Ceramics

In the past, this pair of beautiful ceramics carafes, was utilized in a Pharmacy to contain erbs and spices infusions. The carafes shows all signs of the time, but they remain a pai...

A Neolithic Chinese terracotta pottery from 4000-3000 BC, with lateral handles and brown painted geometric décor. Born in China during the Neolithic pe...

A Japanese Arita blue and white porcelain VOC dish. Arita, late 17th century Measure: Diameter 32.1 cm These dishes, ordered by the VOC during the second half of the 17th century, were copied after the popular Chinese Wanli ‘Kraak’ porcelain...

Ancient rare Kashan lustre bowl 12th century Islamic pottery art. This beautifully decorated and well cared for lustre bowl is one of the few examples still in existence. It was made in Kashan in the 12th-early 13th century, Seljuk- Atabeg period. Kashan was an important center for the production of high quality pottery and tiles. Lustre ware was among the most innovative development of Kashan potters, who mixed silver sulfides and copper oxides to create a shiny copper toned metallic sheen on the surface of glazed earthenware bowls, plates and vessels. It was an expensive and unpredictable lustre technique. Kashan lustreware pottery can be found in the collections of the British Museum and the Hermitage Museum. Literature: O. Pancaroglu. Perpetual Glory. Medieval Islamic Ceramics...

Maiolica tureen Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 9.05 x 12.59 x 9.05 in (23 x 32 x 23 cm) ...

An 18th century European ceramic pitcher, most probably from Germany, with glazed decoration in blue colour representing flowers on a beige background. It has most probably been used...

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...

Late eighteenth century Chinese Export Porcelain handleless tea bowl and saucer referred to as "Chinese Imari". Hand decorated in iron red, underg...

This large, beautiful and bold blue and white platter is Japanese Imari from the Edo period (18th century). This impressive early porcelain Imari ware is saturated in rich cobalt blue underglaze hand painted in an unusual cross pattern. It features four round medallions of lotus flowers and landscape vinettes and finishes in blue rimmed scalloped edges. A hand painted leaf design is repeated on the underside. Condition: Very good condition especially for it's age. One tiny chip is touched up. Nice wear and firing stilt marks on back. Measurements: 16" diameter x 2" depth Weight: 6 lbs. Experience and expertise - Clune Art And Antiques Studio.

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). The centre painted with archaic de...

This rare Pre-Columbian vessel from the ancient Diquís culture of present-day Costa Rica possesses the features of a bird. The three-pegged jar was a common type of burial vessel, me...

An extraordinary azure maiolica dish in the Farnese service, made by Castelli d'Abuzzo between 1580 and 1589. In the peak of the High Renaissance, Cardinal Alessandro Farnese commissioned a dinner service from the Castelli maiolica...

A pair of very large Chinese armorial export blue and white porcelain 'Pelgrom' chargers Kangxi period, circa 1710 The two chargers, decorated in...

An antique Italian hand painted Savona tin glazed syrup jar inscribed AQUA DE PIANTAGNE dating from the early 18th century, the rounded earthenware jar stand...

An 18th century Wedgwood creamware double salt cellar. The form consisting of two basket (or pail-form) bowls joined at the rim and connected by ...

This elegant inkwell set by Wedgwood & Bentley is crafted of black basalt, one of Wedgwood’s finest inventions. The set is comprised of two canisters, both held within an intriguing double stand. One is designed to hold ink and features a top with slots for quills or pens, and the other is a powder Shaker with a shell-ornamented lid. Black basalt refers to the fine-grained stoneware that Josiah Wedgwood, inspired by the hard, natural stone known as Egyptian basalt...

Pair of maiolica tureens Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). a – 8.66 x 11.02 x 7.48 in (22 x 28 x 19...

A large late 18th century delft earthenware shallow bowl or dish, decorated in blue, with a handwritten Dutch motto in the center. Rough translation: "He who sees through his own hea...

