Earthenware Ceramics

Colorful Majolica asparagus and artichoke plate Salins, circa 1890.   

Majolica plate two parakeets on a blue background with oranges Salins, circa 1890.  

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 ...

19th Century French blue and white faience dinner plate signed "Francois" Sarreguemines.  

Wonderful Large Tuscan Round Plate (Siena) from the 18th Century decorated with a battle scene. Marked Siena with the date 1527 on the wing. Italian majolica. . Diameter: 45 cm. good...

Large Majolica Ceramic Pitcher. Decorated with a pattern of apples. With very bright colors. Most likely a production from the Belgian brand Nimy. The pitcher is in good condition. ...

Unusual French Majolica asparagus oval platter Orchies, circa 1880. Decorated with asparagus and asparagus.

French Majolica grape leaves plate Onnaing, circa 1900.

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

Rare 19th century porcelain Palissy platter with fishs, eel, shells , crawfish and ivy leaves.

Pablo Picasso’s Tête de Faune (A.R. 51), created in 1948 at the renowned Madoura pottery studio, exemplifies the artist’s ability to transform ceramics into expressive works of art. ...

Rare small Palissy platter with a fish, lizard, butterfly, ivy leaves attributed to Thomas Sergent.

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

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...

This rare and charming pair of 18th-century French creamware lions was made circa 1790. Each lion reclines atop a tall rectangular base decorated with rich cobalt-blue swags, bright yellow tassels, and vivid green trim. The forms are bold and expressive. The lions' open mouths are painted in soft pink, and their manes are rendered in vibrant yellow and lined with dark brown, lending them an animated, almost theatrical presence. The lions rest on what appear to be stylized, draped cushions, adding a sense of comfort and reality. Their wide-eyed expressions and exaggerated features give the pair a whimsical character that blends elegance with humor—a hallmark of late 18th-century French design. Unmarked but unmistakably French in style, these figures make a striking decorative statement. Whether placed on a mantel or console, they command attention and offer a playful counterpoint to more serious classical forms. Dimensions: 6.5 inches tall x 6.75 inches long x 4.5 inches wide Condition: Excellent Price: $2,300 Decoration: Painted in yellow, cobalt, green, pink, and brown with molded drapery and tassel detail Material: Creamware pottery Style: French Neoclassical with Folk Art elements Origin: France Date: Circa 1790 Key Features - Rare pair of large 18th-century creamware lion figures - Expressive hand-painted decoration with bold color contrasts - Tall bases decorated with molded and painted swags and tassels - French origin, circa 1790 - Whimsical and animated expressions add charm and visual interest Background of creamware Creamware is the name given to a type of earthenware pottery initially made from white clays from Dorset and Devonshire combined with an amount of calcined flint. Creamware was first produced in England sometime before 1740. Foremost among the pioneers of creamware in the Staffordshire Potteries was Thomas Whieldon. The young Josiah Wedgwood partnered with Thomas Whieldon from 1754 to 1759. When Wedgwood left to set up his own business, he immediately directed his efforts to developing creamware. Around the same time, in the mid-18th century, French potters developed their creamware known in France as "Faience Fine...

This is a beautiful stoneware vase by S. Hublet, made in Belgium. It has a granite like beige, pink and black surface accented by freeform chevrons on the top and the bottom. The center of this magnificent oversized art pottery tea pot...

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...

Eye-catching set of 6 small fish plates and a large fish tray in blue and grey glazed ceramic, Spain, 1960s. This Midcentury ceramics serving set can be used to serve desserts, salad...

Germany Frechen Circa 1620 – 1650 Bellarmine or Bartmann jug with a flower medallion. A salt-glazed and iron-engobed bellarmine with a narrow neck, sphe...

Antique French faience handled platter with coat of arms dogs and floral pattern, circa 1900.

French Majolica Asparagus Platter circa 1890.

A Minton Majolica Jardiniere, the urn-form body with applied laurel wreath handles tied with pink ribbon bows on a turquoise ground, the shoulder and rim molded with neoclassical bor...

Decorate a shelf or a kitchen counter with this elegant antique milk pitcher. Created attributed to Sarreguemines, France in the 1900s. The milk j...

Large unusual Austrian Majolica oyster plate, circa 1880.

This Mid-Century Modern West German Holy Water Vessels Set (9 pieces) offers a striking blend of design, craftsmanship, and symbolism, making it highly appealing to collectors and enthusiasts. Crafted between the late 1940's and 1960s, these vessels were designed for use in churches, holding holy water or wine. However, their sleek forms and elegant, muted tones have earned them admiration far beyond their original ecclesiastical function, making them prized items for both religious and design collectors. The vessels showcase a variety of beautiful glaze colors and finishes and embody the Mid-Century Modern design ethos with clean lines and simple forms. All the vessels feature unique shapes reflecting the era’s focus on balancing function with form. The interplay of color and texture—from glossy to matte—adds a striking visual dimension to the collection, making each piece stand out on its own and as part of a set. Among the nine pieces, two vessels are marked by Laach Abbey, where Theodor Bogler...

