Greek pottery. Early encaustic examples are rar...

Cerámica esmaltada con decoración de reflejo metálico Se trata de una cerámica esmaltada, es decir, con un baño de esmalte blanco, muy puro en los mejores ejemplos, que se cuece en ...

White earthenware ceramic plate, partially engraved, with colored engobe and glaze. Stamped, marked, and numbered 'Edition Picasso / Madoura Plein Feu / I 107/ 20 / 200' (underneath...

Pair of Ming Dynasty Bowls with Pattern of Interlocking Hexagons, Wanli period (1572-1620). This handsome pair of bowls with a slightly fluted rim features an outer pattern of hexago...

18th Century Spanish Ceramic Plate with Architectural Scene

Blue and white armorial plate with the coat of arms of Johan van der Does and Elisabeth van der Dussen. Delft, 1686-1701. The Greek A pottery. Mark: AK, period of Adrianus Kocx (16...

Glazed ceramics with lustre-painted decoration This is glazed ware, i.e. it is glazed with a white enamel bath, very pure in the best examples, which is f...

Blue and white landscape dish. Makkum, 1775-1800 Tichelaar pottery. painter: Douwe Klases Hofstra [attributed to] The dish has a wide and raised flange and is painted in blue wi...

17th century Spanish Talavera pharmacy jar in blue glazed ceramic.

The dish has a wide-spreading flange and is painted in blue with a still life in a panelled border. A bottle vase with various flowers is in the foreground before a low rectangular container on feet, filled with a rocky landscape. To the left of the container is a tall, cylindrical vase with grassy plants. Two butterflies and an insect fly in the sky. The well and flange are divided into eight wide and eight narrow panels...

A ceramic stirrup vessel pot from late Moche culture circa 500-700AD in nowadays Northern Coast of Peru. The hollow vessel features a rounded body and...

Set of 4 18th Century Chinese Export Imari Porcelain Chargers in 2 sizes. (smaller pair has some repairs) 15? Diameter / 12.5? Diameter.  

The blue and white dishes have wide-spreading flanges and are painted with a Chinese figure in an oriental landscape. The eight-panelled border is alternately decorated with floral motifs and oriental landscapes.  The decoration is inspired by Chinese porcelain from the transitional period at the end of the Ming and the start of the Qing dynasty. The porcelain of the last Ming emperor Chongzhen (reigned 1628-1644), the first Qing emperor...

Blue and white charger with a bird on a branch. Harlingen, 1775-1800 Raamstraat pottery. painter: Pieter Ruurds The charger has a slightly raised flange and is painted in blue ...

A black ceramic figural stirrup vessel from Moche culture circa. 100-500 AD, located in nowadays Northern Coast of Peru. The hollow pot is in a rare bla...

17th Century Spanish Talavera pharmacy jar in Blue Glazed ceramic.

The blue and white dish has a narrow, flat flange and is painted in the centre with a Chinese figure in an oriental garden landscape in a double circle. The brushwork is executed in blue within purple outlining on a light blue-coloured tin-glaze. The Chinese figure carries a guzheng, a Chinese zither, wrapped in a cover. On the well and flange are six different landscapes and terrace scenes, partly filled with Chinese men and women. The reverse is painted with four circles with a dot and four smaller circles.  The decoration is inspired by Chinese porcelain from the transitional period at the end of the Ming and the start of the Qing dynasty. The porcelain of the last Ming emperor Chongzhen (reigned 1628-1644), the first Qing emperor...

Large & Very Fine Chinese Export Punch Bowl, with Painted & Gilt decoration in the Mandarin palette. Jingdezhen region, China ca. 1780.

18th century porcelain cup, Qianlong period (1735-1796) of the Qing Dynasty. This elegant cup has a nearly iridescent cafe au lait (light brown) exterior glaze and blue and white in...

Italy, 18th Century Ceramic hanging platter. Measures: Ø 34 x D 5 cm.

This is a rare coffee cup and saucer in ‘The Traveller’ or ‘One Legged Duck’ blue transfer printed, hand gilded pattern by John Turner & family, of Lane End, Longton, Staffordshire. ...

17th century Spanish Talavera pharmacy jar in blue glazed ceramic.

Glazed ceramics with lustre-painted decoration This is glazed ware, i.e. it is glazed with a white enamel bath, very pure in the best examples, which is f...

Blue and white chinoiserie bowl Delft, 1660-1680 The blue and white bowl stands on a foot, has a high, strongly cantilevered wall and is ...

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...

17th Century Spanish Talavera pharmacy jar in blue glazed ceramic.

17th century Spanish Talavera pharmacy jar in blue glazed ceramic.

This is a beautifully hand-painted Chinese porcelain Dish, dating to the middle of the 18th century, Qing, Qianlong period, circa 1750. The dish is circular, well potted, with rib...

