Earthenware Ceramics

The designs of the Tecla Collection are characterized by a gear pattern that changes the width as it adapts along the organic shapes of the object. This creates a sturdy product with...

Ancient Sicilian Majolicato panel "Magnagrecia" end 19th century. Panel consisting of 15 x 15 cm tiles - 49 tiles. Classic-inspired panel: MAGNA-GREECE THICKNESS 1.2 cm WEIGH...

Majolica dish hand made and hand-painted in Deruta, Italy, according to the original Renaissance painting technique. The dish is enriched by the presence of four metamorphic dolphin-...

Polychrome lobed dish with peacock. Delft, circa 1680 Dimensions: diameter 34,7 cm / 13.66 in. The polychrome lobed dish is composed of nine wide lobes...

This is a bowl by Clarice Cliff in the "Hydrangea" pattern, circa 1933. The Hydrangea pattern is a "Bizarre" pattern, produced in 1933. It is hand, in the green colourway, with fl...

Tom has painted and drawn all his life, and loves working in ceramics, which he finds a very expressive and tactile medium. He particularly like making plates, as they look fantastic...

Blue and white landscape dish. Makkum, 1775-1800 Tichelaar pottery. painter: Douwe Klases Hofstra [attributed to] The dish has a wide and raised flange and is painted in blue wi...

A Rouen Faience in the shape of a young bacchus seated on a blue barrel holding a bottle in his right hand and a glass in his left hand. Polychrome decoration of vine branches and gr...

The blue and white dishes have wide-spreading flanges and are painted with a Chinese figure in an oriental landscape. The eight-panelled border is alternately decorated with floral motifs and oriental landscapes.  The decoration is inspired by Chinese porcelain from the transitional period at the end of the Ming and the start of the Qing dynasty. The porcelain of the last Ming emperor Chongzhen (reigned 1628-1644), the first Qing emperor...

Blue and white chinoiserie bowl Delft, 1660-1680 The blue and white bowl stands on a foot, has a high, strongly cantilevered wall and is ...

The dish has a wide-spreading flange and is painted in blue with a still life in a panelled border. A bottle vase with various flowers is in the foreground before a low rectangular container on feet, filled with a rocky landscape. To the left of the container is a tall, cylindrical vase with grassy plants. Two butterflies and an insect fly in the sky. The well and flange are divided into eight wide and eight narrow panels...

The blue and white dish has a narrow, flat flange and is painted in the centre with a Chinese figure in an oriental garden landscape in a double circle. The brushwork is executed in blue within purple outlining on a light blue-coloured tin-glaze. The Chinese figure carries a guzheng, a Chinese zither, wrapped in a cover. On the well and flange are six different landscapes and terrace scenes, partly filled with Chinese men and women. The reverse is painted with four circles with a dot and four smaller circles.  The decoration is inspired by Chinese porcelain from the transitional period at the end of the Ming and the start of the Qing dynasty. The porcelain of the last Ming emperor Chongzhen (reigned 1628-1644), the first Qing emperor...

Tom has painted and drawn all his life, and loves working in ceramics, which he finds a very expressive and tactile medium. He particularly like making plate...

Made in Italy, 1964. This is a set of hand-crafted lacquered earthenware plates signed by De Simone. It is a vintage set, therefore the plates might show slight traces of use, but ...

Bottega Vignoli, Floral decor vase, 2022 hand painted majolica 17cm x 37cm height. Unique piece. Art Nouveau floral inspired decor. Bottega Vignoli is a brand of artistic ceramics...

Arabia, Finland. Art deco bowl in glazed faience. Beautiful marbled glaze. 1920s/30s. Measures: 27 x 5 cm. In excellent condition. Stamped.

Blue and white lobed dish with fruit still life. Northern Netherlands, 1650-1680 Dimensions: Diameter 22,9 cm / 9.01 in. The blue and white lobed dish is composed of sixteen smal...