Art Nouveau Villeroy et Boch Stamp Schramberg Majolica, Water Lily Pattern, Dish and 9 assiettes. Majolica is a type of earthenware, decorated Water Lil...

Rare Majolica asparagus blue & white platter Wasmuel, circa 1890.

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 ...

Small Majolica white rabbit pate tureen or box circa 1950 signed Caugant.

Picasso's face ceramics, such as Visage AR 490, are fascinating for several reasons. They blend tradition with modernism: Picasso merged ancient ceramic techniques with his signature...

A beautiful hand-painted Majolica glazed ceramic fish shaped sauce boat with half lemon on the top. By Hispania CH Lladró.Spain, 1960-1970s Manufactured by Hispania CH and marked on ...

A set of four early Wedgwood creamware Neoclassical dessert dishes made circa 1780. Sir William Hamilton’s Collection of Etruscan, Greek and Roman an...

Small French Majolica Reticulated handled Jardiniere Circa 1890. Leaves and berries. W / 8 by 4.8 inches. H / 3.4 inches.

A Minton Majolica Large Turquoise Ground Jardinière Designed by Gottfried Semper (German 1803 -1879), the ovid-form body applied with entwined snakes forming the handles, the rim wit...

Menton French Majolica (Barbotine) Trompe L'oeil Wall Plaque on a turquoise ground with lemons molded in high relief, circa 1880, 8-inches diameter. Generally referred to as "Mento...

French faience fish head plate signed Henriot Quimper, circa 1940.  

Early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. Also separately available, please reach out t...

Minton Majolica Taza, molded as an inverted mushroom, the bowl interior glazed in orange, with three naturalistically modeled and glazed frogs around the stem,...

A stylish and impressive antique English majolica pottery game pie dish and cover by renowned and sought after maker Minton and dated 1867. The earthenware dish stands raised on four...

An exceptional Renaissance Revival Maiolica tin-glazed plate painted with a side profile portrait of a lady within a decorative border with a line painted design to the base. The lig...

French Majolica plate with a purple butterfly on the center surrounded by fruits, circa 1890.

Majolica oyster plate signed Sarreguemines, circa 1950. 8 plates are available.

Large West Germany Ruscha Art Pottery Plate, 1950s A stunning vintage ceramic plate by Ruscha, West Germany, handcrafted circa the 1950s. This exceptional piece features a relief-gl...

Unique midcentury decorative dish. Hand painted and etched decor, circa 1950s. Signed. A Classic example of the 1950s California Craft movement...

French Majolica oyster plate with green acanthus leaves, circa 1890.

Hugo Lonitz Majolica figural table Jardinière stand, naturalistically molded as an oak tree, with a pair of partridges nesting among bulrushes and grasses, on a rustic mound-form, lo...

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 stunning antique Thomas Forester hand painted art pottery vase decorated with large flowering blooms dating from around 1890. The lightly potted earthenware vase stands on a narrow...

This is a beautiful early plate in a printed blue and white chinoiserie pattern and made of a type of earthenware pottery called pearlware, in the very early 19th century, by one of ...

A glazed ceramic large fish platter in brown and toffee colors manufactured by Secla ceramics factory. Portugal, 1960s. A very interesting piece du...

Set of very decorative, late 19th century blue-green French Majolica asparagus plates, hand-painted in white, green and purple, showing four asparagus spears in relief, and with fluted rims. The underside is stamped "Depose K G Luneville...

Large, vibrant French Provincial hand painted faience wall decoration in the shape of a cover, rocaille et décor à la corne pattern. A double cornucopia filled with flowers, flying i...

This is a good Art Pottery Vase, with three angular handles, all hand modelled using the Sgraffito method, with Fish decoration, hand made by C H Brannam's...

A fine large Italian cream-ware or white glazed ceramic pedestal bowl with rose topiary top, featuring a fitted lid with a relief of roses (or rosettes) and bocage around the circumf...

A Highly Rare Thomas Sergent Palissy Ware Majolica Trompe-l'oeil Wall Pocket, naturalistically molded as an oak tree, with green-glazed leaves and acorns, a fledgling blackbird in ne...

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...

Albarello wand cover with polychrome decoration called “al tacchiolo” of foliage with stylized flowers. Marked under the base: “N° 49" 18th century. Height: 15 cm incl lid, diameter ...

Early Arista y Cuenca tile, most likely made in Sevilla. Azulejo tile decorated with a gemetric pattern with 4 central leafs within a cirlce. Mid 16th century In very good conditi...

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...

A very stylish and hand crafted slipware pottery pilgrim flask decorated with floral designs probably originating from Sussex, England and dating to the 19th century. The lightly pot...