Earthenware Ceramics

Maiolica pitcher Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 8.66 x 8.66 x 4.33 in (22 x 22 x 11 ...

Gorgeous Neapolitan XL tile panel by the firm, Recuperando, Italy. In a beautiful color palette showing lots of details. This large panel (140 cm) consists of 49 tiles of 20x20 cm. ...

Victorian antique Majolica jardinière of the Four Seasons by Minton English, c. 1905 Measures: Height 39cm, diameter 32cm This charact...

Small ceramic sculptures with peony by Antonietta Mazzotti Emaldi, 2018, Glazed earthenware (majolica) and 24ct gold, entirely handmade, unique piece. Customisation available in terms of colour of both for base and flower. Antonietta Mazzotti (Faenza, Italy 1950) attended the Istituto d’Arte per la Ceramica in Faenza and opened her first workshop in her hometown taking part in group and solo exhibitions at international level. In 1976 she has transformed the neo-gothic greenhouse of Villa Emaldi in her workshop. Antonietta Mazzotti has worked for some of the most important international museums and has received several important recognitions worldwide. Her works have been featured in major Italian magazines of interior design and she has acquired international visibility being featured in major international press publications, such as The New York Times. She still lives and works at Villa Emaldi in Faenza where she continues her research on historical decor...

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 ...

English pottery slipware baking dish, late 18th century. The plain edged, brown glazed dish, trailed in creamy yellow slip, with a wriggled, trellis design, b...

A very fine antique French art pottery Majolica wall pocket by Sarreguemines and dating from circa 1880-1890. The lightly pottery wall pocket is m...

Beautiful and large Mid-Century Modern fish serving plate in vallautis ceramic signed by Morvan. Great combination of colors. France, 1950s In an ...

Minton tin-glazed majolica wall plate which features a hand-painted scene of a hunting party in a country landscape. The plate was painted by Edouard Rischgitz - a Swiss painter. Col...

"Eyes Protection" hand painted ceramic plate "SegnalEtica" series by Pantoù Ceramics, hand thrown and hand painted glazed earthenware. All unique pieces, Italy, 2019. Measure: 40 cm ...

This is a beautiful bowl or deep plate produced by the Spode factory and made of a type of a pottery called Pearl-ware, in the early 19th Century. The pattern is called "Chinese Flo...

Royal Copenhagen / Aluminia Confetti dish and two plates in black and blue glazed faience. Mid-20th century. The dish measures: 23 x 14.5 cm. Plate diameter: 17.5 cm. In excellent...

Vallauris, midcentury French modern style and a vibrant combination of colors for this great set with one pitcher bottle and eight cups, in a excellent condition. Dimensions: E...

Royal Copenhagen / aluminia confetti. Three salt/pepper shakers and three butter boards in glazed faience. Mid-20th century. Butter board diameter: 15 cm...

Tittensor (possibly) Staffordshire Pottery Prattware bocage cow creamer which features a cow and a calf, recumbent on a shaped base. Decorated 'in the round', decoration to front and...

A most unique and unusual piece of wall art by the well known Swedish Lisa Larson for Gustavsberg, 1970s. There are 3 individually tiles plaques. Each pattered tile is a work of art ...

Onnaing style barbotine tobacco box representing a sitting pig with a cane, wearing glasses and a blue hat, smoking and reading a French newspaper called "La Viene". Around it, three...

A stylish Vallauris (A.R. 330) terre de faience limited edition plate portraying three faces by Pablo Picasso and dated 1956. The rounded plate i...

"Toxic" hand painted ceramic plate "SegnalEtica" series by Pantoù Ceramics, hand thrown and hand painted glazed earthenware, Italian majolica. All uniq...

A fine and quality antique French Majolica plate with a pheasant set within a wooded landscape signed Hippolyte Choisy le Roi and dating ...

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) ...

This is a beautiful plate in the Bow Pot pattern, produced by the Spode factory and made of a type of earthenware pottery called Pearl-ware, in the early 19th century, circa 1820. ...

"Recycle" hand painted ceramic plate "SegnalEtica" series by Pantoù Ceramics, hand thrown and hand painted glazed earthenware. All unique pieces, Italy, 2019. Measure: 40 cm diameter...

Untitled, 2020, glazed earthenware, approx: H 16 x 15 x 15cm Andrea Salvatori (Italy, 1975) is an internationally renowned visual artist working with...

A marble vase from the 1970s. Made of faiance Very good condition. Dimensions: Height 20 cm, diameter 18 cm.

Eye-catching colorful hand painted glazed ceramic rooster shaped large tureen. Italy, 1950s. The largest size in this kind of tureens or egg containers. ...

Emile Gallé for St. Clement, Nancy. Antique bowl with a handle on three feet in hand painted faience with frogs, 1870s-1980s. Measures: 15.5 x 5 cm. In excellent condition. Signed.

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...

