Ceramics

An Iznik pottery dish made in the first half of the 17th century and decorated with chrysanthemums and tulips. The rim features the rock and wave pattern. Under the direction of O...

These are Four Delft ceramic wall tiles mounted on a modern wood frame, all with a blue and white hand painted flower pattern, made in the Netherlands during the 17th century, circa ...

Crafted by Wedgwood, this exquisite and rare assembled coffee cup and saucer set are comprised of the firm’s famous pale “Wedgwood blue” jasperwar...

This is a hard paste porcelain coffee Can by New Hall, dating to the turn of the 18th century, George 111rd period, circa 1800. The piece is well potted of hard paste porcelain on a low foot with a loop handle having rounded attachments. The cup is decorated over-glaze with hand painted pattern...

This large Chinese Imari porcelain charger dates to the Qianlong period of the Qing dynasty, circa 1760.   Finely potted with a lovely rich, glassy white glaze, the charger is hand-p...

Made in Italy, 1940s - 1950s. This blue lacquered ceramic vase by Laveno, Italy. It is a vintage piece, therefore it might show slight traces of use, but it can be considered as in...

A sizable stoneware pitcher produced by Rörstrands, Sweden, 1940s. Designed and signed by Gunnar Nylund, (Swedish, 1914-1997). Nylund served as artistic director at Rörstrands, wh...

Wilhelm Kåge (1889-1960) is one of the most well-known representatives of the illustrious Swedish ceramic design of the 20th century. This piece is marked "Gustavsberg Argenta 47 Made in Sweden". Swedish ceramic artist and designer, Wilhelm Kåge (1889-1960) was primarily active in the late-1920s through the 1950s and is best known for his contribution to functionalist style, as well his work as the artistic leader of the Gustavsberg porcelain factory. Algot Wilhelm Kåge (originally Nilsson) was born in 1889 in Stockholm. Kåge studied decorative painting at the Technical School, later known as the School of Art Konstfack, in Stockholm (never graduating), and subsequently at the Valand Academy in Gothenburg, where he studied under Scandinavian painters...

Ivanhoè Gambini Pair of Futurism wall masks, Italy 1940s.  

Ursula Printz (1920-1993) for Gustavsberg Studio, Sweden. Candle holder / figure in glazed ceramics. Fiddler. 1940s. Measures: 14.5 x 9.5 cm. In excelle...

container bowl, centerpiece in polychrome ceramic, Dante Baldelli production, 1940s, città di castello - Italy leaf-shaped, in shades of black, light...

18th century Portuguese "Vases" Measures: 312 cm x 210 cm Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a painting ...

A most attractive vase in Rosso Antico, decorated in black basalt with Arabesque on a dimpled ground. The colour of early Rosso is quite different to the 19th century orange body.

A large Danish (or Northern German) faience charger from circa 1780 in blue and white flower decor. The decoration is inspired by, or actually exact copies of the contemporary Chine...

A stunning Spanish or North African faience deep bowl. 18th century. Well cared for with various old rim repairs typical of the form. Red ware base. 15 1/4" diameter, 4" height. We ...

Two large French Faience dishes and two smaller from the city of Strasbourg in hand painted floral decoration. They are approximately from around...

A most attractive and unusual teapot in black basalt, moulded with basket-weave decoration and interlocking arches. Exhibited: Wedgwood, Master Potter ...

Scandinavian green ceramic bowl serie Aluminia Marselis designed by Nils Thorsson for Royal Copenaghen, Denmark, 1950s.

Red earthenware set of tiles (3) with an abstract design surrounded by curvaceous ornaments. A charming and inspiring piece of art that can be used as a m...

Blue and white marriage plate. Delft, dated 1759 The marriage plate is painted in blue with a crowned shield between two laurel wreaths. The shield i...

This is an early porcelain trio comprising a vertically fluted coffee can, tea cup and saucer, all in a hand painted and gilded pattern, which we attri...

This is a beautifully hand-painted Chinese porcelain blue and white Dish from the Qing, Kangxi period, 1662-1722. The dish is finely potted with an octagonal shape using a clear w...

Elegant circa 1790 Nanking Chinese porcelain hand painted blue and white tureen in excellent condition, no repairs.

Traditional rustic hand painted ceramic vase Manufactured in Spain, circa 1940. In original condition, with minor wear consistent with ...

Lenci Skier ceramic 1940 Italy.

18th century Portuguese "Vase" Measures: 126cm x 126cm 81 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a pain...

Pair of Delft calendar plates in blue and white garden scenarie. March and April plates. These two plates were part of a 12 plate series of calen...

18th century Portuguese "Troubadour " Measures: 140cm x 108 cm 80 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it wer...

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...

A pair of Japanese decorative ceramic plates, made in Arita for export market circa 17-18th century. The cabinet-display dishes feature lotus-petal gilt rim and a lavish tricolor ene...

Biblical plaque with Moses and the bronze snake in blue and white and yellow. Delft, 1740-1760. The lozenge-shaped plaque has a molded and raised rim made up of scalloped ribbons alternating with shells. The plaque is painted with the biblical theme of Moses and the bronze snake. The painting is executed in blue, with only the bronze snake on the pole and three poisonous snakes on the ground accentuated in yellow. In the foreground the Numbers bible book reference ‘Num. 21 Vs 9’ is reserved in a small cartouche. The biblical story is at both sides bordered on either side by floral ornamentation and shells. The scalloped ribbons are painted with foliate scrolls. Two holes for suspension are pierced just below the upper shell. The reverse is glazed. In the story of the Old Testament, Moses led the Israelites out of Egypt...

The Ceramiche Batignani company was born in Tuscany in 1907 from the artistic and creative skills of Gastone Batignani, the founder. He started the c...

