Earthenware Ceramics

Majolica plate two parakeets with oranges Salins, circa 1890.  

Large 19th Century French Blue & White Japon Platter signed Creil Montereau. 13 inches diameter. This service is exposed in Giverny Claude Monet's house.

English majolica green-glazed 9.13-inch plate, with relief molded geranium plants and blossoms and a shaped rim by the English firm Hope & Carter, Burslem, Stoke-on-Trent, ca. 1870s....

Early Arista y cuenca tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575.

French Majolica rabbit tureen signed Caugant, circa 1940.

A lovely pair of antique 19th Century English green glazed majolica leaf plates with a beautiful sunflower and basket weave design by Wedgwood. Date code "U" for 1866. Maker's mark o...

Large French Majolica Bulldog Wall Platter Circa 1890. Diameter / 11.3 inches.

A handsome vintage Winston Churchill collectible character jug or "Toby jug" decorative mug by the English pottery firm, Royal Doulton.

A Set of 10 Wedgwood & Barlaston of Etruria Green Glazed Majolica Cabbage Plates Extremely popular during the Hollywood Regency period, now a classic. The mold shows an oversized ca...

Set of Midcentury multi color fish Plates and Platters as Wall Decoration A funny collection of eleven european glazed ceramic, porcelain and...

20th century German majolica plate platter for serving eggs with two chicken as salt and pepper shakers. Nice addition to your table or just to display. Please see detailed pictures ...

French Majolica rabbit tureen signed Caugant, circa 1940.

Early Arista y cuenca tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575.

Majolica plate two parakeets with oranges Salins, circa 1890.  

A stunning large antique Italian Raffaellesco majolica wall charger / centerpiece, showcasing exceptionally executed handmade and painted design, dating to the 19th century or earlie...

Great authentic piece of pottery from the Provence. Unique and rare glaze. Beautiful weathered. Chips and imperfections help authenticate this water cruche as it was a utilitarian ty...

Set of Spanish tiles of the 'dos por tabla/ type in the Arista y cuenca tile made in Toledo. This particular type was to adorn ceilings. Tile decorated in renaissance with stylized ...

A stunning of pair of blue and white bronze-mounted lamps, wired for US, circa 1880. Total height with the shades / 22".

This large pair of French faience lions was hand-painted at the Luneville factory in France circa 1800. They feature bold yellow and black manes, wide...

Early Arista y Cuenca tile made in Toledo. Azulejo Toledano. Alhambra tile decorated in renaissance mudejar style geometrical design. Probably made between 1550 and 1575. In very g...

Antique French majolica basket with flowers and butterfly, bug, and insect accents, circa 1880. No maker's mark. Some chips.

Majolica oyster plate with different flowers on each shells, circa 1900 signed Longchamp.  

An antique ormolu-mounted Majolica twin handled planter or centre piece attributed to Wilhelm Schiller. The Majolica planter is of wide rounded form with a raised ornate rim and with...

Very rare and beautiful Spanish earthenware bowl. Wonderful decoration with a bird sitting on a vase of flowers Sevilla, Spain, circa 1750-1850 Weathered and amazing antique repair ...

A Wedgwood Fairyland lustre bowl designed by Daisy Makeig-Jones ca. 1925 and decorated with the 'Blue Willow' pattern. The ‘Blue Willow’ pattern is timeless, inspired by 18th-century Chinese blue and white porcelains and appearing on English transferwares since the early 19th century. Thomas Minton is credited with creating the standard pattern as we know it today circa 1780; from there, all the major English potteries, and some American ones, began producing ‘Blue Willow’ transferwares...

Majolica oyster plate signed Sarreguemines, circa 1950. 4 plates are available.

Set of midcentury multi color fish Plates and Platters as Wall Decoration A funny collection of twelve european glazed ceramic, porcelain and...

A Minton Majolica Game Pie Tureen, Cover, and Liner, the base molded as a wicker basket with green glazed oak leaves and banded branch handles on raised feet, the cover with high rel...

This rare large punch bowl beautifully marries two of the most sought-after patterns of early 19th-century English ceramics: The Medicine Man and The ...

A large vintage serving platter featuring the Wild Turkey, Native American brown and white transfer-ware pattern by the celebrated English pottery firm, Johnson Brothers. With aut...

This 19th-century French confit pot showcases the rustic charm of Provincial stoneware, featuring a beautiful yellow glaze typical of the region. Used historically for preserving mea...

