Ceramics

Ancient malta cross marble various colors 19th Century Carrara marble. Measures: height 30cm width 30cm Weight 8Kg Very good condition The price is for which one The price of...

Dish with fruit in purple and yellow The Netherlands, 1660-1700. The dish has a spreading, slightly raised flange and is painted in purple and yellow with a fruit decor of grapes ...

Majolica pitcher Antonio Maria Coppellotti Manufacture Lodi, circa 1735 Majolica decorated in cobalt blue monochrome It measures 7.36 in hight x 8.07 x 4.52 (h 18.7 cm x 20.5 x 11.5...

Striking 19th century antique Imari staple charger featuring vibrant oranges, blues, and golds. While a broken plate or charger would be discarded in today's era, other generations f...

Blue and white chinoiserie lobed dish. Delft, 1680-1700 Dimensions: diameter 35 cm / 13.77 in. The blue and white lobed dish is composed of nine wide lobes around a nine-fold c...

4 ( Four ) Neapolitan MAJOLICA TILE from the 19th Century 4 Tiles with white aluminum oxide background with manganese geometric designs. AVAILABILITY OF 230 TILES HEIGHT 40 cm WID...

Beautiful 18th century Panel Loose Pieces Portuguese Tiles 1.93 x 0.83m 84 tiles good conditions

17th century Portuguese " Vase " 100cm x 85cm 42 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a painting with a wo...

Beautiful 18th century Panel Loose Pieces Portuguese Tiles 1.93 x 0.83m 84 tiles good conditions

18th century Portuguese Tiles Panel "Angel" 84cm x 56cm 24 tiles good conditions

18th century Portuguese Tiles Panel "Cupid" 84cm x 56cm 24 tiles good conditions

19th century Portuguese Tiles Panel "Summer" 0.42 x 0.70m 15 tiles good conditions

19th century Portuguese Tiles Panel "Autumn" 0.42 x 0.70m 15 tiles good conditions

Rare 17th century panel "Passion of Christ" Azulejos Portugal 126cm x 98cm 76 tiles good conditions

18th century Portuguese Tiles Panel "Angels Playing" 1.09 x 0.72m 40 tiles good conditions

18th century Portuguese Tiles Panel "Angels" 70cm x 84cm 30 tiles good conditions

19th century Portuguese Tiles Panel "Springtime" 0.42 x 0.70m 15 tiles good conditions

19th century Portuguese Tiles Panel "Winter" 0.42 x 0.70m 15 tiles good conditions

Otafuku is a popular figure in Japanese folk tales. Often depicted with large cheeks and a joyful smile, her name translates to “much good fortune” or “plenty of happiness”. She’s kn...

Blue and white plate with deer in a landscape Delft, circa 1700 The plate has a narrow, flat flange and is painted in blue with a landscape with four deer between trees. Birds fly ...

Polychrome lobed dish with King William III Delft, circa 1690 The polychrome lobed dish is composed of eight wide and twisted lobes and is painted in blue, green and yellow with a depiction of King-Stadholder William III between two flowering branches. The border is decorated with a continuous frieze of tulips and flowers. Dimensions: diameter 34.4 cm / 13.54 in. The colour scheme of blue, yellow and green is frequently found on lobed dishes from the sixteen-nineties, especially with images of King William III and his wife Queen Mary Stuart. After the Glorious Revolution...

Morino Taimei (1934), also known as Taimei Hiroaki, draws from his traditional heritage and infuses it with a modern spirit. His father, a respected potter, sent him to study ceramic...

Polychrome lobed dish with Queen Mary II Stuart Delft, circa 1690 The polychrome lobed dish is composed of twenty-seven double lobes and painted in blue, green and yellow with a depiction of Queen Mary II Stuart between two tulips. The border is decorated with a continuous frieze of tulips and flowers. Dimensions: diameter 34.9 cm / 13.74 in. The colour scheme of blue, yellow and green is frequently found on lobed dishes from the sixteen-nineties, especially with images of King William III and his wife Queen Mary Stuart. After the Glorious Revolution...

