Ceramics

Great and rare set of 4 cups designed by Kato Kogei, Fujimori Progression Collection, an original condition some wear due to use no chips or cracks circa the 1980s, Memphis.

Globular teapot in black basalt, painted with matt white, red and ice blue. Judging by the shape and general appearance, probably by Spode, in imitation of Wedgwood designs of the pe...

Circa 1920s red clay ewer with classical figures etched and painted in black. Found in England. Unknown maker. No cracks, chips or repairs found. White blurs...

A set of 10 ceramic plates by Gotham by Theodore Haviland. Each saucer is in a light cream white hue, and features a thick gold painted band around the center as well as on the inter...

Versatile catch-it-all ceramic bowl made in Italy, circa 1980's black glossy finish with green decorative lines, great condition no chips or cracks signed Italy at the bottom.

This fine ceramic butter churn or crock is in fine condition for its age. Its body is cream, with a fluted top. Two blue stripes decorate the body, all ...

Ceramic Postmodern bud vase or weed pot, signed.

Set of Red Mud floor vases by Studio ThusThat Unique piece. Dimensions: Tall: 53cm x 16cm; Medium: 19cm 27cm; Low: 31cm x 19cm; Tabletop vase: 25cm x...

A lovely crimson jasperware jug by Wedgwood, featuring an applied white jasper neoclassical decoration of acanthus leaves and grapes bordering the rim. ...

Covered bowl, perhaps for soup, in black basalt with ‘Etruscan’ encaustic painting.

Cyclicrical tea canister in engine-turned black basalt, with raised decoration. Unmarked, but the quality and finial clinch the attribution.

An extraordinary navette, or cream boat, in black basalt with encaustic decoration. Complete with matching ladle: a rare find indeed.

Limited edition Elgin ceramic statuette entirely realized in ceramic from the 12 Columns series designed by Alessandro Mendini for Superego, 2008. Black...

Bing & Grøndahl after Thorvaldsen. Antique biscuit wall plaque with putti in relief, 1870s-1880s. Measure: Diameter 32.5 cm. In excellent conditi...

Spouted teapot created by Los Angeles artist and designer of the Memphis Group, Peter Shire. Teapot measures: 10" high by 12.5" wide and 5.5" deep. It is signed EXP, 1999. In very go...

Neoclassical pitcher in blue Jasperware. Decorated with sprig molded accents and cherub scenes. The interior is glazed. There is wear to the handle with some loss of color. The pewte...

Beautiful fine bone China teacup with gold detail, bold blue, and a hidden red rose inside the cup. This delicate ceramic piece is a lovely piece to ...

George J. Sowden, Bitossi Ceramiche Handmade Limited Edition Clay Triangle Vase. Numbered 057/299. George J. Sowden is a designer with experience in ...

This a Limoges Camille Tharaud pate sur pate blue ceramic plaque depicting a mythological figure-Sphinx who is sitting over a lion. She is holding with one hand a large cornucopia...

Pre 1900s porcelain ceramic oyster plate in crisp white, brown and gold. Beautiful serving piece with 5 inventions for serving oysters. Each divot is decorated a an oyster (or muscle...

A circular cream round commemorative plate of President Nixon. Reads Richard M. Nixon 37th President. Gold detail around the edges, with the image of P...

By Hedwig Bollhagen, Germany, circa 1960-1970s. These canisters are brilliantly Deco and fabulously Post Modern. Their colorful geometry is perfect fo...

Very nice pottery, ewer, by the well known artist, John Gill, signed, dated 1986.

Postmodern ceramic vase in a pastel palette with black interior, circa 1980s. Intriguing form / shape with geometric and linear decoration. Signed "R" to the underside.

Glazed Whiteware ceramic mug sculpture by Peter Shire, 2016. Approx: 8 3/4" high x 13" wide x 23" long (to handle). Peter Shire: Peter Shire is an LA-based artist whose work elu...