Italian Art Nouveau Majolica Hibiscus Plate, Early 20th Century A handmade Italian majolica plate featuring a detailed hibiscus flower in shades of pink, white, green, and yellow. C...

Green Majolica strawberry dessert plate, English, molded with strawberries and strawberry leaves, English, ca. 1880.

Wedgwood Majolica Strawberry dish, naturalistically relief-modeled with strawberries, leaves, and blossoms, the lip with strawberry leaves and...

French walnut oil jug from the Southern part of France around Castelnaudary. An extremely rare large three-handled green-glazed earthenware storage vessel, with pouring spout. Almos...

Rare late 15th or early 16th century Mudejar tile of the so-called ‘Arista’ or 'cuerda seca' technique. The central motif is an eight-pointed star, which in turn encloses smaller on...

English majolica green-glazed 9-inch plate, with relief molded geranium plants and blossoms and shaped rim, the reverse with impressed mark 'HOPE & CARTER, ENGLAND,' ca. 1880. For t...

English majolica green-glazed 9.13-inch plate, with relief molded geranium plants and blossoms, with a shaped rim; the reverse with impressed mark: HOPE & CARTER, BURSLEM. For thir...

Majolica oyster plate with different flowers on each shells, circa 1900 signed Longchamp.  

Set of midcentury multi color ceramic fish Plates and Platters as Wall Decoration A cool collection of eleven european glazed ceramic, porcela...

Colorful Majolica asparagus and artichoke plate Salins, circa 1890.   

- Handbuilt white ceramic wall light - made of clay collected from the potter's surroundings. - made in the Moroccan Rif mountains by the potter Houda. - co-created by the potter Hou...

A George Jones Majolica Game Tureen, the base with relief molded rabbits among ferns and grasses on both sides, with oak leaves, acorns, and ivy encircling all around the mossy branc...

George Jones Majolica Strawberry Server, ca. 1870, the trefoil dish naturalistically moldelled with blossoming strawberry plants and ferns on a turquoise and rustic ground, surmounte...

Rare Majolica rooster jardinière signed Delphin Massier, circa 1890. Country, Rustic style. Beautiful colors. Reference / A similar example of this piece page 93 "Barbotines de la Co...

French Faience oyster signed plate Saint Clement, circa 1890. Rustic, Country style.

- Handbuilt ceramic coat hook - made of clay collected from the potter's surroundings. - made in the Moroccan Rif mountains by the potter Houda. - co...

Eye-catching Majolica ceramic white and green strawberry shaped tureen. Manufactured by Bordalo Pinheiro, Portugal, 1960s. This cute tureen has a very realistic design with leaves on the top. A leaf shaped serving plate and a small serving spoon complete the set. This highly decorative serving piece will be a nice addition to any kitchen or dining table. It will be a cool choice used as sauce tureen. Excellent condition. On sale as a set of three pieces, strawberry tureen...

Creil Faience Fine Creamware Dish, Circa 1800-20 This charming French creamware dish is decorated with a molded design of bullrushes encircling the dish. The crisp design display...

French Majolica rooster pitcher signed Keller and Guerin Saint Clement, circa 1900. Original older model. Measure: Height / 12.8 inches.

Great authentic and rare piece of pottery from the Provence. Beautiful weathered and an amazing color. Imperfections help authenticate this water cruche as it was an utilitarian type...

19th century majolica plates by Villeroy & Boch in unusual color combination of olive green and majolica pink with relief design on front. Nice addition to your table or just to disp...

Charming Art Nouveau Majolica handled platter with two pink wild roses signed Jerome Massier Fils, circa 1900.

A fine large Italian cream-ware or white glazed ceramic 'bowl of fruit' basket or centerpiece with mixed fruit topiary top - featuring a relief of mixed fruits around the circumferen...

Vintage hand-painted polychrome Makkum Dutch ceramic tiles by Royal Tichelaar ranging from the 1920s to 1950s. An assortment inspired by designs dating back to the 17th century decor...

This vintage figural candlestick by Giovanni Desimone Italy is a unique and eye-catching piece of decorative art. DeSimone was a renowned Italian ceramicist and designer who worked in the mid-20th century, known for his whimsical and colorful ceramic sculptures...

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...

French Faience oyster signed plate Saint Clement, circa 1890. Rustic, Country style.

Stunning lemons Manises Majolica ceramic wall decoration, Spain, 1960s. Handcrafted ceramic wall hanging sculpture featuring a bunch of...

A large vintage serving platter featuring the Wild Turkeys - Flying brown and white transfer-ware pattern by the celebrated English pottery fi...