Maiolica tureen “allo struzzo” (ostrich decoration) Milan, Felice Clerici or Pasquale Rubati factory, circa 1750-1780 Measures: 9.25 in x 12.79 in x 10.23 in (cm 23.5 x cm 32.5 x cm 26) lb 4.78 (kg 2.17) State of conservation, a felûre consolidated inside with slight edge chipping restored. In Milan in the 18th century two Majolica warehouses were opened, the first, by Felice Clerici, in 1745, the second in 1756 by Pasquale Rubati. Traditionally this type of decoration has been attributed to the Pasquale Rubati factory. In reality the motif “allo struzzo”, one of the clearest examples of how the taste for chinoiserie met with considerable success during the 18th century, had been produced, in specimens of greater or lesser quality, by both Milanese manufactories. This Maiolica tureen has a swollen and ribbed oval bowl, rests on an extroflexed foot and shows stirrup handles. The tri-color ornament, in the typical tones of Japanese "Imari" decorations, shows an idealized oriental landscape that develops around a perforated rock and has a willow tree with long lance-shaped leaves framing the long-legged bird figure. The ornamentation is enhanced by decorative elements such as butterflies, small florets and a vase with a thin flowery stem. The lid is ribbed with a pear-shaped knob on top. The decoration was called in the Milanese manufactories "allo struzzo" (ostrich decoration) and this refers to the oriental figure Xian He or the crane, symbol of longevity, here losing its symbolic value. It is hypothesized that among some 16th century engravings...

Chinese export porcelain Fitzhugh pattern tureen, cover and underplate, 18th century. Very Unusual and rare pattern, beautifully hand painted in green enamels and 24-karat gold, havi...

16th century Spanish Valencian Manises lusterware plate combining ceramics with metallic glaze. It has been repaired with iron grapples.

OR19067 A large and stunning antique Chinese Qing porcelain charger decorated in the famille rose palette with scattered floral designs on a turquoise ground and set around five Chi...

Assortment of bottle and glass coolers in Maiolica. Pasquale Rubati manufacture Milan, circa 1770 Maiolica polychrome decorated “a piccolo fuoco” (third fire) a - Bottle cooler 5.91 in x 5.91 in diameter (15 x 15 cm ) Weight: 1.86 lb (845 g) b - Bottle cooler 6.89 x 7.87 in diameter (17,5 x 20 cm) Weight: 2.09 lb (948 g) c - Pair of glass-cooler vases 3.94 x 3.94 in diameter (10 x 10 cm) Weight: 1.43 lb (650 g) Good state of conservation: a - some chipping from use on the edge; a - two fêlures covered on the edge; c - one has deep chippings on the edge and the other a subtle fêlure. Two Majolica factories were active in Milan in the 18th century. The first, starting from 1745, was owned by Felice Clerici; the other one by Pasquale Rubati from 1756. Rubati was in competition with Felice, whose worker he had been prior to opening his own workshop. On his death in 1796, the business was continued for a few more years by his son Carlo. Recent studies have recognized Pasquale Rubati's contribution as the creator of "Strasbourg-style" decorations with their particularly joyful depictions. This style had previously been attributed to the Lodi manufacturers. These works here, however, are a clear example of this production. The Majolica containers have different sizes, a cylindrical shape and rest on a low foot ring. The two largest are completed by handles in the shape of a zoomorphic mask with wide open jaws, while the smaller ones have handles applied with an anthropomorphic mask. All the works are characterized by elegant floral decoration. The two twin glass coolers show bunches of flowers centered around a main corolla, a rose or a peony paired...

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...

Possible signature of Jan Jansz van der Laen.

Rare antique English Yorkshire or Staffordshire creamware pierced basket with intricate reticulated body. Lovely color no damage or repairs.

Pair of antique English blue and white chinoiserie square bowls by Caughley, each one with scalloped edges with gilt borders. Unmarked, ...

A Chinese Kangxi blue-and-white porcelain 'Herring' dish Qianlong period, third quarter of the 18th century With two mirrored herring against plain fond, surrounded by floral b...