SICILIAN MAJOLICA PANEL end 19th Century Panel made with 36 tiles measuring 17x17 cm. Panel of classic Sicilian Baroque inspiration. HEIGHT 102...

Tom has painted and drawn all his life, and loves working in ceramics, which he finds a very expressive and tactile medium. He particularly like making plates, as they look fantastic hanging on walls as pictures, as well as displayed on tables and shelves. They are also functional, and an integral part of a good meal - one of the best and most important things in life. Animals and ??sea creatures on ceramics are part of a long tradition, and were a particular favourite of the ancient Greeks and Romans. Tom sees...

Tom has painted and drawn all his life, and loves working in ceramics, which he finds a very expressive and tactile medium. He particularly like making plate...

Tom has painted and drawn all his life, and loves working in ceramics, which he finds a very expressive and tactile medium. He particularly like making plates, as they look fantastic hanging on walls as pictures, as well as displayed on tables and shelves. They are also functional, and an integral part of a good meal - one of the best and most important things in life. Animals and ??sea creatures on ceramics are part of a long tradition, and were a particular favourite of the ancient Greeks and Romans. Tom sees...

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...

This is a beautiful pair of deep plates or Soup Bowls in the blue and white Rome or Tiber Pattern, produced by the Spode factory and made of a type of earthenware pottery called Pear...

Bottega Vignoli, Borgia conical vase, 2022 hand painted majolica 17cm x 37cm height. Unique piece. Bottega Vignoli is a brand of artistic ceramics...

Blue and white charger with a bird on a branch. Harlingen, 1775-1800 Raamstraat pottery. painter: Pieter Ruurds The charger has a slightly raised flange and is painted in blue ...

The mainly square-shaped stands have indented corners and a raised center section with rim and four small flowers. The stands are painted in polychrome with a combination of flowers,...

Ceramic figurine of a sitting dog No signature Probably the 1960s. height 17cm, width 10cm, depth 6cm

Water cistern, table fountain on earthenware pedestal decorated with lambrequins and lions in blue camaieu. Lateral grip in the shape of a lion's head. Earthenware from Rouen or Lill...

The designs on this French faience group is typical of pottery made in Rouen. Early 20th century French hand-painted Faience Terrine from Rouen. Marking on the bottom: "Rouen Fait...

Blue and white landscape dish. Makkum, 1775-1800 Tichelaar pottery. painter: Douwe Klases Hofstra [attributed to] The dish has a wide and raised flange and is painted in blue w...

Tom has painted and drawn all his life, and loves working in ceramics, which he finds a very expressive and tactile medium. He particularly like making plates, as they look fantastic hanging on walls as pictures, as well as displayed on tables and shelves. They are also functional, and an integral part of a good meal - one of the best and most important things in life. Animals and ??sea creatures on ceramics are part of a long tradition, and were a particular favourite of the ancient Greeks and Romans. Tom sees...

Blue and white dish with windmill. Delft, 1700-1750 The dish has a raised flange and is painted in blue with a windmill between two sponged tr...

The dish has a wide, slightly raised rim and is painted in blue in the centre with a Dutch water landscape within a polygonal yellow band. The well and border are painted in polychro...

Blue and white chinoiserie lobed dish. Delft, 1650-1680 Dimensions: diameter 33,5 cm / 13.18 in. The blue and white lobed dish is composed of twenty-seven double lobes. The cur...

PANEL OF MAJOLICA TILES WITH GOAT AND PUTTI end 19th Century Panel of 36 hand-painted 15x15 cm tiles with cherubs riding a goat. Typical rural scene, the theme of children playing...

White lobed dish. Delft, 1650-1700. Dimensions: diameter 33 cm / 12.99 in. The white lobed dish is composed of twenty-seven double lobes around a curved ...

Blue and white lobed dish with landscape. Northern Netherlands, 1650-1680. Dimensions: diameter 21,5 cm / 8.46 in. The blue and white lobed dish is composed of sixteen small lobe...

SICILIAN MAJOLICA RING end 19th Century Panel made with 30 tiles of approximately 17x17 cm. Classic "baroque" inspired panel. HEIGHT 102 cm WIDTH 85...