Blue and white chinoiserie lobed dish The Netherlands, 1630-1650 The blue and white lobed dish is composed of twenty small lobes and is painted in the centre with a floral chinoiser...

Blue and white lobed dish with village in a manganese powdered border Northern Netherlands, 1650-1680 The lobed dish is composed of twenty-seven double lobes. The curved centre is ...

Blue and white chinoiserie dish Delft, 1691-1724 The Metal Pot pottery Mark: LVE, period of Lambertus van Eenhoorn (1691-1724) The dish has a narrow, flat flange and is painted in ...

Two polychrome lightning plates Delft, 1700-1730 The Peacock pottery Mark: D(P)AW 9 The dish has a small flange and is painted in polychrome with the...

Blue and white shaving bowl with flute-playing putto on a fountain Delft, 1759-1771 The Fortune pottery Mark: WVDB, period of widow Elling-Van den Briel (1759-1771) The shaving bowl...

Meissen (German, founded 1710), circa late 19th century. A set of 4 antique Meissen blue onion pattern knife rests. Each marked appropriately.

Polychrome table fountain Delft, 1750-1770 The polychrome table fountain is modelled in the form of a corpulent, seated man on a pedestal. He sits leisurely leaning back on a green pedestal with net decor with flowers. He is dressed in a blue jacket with flowers, white vest, yellow knee-breeches, white stockings and dark shoes. On his head he wears a tricorn that has an opening at the top for liquor (wine, liqueur or gin) for liquor to be poured into. The stopper is missing. There is a handle on the back, and a pewter tap in a mascaron on the front. Dimensions: height 31,5 cm / 12.40 in., width 21 cm / 8.26 in., depth 29,5 cm / 11.61 in. Provenance: G. Lefebvre, antique dealer in Paris...

Ceramic mortar produced at the Teruel pottery workshops in the 17th century. It has a truncated cone shape with three handles and a pourer. It is tin-...

19th century French ornithological ceramic charger by Montereau B et Cie, depicting two perched songbirds. In very good condition.

This large blue and white bowl Is covered with wonderful ornaments in the fashionable Japonism taste of the 1880's and 1890's. The earthenware bowl carries as makers mark an Impresse...

Kaneta Masanao, is certainly one of Hagi pottery's most well-known and easily identifiable. He's part of the eighth generation Hagi potter and has expand beyond his hefty heritage to...

Tanoue Shinya, is a ceramic artist from Kyoto. His work is already placed in the Museum of Kyoto and the Hyogo Ceramic Art Museum as well as being shown at US museums (Cincinnati, P...

Six maiolica “ambrogette” (tiles) Rampini manufactory, painter probably Siro Antonio Africa Pavia, 1693-1704 a) 6.88 x 5.51 in (17.5 x 14 cm); 0.55 lb (252 g) b) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) c) 6.88 x 5.70 in (17.5 x 14.5 cm); 0.54 lb (245 g) d) 6.81 x 5.51 in (17.3 x 14 cm); 0.50 lb (230 g) e) 6.88 x 5.51 in (17.5 x 14 cm); 0.50 lb (229 g) f) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) State of conservation: intact. These six ”maiolica fina” small “ambrogette” belong to a family of ceramic works considered among the finest produced between the 17th and 18th centuries. For a long time, this type of maiolica was attributed to the Venetian village of Angarano, but later it was definitively attributed to the pottery factories in Pavia. A fundamental study ascribed this production specifically to Pavia through an analysis of Lombard collections and a comparison with archaeological remains found near the two main manufacturing sites in the city. (E. Pelizzoni - M. Forni - S. Nepoti, La maiolica di Pavia tra Seicento e Settecento, Milano 1997). The six small oval tiles have rounded edges and are decorated with a historiated motif. They were created using high-fired polychrome technique, with a predominance of cool tones and a dominance of gray and blue, interspersed with manganese, citrine yellow, orange-yellow, and green. The six small “ambrogette” are characterized by the same stylistic features, with a similar decorative design. The first tile (a) depicts a female figure, holding a stiletto and sitting near a pedestal supporting a relief-decorated baluster vase. Behind her, a child is holding a chalice, while through the arches of a portico, a glimpse of a mountainous landscape can be seen in the background. The female figure could possibly be Lucretia, an example of virtue in ancient Roman culture. In the second “ambrogetta” b), the Biblical episode of Judith and Holofernes is depicted through canonical iconography: the decapitated body of Holofernes lies on the bed in the background, while the protagonist, Judith, is seen placing his head into a sack held by a maidservant. Through an archway a shining slice of the moon gives the perception of nighttime. Surprisingly, within the narrative, there is the presence of a basin in the shape of a large shell, closely resembling the products of Pavia's factories. The third small plaque (c) depicts a female figure standing on a plinth and framed by an architectural arch with a vast mountainous landscape in the background. The woman, with her breasts exposed, is accompanied by two children: one approaching her as if wanting to be picked up, and the other seated with an apple in his hand. The protagonist lends herself to different interpretations: perhaps she represents Rea Silvia with the two twin founders of Rome, or perhaps she is an allegory for the Pietà, a common theme depicted on maiolica. In the fourth tile (d), three characters are depicted near a column. The main figure is an old man with a sad expression, holding a cup, while a woman, wearing a turban on her head, also holds a cup in her right hand and a pitcher in her left. A second woman with her hair bound holds another pitcher behind the old man: at his feet a traveller's bag can be seen, along with some apples and a slice of cheese on a rectangular base. It is likely the sad Biblical episode of Lot and his daughters...