Pair of vases by Antonietta Mazzotti Emaldi, 2018, Glazed earthenware (majolica) and 24ct gold, entirely handmade, unique pieces. Antonietta Mazzotti (Faenza, Italy 1950) attended the Istituto d’Arte per la Ceramica in Faenza and opened her first workshop in her hometown taking part in group and solo exhibitions at international level. In 1976 she has transformed the neo-gothic greenhouse of Villa Emaldi in her workshop. Antonietta Mazzotti has worked for some of the most important international museums and has received several important recognitions worldwide. Her works have been featured in major Italian magazines of interior design and she has acquired international visibility being featured in major international press publications, such as The New York Times. She still lives and works at Villa Emaldi in Faenza where she continues her research on historical decor...

Two pairs of maiolica baskets Antonio Ferretti Manufacture Lodi, circa 1770-1790 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: A) Height 3.54 x 6.69 x 9.84 in (9 x 17 x 25 cm); B) Height 3.93 x 7.48 x 11.02 in (10 x 19 x 28 cm). Total weight 4.85 lb (2.200 kg) State of conservation: A) One of the smaller baskets has some areas of restoration, the other slight chipping from use; B) One of the larger baskets is intact and the other shows a clearly glued break. The mold with which the baskets were forged simulates a wicker weave. The two larger works have high, vertical walls, with branch-shaped handles penetrating the weave. The painted decorations, small polychrome flowers applied only externally, highlight the points where the weaves intersect. The decision to leave the center of the basket devoid of decoration is highly unusual, but given the size and complexity of the shape, as well as the quality of the enamel, it is possible to hypothesize that it represents a precise choice in manufacturing or for a particular client. The two smaller baskets have small, twisted handles and, on the outside, reproduce more decisively the characteristic wicker weave, obtained through thin molded lines. The interior exhibits a rich, typical decoration of naturalistic flowers: a bunch centered around a main flower and secondary stems accompanied by small “semis”. The exterior of these works is also adorned with small little flowers where the weaves intersect. The size and morphological characteristics of the baskets confirm their attribution to the Lodi factory of Antonio Ferretti between 1770 and 1790, during its most successful period; by this point his original reworking of the "Strasbourg" decoration, known as "old Lodi", had achieved great fame even outside Italy. 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...

Wedgwood, England. Three bowls/dishes and a flowerpot in black, green and blue stoneware with classicist scenes in white. Early 20th century. The flower...

Beautiful round figural and floral motif serving dish of Joséphine Bonaparte by famed porcelain maker PM & M Bavaria, Germany. Round in form, the d...

Oil or vinegar pitcher designed by Shohei Mihara. New old stock in mint condition. Produced and made in late 1980s. Originally it was made as Japanese soy sauce pitcher, may use as ...

Royal Copenhagen relief by Thorvaldsen, 'day', biscuit. Late 1800s. Diameter: 26 cm. In perfect condition. 1st. factory quality.

A Cobridge stoneware cylindrical Cathedral pattern vase, designed by Samantha Johnson, copyright 2000. - The striking pillars and arches create spaciousness in the design. - The different tones of blue capture the texture and coolness of the stone interiors of these magnificent centres of worship, learning, art and community. - Rare pattern illustrating medieval architecture in a contemporary context The underside bears the Cobridge Stoneware stamp and is marked S Johnson, J.S. c.o.o. and S.J. c.c.c. 2000. Measures: Height 20.7cm Diameter (top) 8.5cm Diameter (base) 9cm Cobridge Stoneware was a short-lived pottery company born out of the fascination of the head of one of the leading potteries for a process that died with its inventor early in the 20th century. Cobridge Stoneware was in business 1998–2005. It was an Associate company of Moorcroft Pottery. The consequence of the business closing in down 2005. Is that the vases are now becoming very rare and demanding premium prices on the secondary market. Hugh Edwards, owner of Moorcroft, was keen to develop the ideas of William Howson Taylor - the man behind the closely guarded secrets of Ruskin Pottery. A new company and name was needed for the new range - Moorcroft is known and recognized universally by its distinctive appearance. Cobridge, an area of The Potteries, was featured in the Industrial Landscapes that were planned to furnish some of the designs for the new range. Its skyline was dominated in earlier years by bottle kilns, now mainly demolished, and Cobridge was chosen as the new name. The Cobridge Pottery was set up in a new imposing building a couple of hundred yards from the Moorcroft pottery and the official opening was in September 1998. The building was designed with future needs in mind. Only the outer walls are load-bearing, and the inner walls are built from blocks which can, if the need arises, be knocked down and re-built in another place. All the pieces were produced and hand painted here. The designs for Cobridge Stoneware Pottery vases were designed by well known ceramic designers. Many were also designing for Moorcroft Pottery. These designers include Philip Gibson, Kerry Goodwin, Nicola Slaney and Angela Davenport. Also Anita Harris...