A antique English prattware model of a cockerel or rooster. With mottled decoration in ochres and yellow. The base bears an old partial D. M. ...

A rare 9" Lambeth Delft plate: "An English Delftware tin-glazed charger attributed to the Abigail Griffith London Lambeth pothouse. Great decorative blue and white delftware- boldly ...

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...

In the past, this pair of very beautiful ceramics carafes, was utilized in a Pharmacy to contain erbs and spices infusions. The carafes show all signs of the time, they remain a pai...

Beautiful German faience jug from one of the Northern German factories.

A pair of French Directoire period ceramic lidded apothecary jars from the late 18th century, with hand-painted foliage motifs, labeled Tamarind and Ext. Cicutæ A:F, from the Deroche...

A good rare Prattware pottery model of a baby's cradle. Decorated with orange and blue intersecting circles throughout the body and embellished ye...

A celadon stemmed dish with underglaze deep blue decoration from Sukhothai (a former Kingdom in nowadays central Thailand) circa 14th-16th century. The pedestal dish was a typical ceramic output from Sawankhalok region, likely one of the kilns in Sri Sachanalai that thrived during 14th-15th century. Sukhothai ceramics made a large portion of export from Asia during that period due to the political policy in Ming Dynasty that banned the ocean faring (the so called Ming Gap). This stemmed dish, likely an export item, was modeled in a Classic Chinese form. The under-glaze deep blue decorations depicting the scrolling vines and flowers, as well as the archaic band around the base, are also reminiscent to the designs found in blue and white porcelain in Ming dynasty. The piece shows a fine crackles and age wear on the dish surface, an indication of appropriate patina. Under the reddish slip paint of the base, the gray paste can be discerned in small area, which is also a characteristic of the Thai celadon...

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

A fine example of a German Baroque tobacco jar with original pewter lid. The rich ocher salt glaze decorated with raised floral motifs. A handsome addition for the collector of pipes...

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

A rare and unusual Chinese Qianlong porcelain plate hand decorated in puce with a floral border and with small insects around a central floral design. The plate has a stained rim and has various paper labels to the base establishing its provenance. Provenance: from the Helen Espir collection of fine Chinese porcelain and originally supplied by renowned London Asian art dealers...

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

Maiolica dish, "Famille Rose" and gold decoration Felice Clerici factory Milan, 1770-1780 8.93 in (22.27 cm) in diameter lb 0.66 (kg 0.3) State of conservation: perfect, except for ...

An exceptional antique Chinese Qianlong porcelain plate decorated in underglaze blue and overpainted in red and green glazes with light gilding with...

Chinese Export Rose Canton Mandarin pattern porcelain cider jug with double or cross strap handles. There are court scenes in the most colorful hues. The bor...

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...

A milky white dish with slight scalloped rim and decorated with cobalt blue iron red and green enamel over glaze, this delicate piece in Kakiemon Style was dated at least to the earl...

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,...

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...

Antique Delft tin glaze charger, circa 1760-1780.   

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

A pair of Chinese export porcelain mancerinas or trembleuses likely made for the Spanish/Spanish Colonial market. Based on a silver form, the standing central ring was designed to su...

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...

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...

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...

Five oval maiolica dishes with pierced edge Manufacture of Pasquale Rubati Milan, 1770-1780 Three small oval dishes 10.23 in x 7.67 in (26 cm x 19.5 cm) Two large oval dishes 10.82 in x 8.85 in (27.5 x 22.5 cm) lb 3.5 (kg 1.8) State of conservation: intact The five dishes of different sizes have an oval shape, a mixtilinear edge and a molded polylobed shape with a surface enriched with a relief weave motif extending to the brim and forming a perforated basket...

Maiolica centerpiece Pasquale Antonibon factory Nove di Bassano, Venice, 1740-1770. Measures: 1.85 in x 19.21 in x 15.27 in 4.7 cm X 48.8 cm X 38.8 cm. lb 5.29 (kg 2.4) State of conservation: thin passing fêlure with covered chipping and a glued foot The Antonibon were an important family of Venetian...

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...