A Victorian Minton flow blue porcelain oyster plate, with six oyster wells, a center well and a large well for crackers. Decorated in the Japonisme...

A Théodore Deck (1823-1891) Faience Paneled Fourteen-Tile Rectangular Wall Plaque Polychromic Earthenware very finely hand-painted, designed with a couple of pheasants among vegetat...

Blue and white bowl Delft, 1690-1710 The bowl is painted on the outside with a continuous garland of flowers under a scroll border. The inside is boldly painted with a flying bird u...

Pair of blue and white chinoiserie lobed dishes. Delft, 1680-1700 Dimensions: diameter 30 cm / 11.81 in each. The lobed dishes are composed of eight wide and twisted lobes and are p...

3-part core piece consisting of coffee pot, teapot and milk jug made of Terre de Namur ceramics. Terre de Namur The fine black faience is a particular product of Namur, Belgium, lat...

Polychrome dish with a village view. The Netherlands, 1700-1750 The dish has a spreading, slightly raised rim and is painted in blue, purple, yellow and green with a simplified vil...

Tile with Pisana cross terracotta and Carrara marble 19th century Original terracotta square 25 x 25 cm with white marble inlay. Height 27cm Widt...

Charming cylindrical German lidded faience beer stein with handle. Stein is white glazed faience pottery, with a colorful scene of a running horse in a beautiful pasture. The lid is ...

A beautiful artisanal handcrafted porcelain Dragon ware teacup. This set features a moriage dragon design. Created from slip and applied around the body...

German Faience pitcher/jug with hinged pewter lid and handle. Hand painted floral design, along with stag and dog, on white background. Top of lid is monogrammed. Has minor wear from...

This very large Japanese hand painted blue and white charger is a testament to the skills of its potter, because to throw and successfully fire such a large item is rather unusual. I...

Very interesting 18th century Spanish ceramic wine or oil storage jar with wonderful olive green glaze with raised leaf and floral design ...

Antique bricks opus spicatum / spigatum light two cuts slats of cotto 19th century. Opus Spigatum / Spicatum. Made with original light terracotta bri...

Antique Tuscan picture inlaid with white Carrara marble 19th century Italy Ancient Tuscan terracotta bricks, inlaid by us with 19th century white Carrara marble. Various dimensi...

Antique Tuscan Picture Inlaid with White Carrara Marble, 19th century. Italy Ancient Tuscan terracotta bricks, inlaid by us with 19th century white Carrara marble. Various dim...

This Japanese hand painted blue and white charger features a plump, cheeky looking bird perched on a branch surrounded by foliage and flowers. ...

Fine dutch delft 18th century drug jar. The jar of ovoid form with rolled top rim and tapered body down to the circular flat foot rim, decorated with opposing...