Dutch delftware charger, 1750-1800. The decoration is a stylised version of an oriental garden on 17th century Chinese porcelain. Dime...

This is a hard paste porcelain waste or slop bowl by New Hall in a hand painted Chinoiserie figure pattern No. 20, dating to the late 18th century, circa 1790. The bowl is well potted on a mid depth foot. The decoration is hand-painted using bold enamels in a charming chinoiserie figure pattern, number 20, showing a Lady with a parasol being presented a flower by a young man, all by a fence in a garden setting. The inner rim has a repeated border pattern and the inside base has a hand painted flower bud sprig which is worn and faded. This is a recorded New Hall pattern No 20. Overall a charming 18th Century Bowl...

18th century Portuguese " Angels " Measures: 364 cm x 252 cm 439 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were...

Pair of blue and white plates with flower vases. Delft, dated 1760. Mark: LV . A pair of blue and white plates with a wide flange, pai...

18th Century Portuguese " Angels " Measures: 84 cm x 70 cm 30 Tiles. Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a...

18th century Portuguese "Citywide " Measures: 168cm x 126 cm 108 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were...

A set of two peacock design Delft plates, and two larger Delft dishes. All hand-painted with "peacock" pattern. 2 plates marked "De Porceleyne Claeuw" Dimensions: diameter of 9" / 23cm each plate. 2 dishes are also marked, one for "De Porceleyne Claeuw" (Porcelain Claw) and the other one marked 'De drie...

18th century Portuguese "Troubadour" Measures: 252cm x 86 cm 108 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were...

Maiolica puerperal cup Antonio Ferretti Manufacture Lodi, Circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures: 4.3 x 6.8 x 5.3 in (11 x 17,5 x 13,5 cm) Weight: 0.78 lb (358 g) State of conservation: some closed pass-through fêlures on the cup, barely visible on the outside. Some use chips on the edge of the lid, two of which are more marked. From about the mid-sixteenth century, the puerperal soup tureen or puerperal cup became one of the most popular wedding gifts in central Italy. As an auspicious symbol, it replaced the birth table (“desco da parto”) which, on the occasion of high-ranking marriages, from the thirteenth century, had been painted by famous artists, especially in Tuscany. In France this same tureen is called "écuelle de mariée", as it is given to spouses as a sign of fertility. During the eighteenth century this custom spread even outside Italy to all social levels. Depending on availability and rank, it was made of different materials: precious metals, maiolica, porcelain, glass, pewter, etc. Beginning in the mid-twentieth century, the custom of this symbolic homage gradually disappeared, although famous designers such as Gio Ponti and Giuseppe Gariboldi, even as recently as the 1940s, revisited a model of a small puerperal soup bowl for the Ginori and, also in Italy in 1940, in a national competition for young potters, one of the themes of the test was indeed a modern model of a puerperal cup as an auspicious gift. This particular cup was also called a "service cup" or "puerperal vase" or "stuffed cup" - the windows were sealed with straw to prevent drafts of air for women in labor. In the eighteenth century the line of the puerpera cup was simplified, so much so that it took the form of a small tureen with two handles - the typical broth cup...

A Chinese Neolithic terracotta pottery from 4000-3000 BC, with lateral handles and black painted geometric decor. Born in China during the Neolithic period, this pitcher attracts our attention with its nicely weathered appearance, simple lines and tight geometric motifs. The neck, decorated with crosshatched motifs, is flanked with two handles while the belly is accented with similar crosshatched medallions. With its great age and simple lines, this Neolithic pottery...

This is a hard paste porcelain waste or slop bowl by New Hall in a hand painted Chinoiserie figure pattern number 20, dating to the late 18th century, Circa 1790. The bowl is well...

Lovely rectangular earthenware tile representing a woman's face surrounded by ribbons and folliage. An exquisite antique with a lot of character that draws the eye and makes you wonder.

18th century Portuguese "Knight" Measures: 98 cm x 112cm 56 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a pa...

A rare Dutch Majolica plate with a decoration of a tulip. Northern Netherlands, probably made in the city of Rotterdam. Made 1620 - 1640 Dutch majo...

18th century Portuguese "Spring " Measures: 112 cm x 89 cm 48 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a ...

Antique set of two 19th century Spanish hand painted glazed ceramic patterned tiles with white frame Dimension do not include frame.

18th Century Portuguese "Saint Antony" Measures: 266 cm x 210 cm Important note: This panel is with the tiles restored 18th century. The panel is ...

Italian umbrella stand, polychrome ceramic, 1940s. Dimensions: H=51 cm; D= 35 cm.

The octagonal plaque is painted in blue with a courteous scene. A young man offers a flower to a young lady accompanied by her chaperon, against a background of trees and shrubbery. ...

A rare and utterly charming English Staffordshire blue and white glazed ceramic dog whistle. Showing the pooch standing alert with tail up and ears pricked...

Coffee assortment with “barbotine” decoration Manufacture of Pasquale Rubati or Felice Clerici Milan, 1770- 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). ...

Polychrome chinoiserie bowl. Delft, 1710-1730 This polychrome bowl stands on a high foot and has three extra feet. The two angular handles are ver...

Sick cup Pasquale Rubati Manufacture Milan, Circa 1770 - 1780 Maiolica decorated in polychrome “a piccolo fuoco” (third fire) It measures: h 2.36 x 7.4 x 7.87 (h 6 x 19 x 20 cm) ...

Blue and white dish with flower vase. Delft, 1665-1675 The blue and white dish has a wide, spreading rim and is painted in the centre with a vase ...

18th century Portuguese "Prayer " Measures: 182cm x 182 cm 108 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a...

A very nice set of polychrome dishes with green and red overglaze colors. Interesting brown circle in the centre. Early Edo period.   Condition No real damages, just crackl...