Large blue and white chinoiserie dish. The Netherlands, 1675-1700. The blue and white dish has a wide-spreading flange and is painted in the centre with a sitting Chinese figure i...

Large ceramic plate in white and gold luster, hand painted in Italy and handmade with the pottery wheel. This majolica plate can be used as a centerpiece...

- Handbuilt white fruit dish - made of clay collected from the potter's surroundings. - slip applied made of natural pigments like lime - made in the M...

Blue and white armorial dish. Harlingen, dated 1744 The dish has a wide raised flange and is painted in blue with a coat of arms and the year 1744. The depiction is framed within ...

Blue and yellow chinoiserie lobed dish. Delft, 1680-1700 Dimensions: diameter 33,2 cm / 13.07 in. The blue and yellow lobed dish is c...

Polychrome lobed dish with peacock in landscape. Delft, circa 1690. Dimensions: diameter 34,9 cm / 13.74 in. The polychrome lobed dish is composed of nine wide lobes and is pain...

Blue and white chinoiserie lobed dish. Delft, 1650-1680 Dimensions: diameter 33,5 cm / 13.18 in. The blue and white lobed dish is composed of twenty-s...

Blue and white dish with a putto. The Netherlands, 1660-1700 The blue and white dish has a wide, spreading flange, and is painted in the centre with a walking, flute-playing putt...

Purple and yellow majolica charger with a beggar The Netherlands, 1675-1700 The charger has a wide-spreading rim and is painted mainly in purple with some yellow accents. A beggar...

Chinoiserie lobed dish in blue and purple. Delft, circa 1680 Dimensions: diameter 34,5 cm / 13.58 in. The lobed dish is composed of nine, wide lobes and is painted in the centre...

Lovely majolica dish with lid, shaped like a corn cob. Beautifully patinated with vibrant colours. The bowl is not marked, maker unknown. Presumably of French origin, dating from ar...

"Japon" Imari service, produced in 1876 by the Creil & Montereau pottery, shows the great success of Japonism in tableware production, like the Bracquemo...

Blue and white charger with a shepherd in a landscape Delft, 1670-1700 The charger has a wide-spreading flange and is painted in blue with a shepherd in a water landscape. He we...

Pair of ceramic plates Earthenware from Creil-Montereau, in France Mark "Creil et Montereau, L.M & Cie" under the base Late 19th century.

Blue and white lobed dish with landscape. Northern Netherlands, 1650-1680. Dimensions: diameter 33 cm / 13 in. The blue and white dish is composed of twenty-seven double lobes around a curved center. It is painted with a house and barn along the water front within a double circle, framed by a narrow band of stylized ornaments. The border is alternately painted with stylized flowers and branches of leaves...

Handmade stoneware lectern manufactured at the workshop of Apparatu in Barcelona. Different clay bodys are mixed with natural fibers like corn, straw, or heather straw. The pieces ar...

Blue and white dish with bird on a double ring Delft or Western-Netherlands, 1700-1750 Blue and white dish with a wide-spreading flange, painted in the centre with a bird on a double ring with leafy garlands. The decor on the flange is made up of a small band of scrolls and stylized leaves, framed within lines. The well halfway to the rim is left unpainted. Three stilt marks, which are characteristic for majolica, are visible in the centre. Dimensions: Diameter 31,5 cm / 12.40 in. The decor of a parrot on a ring is a well-known motif on plates and dishes...

Staffordshire Pottery tureen with cover which features a duck forming the lid, sitting on a base molded with a rippling water effect. Maker's mark, '6' mo...

Polychrome dish with a village view The Netherlands, 1675-1725. The dish has a spreading, slightly raised flange and is painted in blue, purple and yellow with a simplified villag...

Brilliant handmade hand glazed Art Nouveau planter jardinière, 1930s Wonderful Art Nouveau period/ monumental ceramic planter jardinière, handmade and hand-glazed in brilliant blue ...