Antique Tuscan picture inlaid with white Carrara marble 19th Century. Italy Ancient Tuscan terracotta bricks, inlaid by us with 19th Century white Carrara marble. Various dime...

Pair of blue and white plaques with ships off the coast. Makkum, 1784-1800 Kingma pottery painter: Adam Sijbel The diamond-shaped plaques have a raise...

Théodore DECK (1823-1891) A polychromatic enamelled earthenware soliflore and quadrangular shape vase with Sino-Japanese inspiration design of flowers and geometrical friezes all around. Impressed uppercase mark "TH.DECK" under the base. Circa 1875 Born in Guebwiller in Alsace, Théodore Deck trained as a ceramist in his home region, then in Germany. He went into partnership with his brother, Xavier Deck, to create his own factory in Paris in 1858. At the Exhibition of Industrial Arts in 1864, he presented pieces covered with transparent enamels that were not cracked, and then made his first attempts at reliefs under transparent enamels. He developed a bright turquoise color, famously renowned as "Bleu Deck". It is this nuance that we find on the salamander represented on this vase. In 1887 he published a treatise entitled "La Faïence", in which he explained some of his discoveries. That same year, he became director of the Manufacture de Sèvres. Theodore Deck (1823-1891) is a French ceramist born in Guebwiller in Alsace. He is passionate about chemistry and the physical sciences. In 1841, he joined the master stove maker Hügelin father as an apprentice in Strasbourg. In two years, he learned of the methods inherited from the 16th century, such as the encrustation of colored pastes in the style of Saint-Porchaire. This apprenticeship did not prevent him from spending his free time draw-ing or modeling clay in the studio of sculptor André Friederich. Escaping military service, he made a tour of Germany as is the tradition with fellow Alsatian stove-makers. The quality of his work allows him to obtain important orders in Austria for the castles of the provinces and the imperial palaces, in particular for the palace of Schönbrunn. He continues his journey in Hungary to Pest, to Prague, then, going north through Dresden, Leipzig, Berlin and Hamburg. On the strength of his apprenticeship, he arrived in Paris in 1847. Recommended by Hügelin, he went to the stove factory of the Bavarian potter Vogt, located rue de la Roquette. The Revolution of 1848 interrupts production and Deck decides to return to his hometown. His family then advised him to set up a small terracotta workshop: he made a few busts, statuettes, vases, lamps and copies of famous antiques there. Aware that this situation would not allow him to provide for himself properly, he returned to Paris in 1851 where he was employed by the widow Dumas, daughter of the earthenware maker Vogt for whom he had worked. Hired as a foreman, he supplied the drawings and models to the workers, while working the land himself. The following year, he made the decision to settle not far from his former employer at 20, rue de la Fontaine-au-Roi, probably using his ovens. His brother, Xavier Deck, joins him. It was officially in 1858 that the Deck brothers created their business and settled in Paris at 46, boulevard Saint-Jacques. Initially, the brothers only carry out coatings for stoves. But the business is going so well that barely a year after their installation, they want to diversify their production and engage in ceramics for the cladding of buildings as well as in shaped parts. Deck is interested in politics. In 1870, he opted for French nationality and was elect-ed deputy mayor in the 15th arrondissement of Paris. In 1861, at the Salon des arts et industries de Paris, which was held on the Champs-Élysées, Théodore Deck exhibited his works for the first time: these were pieces with an inlay decoration called “Henri II” and others. pieces covered with turquoise blue enamel or decoration in the style of Iznik ceramics.If he wins a silver medal, reviews are mixed, however. The following year, on the occasion of the Universal Exhibition of 1862 in London, he won over English customers. He surprised by presenting, like the previous year, his Alhambra Vase...

Dutch delftware Pear. Delft, 1750-1780 The pear with stem is modelled on a base of leaves and is painted in realistic colours. Dimensions: heigh...

SICILIAN MAJOLICA PANEL end 19th Century Panel made up of 20 tiles of approx.20x20 cm. Classic-inspired panel: "Wild boar hunting in Magna Graecia". ...