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...

An exquisite and quite rare pair of 19th century English, Staffordshire, Jasperware blue ground Wedgwood vases with neoclassical subjects on rounded plinths, stylistically attributed...

Pair of ceramic planters. Attributed to Sarreguemines. France, late 19th century. Planters dimensions: 42 cm diameter, 36 cm height. Bases...

A Cobridge stoneware vase, decorated with a repeat pattern of sea horses and foliage. Rare trial piece dated 8.8.2000, Cobridge impressed stamp on the underside which is marked trial with the initials PAS & ML and the date 8.8.2000. Measures: Height 29.5cm Diameter max 13cm Diameter (base of vase) 10.3cm A Cobridge stoneware cylindrical Cathedral pattern vase, designed by Samantha Johnson, copyright 2000 Cobridge Stoneware was a short-lived pottery company born out of the fascination of the head of one of the leading potteries for a process that died with its inventor early in the twentieth century. Cobridge Stoneware was in business 1998–2005. It was an Associate company of Moorcroft Pottery. The consequence of the business closing in down 2005. Is that the vases are now becoming very rare and demanding premium prices on the secondary market. Hugh Edwards, owner of Moorcroft, was keen to develop the ideas of William Howson Taylor, the man behind the closely guarded secrets of Ruskin Pottery. A new company and name was needed for the new range, Moorcroft is known and recognized universally by its distinctive appearance. Cobridge, an area of The Potteries, was featured in the Industrial Landscapes that were planned to furnish some of the designs for the new range. Its skyline was dominated in earlier years by bottle kilns, now mainly demolished, and Cobridge was chosen as the new name. The Cobridge Pottery was set up in a new imposing building a couple of hundred yards from the Moorcroft pottery and the official opening was in September 1998. The building was designed with future needs in mind. Only the outer walls are load-bearing, and the inner walls are built from blocks which can, if the need arises, be knocked down and re-built in another place. All the pieces were produced and hand painted here. The designs for Cobridge Stoneware Pottery vases were designed by well known ceramic designers. Many were also designing for Moorcroft Pottery. These designers include Philip Gibson, Kerry Goodwin, Nicola Slaney and Angela Davenport. Also Anita Harris...

Large Vintage Glazed Earthenware Teapot by Peter Shire, 1982. Earthenware and Enameled Metal construction, Hand-Built. Approx: 15 1/2" high x 12" wide x 25" long Peter Shire: ...

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...

This series is made up of some glass and some ceramic works. These works are highly unique form and looking. Norihiko Terayama created them from damaged vases,coffee cups and so on. ...

The decoration of ceramics in blue tones on a white background was common in Europe as far back as the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain,...

Two maiolica pharmacy flasks Milan, Felice Clerici Manufacture, 1770-1780 They each measure 9.44 in (24 cm) in height x 6.10 in (15.5 cm) in diameter lb 4 (kg 1.8) State of conserva...

This huqqa (or hookah) is a wonderful item which is crafted from porcelain and finely hand painted and parcel gilt. The huqqa was created in the late 19th century, most likely in Rus...