17th century Spanish Talavera pharmacy jar in blue Glazed ceramic.

A Rouen Faience in the shape of a young bacchus seated on a blue barrel holding a bottle in his right hand and a glass in his left hand. Polychrome decoration of vine branches and gr...

18th century Indigo blue glazed ceramic jar.

Blue and white lobed dish with fruit still life. Northern Netherlands, 1650-1680 Dimensions: Diameter 22,9 cm / 9.01 in. The blue and white lobed dish is composed of sixteen smal...

The mainly square-shaped stands have indented corners and a raised center section with rim and four small flowers. The stands are painted in polychrome with a combination of flowers,...

1940's Argenta stoneware plate with female siluett decor by Wilhelm Kåge for Gustavsberg. The now iconic Argenta stoneware collection with its green gl...

Hand-Painted ceramic jug with lead lid, dated from 1762, initials G. and R. and signed at the bottom, with scenes of windmills and a house.

This is a rare porcelain desert dish or chestnut basket made by the Chelsea-Derby factory during the 18th Century, circa 1770. This pierced, reticulated Desert Dish or Chestnut Ba...

An exceptionally rare pair of Triton candlesticks, in black basalt with gold lustre. The design is copied from Wedgwood, who took it from Sir Willi...

This is a very good Chinese porcelain large plate, made for the export (Canton) market, during the middle of the 18th century, Qing-Qianl...

A large Chinese Export Famille Rose charger with pink lotus and other flowers. Painted in bright vivid colors of blues, reds and yellow accents.

The dish has a wide, slightly raised rim and is painted in blue in the centre with a Dutch water landscape within a polygonal yellow band. The well and border are painted in polychro...

Blue and white chinoiserie lobed dish. Delft, 1650-1680 Dimensions: diameter 33,5 cm / 13.18 in. The blue and white lobed dish is composed of twenty-seven double lobes. The cur...

Blue and white landscape dish. Makkum, 1775-1800 Tichelaar pottery. painter: Douwe Klases Hofstra [attributed to] The dish has a wide and raised flange and is painted in blue w...

Two Children's Aid Day figures. Aluminia, 1940s The children's aid figures were designed in a masterpiece style by Herluf Jensenius and designed by Hans...

A rare large Chinese export porcelain 'Table Bay' dish Qianlong period, circa 1735-1750 Diam. 27.5 cm This version of the ‘Table Bay’ porcelain docu...

Three Children's Aid Day figures. Cousin from Amager, Skovserkone and Skovserdreng. Aluminia, 1940s. The children's aid figures were designed in a ma...

Water cistern, table fountain on earthenware pedestal decorated with lambrequins and lions in blue camaieu. Lateral grip in the shape of a lion's head. Earthenware from Rouen or Lill...

This is a very fine hard paste porcelain Tea Bowl and Saucer by New Hall, dating to the 18th century, George 111rd period, circa 1785. Both pieces have 24 vertical flutes. Both pie...

18th century Portuguese "Vase" Measures: 154cm x 140cm 110 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a pai...

This is a hard paste porcelain coffee can & saucer duo by New Hall, hand decorated with their Chinese figure pattern number 421, dating to the English George 3rd...

This is a hard paste porcelain Tea Bowl and Saucer by New Hall, dating to the turn of the 18th century, George 111rd period, circa 1800. Both pieces are decorated over-glaze with ...

Blue and white lobed dish with landscape. Northern Netherlands, 1650-1680. Dimensions: diameter 21,5 cm / 8.46 in. The blue and white lobed dish is composed of sixteen small lobe...

Blue and white dish with windmill. Delft, 1700-1750 The dish has a raised flange and is painted in blue with a windmill between two sponged tr...

Large blue and white chinoiserie dish. The Netherlands, 1675-1700. The blue and white dish has a wide-spreading flange and is painted in the centre with a sitting Chinese figure i...

18th century Chinese Export Famille rose tureen with lid & underplate.

Triangular spice. Glazed ceramic. Talavera de la Reina, Spain, 17th century. Has damage. Triangular glazed ceramic spice rack decorated with a...

P. Ipsen's, Denmark. Girl no. 888. In rare light glaze. Venus Kalipygos. Designed by Kai Nielsen. 1940's. Measures: 22,5 x 10,5 cm. In excellent condition. Stamped.

Blue and white lobed dish with landscape. Northern Netherlands, 1650-1680. Dimensions: diameter 33 cm / 13 in. The blue and white dish is composed of twenty-seven double lobes around a curved center. It is painted with a house and barn along the water front within a double circle, framed by a narrow band of stylized ornaments. The border is alternately painted with stylized flowers and branches of leaves...

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...