Umbonate vase by Antonietta Mazzotti Emaldi, 2018, Glazed earthenware (majolica) and 24ct gold, entirely handmade, unique piece. Available in two sizes: H 40cm / H 34cm Antonietta Mazzotti (Faenza, Italy 1950) attended the Istituto d’Arte per la Ceramica in Faenza and opened her first workshop in her hometown taking part in group and solo exhibitions at international level. In 1976 she has transformed the neo-gothic greenhouse of Villa Emaldi in her workshop. Antonietta Mazzotti has worked for some of the most important international museums and has received several important recognitions worldwide. Her works have been featured in major Italian magazines of interior design and she has acquired international visibility being featured in major international press publications, such as The New York Times. She still lives and works at Villa Emaldi in Faenza where she continues her research on historical...

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...

Untitled, 2020, glazed earthenware, measures: approximate H 16 x 15 x 15 cm Andrea Salvatori (Italy, 1975) is an internationally renowned visual art...

Colorful set of three West German fat lava brown and orange glazed ceramic vases. Germany 1960s. The giant sized one is a West German Pottery fat lava glazed ceramic vase manufactured by Scheurich. Marked on underside: W.German 408-40. . These vases are amazing placed together. They have eye-catching colors in orange, shades of red, orange and brown. The smaller fat lava West Germany...

An antique Majolica lidded vase moulded with a continuous relief moulded scene of putti in various activity with grotesque horned lion heads applied either side of the rim. The earth...

Emile Gallé for St. Clement, Nancy. Antique compote in hand painted faience with a motif of a rooster, 1870s-1880s. Measures: 23.5 x 10.5 cm. Signed....

Stunning Art Nouveau/ Arts & Crafts tile panel from the superb firm, Craven Dunnill, & Co., Ltd, Jackfield Salop, England, circa 1905, in a bright celadon. This quantity original jug...

Pair of vases by Antonietta Mazzotti Emaldi, 2018, Glazed earthenware (majolica) and 24ct gold, entirely handmade, unique pieces. Antonietta Mazzotti (Faenza, Italy 1950) attended the Istituto d’Arte per la Ceramica in Faenza and opened her first workshop in her hometown taking part in group and solo exhibitions at international level. In 1976 she has transformed the neo-gothic greenhouse of Villa Emaldi in her workshop. Antonietta Mazzotti has worked for some of the most important international museums and has received several important recognitions worldwide. Her works have been featured in major Italian magazines of interior design and she has acquired international visibility being featured in major international press publications, such as The New York Times. She still lives and works at Villa Emaldi in Faenza where she continues her research on historical decor...

Large terracotta bottle vase with hand painted black motifs, Italy, 1971. Massive glazed terracotta bottle vase with black primitive decorations. Handc...

Eye-catching Majolica glazed ceramic corn on the cob jug and tumbler set of four. France, 1960s. The set is comprised by a large ceramic jug with co...

Pair of Staffordshire pottery figures, probably Enoch Wood factory, circa 1820. The figures very well modelled as ‘Jobson and Nell’. The se...

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...

Antique Majolica ceramic cheese keeper by George Jones English, circa 1870 Measures: Height 30cm, width 23cm, depth 23cm This delightful cheese kee...

Beautiful French Art Deco style long and oval-shaped earthenware fruit platter by Emaux de Longwy, hand painted and enameled with polychrome floral decoration in white, pink, green, ...

A Mid Century Modern teapot and milk jug from the series "Blå eld" translated to Blue fire in English is quality earthenware from Rörstrand, Sweden desig...

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...

Emile Gallé for St. Clement, Nancy. Antique bowl with a handle on three feet in hand painted faience with a coat of arms. 1870s-1880s. Measures: 15.5 x 5 cm. In excellent condition.

A fine pair of Doulton Lambeth faience vases, painted by John P. Hewitt, circa 1885. Both vases, beautifully hand painted with semi naked girls...

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...

Enameled earthenware vase. Handcrafted in France, in the potters' region of Puisaye. Dripping glaze and complex texture on its pot-belly. In the style of Jean Carries...

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...

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

Rare pair of blue faience tiles Marine landscape painted France, 1880-1890 "E. Gallé Nancy" signed on the back Excellent condiction.

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

"No Parking & Stopping" hand painted ceramic plate "SegnalEtica" series by Pantoù Ceramics, hand thrown and hand painted glazed earthenware. All unique...

Rare and highly decorative giraffe sculpture. Anyone who has ever been to Africa and saw these majestic animals in the wild will never forget the sight of them. The graceful manner ...

"High Tension" hand painted ceramic plate "SegnalEtica" series by Pantoù Ceramics, hand thrown and hand painted glazed earthenware. All unique pieces, ...

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...

Cantagalli Armorial Vase, Ulisse Cantagalli (1839-1901) During the 19th century Renaissance-Revival period the Cantagalli Maiolica and Ceramic Fac...