An important ceramic plate by Mexican artist Alejandro Colunga. Series 14 / 15. The plate is an assemble of different ceramic pieces depicting fish and a dog head. Signed and dated 1...

We are thrilled to offer this exceptional pair of creamware lions, each elegantly resting on a tall base adorned with sumptuous swags of dark blue "curtains" with gleaming yellow tassels and trim. Crafted in France, these figures are unparalleled and truly a masterpiece of 18th-century creamware. They date back to the late 18th century, circa 1790. Each lion's head and mane is exquisitely painted with vibrant yellow and lined in striking midnight brown. Their mouths are painted in delicate pink, adding an extra touch of charm. Not only are these lions a sight to behold, but they will also bring a touch of humor to your home. Their jovial expressions make it impossible not to laugh along with them. Leisurely resting on cushions draped with rich fabric and tassels, these friendly lions exude a very French attitude, seamlessly blending formality and friendliness. Placed on a mantel, they would undoubtedly be the focal point of any room, commanding attention, and admiration from all who see them. These lions are genuinely a one-of-a-kind treasure that is not to be missed. Dimensions: 6.5 inches tall x 6.75 inches long x 4.5 inches wide Condition: Excellent Price: $3200 Background of creamware Creamware is the name given to a type of earthenware pottery initially made from white clays from Dorset and Devonshire combined with an amount of calcined flint. Creamware was first produced in England sometime before 1740. Foremost of the pioneers of creamware in the Staffordshire Potteries was Thomas Whieldon. The young Josiah Wedgwood partnered with Thomas Whieldon from 1754-1759. When Wedgwood left to set up his own business, he immediately directed his efforts to developing creamware. Around the same time, in the mid-18th century, French potters developed their creamware known in France as "Faience Fine...

Beautiful floral plate with scalloped edges. The piece features roses and other flora throughout and gold designs around the rim and in center. The bottom reads: Gold Castle made in Occupied Japan...

Cocteau, La Belle Et La Bete ceramic serving tray by French conceptual artist Nicola L. Signed on reverse, Nicola L. 2007 Galerie A Rebours Edition...

British art Studio Pottery by artist and sculptor Tessa Fuchs (1936-2012), produced circa 1982. Tess Fuchs was born in Chesire and studied at the Sa...

Antique B&G (Bing & Grondahl) bisque plate after Thorvaldsen. In perfect condition, 1st. factory quality. Measures: 32 cm. Late 19 century.

Glazed whiteware ceramic mug sculpture by Peter Shire, 2015. Approximate measures: 11 3/4" high x 16 1/2" wide x 29" long (to handle) Peter Shire: Peter Shire is an LA-based art...

A pair of Rudolfstadt Porcelain vases, very much in the Royal Worcester style, hand painted with floral subjects on a duck-egg background; the neck and foot of the vases decorated with bisque and gilt scrolls the necks enhanced by a gilt Florentine scroll.

Rare B&G (Bing & Grondahl) large biscuit plate by Thorvaldsen, 1880s. In perfect condition, 1st. factory quality. Measures 29 cm.

Made in Italy, 1980s. This catchall is made in ceramic and features hand painted parts. It might show slight traces of use since it's vintage, but it can be considered as in excelle...

Antique B&G (Bing & Grondahl) Rare biscuit figure. Measures: 20 cm. x 11 cm. 1st. factory quality, in perfect condition. Marked, late 19th century.

J. Bromley for B&G "American Drummer Boy, 1st Maryland, circa 1776". A B&G bisquit figurine. No. 698/750. Measures: Height 38 c...

This series is made up of some glass and some ceramic works. These works are highly unique form and looking. Norihiko Terayama created them from damaged vases, coffee cups and so on....

An unusual trio of jardinière and cache-pots, in the Sevres style, hand-painted with love scenes after Watteau on one side whilst the other side is decorated with flower panels. Each...

B&G / Bing & Grondahl Bisque figure after Thorvaldsen, circa 1870. In good condition. Stamped: B & G Eneret (indistinct) Measures: 19 x 15.5 cm.

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...